Machuca 2004

The story unfolds through the eyes of Gonzalo Infante, Matías Quer, a 12-year-old from a comfortable, upper‑class upbringing, set against the turbulent backdrop of Chile’s early 1970s as social and political tensions press toward upheaval. The national mood is charged: the working class demands justice and structural change after the socialist president Salvador Allende is elected, while many in the wealthy classes grow wary of the movement and whisper of conspiracies against the government. In this tense climate, Gonzalo’s world of privilege sits uneasily beside the struggles of those around him, and the film observes how loyalties, fears, and curiosities collide in quiet, human ways. The tone remains measured and observant, never sensationalizing the chaos outside. Francisco Reyes portrays Gonzalo’s father, Patricio Infante, who is generally sympathetic to the less privileged but remains cautious about how far change should go, while Aline Küppenheim plays María Luisa, Gonzalo’s mother, who is resigned to the state of affairs and carries her own private contradictions, including a relationship with a wealthy Argentinean man.

At Gonzalo’s private school, the determined principal, Father McEnroe, Ernesto Malbrán, launches a social integration project that brings five disadvantaged students into the class. This bold experiment unsettles some parents who view it as a “leftist venture” rather than a Christian act of charity. Amid the shifting currents inside the school, Gonzalo befriends Pedro Machuca, Ariel Mateluna, a boy who has come from a poorer neighborhood and faces regular derision from wealthier classmates. The two boys form a bond that becomes a quiet beacon in a city where class lines are hardening, and their evolving friendship begins to reveal how much they have in common despite their different worlds.

Silvana, Manuela Martelli, lives nearby and becomes a companion in their street ventures. The trio starts selling nationalist flags at a right‑wing demonstration and later socialist flags at a leftist rally that supports the government, weaving themselves into the political street theater surrounding them. Early on, Silvana calls Gonzalo a snob and a “strawberry-face,” but as the children navigate their precarious situations, affection grows between them. Eventually, Silvana and Pedro’s friendship feels almost like a shared rebellion against the social codes that keep their families apart, and not even a kiss between Gonzalo and Silvana can erase the momentary tenderness that forms between the two friends.

Gonzalo’s world of comfort becomes a living contrast to Pedro’s harsh reality. When Pedro visits Gonzalo’s home, he is astonished by a room filled with toys and a closet full of clothes, while Gonzalo’s own imagination is tempered by the visible scarcity of the shantytown where Pedro lives. Gonzalo, in turn, visits Pedro’s neighborhood and is shocked by the extreme poverty there. The contrast between the two worlds is reinforced by their shared love of a comic book series about the Lone Ranger and Tonto; their reading together becomes a small, defiant moment that underscores their friendship’s improbable nature in a time of rising fear and division. The encounter also foreshadows the fragility of their alliance, as Silvana later comments on the unlikelihood of a white boy and an Indigenous friend sharing a bond.

As political unrest intensifies, the adults around them—especially the wealthy parents who fund and oppose Father McEnroe’s project—argue about how to balance social change with stability. Gonzalo’s father, Patricio Infante, remains outwardly supportive of reform, while Gonzalo’s mother, María Luisa, growingly embodies the tension between social idealism and entrenched privilege. The school’s vegetable garden, a symbol of McEnroe’s project’s hopes, fails, jeopardizing the funding that sustains the program and heightening the pressure on everyone involved. In the streets, anti‑Communist protests mount, and Gonzalo’s mother participates in the tumult, even taking Silvana’s merchandise during a confrontation. The friction escalates when Silvana spits on the windshield of the car and calls her a whore, a moment that edges the children toward a painful rift and marks the fragility of their budding alliance.

The political shift culminates in a military coup, and Father McEnroe is removed from the school, denied even the ability to celebrate mass in the chapel. A new priest arrives, and the conflict around faith, loyalty, and ritual intensifies. In a fraught first mass, the priest receives communion but does not swallow the sacramental bread, choosing to preserve it from desecration and declaring the place profane; Pedro leads the students in honoring the departing priest, and McEnroe is expelled from the school. The upheaval ripples through Gonzalo’s carefully balanced world, and the bond between the boys is strained to the breaking point as the adults’ choices pull them in opposite directions.

Gonzalo eventually travels to the shantytown again, only to witness soldiers raiding the area. A tragic round of violence erupts: Silvana is shot, and the sudden chaos pulls Gonzalo into the melee. He is momentarily mistaken for someone who belongs in that world, and only by showing his clean clothes and pale complexion is he spared, with the stern warning never to return. The violence and fear leave Gonzalo deeply unsettled, a stark reminder of how easily a child’s life can be upended by the workings of power.

Returning to his family’s new home, Gonzalo discovers that wealth has indeed shifted under the new government—assistance from his mother’s Argentine lover and redistribution of wealth have altered the social landscape. Yet the material change cannot replace the loss he carries: the memory of Pedro, of Silvana’s danger, and of the day the shantytown withered away under gunfire. The film closes on a restrained, haunting note as Gonzalo, now older and more wary, stares at the ruins and recalls the friend he lost, a testament to the human cost of political upheaval and the enduring ache of a childhood friendship tested by history. The story remains a thoughtful meditation on class, loyalty, and the fragile ties that bind people together in a moment when a nation’s fate roils around them.