Storie della Terra del Fuoco

Directed by

A report on Tierra del Fuego, which is not only unspoiled nature and great spaces to explore, but also the history of the cities, towns and people who live there. This journey takes us to meet the ancient indigenous people, now completely extinct; the Salesians who, believing they were helping them, did nothing but hasten their disappearance; the Italians who emigrated there by the thousands; and all the other singular inhabitants of this land at the edge of the world.

Localized Title
[Stories from Tierra del Fuego]
Genre
Documentary
Country
Italy
Year
1993
Duration
43'
Production Companies
RAIDUE - Mixer, Palomar srl
Director's Notes
Director's Notes

«I went to catch a plane to the bottom of Patagonia. There are days when you want to put a distance between yourself and history, and shelter in geography. Geography, for me, was Patagonia. In a way I was wrong. I was going toward condors and skulls....

By airliner, you know, one should not travel. Here what you fly over – what you cancel out – is the whole of Patagonia, all the way to Tierra del Fuego. Patagonia is a wide, yellowish map with a giant, red, half-naked Indian leaning on his bow: I would not have seen much more from the porthole, and so I ceded it without regret to the young mother who was going to Ushuaia to work for a season. The child's name was Catherine, she notified me with her middle fingers of her three years. She was afraid only to fly over the water. She looked at the vast esplanade of brown water of the Rio de la Plata and was about to cry. “That's land”, his mother said. Then we flew above the clouds, which calmed Catherine. “Underneath is earth”, said the mother. The stewardess offered me the “Nación”. I read that at the Buenos Aires Zoo a giraffe had choked to death on a plastic bag. Above the Valdés Peninsula the sky was clear, and I could make out the opaque strip where the ocean lapped the land. Whales had just calved in Puerto Madryn, but they were too small for the naked eye. As we began our descent on Rio Gallegos, Catherine looked out the window at the dry, yellowish desert of land and declared, “Dirty water”. But no; her mother corrected her, it is earth. “It's dirty water”, Catherine firmly reiterated. Around the airport, however, yellow patches of dandelions had bloomed. In Ushuaia, the southernmost city in the world, the public telephone post had a formidable sign: “El locutorio del fin del mundo”.

The muchacho Chatwin

In Punta Arenas there is a bizarre house, the castelletto of Captain Charles Milward, the cousin on whose trail Bruce Chatwin crossed Patagonia. Compared to the picture in Chatwin's book, there is only one more television antenna: the new inhabitants are no longer content, like the old captain, to watch with regret as ships parade through the Strait of Magellan. No one has heard of him, Chatwin. Even in Harberton, on the Beagle Channel, Clarita Bridges' son and daughter-in-law haven't felt like talking, say they weren't there when he passed, and that he wrote ungrateful and exaggerated things anyway. Exaggerated: that's what they say about every travel book, from Marco Polo's Million onward. Clarita, the oldest white indigenous woman in Tierra del Fuego, is 92 years old, and she remembers it in her own way, Chatwin: “Este muchacho came here looking for his father, I guess he found something”.

Tourists arrive with their copy of In Patagonia full of underlining, and struggle a bit to get their bearings. Almost two decades have passed since Chatwin's trip, a war between Argentina and England, a volcanic eruption, and Chatwin is dead. The eruption occurred on August 13, 1991, at one of Chile's hundred volcanoes, the Hudson. It was not talked about in the First World, perhaps because it was the same date as the attempted coup in the USSR. A gigantic amount of ash and lapilli was spewed out for days, and the west wind, which swept over Patagonia, carried it to the Argentine side. Late one night it descended on the villages immediately beyond the Cordillera, Los Antiguos and Perito Moreno, on the shore of Lake Buenos Aires. The wind then carried the dust cloud around, and it still continues to do so, from Comodoro Rivadavia on the Atlantic coast in the north to Rio Gallegos in the south, and even the snow on the peaks of Tierra del Fuego is congealed by it. The great lone trucks that crossed Patagonia stopped with filters clogged with ash. For the ranchers it was a catastrophe. The sheep could find no food or drink, the rain kneaded the wool, cemented them alive to the ground. [...]

