This article examines the limited representation of violence in Chilean productions from the early 21st century, as a reflection of the democracy of agreements promoted by the “Concertación” governments (1990-2010). The analysis focuses on how violence is often displaced off-screen in the works of three directors from different generations: Andrés Wood, Miguel Littin, and Pablo Larraín. From the films of these directors, two trends in representation are identified: one reproduces a consensual perspective on historical events, while the other aims to challenge the democracy of agreements by introducing new subjectivities into Chilean historical cinema.

This article examines the limited representation of violence in Chilean productions from the early 21st century, as a reflection of the democracy of agreements promoted by the “Concertación” governments (1990–2010). The analysis focuses on how violence is often displaced off-screen in the works of three directors from different generations: Andrés Wood, Miguel Littin, and Pablo Larraín. From the films of these directors, two trends in representation are identified: one reproduces a consensual perspective on historical events, while the other aims to challenge the democracy of agreements by introducing new subjectivities into Chilean historical cinema.

This article examines the limited representation of violence in Chilean productions from the early 21st century, as a reflection of the democracy of agreements promoted by the “Concertación” governments (1990-2010). The analysis focuses on how violence is often displaced off-screen in the works of three directors from different generations: Andrés Wood, Miguel Littin, and Pablo Larraín. From the films of these directors, two trends in representation are identified: one reproduces a consensual perspective on historical events, while the other aims to challenge the democracy of agreements by introducing new subjectivities into Chilean historical cinema.