Cinegogía

Browse Items (150 total)

  • Nũhũ_Yãg_Mũ_Yõg_Hãm.jpg

    En el pasado, cuando no existían los blancos, solíamos cazar con nuestros espíritus yãmĩyxop. Llegaron los blancos, cortaron los árboles, secaron los ríos y ahuyentaron a los animales. Hoy, nuestros árboles altos se acabaron, los blancos nos rodearon y nuestras tierras son diminutas. Pero nuestros yãmĩyxop son muy fuertes y nos enseñaron las historias y los cánticos de nuestros antiguos que caminaban por aquí. (Film Affinity ES)
  • Pirinop.png

    Em 1964, os índios Ikpeng têm seu primeiro contato com o homem branco numa região próxima ao rio Xingu, no Mato Grosso. O filme relata este encontro, ou o que restou dele: as lembranças, o exílio, a terra abandonada, o desejo e a luta pelo retorno. (Film's Official Website)
  • xAojGwugsX7TtVHpUNrvxin54JL.jpg

    Sissi é uma jovem universitária que sustenta, com bastante dificuldade, o pai viúvo e o irmão pequeno. Ela volta e meia recorre aos conselhos de Martina, sua tia, uma dona-de-casa entediada que enfrenta uma crise no casamento e está atraída por William, um catador de papel. Rogério, marido de Martina, enfrenta problemas no trabalho, já que sua última campanha publicitária foi um fracasso e agora ele corre o risco de ser demitido. Os três enfrentam suas dificuldades, tendo que tomar decisões que afetarão suas vidas. (Adoro Cinema Brasil)
  • agora_por_nos_memos.png

    The project ‘5X favela, agora por nós mesmos’ gathered over 80 young people from Rio’s favelas (slums), selected through workshops, script and filmmaking techniques to create a feature film consisting of five stories that reflect different facets of the daily lives of residents of these communities. The five stories speak of ethics and education, friendship and love, solidarity and tolerance, family and community, without ignoring the violence and the daily difficulties suffered by its residents. (Portuguese Language Films at Dartmouth)
  • A_Arca_dos_Zo’e .jpg

    Both groups of indigeneous Brasilians, the Waiãpi and the Zo’e, belong to the Tupi language family and share quite a bit of their traditions. But while the Waiãpi have been living in close contact with white people for the last twenty years, the Zo’é are about to make their first experiences with them. In the context of the Video in the Villages project by the Centro de Trabalho Indigenista the Waiãpi have met the Zo’é through video. They recognized their lifestyle as being similar to what oral history tells them about the life of their own ancestors. Waiwai, chief of the Waiãpi has been visiting the Zo’é together with a small filmcrew. In Meeting the Ancestors Waiwai tells his own people about his experiences on the trip and he comments the video sequences shot with the Zo’é. (Freiburger FilmForum: Festival of Transcultural Cinema)
  • a_cidade_do_futuro.jpg

    A Cidade do Futuro. O filme conta a história de três jovens em uma pequena comunidade no interior da Bahia. Eles vivem uma relação de companheirismo inusitada e malvista na região. São dois garotos, gays, e uma menina, que carrega o filho de um deles. A intenção do trio é que todos cuidem da criança, numa visão familiar moderna e sem preconceitos.O problema é que o cenário não é nada moderno, mas bastante conservador. E eles serão vítimas de intolerância por boa parte da comunidade local, inclusive de suas famílias. (Adoro Cinema Brasil)
  • a_festa_da_moca.jpg

    Chief Pedro Mãmãindê, who conducted both the proceedings and the shoot itself, describes the necessity of strengthening the girls of his village by secluding them after their first menses. After several months, the village throws a party, with singing, feasting, and the symbolic abduction of the girl by an allied village. When the Nambiquara of Mato Grosso see videotape of themselves performing this ritual, the excess of Western clothing makes them uncomfortable. The ritual is then re-enacted with traditional body painting and adornment. Euphoric, they resolve to take up the lip- and nose-piercing of boys again in front of the camera, re-establishing a tradition abandoned for over 20 years. (Vimeo description)
  • a hora da estrela.jpg

