To Invent Our Revolution: An Aesthetic-Political Analysis of The Hour of the Furnaces

Abstract

To make a film in three parts and over four hours long is taking a risk. To make it in clandestine conditions is dangerous. To screen it as a palimpsest articulating diverse languages is foolish. But the experiment was a success. As Mariano Mestman argues (2008: 27)1 1968 in Latin America is signified by the premiere of a “beacon film,” The Hour of the Furnaces (Getino and Solanas, 1968)…