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Covarrubias: We used three types of resin: polyurethane resin as the base, crystal resin outside, which is like a coating, and inside it has expansive polyurethane resin so that it has volume but without weight. That way the interchangeable heads, easier to manipulate, are lighter and if they fall to the floor they won’t break. In 2004 torture victims were invited to give their testimonies to the “National Commission of Political Prison and Torture”. They were paid a paltry sum and the file closed for 50 years.
Covarrubias: We made that decision given how much she could express with her body. We also wanted everything to be psychological and expressed through mental images only. At some point we considered using a narrator, but we decided not to approach it like a documentary, but to make a journey to the darkest corners of the human being’s mind. We did base our story on historical elements from the existing texts to give the film a historical foundation, but on top of that we built a fiction where we invented many places and situations that didn’t necessarily happen in reality. Besides studying how dogs move, there was a very complex shot as the dog walks alongside Ingrid. That shot provides a certain tranquility to the short and reflects their quotidian life and even some warmth. That was one of the shots that I consider taking out of the film because of how long it was taking us. Matías animated that shot and it took him about three weeks because it was very difficult to make the dog in such a subtle manner. Interestingly, as we were animated that short we got a visit from Paul Harrod, who is the production designer for Isle of Dogs. The short film is about the past, but do you feel that with the recent social uprising and through the short itself the younger generations in Chile can relate to its themes? With an unreformed military whose silence and crimes are protected by the current constitution, a new generation of torture victims are having to live in silence. A Democracy Bathed in Blood
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Fourth time is a charm, apparently, because BestJAVporn finally let me watch the movie. It even started at the four-second mark, since that’s where they cut me off before. I immediately maxed out the video to 1080p, and no, it doesn’t look any better. This is a DVD rip at best, not actual HD video. Why did you decide to approach the story without dialogue, considering that in your previous work characters often speak? So when the series didn’t pan out, you gravitated towards Ingrid to make a short film, from all the figures you had considered? Covarrubias: We wanted to represent this woman as someone who isn’t sure about her place in society in relation to gender. This relates to the role that women had during the Holocaust, specifically the role that Nazi women had in juxtaposition to the Nazi men and to the Jewish women they murdered. Ingrid only tortured women, and she taught other women how to torture women. This creates a strange binary, because Ingrid in the end was almost like another man. Since she was a woman she was tasked with torturing women and instructing women, but what the women she tortured felt was that Ingrid was just like the men. We wanted to portray that inner conflict in the scenes where she tries to discover or recognize herself in her private life.
Covarrubias: And then in early 2020, the pandemic began. I finished animating the short during the pandemic. I think some of the most important shots in the film were completed during the pandemic. Díaz: From the screenplay stage until the end it was about four years. The animation itself took about two-and-a-half years. And the post-production we did in record time because we had submitted the short to Annecy while still unfinished — it still had temp sound and you could still see the rigs behind the puppets. But when we got selected for Annecy, they told us, “You have to commit to deliver the finished film in two months.” That was madness. We had to finish the sound and the music in time. But we did it!
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Since you used historical evidence as foundation for your work, how much of her real-life story is in the finished product and how much is fiction? Accounts by her victims alleged that she had trained her German Shephard Volodia to rape female left-wing dissidents during the Pinochet regime. The film is inspired by Journalist Nancy Guzman’s book La Mujer de los Perros (The Dog Lady). Guzman interviewed the now-deceased torturer in 1996.
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