    Película brasileña dirigida por Suzana Amaral (Uma Vida em Segredo) y estrenada en 1985. Se trata de una adaptación de la obra homónima de Clarice Lispector. En 1986, la actriz Marcélia Cartaxo (Bautismo de sangre) ganó el Oso de Plata como Mejor Actriz en el 36 Festival Internacional de Cine de Berlín. Macabéa (Cartaxo) es una joven de diecinueve años, inmigrante del norte, huérfana, casi analfabeta y con escasos recursos económicos. Desesperada por dar un cambio a su solitaria vida, viaja a Sao Paulo, donde encuentra un trabajo como mecanógrafa. Allí conoce a Olímpico de Jesús (José Dumont, José Dumont), obrero metalúrgico, con el que comienza un romance. Sin embargo, pronto éste rompe la relación y empieza a salir con una compañera del trabajo, Gloria (Tamara Taxman), quien está con Olímpico por recomendación de un adivino. (Sensa Cine)
  • a negaçâo do brasil.jpg

    A documentary film about the taboos, stereotypes, and struggles of Black actors in Brazilian television "soaps." Based on his own memories and on a sturdy body of research evidence, the director analyzes race relations in Brazilian soap operas, calling attention to their likely influence on Black people's identity-forming processes. (Kanopy)
  • a_vacina.jpg

    Benito Miquiles e um grupo de guerreiros Sateré-Mawé participam de ritual em preparação para a ação de retomada de uma porção do território tradicionalmente ocupado. A área ficou fora da Terra Indígena Andirá-Marau, oficialmente demarcada em 1986, e tem sido invadida por grileiros e madeireiros. (Festivaldopara.com)
  • Abril.jpeg

    Abril, 1910. Tonho, filho do meio da família Breves, é impelido pelo pai a vingar a morte do seu irmão mais velho, vítima de uma luta ancestral entre famílias pela posse da terra. Se cumprir sua missão, Tonho sabe que sua vida ficará partida em dois: os 20 anos que ele já viveu, e o pouco tempo que lhe restará para viver. Ele será, então, perseguido por um membro da família rival, como dita o código de vingança da região. Angustiado pela perspectiva da morte e instigado pelo seu irmão menor, Pacu, Tonho começa a questionar a lógica da violência e da tradição. É quando dois artistas de um pequeno circo itinerante cruzam o seu caminho... (Cinemateca Brasileira)
  • afronta.jpg

    A série AFRONTA! é dirigida pela cineasta negra Juliana Vicente e lança luz sobre a potente juventude negra brasileira contemporânea que contam suas trajetórias e oportunidades geradoras da sua constituição como indivíduo e expressadas pelos seus trabalhos. Em 26 episódios documentais de 15 minutos, grandes nomes contemporâneos refletem sobre o AFROFUTURISMO, como movimento estético e filosófico, sobre os encontros afrodiaspóricos e a criação desta rede como geradora de autonomia e potência. Realizado em diversos pontos do país como Recife, Bahia, São Paulo, Minas e Rio de Janeiro, Afronta! apresenta nomes como Rincon Sapiência, cantor de rap, Grace Passô, atriz e dramaturga premiada e Ingrid Silva, bailarina do Dance Theater of Harlem, NY. (Film's Official Website)
  • Agulha.jpg

    Mariana é uma jovem do interior de Minas Gerais que parte para o Rio de Janeiro em busca de um homem que a seduziu e a engravidou. Mas o malandro homem lhe deu o endereço falso, tendo ela como referência apenas uma foto. Hospedada na casa de um tio, ela se depara com as dificuldades de viver na cidade grande, vendo que encontrar seu marido no Rio é como buscar uma agulha em um palheiro. (Adoro Cinema Brasil)
  • alma_no_olho.png

