Premiered at the Sundance International Film Festival, SORCERY,  was  produced by brothers Pablo and Juan de Díos Larraín (Fábula) with Mexican Nicolás Celis. The cinematography of María Secco (Club Sandwich. Te Prometo Anarquía) and the lead actors carry this tale beyond what perhaps was on the page.   

In 1880, on the wind-swept, isolated island of Chiloè, in the south of Chile, sheep are found dead for no apparent reason, wrapped with Indian plaited collars, and then two children disappear. The authorities, led by disgruntled Mayor Acevedo (Daniel Muñoz) and the German settlers, believe and fear the tales of alleged powerful witchcraft ‘covens', known as La Recta Provincia. The local  indigenous leader, Mateo Coñuecar (Daniel Antivilo), and members of the group, are arrested,  with no evidence,  and tortured for them to admit to their involvement and be punished.  

The story is told from the point of view of 13 -year-old Rosa, (Valentina Véliz Caileo) who works for a German settler’s family with her father, who is a shepherd. When all the sheep are found dead one morning, in a rage, the German settler, Stefan Forden (Sebastian Hülk) sets his dogs on him, obliging his daughter Rosa, to watch her father being savaged to death.  A hard-working thoughtful girl, and wise beyond her years, Rosa,  already speaks German, Spanish and her indigenous tongue. She has become a Christian and, beset with grief, genuinely believes the authorities will help her get justice for the murder.

However, she is soon given short shrift by the Mayor, who is loth to upset the local German community: “Your father was killed by a dog, and we do not put dogs in prison.”  The local priest is little better, mumbling “God moves in mysterious ways” but he does tell her to look within herself, and helps her find refuge with indigenous leader Mateo, starting her out on her journey of self- discovery and empowerment. 

German settlers search for the missing children.

Rosa has buried her father and put a twig cross on the grave, to the consternation of the German family who insist he was not a Christian. Mateo tells her that her father was a Huilliche, and therefore should be returned to the sea. She asks him to teach her the old ways. But only when she attempts suicide by drowning, to be with her father,  does Mateo relent.

This is presented as an horror story, but beneath any revenge or horror, is a tale of sorrow and profound grief and how Rosa learns to come to terms with it. Through this painful process, she finally finds a new path for herself thanks to the help and support of Mateo and wise sorceress, Aurora Quinchen (Neddiel Muñoz Millaonco).  The fresh unadulterated talent of Véliz Caileo with her hypnotic presence on screen carries the film effortlessly and we are gripped by  her story.

Neddiel Muñoz Millalonco as Aurora Quinchen and Valentina Véliz Caileo as Rosa

Based on that real trial that took place in Chiloè , ‘SORCERY’ was written by Christopher Murray (The Blind Christ, 2016,) and  poet/ playwright and political activist, Pablo Paredes (El Reemplazante and Matar a Pinochet). It ‘s  relevant that some of these ideas about the existence of a powerful network  of covens persists to this day.  As Murray explains, it was believed to be a form of quiet rebellion and resistance and was feared. For the Huilliche it was, more likely, a way to maintain some form of integrity and control over their lives like a survival ritual. La Recta Provincia were, in reality, very organized. They had their own hierarchies and even handed out justice within the communities. Therefore, they became a constant thorn in the side of the authorities.

SORCERY  tries to explore the barbaric treatment that many indigenous people suffered at the hands of the Spanish (and then also German) colonials and settlers in Chile, displaying how prejudice led the decisions and even more so, the private interests of all parties.  These are themes also explored in the recent, more violent , Chilean Western set in Tierra del Fuego ‘THE SETTLERS’, (Los Colonos) 2023 by Felipe Gálvez.  

Rosa  watches the burial of Mateo at sea

There are moments when SORCERY risks being bogged down by trying to convey a message about these issues. It is however, undeniable that these issues remain relevant, to this day, as Christopher Murray described in a recent interview. He wanted to: -

“…make people think about this violent process of colonization that we sometimes think is something from the past. But it’s still going on, and not only in terms of territorial aspects but also in terms of how the cultures, the beliefs, the emotions are built.”

In effect, the Mapuche Huilliche and other indigenous groups continue to fight to regain some control and autonomy over their ancestral lands and rights.  

Mateo ( Daniel Antivilo) and Rosa ( Valentina Véliz Caileo)

The film is very atmospheric, deliberately shot with a monochrome palette of browns and greys.   Darkness barely lifts and the sun never shines.  Secco uses the wonderful Chiloè landscapes and coastline but perhaps could have made even more of the extraordinary temperate forests. These ancient forests, covered in lichens, are almost totally impenetrable, worthy of the best Grimm’s fairytales. The cave that the sorceress uses, is deep in the woods, surrounded by the wet roots of these massive trees, that have the power to communicate under the soil, as beautifully described in poems by Pablo Neruda. There is, undoubtedly, a natural magic to the place.

So, having magic happen, is therefore more believable, although at times it seemed contrived. It might have been more effective to suggest, than to show.   One of the rituals, that did have impact, is the wearing of a dead sorcerer’s skin through which to acquire powers.  Rosa, by wearing Mateo’s skin, is able to shapeshift into a powerful dog to threaten the Mayor’s wife and child, reminding the Mayor of his promise to them.

Rosa and the Mayor Acevedo ( Daniel Muñoz)

This a film of grief, a futile search for justice and in the end, a form of revenge, through symbols, rituals, imagery and music. Reminiscent of  Max Richter, the original music by Leonardo Heiblum is haunting. The coming of age of Rosa and her blossoming into a confident young woman is finely tuned and beautifully performed. As she said at her own trial: -

“For the Chileans and the German settlers, this island is the end of the world, for those of us who have always been here, it is the beginning.”  Declaration in court by the defendant, 1881 *

* Para los Chilenos y colonos que llegaron, esta islas son el fin del mundo, para los que estamos desde siempre, su comienzo.

SORCERY 2024-  On general release from June 14^th 2024.

CREW: Director: Christopher Murray /Screenplay: Cristopher Murray and Pablo Paredes /Producers: Juan de Dios Larraín, Pablo Larraín and Nicolás Celis & Rocio Jadue/ DOP:María Secco /Art Director: Bernardita Baeza /Editor: Paloma Lֶópez/ Original Music:         Leonardo Heiblum /Sound designer:Sergio Diaz.

CAST: Valentina Véliz Caileo: Rosa /Daniel Antivilo : Mateo /Sebastian Hülk: Stefan Forden / Daniel Muñoz: Mayor Acevedo / Aurora Quinchen:  Neddiel Muñoz Millalonco