Melchíades

Helicopter flight over Perito Moreno ice. The pilot carries his little girl. He worked on Herzog's film on Cerro Torre. Great film, he says, many workers and extras died. Rivers like blue veins flow through the diamond serac. On the way back we detour to the “estancia” La Anita. Here a massacre of defenseless striking peons took place, at least one hundred and twenty shot. On the way, two little girls give milk to guanaco chulengos from Fanta bottles with pacifiers. We give a ride to a peon, he walks in high rubber boots, he can't take it anymore. His name is Melchíades Jara, he is quintero a la Anita. Even yesterday I was looking for the pit where they killed them, he says. First there was a 90-year-old man, Martin, who remembered everything. It happened in 1921, he says, it's been at least 40 years. [...]

The wind of San Julián

From Rio Gallegos I set off again for San Julián, this time by plane, a tiny, high-winged Piper, unadapted to the wind, as the pilot, Daniel, explains. He is in his 40s, was among the aces of the Malvinas, now making ends meet with the El Pinguino company.

We arrive early in San Julián, because we have the wind in our favor, in return we have to jump off and hold on to the plane, while Daniel anchors it so the wind won't carry it. We are met by a young man, Walker, who runs a small local cable TV station. We pass by the sites of Bechis's film, Alambrado, and then by the imposing ruins of the Swift Frigorific, a giant slaughter plant that retains a sinister air of a lager, with banging metal sheets and palisades with hooks. There is a large dormitory, in the 1930s and 1940s anti-Stalinist Russian refugees worked here, separated by real walls to foil factional fights. In front is a beach of broken shells, and Punta Desengaño, where Magellan had hoped to find the Strait. At the church of Santa Maria Auxiliadora I meet two Salesians, both in their eighties, both lame of a leg – but we are going the right way, they say. Don Bosco traveled only once by ship, from Genoa to Civitavecchia, and he was so seasick that he gave up forever: but he did not give up dreaming of the antipodes converted by his Salesians, and describing miraculous visions of a Patagonia full of oil, coal, steel... His Salesians were peasants from the Piedmont valleys, studying atlases, putting on plays in Turin called Gianduia in Patagonia. Then they really went there, to convert the savage Indians. They didn't know what to do except baptize, clothe the naked, give the poor nomads a roof. The naked nomads let them. They would let their hair be cut, their bodies smeared with whale blubber and smelly seal blubber be groomed. Soon after, they would fall ill and die, chattering their teeth in those new cloths, mowed down by pneumonia, chicken pox, measles: children's diseases to which they were not prepared, and which concentration in the missions made rampant. The Salesians insisted that at least, blessed savages, they put on the skin of the guanaco with the fur facing inward, which would warm them better: and those blessed savages answered no, that even the guanaco wears it with the fur out. Of course, they were right. The Indians died in the space of two generations – decimated by disease, as well as by shootings and deportations ordered by the estancieros; the Salesians stayed, and turned the missions into museums of papier-mâché Indians and stuffed animals. In 1892, at the Colombian Centennial Exposition in Genoa, the Salesians led a small Fuegian Patagonian tribe. King Umberto came and, according to the chronicles, “wanted to stop and talk to those children of the forest”. After Genoa, Pope Leo XIII received Salesians and their Indians in Rome. A 17-year-old Patagonian read a speech in Italian. He also mentioned the quai that the papacy was going through because of contemporary anticlericalism. The pope embraced the five-year-old fuegino. The whole thing was very touching. The little boy found that the pope was dressed like a penguin. [...]

The Lady and the Patagonian

In San Julián Magellan encountered the first indigenous giant, captured it with a malicious ruse, and kept it to die on his ship; after all, Magellan died too. The origin of that name, patagon, was never figured out until a lady, who was not a linguist but a philologist and a teacher in Buenos Aires, Maria Rosa Lida de Malkiel, noticed that a Spanish chivalric novel, published shortly before Magellan's voyage, and popularized, devoted a few chapters to the story of giant and savage peoples called patagon and the great Patagonian. The lady's discovery made linguists burst with envy, who tried to denigrate her: one who was not from the field, and a woman too! Rather, if the discovery solves the question of Magellan's source, it leaves open another, that of the source of the novel. Wouldn't it be nice if the name had come from America with the first discoverers, passed in the story published in 1512 to Salamanca, and from there, through Magellan, returned eight years later to America? It is a fact that the name Patagonia and the adjective, Patagonian, carry with them an idea of immensity, of madornality, of exaggeration.

