Browse Items (140 total)
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Elefante blanco
Dos curas tercermundistas, Julián y Nicolás, trabajan junto a Luciana, una asistente social, en una villa de Buenos Aires. En equipo, intentan resolver los problemas sociales del barrio. (Cine Nacional Argentino) -
En la puta vida
Montevideo, Uruguay. In this comedic drama, Elisa, 27, dreams of opening her own hairdressing salon in one of the rich districts of the Uruguayan capital. A bit of a rebel, one day Elisa moves out of her mother's house with her two children and breaks up with Garcia, her boss and lover who has infuriated her by not wanting to get married. So, in the space of twenty-four hours, Elisa finds herself without a roof over her head, without a man, without a job and without money. Her best friend Loulou finds her a job - in the brothel run by Dona Jacqueline. And without really being aware of it, Elisa slides into prostitution, which leads her to Barcelona. She falls in love, she is exploited, she gets involved in transvestite gang wars, and meanwhile just dreams of earning enough money for her little beauty salon back home. (IMDB) -
Estrellas
Julio Arrieta es un habitante de una villa miseria que quiere armar una “agencia de actores” con quienes viven allí, y quieren triunfar en cine y televisión, porque para qué contratar a actores famosos que hagan de pobres si ellos tienen la ventaja de la “portación de rostro”. Desafiante, Estrellas muestra un estado de madurez respecto de los modos (y abusos) de la representación de la pobreza, y los cuestiona sin explicitarlo, como ocurre con las películas que conocen la fortaleza de la inteligencia. (Portal del cine y audiovisual Latinoamericano y caribeño) -
Evita, una tumba sin paz
Recuento de la vida y muerte de Eva Perón. (Cine Nacional) -
Familia rodante
A wedding invite from an estranged sibiling inspires a grandmother to assemble her family and embark on a roadtrip in a broken down caravan. (IMDB) -
Fuga de la Patagonia
Año 1879. En lo profundo de la Patagonia, el explorador Francisco Moreno -conocido como el Perito Moreno- comanda una expedición cartográfica. Es tomado prisionero y acusado de espionaje por el Consejo Mapuche. Tras ser condenado a muerte, Moreno se da a la fuga y el Cacique Valentín Sayhueque envía a su hijo tras él. Para sobrevivir, Moreno se enfrentará con la naturaleza salvaje. Un territorio sin reglas, convertido en un infierno de violencia por el avance de la denominada Campaña del Desierto. (Cine Nacional Argentino)Tags Mapuche / Mapudungun -
Garage Olimpo
Maria (Antonella Costa) is a militant activist in an organization that is fighting the oppressive dictatorship. She teaches reading and writing in the suburbs of Buenos Aires in an area of shantytowns. She lives in a decrepit rooming house with her mother Diane (Dominique Sanda), who rents out some rooms. One of the lodgers, a shy young man named Felix (Carlos Echeverria), is in love with Maria. He seems to have come from nowhere and is supposed to be working in a garage. One morning, Maria is kidnapped by a military squad in civilian clothes in front of her mother and is taken to the garage 'Olimpo,' one of the many well-known torture places in the city, which operate to the general indifference of the inhabitants. Tigre, the head of the center (Enrique Pineyro) appoints their best man -- Felix -- to the job of making Maria talk. Felix is overcome by his feelings for Maria, but Maria is determined to exploit the situation for her survival. (Film Affinity US) -
Gerónima
Gerónima era una mujer indígena "mapuche" que vivía en Trapalcó, un poblado de la Patagonia Argentina. Vivía con sus cuatro hijos en una casa en las tierras que su familia había poseído durante generaciones. En 1976, ella y sus cuatro hijos fueron visitados por una brigada de salud. Trabajadores sociales y médicos preocupados por las malas condiciones de vida y de salud de Gerónima y su familia, se los llevaron al hospital con consecuencias trágicas inesperadas. La película que reconstruye la historia de Gerónima se basa en una entrevista realizada por un médico psiquiatra (Jorge Luis Pellegrini) mientras ella estaba en el hospital. Source: Cuartas, Diana Milena Berrío. "El cine antropológico y el abordaje de la salud de los pueblos indígenas." Revista de Medicina y Cine, vol. 13, no. 1, 2017, pp. 16-21. -
Guaraní