    Alma no olho (Soul in the Eye), a short film directed and performed by Zózimo Bulbul in 1973, constitutes the inaugural gesture of black cinema in Brazil. Bulbul’s status as a pioneer for Black Brazilian cinema does not reside in historical chronology, because he was not the first Black Brazilian director: Jose Cajado Filho, Haroldo Costa, and Odilon Lopes were his predecessors in that lineage. His importance lies, rather, in the aesthetic and narrative advances accomplished by his film, which has survived its ostracism—imposed by Brazilian critics and cinema studies through an exclusionary hegemony of almost forty years—to be taken up again as a reference point by a new generation of Black Brazilian filmmakers. [...] In recent years, many analyses have been carried out in the field of black cinema studies on Alma no olho, largely devoted to its historical relevance, leaving the inventiveness of its aesthetic gesture somewhat in the background. Frequent note is made of the film’s inspirations: the script draws from Soul on Ice, the 1968 book by Black Panther Eldridge Cleaver about his time in exile, and the soundtrack consists of music from the album Kulu Sé Mama, the 1965/67 collaboration by Juno Lewis and John Coltrane, to whom Bulbul dedicates the film. In Alma no olho’s eleven minutes, Bulbul performs a pantomime of the history of Black people between Africa and the diaspora, tracing a saga that begins with a state of freedom as lived on the African continent, passes through the hardships of the Atlantic slave trade, and finally ends with the breaking of all the chains of colonial domination that continued to imprison black bodies and minds in the period following the Abolition—the end of the transnational slave trade, in 1888, in Brazil. On-screen, only his black body, some objects, and a white background are present for most of the film’s duration. While the performance is under way, the character played by Bulbul faces the camera at different moments, sometimes in complicity, sometimes with irony, but always defiantly. (Source: Oliveira, Janaína. "With the Alma no Olho: Notes on Contemporary Black Cinema." Film Quarterly, vol. 74, no. 2, Winter 2020, pp. 32–38, doi: 10.1525/fq.2020.74.2.32.)
  • amazonia_eterna.jpg

    The Amazon is a vast laboratory for sustainable experiments that are revealing new relationships among human beings, corporations, and the natural heritage crucial for life on the planet. This is where the guidelines are being drawn up for a new global economic model: the green economy. With an astonishing soundtrack and cinematography, Eternal Amazon presents a critical analysis of how the world’s largest tropical rainforest is understood and utilized. Exploring the Amazon’s five million square kilometers—home to 20% of the world’s freshwater reserves—the film asks whether it is possible for humans to make sustainable use of the rainforest by featuring nine successful projects for sustainable forest use that directly benefit the local population and foster good economic partnerships. Experts like economist Sergio Besserman, ecologists Bertha Becker and Virgilio Viana, and Amazonians themselves explain activities such as agriculture, fisheries, and animal husbandry. The film portrays the daily lives of the forest people as the guardians of this great natural heritage that, if properly managed, could last into eternity. (Pragda)
  • amor_maldito_final.jpg

    Duas jovens mulheres, Fernanda, uma executiva, e Sueli, uma ex-miss, se apaixonam e decidem morar juntas. Porém, Sueli se cansa do relacionamento amoroso que leva com Fernanda e envolve-se com um jornalista. A moça engravida do amante e ele a abandona. Em desespero, Sueli se atira da janela do apartamento de Fernanda, que passa a ser acusada de homicídio. (Adoro Cinema Brasil)

    Nota editorial: Amor maldito es el primer largometraje de ficción dirigida por una mujer afro-brasileña, un reconocimiento que Adélia Sampaio no recibió hasta el siglo veintiuno. Ver también: Dennison, Stephanie. "Practising Inclusive Citation in Modern Languages Research: The View from Brazilian Film Studies." Modern Languages Open, vol. 0, no. 1, 2023, p. 4. DOI: 10.3828/mlo.v0i0.448.
  • Aruanda.jpg