The Salesian and the pirate

Among the Salesians who came for this fantastic adventure there was one who was different from the others. His name was Alberto De Agostini. He was born in 1883 in Pollone, Biella, to a merchant family with many children. A brother of his, Giovanni, twenty years his senior, had graduated in geography, and had written a short essay on expeditions to Tierra del Fuego. Then he was content to become a specialist on Italian lakes, and founded the Geographical Institute that still bears his name. For half a century, almost every year, Alberto made expeditions to the Patagonian Andes and Tierra del Fuego. Thanks to him, a large number of glaciers, fjords, mountains, and canals have names from Biella, Asti, and Canavese. A masterpiece of De Agostini's cartography was a Map of the Argentine Republic at the scale of 1 to 1,000,000, costing two years of work, covering 14.40 square meters. De Agostini embarked with the most reckless sea dogs. Sometimes they were shady types. The most famous was called Pascualin, or the Smuggler, or the last pirate from Tierra del Fuego. He was a Neapolitan, Pasquale Rispoli. He employed his schooner to poach sea lions. He would load up men for the hunt and leave them ashore in the Island of the States, or Wollaston, and return to pick them up at the end of the season. Rumor had it that when any of the men made a mischief for him, he would forget to go and fetch them back. When Pascualin was hired for the attempted escape from the Ushuaia penitentiary of the anarchist Radowitzky, the latter, who must have heard those little stories, refused to let himself be landed on a small island, as Pascualin suggested, and for that very reason he was recaptured. Once, under Peron, the Argentines caught him with the schooner full of skins. He swore it was not to sell them but to give them to the Evita Perón Foundation. They confiscated the skins; they did not put him away. He died, at large, in 1960.

Virginia, the last

Land of records, of ultimate things, Tierra del Fuego meticulously jotted down names and dates. 

The last indigenous Yamana died in 1974. In the same year the last ona woman died. But at the Salesian Archives in Buenos Aires I found an old photograph. There is a little girl and a nun, on the back it says: Virginia Choquintel, last ona, lives in Rio Grande, the oil city in Argentina's Tierra del Fuego. The museum in Rio Grande displays little Virginia's calligraphy notebooks. She is alive, yes, they tell me, and give me an address. She is a little strange, they add, and she drinks too much. But the more surprising news is another: the last india ona is living with a Sicilian bricklayer. The door opens only a crack to the dark room and a frantic barking of dogs. I manage, shouting, to make an appointment for the next day, at my hotel. The next day Virginia arrives, bruised on her face, struggling to hold back tears. She was born in late July 1942 – a few days before me – at the Salesian mission in Candelaria. I was raised by the nuns, she says, especially with her sister Rosa, an Italian. My father, I was told, died in Chile, crushed by the horse he was taming. Yes, I live with an Italian, Nino, he is seventy years old: where did he tell me he is from? from Catania? He doesn't work anymore, poor guy, he is going blind.

I'm always sad, he says, because I'm nostalgic, I remember too many things, the good and the bad, actually no, more the bad than the good.... No, it's not childhood memories, childhood was good. We went with sheep, there was shearing, the nuns made bread.... Even now I would like to be a child. The bad memories start with adolescence... I started to go off on my own, went to service, went all the way to Buenos Aires – it was too hot. Now here they greet me more, in the beginning they didn't... but if someone walks beside me I go across the street. I understand, I tell her, if it's the last one she may be alone. Yes, she says».

(Adriano Sofri, "La mia Patagonia", "Sette – Corriere della Sera", 3 june 1993)

In-depth analysis

About the Movie Storie della Terra del Fuoco

Travel Notes [Cinemambiente 1998]

Gute Reisende sind herzlos

Good travelers are heartless

Elias Canetti

From the travelogues of Hale's Tours to reportages on great exploits and exotic lands, from the road movie to the thousands of invented and untold stories of conquered spaces and lost or rediscovered identities, the theme of travel has accompanied the entire history of cinema, in all its genres and areas of production, the very metaphor of the new medium capable of restoring the movement of the world.

The brief itinerary proposed here allows us to observe some areas of the prolific relationship between the camera and the environment constituted by the travel film. These are works and materials that concern different dimensions of travel – some probably permanently disappeared – in which constant, however, is the exercise of looking at a reality, a place, a culture, an “elsewhere” reached through physical movement. Colonial conquest, exploration, scientific discovery, family vacation, as well as ritual and soul-searching, are the main passages of this reconnaissance, which reveals first and foremost the importance of the possibility of creating images, which document but also represent a determining factor shaping travel itself.