Atilio es paraguayo, vive con alguna de sus hijas a orillas de un río y sueña con tener un nieto varón para poder transmitirle su cultura guaraní, enseñarle el idioma y a pescar. Un día descubre una carta donde se entera de que una de sus hijas en Buenos Aires será madre de un varón, y decide viajar más de 1000 kilómetros para convencerla de que dé a luz en su país. Lo acompañará en esa travesía la nieta que ahora está a su lado. (Cine Nacional Argentino)Tags Guaraní -
Guerriers et Captives
Durante la Conquista del Desierto, una mujer francesa, esposa de un coronel, llega a un pueblo de la Frontera Sur. Cuando se entera que en la zona hay otra francesa cautiva entre los indios, su proyecto será recuperarla. Basado en el cuento "Historia del guerrero y la cautiva", de Jorge Luis Borges. (Film Affinity ES) -
Herencia
Peter, a young German, enters a suburban Buenos Aires restaurant; seeking only directions, he instead accidentally ends up with a plate smashing into his head, thrown by the irritable Olinda, the 60 year-old Italian immigrant owner of the restaurant. The two develop a friendship once they discover that the reasons for their having moved to Argentina are strikingly similar. (IMDB) Dos extranjeros se encuentran en un restaurante en el Bs. As. de hoy. Olinda, es una italiana, que llego después de la 2° guerra mundial, buscando un amor al que nunca encontró, a lo cual decidió quedarse en la Argentina y compró un restaurante. Peter un joven alemán de 24 años, viaja buscando un amor perdido en su adolescencia. (CineNacional) -
Herencia
Dos extranjeros se encuentran en un restaurante en el Bs. As. de hoy. Olinda, es una italiana, que llego después de la 2° guerra mundial, buscando un amor al que nunca encontró, a lo cual decidió quedarse en la Argentina y compró un restaurante. Peter un joven alemán de 24 años, viaja buscando un amor perdido en su adolescencia. (Cine Nacional Argentino) -
Hermógenes Cayo (Imaginero)
Imaginero is an ethnobiography of Hermógenes Cayo, a self-taught woodcarver and painter who lives on the high Andean plateau of Argentina. The film portrays Hermógenes, his wife Aurelia Kilpe, and their children in their Andean lifestyle, as well as Hermogenes' passion for painting, carving, building, and his devotion to the Virgin Mary. (Documentary Educational Resources) -
Hispanic Film (*modified for remote learning, fall 2020)
In our Hispanic film course we examine diverse cinemas made in the region and how Latin American filmmakers represent, reject, reconstruct, maintain or challenge their realities. We look at how films are made, how they are funded, and how films reach audiences to question which films we see, and which ones are hidden from our view. The most accessible films available on major US platforms such as Netflix and Hulu do not begin to represent the diversity of world cinema, nor that of even US cinema.
In this course we examine works from the region to see how artists use cinema to challenge, break with, or redefine their realities sharing complexities beyond the limited roles of Latin Americans in Hollywood film. In these examples of more nuanced representations of Latin Americans, we see the crucial importance of self-representation, and diversity in front of and behind the camera.
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Hombre mirando al sur
En un hospital psiquiátrico aparece un nuevo paciente que dice llamarse Rantés (Hugo Soto), mensajero de otro planeta, que vino a investigar la "estupidez humana". El Dr. Julio Denis (Lorenzo Quinteros) se muestra escéptico sobre esta historia, pero Rantés irá introduciéndose en su vida, haciéndolo dudar si realmente está loco, con lo que, sutilmente, lo obliga a replantear su vida y profesión. (Cine Argentino Online) -
Indigenous & Afro-descendant Representation in Contemporary Latin American Film
This course serves as an introduction to film analysis by studying Latin American cinema, with a focus on Afro-descendant and indigenous communities. We will analyze the representation of indigenous people in contemporary Latin American cinema, and highlight the contributions of indigenous media to current discussions about indigeneity and decolonization. In addition, we will examine the cinematic representa-tion of Afro-Latin Americans and explore the cultural legacy of the African diaspora through Latin American film. The course will highlight important social and political issues concerning historically marginalized voices in Latin America, as well as how cinematography, as an artistic medium, grapples with questions of representation, identity, memory, and activism. Movies will be screened in Spanish (in some cases, Portuguese and indigenous languages, with Spanish subtitles). Class conducted in Spanish.
