The film work of Florian Cassem (The Day I was not Born [Das lied in mir], Germany, 2010, 95min, drama) deals with debts of civilian and military dictatorships in Latin America. A dual theme, since there are several works on it - dating back to World War II, Nazism and the rise of the Western military alliance - but because this production still causes effects, seemingly has not yet exhausted the flow of pain, resentment and broken dreams, to the tens of thousands in South America. See: http://www.youtube.com/watch?v=LNEByTO9x2k
The subject recalls the longstanding "The official history" of an intellectual history teacher who wakes of the ingenuity to discover that her husband was a torturer and that her daughter 'adopted' is one of the granddaughters of the Madres de la Plaza de Mayo, kidnapped from militant’s families tortured and killed by the Argentine military dictatorship. The new ingredient is the affective memory of a child of 3 years - that supports the struggle of three decades living in another country, culture and language - which requires it to stop a long period of his life, to retrieve the three decades that have been stolen.
The film tells the story of a swimmer who lives in Germany, travels to Chile, during a stopover in Buenos Aires, hear a lullaby that makes a humming the phrases in a Spanish that she does not speak. She is moved, it loses the connection and located in Buenos Aires. She calls his father, who appears at the hotel two days later. This starts a process of revelations about the military dictatorship, the reasons for what have been brought to Germany in 80’s, climaxing to seek the family of the true parents.
Facts like the contact with the police, the involvement with a police officer, the revelation that his German family collaborated with the regime and the encounter with his biological family are steps that will reveal the complexity of the crime on the one hand, and on the other, the calm, patience and love needed to restore the truth, trying not to hurt someone who was wrong but acted in good faith. This requires greater sensitivity, courage and humanity to deconstruct the error without causing more harm.
The film is dense and the traffic of the argentinian capital and tense as the plot involving the stories of repression, especially when dealing with the wounds open of the strategy to kidnap the children of the oppositors to "purify" the country of communism’s influence. In fact, the second stage of a monumental crime of state to face a danger more imaginary than real, resulting from extreme repression in defense of the ideology of national security.
The fact that this movie is on display this time seems to integrate Latin American kairos - an eschatological-apocalyptic time when we face the pain of that time that we clean our recent past - waking up of a heady nightmare, which becomes more strong as far as consciousness begins to make full, calling us at once time become aware of what happened, find out what to do to rescue dignity, support the reconstruction of life, justice for victims, recovering the memory of the tortured, to confront the interests that caused so much suffering and death.
Three recent events lend importance to this theme: the difficulty of the debate over control of the financial elites of the mainstream media; the condemnation of Brazil by Inter-American Court of Human Rights (IACHR) after the Supreme Court upholding the law of amnesty and deny justice to victims of the dictatorship; the repatriation of the documents that were at the headquarters of the World Council of Churches (WCC) in Geneva (Switzerland), and the Center for Research Libraries in Chicago (USA); and the condemnation of military and civilian involved in the repression in Argentina, which produced the largest number of deaths on our continent.
For those not afraid of film about the real horror and has the courage to confront the truth and disposition, and love to resume life, be committed their time and to move on, I recommend watching.
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