The Sky is Red
(El cielo está rojo)
Francina Carbonnel / Chile / 2020 / 77 min

Berlinale Int'l Film Festival
IDFA Int'l Documentary Film Festival
Cinélatino - Rencontres de Toulouse
Signis AwardMar de Plata Int'l Film Festival
Pricing
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Spanish with English subtitles
In 2010, 81 inmates died in a massive fire at the San Miguel prison in Chile’s capital city, Santiago. Inside, they were trapped behind bars. Outside, dozens of family members waiting for visiting hours to begin looked on helplessly as their loved ones shouted for help. The doors remained locked. Justice remains elusive as the trial fails to assign blame. With full access to the judicial files, this reconstruction sheds light on the utter failure of the prison administration, which housed twice as many prisoners as allowed.
We hear fragments from telephone conversations between prison officials and emergency services in which shocking and harrowing discussions occur about whether to cut open the locks. Survivors and relatives of the dead tell of how corruption and mismanagement erased the rights of detainees. The evidence gathered for the trial – the security camera footage, photos, news clips, and audio recordings from inside and outside the jail – brings the events to life and reveals the full scale of the tragedy.
Related Subjects
About the Director
Press
“For his first feature film, Carbonell had privileged access to all the materials used during the investigation. What becomes evident is not only the terrible living conditions in the place, but also the manipulation of the evidence to ensure impunity. The director meticulously analyze these materials and expose them in the crudest and most direct way possible. The result is overwhelming.” – Diego Batlle, Otros Cines
Notes on the Film
After a three-year investigation and nine months of trial, the justice determined the acquittal of all accused, leaving a cause without responsibilities. The Sky is Red allows a rereading where the archives are questioned and displaced from a judicial dimension to a sensory one, constructing a journey through the structural violence involved in this dark episode.”