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El presente articulo se propone establecer un analisis comparado de dos films que entablan, de algun modo, un dialogo entre si: Todo es ausencia (Rodolfo Kuhn, 1984) y En nombre de Dios (Patricio Guzman, 1987). Se trata de dos documentales realizados por cineastas latinoamericanos exiliados para Tele­vision Espanola hacia la decada de los ochenta, los cuales tematizan el vinculo que la Iglesia catolica mantuvo con las cupulas de poder y con la causa popular durante las dictaduras militares que afectaron a Argentina y Chile en las de­cadas de los setenta y ochenta. En terminos especificos, el articulo intentara analizar el tratamiento filmico que estos documentales plantearon sobre la represion, las relaciones institucionales —especialmente las que vinculan a la Iglesia catolica—, las modalidades de intervencion sobre el espacio publico y las tipologias de resistencia en ambos paises vecinos. En especial, nos interesa­remos por el tipo de materiales de los que se nutre cada documental —testimo­nios, metraje de archivo, registro, etc— y su respectivo peso dramatico. A partir de un recorrido por estos ejes de analisis, el presente articulo aspira a proponer una mirada comparada en torno a los modos de construccion y elaboracion del pasado dictatorial en Argentina y en Chile.Palabras clave: cine, documental, dictadura, transicion democratica, Chile, Argentina.Abstract The present article aims to establish a comparative analysis of two films which, in a way, partake in a dialogue: Todo es ausencia (Rodolfo Kuhn, 1984) and En nombre de Dios (Patricio Guzman, 1987). These two documentaries, made by exiled Latin American filmmakers for Television Espanola during the 1980s, focus on the link held by the Catholic Church with the highest spheres of power, as well as with the «popular cause», during the military dictatorships that affected Argentina and Chile in the decades of 1970 and 1980. In specific terms, the article will attempt to analyze the cinematographic treatment that these documentaries offer about repression, institutional relations —especially those involving the Catholic Church—, modes of intervention in public spaces, and the typologies of resistance in these neighboring countries. In particular, we are interested in the kind of materials that nourish each documentary —testimonies, archive footage, film registers, etc. —and their respective dramatic effect. By way of tour through these analytical axes, the present article aspires to propose a comparative view around the modes of construction and elaboration of the dictatorial past in Argentina and Chile.Keywords: cinema, documentary, dictatorship, transition to democracy, Chile, Argentina.

secuencias

Entre la creencia religiosa y la voluntad política: un estudio comparado de los films Todo es ausencia (1984), de Rodolfo Kuhn, y En nombre de Dios (1987), de Patricio Guzmán / Between Religious Belief and Political Will: A Comparative Study of the Films Todo es ausencia (1984), by Rodolfo Kuhn, and En nombre de Dios (1987), by Patricio Guzmán