    The film describes the miserable lives of the descendants of the slaves, who founded a "quilombo." The men plant cotton in the dry ground. The women work in crafts in an economic cycle that does not bring in cash. The poverty of the film-making is an expression of the miserable conditions that are not present only in the reality that is represented in the film, but contaminates the very material nature of the film (Torino Film Festival).
  • as_minas_do_rap.jpg

    No Brasil, as mulheres tardaram a entrar no cenário do rap, e até hoje são raros os grupos ou artistas individuais que alcançaram destaque em suas carreiras. O documentário entrevista mulheres ligadas ao hip hop, abordando o histórico feminino dentro do movimento e dando voz a artistas como Negra Li, MC Gra e Karol Conká. (Preta Portê Filmes)
  • bixa travesty.jpg

    A documentary that follows Ms Linn da Quebrada, a black trans woman, performer and activist living in impoverished São Paulo. Her electrifying performances (with plenty of nudity) brazenly take on Brazil's hetero-normative machismo. (IMDB)
  • Boca_Livre_No_Sararé.jpg

    En 1991 más de cien mil garimpeiros invaden una reserva nambiquara en Sararé. Al mismo tiempo, los madereros talan en la selva especies en peligro de extinción. Presionado por el Banco Mundial, con el cual el gobierno de Mato Crosso negocia un préstamo, éste consigue la expulsión de los invasores. Pero el robo de la madera continúa y el regreso de los garimpeiros puede ocurrir en cualquier momento. (Portal del cine y audiovisual latinoamericano y caribeño)
  • brava_gente_brasileira.jpg

    Diogo is a cartographer and artist who is encharged to set the new frontiers of Portuguese Colonies in South America. When he reaches the center of the continent, finds apparently nothing but wilderness and 'uncivilized' natives with strange ways of living. But Captain Pedro, the rude scout who guides him through the jungle, involves Diogo in an involuntary act of violence which will tie him in an unusual way to that far away country. At the same time, the Portuguese colonists are trying to make peace with Guaicuru Indians (one of the few natives with horse-riding abilities). But peace doesn't ever have a low price. (IMDB)
  • braza_dormida.jpeg

    Después de gastar todos sus recursos en Río de Janeiro, Luiz deja los estudios y es empleado como gerente en una fábrica del interior donde se enamora de la hija del patrón, Anita. Obsesionado, el ex-gerente envía cartas anónimas contándole el amor de Luiz al dueño de la fábrica, éste contrariado aleja a su hija del negocio. Con añoranza de su enamorada, Luiz se va a buscarla. Para vengarse, el ex-gerente hace explotar una bomba en la fábrica, provocando una lucha a muerte con Luiz. (Film Affinity ES)
  • bye bye brazil.jpg

    The Caravana Rolidei rolls into town with the Gypsy Lord at the mike: he does magic tricks, the erotic Salomé dances, and the mute Swallow performs feats of strength. A young accordion player is completely enamored of Salomé, and he begs to come along. The Gypsy Lord shrugs, and the accordionist and his pregnant wife, Dasdô, join the troupe. Television is their enemy as they go from the coast deep into the Amazon. Salomé lets the accordionist sleep with her once, with Dasdô's knowledge. He's moon-struck. Then, after Dasdô's baby is born and financial disaster hits the troupe, the accordionist must choose between seeing his wife a prostitute and leaving the caravan.
  • cabra marcado para morder_filmography.jpg

