The filmmaker Pablo Racioppi he has put the camera where justice should have put the magnifying glass long before. Racioppi went to the province of Jujuy, in northern Argentina, in search of the truth of Miracle Room. In other words, in search of the victims of ‘la flaca’ or ‘la mami’, as the indigenous woman was known, who left the underworld to become head of the Tupac Amaru, a criminal organization -and State housing builder- that took over the entire territory, at the cost of the exploitation of the poor.
The result of that trip, to the hell of the wretched, is a series of four chapters where a path of corruption, torture, death, robbery, rape, abuse of minors and public and private scams is traversed.
In this framework, the power of the day that he exercised for more than one Kirchnerism decade (2003-2015), tried to create a myth, an indigenous Evita model, where there was only crime. Without the complicity of the Government, which made robbery a way of understanding life and politics, the promotion of Milagro Sala would not have been possible, as stated in the docudrama. Nor, if the Judicial and Legislative Power had fulfilled their duty, although there are always exceptions.
Jujuy unheard. The victims of Milagro Sala‘is to relive the beatings of Luca Arias and remember the mail of millions between the Casa Rosada and’ la mamita ‘(that’s what some Minister called her). Hitting the ‘play’ button means looking back at those squat little houses that the skinny girl distributed as if it were the indigenous avoidance of the 21st century. To resort to subtitles, when the speaker chokes in pain, is to gain ground to the truth hidden or distorted by false ideologies.
The truth about what he did Milagro Sala and the Tupac, as it is known, without more, to that mafia network woven in the bowels of poverty, began to be known from 2015, when the decline of Kirchnerism translates into defeat at the polls and the radical and current governor, Gerardo Morales placeholder image, wins the elections in Jujuy. It is, then, when one begins to write, with effort, sweat, tears and blood, the great embezzlement of the State and the poor.
Pablo Racioppi, director of other documentaries such as ‘The Empty Olympus’ (2013) and ‘El Diáologo’ (2014), gets testimonies that seemed impossible due to fear, still latent. The terror that ‘the skinny girl’ will go out and go back to her old ways has not dissipated. Only one person speaks with his face in shadow. Those of us who know Jujuy and Argentina know that you have to be very brave to offer your voice or put your face in a historical documentary. Among other reasons, because the story is not over.
What camera Racioppi The trap is, in short, the resignation of the State to exist and its transfer to a mafiosa (of very sad but cruel and bloodthirsty origin) turned de facto into the great Minister of Public Works of Jujuy. The documentary reconstructs that deformed mirror where a poor woman exploits and sacrifices the poor in the company of the Kirchner surname and in the absence of justice.
George is Digismak’s reported cum editor with 13 years of experience in Journalism