In addition to working on a clandestine film attacking the Pinochet regime, Carlos Flores also directed a series of subversive films that indirectly critiqued the dictatorship’s brutal repression, conservatism and manipulation of popular culture as a form of insidious distraction. The Chilean Charles Bronson (Or Exactly Identical) offers a meditation on stardom and Cold War cultural imperialism centered on the winner of a televised look-alike competition whose resemblance to the eponymous movie star (whose name is itself an invention) pulls him into a hall of mirrors that Flores refracts further with great verve and humor. An unacknowledged, even phantom, precursor to Larrain’s Tony Manero, Flores’ film was never released theatrically in Chile and remains largely unseen, with this being its first public screening in the US.