    Em 1962, o líder da liga Camponesa de Sapé (PB), João Pedro Teixeira, é assassinado por ordem de latifundiários. Um filme sobre sua vida começa a ser rodado em 1964, com a reconstituição ficcional da ação política que levou ao assassinato, e com a produção do CPC da UNE e do Movimento de Cultura Popular de Pernambuco, e direção de Eduardo Coutinho. As filmagens com a participação de camponeses do Engenho Galiléia (PE) e da viúva de João Pedro, Elizabeth Teixeira, são interrompidas pelo Golpe Militar em 1964. Dezessete anos depois, em 1981, Eduardo Coutinho retoma o projeto e procura Elizabeth Teixeira e outros participantes do filme interrompido, como o camponês João Virgílio, também atuante em ligas. O tema central passa a ser a história de cada um deles que, estimulados pela filmagem e revendo as imagens do passado, elaboram para a câmera os sentidos de suas experiências. João Virgílio conta a tortura e a prisão que sofreu neste período. Enquanto Elizabeth, que havia mudado de nome e vivia refugiada numa pequena cidade da Bahia com apenas um de seus dez filhos, emerge da clandestinidade e reassume sua identidade. Ela também fala de sua prisão e do rencontro com os filhos, antes dispersos por várias cidades do Brasil, e da tentativa de reconstituir suas vidas. (Cinemateca Brasileira)
  • café_com-canela.png

    Violeta lives in a tight-knit community in Bahia, Brazil. She is far from the only one struggling with grief and loss: there is also a grandmother entirely dependent on care, a woman desperately searching for love and a young doctor who – after 20 years – is left by his great love, a much older man. Everyone thought they lived together as father and son until the old man dies. The loss is complete and the truth comes out. Then Violeta meets the older Margarida who is grieving alone and in silence in a nearby village. Lovingly Violeta helps her out of her isolation with practical rituals: scrubbing, tidying and making coffee with cinnamon. (International Film Festival Rotterdam)
  • carandiru.jpg

    São Paolo, 1992. A new doctor arrives in the notorious male prison of Carandiru, aiming to promote Aids education. Gradually we become aware of individuals within the crowd of convicts, as they come to the doctor's office for treatment. In flashback we learn the crimes that brought them to the prison. Dagger has killed another prisoner's father. Highness is a good-looking thief with a white wife and a black mistress. He has taken the blame for a fire set by his jealous wife. Chico is a dignified older man, waiting in vain for a visit from his grown daughter. Zico, a drug dealer, was taken in by the family of Deusdete after being abandoned by his mother. Deusdete has killed the two men who raped his sister and now shares a cell with Zico. Antonio and Miro are armed robbers brought down by the jealousy and treachery of their wives. Lady Di is a transsexual who aims to marry fellow inmate Too Bad. On visiting day the partners and children of all these characters are allowed into the prison. Zico, now addicted to crack, goes crazy and pours boiling water over Deusdete. He is killed in turn by a number of prisoners, and Highness gets Ezequiel, another addict, to take the blame. There is a football match among the convicts. Afterwards a fight breaks out which escalates into a riot. Although the prisoners give up their arms, the riot squad enter and slaughter the inmates. The final titles tell us that 111 convicts were killed and not one policeman. Documentary footage shows how the prison was finally demolished in 2002. Source: Smith, Paul Julian. Sight and Sound, vol. 14, no. 4, 2004, p. 44-45.
  • Casa_Grande.png

    Ambientada en el mundo de la élite social de Río de Janeiro, es la historia de Jean, un adolescente de 17 años que lucha por escapar de sus padres sobreprotectores al tiempo que su adinerada familia entra en bancarrota. (Film Affinity ES)
  • Central_do_Brasil Medina.pdf

    Dora, a dour old woman, works at a Rio de Janeiro central station, writing letters for customers and mailing them. She hates customers and calls them 'trash'. Josue is a 9-year-old boy who never met his father. His mother is sending letters to his father through Dora. When she dies in a car accident, Dora takes Josue and takes a trip with him to find his father. (IMDB)
  • 19250-b-central-do-brasil.jpg