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Infancia clandestina
Juan está clandestino. Al igual que su mamá, que su papá y que su adorado tío Beto, fuera de su casa tiene otro nombre. Juan, en la escuela, se llama Ernesto. Y conoce a María, que tiene un solo nombre. Basada en hechos verdaderos, en la Argentina de 1979, esta película es "una de amor".
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Inmigración en el cine
This course is designed for students taking an intermediate to advanced Spanish course with focus on Hispanic culture and language through film. Undoubtedly, films are a rich source of
meaningful cultural information and students can come to understand much about a country’s culture through the discussion and analysis of films. The combination of sound, image and language provided by the films engages and stimulates students’ senses and cognitive faculties simultaneously. Films will be selected from a variety of Hispanic countries, emphasizing the connection between language, culture, society and visual representation. The main topic or
theme of this course will be the representation of ‘migration’ in the Hispanic Contemporary Films: women, slavery, trafficking, displacement and groups of people traveling from Spain to
Latin America, from Africa to Spain and other itineraries. -
Introducción al cine argentino y brasileiro
Este curso es una introducción al análisis fílmico con relación al cine argentino y brasileiro. Les familiarizará con las herramientas del análisis textual, algunos de los planteamientos críticos-teóricos más influyentes dentro del campo de cine (por ej. cómo funcionan los géneros, qué es un auteur, qué es un cine político) y, de allí, algunos de los métodos de análisis propios a ese campo. Mientras tanto, les dará una visión panorámica del cine latinoamericano al explorar películas de diferentes épocas (es decir, el cine ‘mudo’; el 'viejo' cine de los 30s-50s; el Nuevo Cine Latinoamericano de los 1960s-70s; y el cine contemporáneo). -
Introduction to Spanish-Language Film
This course is an introduction to appreciating and understanding film art as it relates to the rich and diverse cinema history of Latin America. Conducted entirely in Spanish, the course focuses on students’ acquisition of knowledge on the material and principles of film form, or the basic elements of film narrative, mise-en-scène, editing, and sound. Students will be asked to put their new knowledge into practice by watching closely and analyzing major films produced across the Latin American regions in the 20th and 21st centuries, from Argentina to Chile to Bolivia to Chile to Brazil to Cuba to Mexico. A variety of film genres will be enjoyed, including the documentary, the musical, the comedy, the thriller, the coming-of-age movie and the road film. The “New Latin American Cinema” or the socially-engaged film of the 1960s and 1970s will also receive attention in the course. In addition to studying film as an art form we will also tackle prominent issues in contemporary film studies, including film theory, the history of audiences and the role of cinema as a form of mass media. -
Juan, como si nada hubiera sucedido
Documental sobre el estudiante Juan Marcos Herman, el único desaparecido político de la ciudad de San Carlos de Bariloche durante la dictadura argentina de 1976. (Film Affinity ES) -
Kamchatka
The film is seen through the eyes of a ten-year-old boy, Harry (Matías del Pozo), who does not know that Argentina's 1976 coup d'état is impacting his life. After witnessing the "disappearance" of dissident friends, a human rights lawyer (Ricardo Darín) and his research scientist wife (Cecilia Roth) flee the city and hide from the military police in a vacant summer house. With them are their two kids: Harry, who is fascinated with the escape artistry of Harry Houdini, and El Enano, his little brother. (Translated as "Little Guy" in the English subtitles, played by Milton de la Canal. The actual translation is "dwarf".) The family adopts new identities and attempts to lead a normal life. Later, they are joined by a student who is using the alias Lucas (Tomás Fonzi). Their new life is difficult, but a visit with their estranged grandparents (Fernanda Mistral and Héctor Alterio) reveals that they are still a close-knit family. (IMDB) -
La casa de los conejos
Argentina, 1975. Laura is only eight years old, but she knows that to survive you have to keep quiet. She shares her days with her mother and the other activists in a house where the clandestine printing of the "Evita Montonera" is hidden. (Film Affinity US) -
La Casa del Ángel