The components of violence and cultural imposition of Western voyages of conquest in the first decades of the century are, for example, shown in the work of recovery and reworking of original materials carried out by Yervant Gianikian and Angela Ricci Lucchi, who with the power of images alone manage to construct a lucid discourse on the role of the camera as an expression of a will to appropriation and domination. It is the same colonialist gaze analyzed by Peter Kubelka in his African journey in the 1960s, following a group of whites engaged in a safari.

The reliance on cinema as a possibility to record the real, to bear witness to natural events and human endeavors appears evident in the works of volcanologist Haroun Tazieff, who filmed apocalyptic scenarios and spectacular eruptions, or in the conspicuous documentation left by Alberto Maria De Agostini during his wanderings in Tierra del Fuego and Patagonia, or again in the images of early mountaineering expeditions to the great peaks, not without political implications in some cases, such as the document on the ascent of Nanga Parbat in 1938, which becomes an example of Nazi propaganda. The exploration of the environment as a human challenge, a ground for confrontation with the force and sometimes the hostility of nature, is still visible in the first filmed documentations of Antarctic expeditions, in which the narrative and spectacular vocation of cinema peeps out even where one would presume total adherence to realistic subject matter.

What becomes immediately clear in this chapter of the history of travel is that there is no truly achieved goal and conquered space, if not properly documented, no expedition and enterprise that can renounce being filmed and thus make its own contribution to the construction of an imaginary made of heroes and great adventures, of immense spaces real and unknown. Immersed in the silence of their innocence, and in the seduction of their genesis – possible in many cases despite difficult environmental conditions and thanks to daring actions – such images enchant today as they did then. The crossing of a last sailing ship filmed by Henrich Hauser, in which neither places of departure nor points of arrival are shown, becomes the emblem of the experience in itself of movement, a hymn to the deepest sense of travel. Of which the deviations from the desired outcomes, the failures, renunciations, tragedies or simply the impossibility of creating the longed-for image (the summit as well as the return) must also be collected. But the fascination with travel to distant and extreme lands can also become an explicit advertising tool, as happened with the African and Asian cruises organized by Citroën between the 1920s and 1930s, in which human enterprise and produced image turn out to be totally inseparable.

Another type of relationship with the environment is that traceable in home movies shot during family vacations: Gustav Deutsch rereads anonymous materials from the 1950s and 1960s, offering an interesting catalog on the amateur gaze in its attempt to capture places – in this case those deputed to tourism – and preserve memories.

Travel as an encounter with “other” worlds and cultures, rapprochement and self-discovery, is the theme finally of some works in which the dialogue with the environment is constructed on the basis of the awareness that movement is not the prerogative of the person holding the camera. Ulrike Koch's documentation of the migration of nomadic Tibetan herders to the great salt lakes of the Himalayan plateau, a tribute to a sacred dimension of travel; Bill Viola's contemplation of natural landscapes and animal presences, Chris Marker's reflections from the “two extreme poles of survival” – Japan and Africa – or even the crossed gaze proposed in another work by Deutsch (who juxtaposes his images of an Austrian in Morocco with those of a Moroccan in Austria), suggest modes of travel based on dialogue, confrontation, meditation: observing the movement of nature and its inhabitants, with respect and hesitation, leads to a movement of consciousness, a production of thought, an activation of memories. The relationship with a place is no longer established through topographical and cultural appropriation, but through an appreciation of differences, the maintenance of a subjectivity and a historical understanding. Travel as discovery and adventure belongs perhaps only more to mythology and nostalgia, just as the very conditions of image production and consumption turn out to be profoundly transformed with respect to the eras evoked here. The cognitive potentialities of travel, and therefore of the images borrowed from it, are then entrusted, rather than to a movement in space guided by a ravenous gaze in search of the pure and the uncontaminated, to an ability to stand in any different place, to let this otherness speak and be absorbed, also tracing its historical motivations and welcoming the dimension of memory that that place can give off in those who try to approach it.

Food on Film project
Food on Film
Partners
Slow Food
Associazione Cinemambiente
Cezam
Innsbruck nature film festival
mobilEvent
In collaboration with
Interfilm
UNISG - University of Gastronomic Sciences

Funded by the European Union. Views and opinions expressed are however those of the author(s) only and do not necessarily reflect those of the European Union or the Creative Europe Media Program. Neither the European Union nor the granting authority can be held responsible for them.