    Dora, a dour old woman, works at a Rio de Janeiro central station, writing letters for customers and mailing them. She hates customers and calls them 'trash'. Josue is a 9-year-old boy who never met his father. His mother is sending letters to his father through Dora. When she dies in a car accident, Dora takes Josue and takes a trip with him to find his father. (IMDB)
  • chuva é cantoria na aldeia dos mortos.jpg

    João Salaviza and Renée Nader Messora's hybrid [film] follows Ihjãc (Henrique-Ihjãc Krahô), a 15-year old indigenous Krahô from the north of Brazil, who runs away from home after he is called to direct his deceased father's spirit to the village of the dead. Denying his tribal duty as a prospective shaman, Ihjãc instead resides in the nearby town of Itcajá against the advice of his wife (Raene Kôtó Krahô) and community. (Cinema Tropical)
  • city of God.jpg

    Basada en hechos reales, describe el mundo del crimen organizado en Cidade de Deus, un suburbio de Río de Janeiro, desde finales de los sesenta hasta principios de los ochenta, época durante la cual el tráfico de drogas y la violencia impusieron su ley en las favelas. A finales de los sesenta, Buscapé, un niño de 11 años tímido y sensible, observa a los niños duros de su barrio, sus robos, sus peleas, sus enfrentamientos diarios con la policía. Pero él sabe muy bien lo que quiere ser si consigue sobrevivir: fotógrafo. Dadinho, un niño de su edad que se traslada al barrio, sueña con ser el criminal más peligroso de Río de Janeiro y empieza su aprendizaje haciendo recados para los delincuentes locales. Admira a Cabeleira y su pandilla, que se dedican a atracar los camiones del gas. Un día Cabeleira le da a Dadinho la oportunidad de cometer su primer asesinato. (Film Affinity)
  • cidade_de_deus_10_anos_depois.jpg

    City of God – 10 Years Later investigates the fate of the young actors who participated in the award winning film City of God, directed by Fernando Meirelles and Katia Lund. The documentary shows how their lives unfolded after the film’s worldwide success. The film includes the participation of the actors who portrayed Dadinho, Bené, and Li’l Zé, as well as the actress Alice Braga and musician and actor Seu Jorge. (Pragda)
  • Cine latinoamericano contemporaneo_Jeff Mittens-Anc.pdf

    Using methods that both embrace and critique the study of national cinemas, this course provides a survey of cinema from across the Latin American region, concentrating on the changing tropes of contemporary cinema and including screenings as part of the AFI Latin American Film Festival.
  • Medina_cine latinoamericano- redefiniendo identidades a comienzos del siglo XXI_syllabi.pdf

    Un estudio del cine latinoamericano y su desarrollo temático y técnico con un énfasis en la producción contemporánea.
  • Wood_Nahmad_Cine_y_revolucion.pdf

    La intención del curso es hacer un recorrido por la historia de América Latina y por su producción cinematográfica, teniendo como eje rector las diversas maneras en que se ha expresado la idea de revolución en el cine latinoamericano, tanto en términos argumentales, como en cuestiones estéticas y técnicas, enfatizando su relación con lo social. En el curso se abordarán teorías y metodologías que problematizarán el cine como fuente para la historia cultural y política, tratado de rescatar la incipiente teorización latinoamericana sobre el tema. Así mismo, se emprenderá un recorrido por el cine social latinoamericano y sus distintas corrientes y manifestaciones hasta la década de los años ochenta.

  • clementina.png

    A journey through the songs and story of Brazilian singer Clementina de Jesus. Her most poetic sambas, the rhythmic sway of the drums and the religious chants that reveal a strong connection with the sacred world take us to the deep world of Quelé. A unique character in the history of Brazilian popular music, a granddaughter of slaves, she is considered by many as the missing link between Brazilian culture and its African roots. (Jangada Film Festivals)
  • Como_era_gostoso_o_meu_francés.png

