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The Clandestine Nation is the story of a rejection and of a reconciliation. Sebastián Mamani abandons his community in order to go and live in the city. There, with the will of integrating himself into the “white” world, he changes his name from Mamani, a typical indigenous last name, to Maisman, a last name that sounds English. Yet this move and name change do not change his social situation; little by little, he senses his own corruption as he tries to gain access to better economic and social conditions. In spite of his efforts, Sebastián is used and despised by the city people just for being Indian. His Indianness returns again and again, like a stigma, to disturb his social and human relations. When his life in the city gets to the point where he cannot endure it any more, he decides to return to his community...
Although Sanjinés’ cited lecture is distinct in his tone to his own previous declarations -- for example, those in his book Teoría y práctica de UN cine junto al pueblo -- his intellectual and aesthetic position is still as political and committed to socially marginalized groups’ interests. In The Clandestine Nation, Sanjinés displaces the narrative tension previously dealing with the external conflict between indigenous community and state power (including US imperialism) toward delineating the effects such conflict provokes inside the indigenous subject. In other words, denouncing the “principal enemy” has not dropped from Sanjinés’ political scene, but The Clandestine Nation now analyzes and reveals that enemy as shaping individual behaviors. Likewise in aesthetic terms, the director’s abandoning certain techniques does not mean his abandoning his basic postulate: a “cinema of the people.” On the contrary, Sanjinés still searches for ways to use a cinema whose language has as its base an “integral-sequence-shot” -- the basic concept of Sanjinés’ aesthetics -- which permits him to reflect indigenous cultures’ visual perception and world view.
The Clandestine Nation, introduces new elements that indicate Sanjinés’ films’ political evolution and aesthetic maturity. In this sense, the film notably proposes the indigenous community/state relation in different terms. To do that, the film adopts as a protagonist a character doubly-marginalized -- as much by his culture of origin as by an urban westernized world.
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