A teenage girl repressed by her mom, a religious fanatic, lives obsessed by the idea of divine punishment. The teen, mortified by her mother's apocalyptic concerns and her father's cold rigidity as a politician, cannot even admit the attraction she feels towards a deputy who frequently visits her home. (Translation by Jeimy Hernandez) -
La ciénaga
Mecha and Gregorio are at their rundown country place near La Ciénaga with their teen children. It's hot. The adults drink constantly; Mecha cuts herself, engendering a trip to the hospital and a visit from her son José. A cousin, Tali, brings her children. The kids are on their own, sunbathing by the filthy pool, dancing in town, running in the hills with shotguns, driving cars without licenses. One of the teen girls loves Isabel, a family servant constantly accused of stealing. Mother and son, son and sisters, teen and Isabel are in each other's beds and bathrooms with a creepy intimacy. With no adults paying attention, who's at risk? (Sensa Cine) -
La historia oficial
After the end of the Dirty War, a high school teacher sets out to find out who the mother of her adopted daughter is. (IMDB) -
La hora de los hornos
Este film está dividido en tres partes: "Neocolonialismo y violencia"; "Acto para la liberación", dividido a su vez en dos grandes momentos "Crónica del peronismo (1945-1955)" y "Crónica de la resistencia (1955-1966)"; "Violencia y liberación". (Cine Nacional Argentino) -
La hora de los hornos: primera parte
Este film está dividido en tres partes: "Neocolonialismo y violencia"; "Acto para la liberación", dividido a su vez en dos grandes momentos "Crónica del peronismo (1945-1955)" y "Crónica de la resistencia (1955-1966)"; "Violencia y liberación" (CinenNacional) -
La libertad
Misael vive en la inmensidad del monte pampeano trabajando con su hacha. Sobrevive sólo con lo indispensable y casi sin contacto con otras personas. Vemos su vida minuto a minuto intentando descubrir a través de pequeños movimientos o acciones su manera de estar en el mundo. (Film Affinity US) -
La mujer sin cabeza
A woman is driving on the highway. She becomes distracted and runs over something. On the days following this incident, she fails to recognize the feelings that bond her to things and people. She just lets herself be taken by the events of her social life. One night she tells her husband that she killed someone on the highway. They go back to the road only to find a dead dog. Friends close to the police confirm that there were no accident reports. Everything returns to normal and the bad moment seems to be over until the news of a gruesome discovery again worries everyone. (Festival Cannes) -
La niña santa
En una ciudad de provincia un grupo de adolescentes místicas se preocupa por su rol en el plan divino. Un congreso de otorrinolaringología hace desembarcar a un médico prestigioso. El médico roza a Amalia, una de las adolescentes, en la calle. Quizás Dios la ha llamado para salvar de su falta a este hombre. El consolidado mundo del médico se resquebraja ante la misión sagrada de la chica. (Cine Nacional Argentino) -
La noche de los lápices
En septiembre de 1976, durante los primeros meses de la dictadura militar argentina, siete adolescentes de la ciudad de La Plata son secuestrados, torturados y asesinados a raíz de sus protestas por el aumento del boleto estudiantil. El film relata estos sucesos desde la voz y presencia de uno de los supervivientes. (Cine Nacional Argentino) -
La patota
Paulina es una abogada con una carrera floreciente en Buenos Aires, que elige volver a su ciudad natal para dedicarse a la actividad social. Fernando, su padre, años atrás hizo lo mismo, y ahora es un juez progresista que se destaca en la conservadora sociedad local. Paulina empieza a trabajar en un proyecto del Ministerio de Desarrollo Social, de "formación democrática y difusión de derechos," dando clases en zonas periféricas de Misiones, marcadas por la pobreza y la marginalidad. Luego de la segunda semana de trabajo, es interceptada y violada por una patota. Ante la mirada atónita de quienes la rodean, Paulina decide volver a trabajar en la escuela, en el barrio donde fue atacada. (NativeAmericanFilms.org) -
La revolución de mayo
Dirigido por Mario Gallo, está considerado el primer film de ficción argentino realizado con actores profesionales. Representa los acontecimientos de la Revolución de Mayo de 1810, cuyo centenario estaba por cumplirse. El film fue restaurado cien años más tarde con motivo del bicentenario. (Film Affinity US) -
Las aguas bajan turbias