    Membro de uma missão que visa chegar à França Antártica, colônia francesa estabelecida na Baía de Guanabara, Jean e outros companheiros de viagem se rebelam e são condenados à morte por seus superiores. O aventureiro consegue escapar nadando até o continente, onde se depara com índios tupiniquins. Logo a colônia é atacada por índios da tribo tupinambá, que findam por aprisionar e condená-lo à morte, já que pensam que Jean é português. Agora o francês tem somente oito dias de vida enquanto aguarda sua execução em um ritual antropofágico. 
    (Adoro Cinema Brasil)
  • Medina_Contemporary Latin American Film_syllabi.pdf

    A study of a specific group of Latin American films in relation to their specific cultural and historical contexts.
  • Mesa_Morales_Contemporary_Spanish_Latin_American_Cinema.pdf

    This interdisciplinary course seeks to review and analyze the complexity of contemporary society through the study of Latin American and Spanish film production. We will explore topics that relates to issues of ethnicity, class representation, immigration and exile, dictatorship, experiences of war and violence, globalization, gender, as well as sexual and racial identities, among other themes. The course has a transatlantic approach covering different genres, styles, and filmmakers from Mexico, Cuba, Spain, Argentina, Chile, Brazil, Colombia, and Uruguay. Class discussions in Forum, activities, presentations, reflections, and a final multimodal research project will help to improve and expand students’ analytical skills as well as their Spanish language proficiency.
  • cores_e_botas.jpg

    Joana tem um sonho comum a muitas meninas dos anos 80: ser Paquita. Sua família é bem sucedida e a apoia em seu sonho. Porém, Joana é negra, e nunca se viu uma paquita negra no programa da Xuxa. (Preta Portê Filmes)
  • cores_pretas.png

    Cores Pretas es un documental corto que, a través de varias entrevistas, cuenta las historias de cinco afrobrasileñas y sus experiencias enfrentando el racismo y la discriminación de género diariamente desde su niñez. (Sinopsis de Éowyn Bailey)
  • corumbiara.jpg

    A personal account of 20 years of video activism in Corumbiara, a municipality in western Brazil. In order to stop the destruction of the habitat of isolated Native Americans, their existence will have to be proven in court. Back in 1986, filmmaker Vincent Carrelli first got involved in a hunt for the remains of an Indian village, which had been wiped off the map by a landowner. Unfortunately, the tools that they found were insufficient to stand up in court. In the years that followed, Carrelli returned to the region on several occasions, convinced that the Native Americans lived there and determined to record this fact with his camera. The film documents the heartwarming contact between the researchers and a family of Canoé Indians, and contains unique footage of one of the last survivors of an unknown tribe. But the activists also must deal with disappointing defeats in the face of landowners, lumber merchants and farmers, and even instances of gruesome violence. Ultimately, the film also asks questions about the legitimacy of the hunt for footage. To what extent is it justified to invade the habitat of people who shun any attempt at contact - even if that invasion occurs with the intent to protect them from greater external aggression? (International Documentary Film Festival Amsterdam)
  • Medina_Después del cine latinoamericano- tradición y renovación_syllabi.pdf

    Un estudio del cine latinoamericano y su desarrollo temático y técnico con un énfasis en la producción contemporánea.
  • deus e o diabo na terra do sol.jpg
  • Diarios_De_Motocicleta-Caratula.jpg

    Narrates the story of the trip undertaken by a young Ernesto Guevara y Alberto Granado. Before becoming one of the most famous relevationaries of Latin America, Che Guevara decided to travel throughout various Latino countries on his motorcycyle. With his friend by his side, he set out to get to know the people of the countries he visited, their lives, their costumes, and their social standing. Based on the books Notas de viaje, diarios de motocicletas, by Ernesto Guevara, and Con el Che por Ameríca Latina, by Alberto Granado. (Translation by Jessica Batista).
  • domesticas.jpg

    Domésticas is not a film about maid-servants but a film by maid-servants. Domésticas wants to give them a voice. Or rather: voices. No less than 3 million women in Brazil work as 'domestics' and they all have stories to tell. Domésticas is however not a film about the life of the maidservant in the city, not a critical look at harsh reality: this film is about the characters as storytellers. Domésticas is the film version of one of the most popular and widely praised modern Brazilian stage plays. As preparation for the play, hundreds of maid-servants were interviewed and the five most important characters were compiled from the conversations. What makes the film special is not just the subject, but also the form. The film starts as a documentary. The five women talk to the camera about themselves, about their desires, frustrations, problems and pleasures. As the film progresses, more and more space is given to pictures to illustrate their stories. They are universal stories about women wrestling with loneliness, ambitions, conflicts with partners and children, loss and pain. But it is not all bad times. New, exciting encounters, music and mutual solidarity provide sparkling interludes in their heavy existence. (International Film Festival Rotterdam)
  • Edificio Master_filmography.jpg

    Durante uma semana, Eduardo Coutinho e sua equipe conversaram com 27 moradores de um enorme edifício de apartamentos em Copacabana. Entre eles um casal de meia-idade que se conheceu pelos classificados de um jornal, uma garota de programa que sustenta a filha e a irmã, um ator aposentado, um ex-jogador de futebol e um porteiro desconfiado de que o pai adotivo, com quem sonha toda noite, é seu pai verdadeiro. O assunto desse documentário é a vida privada na grande cidade, o apartamento como último refúgio de individualidade, além de ressaltar o fato de que, morar junto num mesmo lugar não garante a formação de uma comunidade. (Cinemateca Brasileira) -- For one week, Eduardo Coutinho and his team talked to 27 residents in an enormous building in Copacabana. Amongst these are a middle-aged couple who met through the classified ads in a newspaper, a call-girl who keeps her daughter and her sister, a retired actor, an ex-football player, and a janitor who suspects that his adopted father, whom he dreams about every night, is his real father. The subject of this documentary is private life in the big city, apartments as a last stronghold of individuality, in addition to emphasizing the fact that to live together in one and the same place does not ensure that a community will be formed. (IMDB)
  • el_aula_vacia.jpeg

    Bajo la dirección creativa de Gael García Bernal, once directores retratan el impacto de la deserción escolar en América Latina a través de un largometraje maravillosamente diverso y complejo. Viaja a siete países y explora las razones por las que casi la mitad de los estudiantes de secundaria nunca se gradúa. (Cine Aparte)
  • Bano_del_papa Medina.pdf

    Es el año 1988 y el Papa Juan Pablo II visitará Melo. Se calcula que 50.000 personas asistirán a verlo. Los pobladores más humildes creen que vendiéndole comida y bebida a esa multitud se harán casi ricos. Beto, un contrabandista en bicicleta, decide en cambio construir un excusado en el frente de su casa y alquilar el servicio. Para lograr su objetivo debe atravesar una serie de dificultades tragicómicas. Finalmente, sólo unos 8.000 fieles concurren. Nadie vende nada y únicamente una anciana hace uso del retrete. El sueño de Beto se hace trizas pero a lo largo de la historia su hija ha llegado a comprenderlo mejor. Quizás incluso a quererlo. (MonteVideoPortal)
  • El-bano-del-Papa-b.jpg

    Es el año 1988 y el Papa Juan Pablo II visitará Melo. Se calcula que 50.000 personas asistirán a verlo. Los pobladores más humildes creen que vendiéndole comida y bebida a esa multitud se harán casi ricos. Beto, un contrabandista en bicicleta, decide en cambio construir un excusado en el frente de su casa y alquilar el servicio. Para lograr su objetivo debe atravesar una serie de dificultades tragicómicas. Finalmente, sólo unos 8.000 fieles concurren. Nadie vende nada y únicamente una anciana hace uso del retrete. El sueño de Beto se hace trizas pero a lo largo de la historia su hija ha llegado a comprenderlo mejor. Quizás incluso a quererlo. (Montevideo Portal)
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