Los hermanos Santos y Rufino Peralta (del Carril y Laxalt) se emplean como trabajadores en los yerbatales del Alto Paraná. Allí se encontrarán con condiciones infrahumanas de trabajo y la codicia de los patrones. Además, Santos se enfrentará con un capataz por el amor de Amelia (Adriana Benetti). La rebelión va madurando, al tiempo que se va gestando la formación de un sindicato de trabajadores. Finalmente, los obreros se alzan y castigan duramente a sus explotadores. (Cine Argentino Online) -
Las Madres de la Plaza de Mayo
Las Madres: The Mothers of la Plaza de Mayo documents the courageous political actions of the Mothers of the Plaza de Mayo, a group of Argentine women who gather weekly at the Plaza de Mayo in Buenos Aires to remember the children who "disappeared" during the Dirty War (1976-1983). Undeterred by relentless intimidation by the military government, the mothers stand together for justice, as a national conscience, to demand to know the fate of their missing loved ones. Both an overview of Argentina’s tumultuous recent past and a riveting profile of an woman-led resistance movement, Las Madres continues to provide an uplifting example of human rights activism and oppositional struggle today. (Film's Official Website) -
Las mujeres que trabajan
En una gran tienda conviven muchachas pobres y honradas, una altanera ricachona que deberá bajar el copete y el desalmado dueño de la tienda. (Film Affinity US) -
Latin America in the Film Festival Circuit
The course will look at Latin American cinema (mostly contemporary films), and the associated ideas about the region, that circulate in the film festival circuit. Understanding the latter as a complex and dynamic phenomenon, the study of which has been tackled from a wide range of multidisciplinary approaches (from socio-economics to film studies, from anthropology to global studies), special attention will be paid to the political economies at stake in these transnational networks and their impact in terms of film distribution, exhibition and, perhaps more importantly, film production. -
Latin America through Cinema
In this course, we will explore cinema from and about Latin America to expand our understanding of this culturally diverse region comprised of more than twenty countries and territories. We will examine topics such as gender, humor, history, globalization, politics, memory, and religion through the lens of films by Latin American screenwriters and directors. Students will gain experience in film analysis, learning how to articulate the relationship between content and artistic form. Through this cinematographic encounter, we will begin to see and understand Latin America in a new way. -
Latin America through Cinema (*modified for remote learning, fall 2020)
In this course, we will explore cinema from and about Latin America to expand our understanding of this culturally diverse region comprised of more than twenty countries and territories. We will examine topics such as gender, humor, history, globalization, politics, memory, and religion through the lens of films by Latin American screenwriters and directors. Students will gain experience in film analysis, learning how to articulate the relationship between content and artistic form. Through this cinematographic encounter, we will begin to see and understand Latin America in a new way. -
Latin American Documentary
This course will investigate Latin American documentary by focusing on three important topics in Latin American cultural studies. We will screen recent and historical documentaries about (1) underdevelopment and poverty, (2) the history and memory of the Southern Cone military dictatorships, and (3) popular culture and folklore. These three topics will provide material for an investigation of documentary form. With respect to each topic, we will consider how the resources of documentary filmmaking are employed to frame the same subject matter in different ways. -
Latin American Film & Television Studies
This course is an introduction to Latin American film and television studies. It is conducted in Spanish and is open to graduate students and advanced undergraduates with the permission of the instructor. Students will acquire knowledge on contemporary trends in film and television studies, including film theory, the archival turn, and ethnographies of television reception, as they relate to the film and television cultures of the rich and diverse regions of Latin America. The course’s historical purview takes students from classical narratives of the 1930s and 40s to revolutionary cinema of the 1960s and 70s to melorealism and the telenovela of the contemporary period. -
Latin American Women Writers and Filmmakers
This course will provide students an introduction to the critical analysis of film and literature in Latin America (including Brazil) with a specific focus, particularly at the end of the course, on post-dictatorship film and literature from Argentina, Chile, and Brazil. This course is designed to give students an introduction of literary and filmic analysis at an advanced level as a means of building their speaking, reading, critical thinking, and writing skills in Spanish and English. -
Leguas
Two Diaguita children are grazing their cows when two men on motorcycles come along and tell them it is their land. At school the two kids learn that measurements were different at the time the property was divided, and the land is actually theirs. [This short film is part of a larger media project, "The Empty Classroom" produced by Gael García Bernal, in which eleven directors portray the impact of school dropouts in Latin America through a complex and diverse feature film. We travel to seven countries and explore the reasons why almost half of secondary school children never graduate.] (NativeAmericanFilms.org) -
Leonera
Julia amanece en su departamento, rodeada de los cuerpos ensangrentados de Ramiro y Nahuel. Ramiro aún vive; Nahuel ha muerto. Ambos, de un modo confuso y simultáneo, han sido sus amantes. Ella está embarazada de uno de ellos y es enviada a una unidad penitenciaria, donde se alojan las reclusas madres y embarazadas. Tras algunos años en prisión, Julia, acostumbrada al universo de la cárcel, se ha transformado en una mujer dura, que deberá luchar para recuperar su libertad y la de su hijo. (Cine Nacional Argentino) -
Los afincaos
Los Afincaos fue la primera y única película producida por la memorable compañía Teatro del Pueblo. Filmada íntegramente en el Norte, la historia es la de dos hermanos indígenas, que desean a la misma mujer, una joven maestra de escuela. El mayor de los hermanos se enamora pero al ser rechazado, rapta y viola a la infortunada muchacha. Cuando el hermano menor se entera de lo hecho por su hermano, tomará la más terrible de las decisiones. Esta película nos da una idea muy aproximada de la situación del Teatro de contenido social en la Argentina de aquellos tiempos. Si bien la puesta es sumamente teatral, lo que la hace lenta en su desarrollo, la caracterización y composición de los personajes es única. Todos sus intérpretes son los participantes originales del Teatro del Pueblo. La crítica favorable no impidió que la censura obligara a anteponer placas que aclaraban que la acción no transcurría en su país. "Avanzar sin prisa y sin pausa, como la estrella" fue el lema del Teatro del Pueblo, había sido tomado del gran poeta alemán Goethe, fue este grupo el que dió inició al teatro independiente. (Colección Cinemateca Mendocina) -
Los labios
Tres mujeres viajan a un lugar lejano para hacer trabajo social. Ayudan, escuchan y acompañan a los desprotegidos. Un hospital viejo las cobija. La convivencia obligada se pone más compleja cuando empiezan a conocerse. La relación con los otros, con la comunidad, también es difícil. Pero a medida que pasan los días, empezarán a fundirse con el paisaje que las rodea. (Cine Nacional Argentino) -
Los muertos
A fifty-four year old man is released from a prison in the province of Corrientes. All he wants is to be able to find his daughter, who lives in a deserted place surrounded by water and jungle. To reach his family he must cross a large amount of water on a canoe. (Translation by Jessica Batista) -
Los rubios
Los rubios es un recorrido por diversos estados de la memoria a partir de la ausencia de los padres de la protagonista. Fragmentos, fantasías, relatos y fotos dan forma a una realidad que pertenece al pasado y se proyecta en el presente. Un equipo de filmación a la deriva, una actriz y unos Playmobiles felices construyen el universo fracturado en que la protagonista descubre una y otra vez lo imposible de la memoria. (Cine Nacional Argentino) -
Los sonámbulos
Luisa, her husband Emilio, and their 14-year-old daughter Ana, are spending their New Year holiday visiting Emilio’s mother Meme at her country house, joined by Emilio’s brother and his family. Over the course of what was hoped to be a peaceful, summertime family vacation, multiple tensions – ranging from career worries to troubled adolescence, a possible selling of the house to myriad family problems – will gradually simmer into an explosion. Luisa and Ana in particular will face an awakening in the midst of a silent family crisis. (Pragda)Tags Youth / La juventud