Browse Items (21 total)
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La vida es silbar
Bebé, una joven de 18 años relatará la vida de personas en La Habana: Mariana, una joven bailarina ninfómana; Julita, una mujer madura que oculta un secreto de su pasado y Elpidio, un joven mulato inadaptado que fue abandonado por su madre. (Premios Goya) -
Malón Wiño
Malón Wiño / La serpiente de plata es un microcortometraje sobre la comunidad mapuche que comunica que "aún estamos vivos". Explora las complejidades de la identidad mapuche a través de las tradiciones del ritmo, de la memoria, del conocimiento y de la resistencia. El director Francisco Huichaqueo Pérez comparte que esta obra presenta "las más hermosas formas de ser mapuche." (Cinegogía Team) -
Al Sur of The North
Al sur of the north se inmiscuye en una comunidad Wayú, en Colombia, para retratar su cultura y a la vez cuestionar las formas del retrato. Experimentación en torno a la representación de ‘lo indígena’, la obra se inmiscuye en otro tiempo: el de la relación con la naturaleza, pero también con la globalización y la reconfiguración de las identidades. (Cineteca de Chile) -
Ilwen: La tierra tiene olor a padre
A través de un retrato autoreferencial entre el realizador y su padre, el artista visual Francisco Huichaqueo reflexiona en torno a la naturaleza en la cosmovisión mapuche, como elemento central que la articula, cerrando el círculo entre él y su padre y su padre y la tierra. A partir de esta relación se evoca no solamente a la tranquilidad de la naturaleza, sino también su potencial destructivo y su regir cíclico. (Cineteca Nacional Chile) -
Serras da desordem
Tras sobrevivir a una masacre que exterminó a su poblado, Carapirú, un indio Awa Guajá, huye y pasa diez años deambulando por las regiones más aisladas de Brasil. En noviembre de 1988, a 2.000 kilómetros de la selva de la que tuvo que escapar, un antropólogo experto en el mundo indígena lo descubre y lo arrastra a Brasilia, donde Carapirú se convierte en un fenómeno mediático. Disolviendo los límites entre realidad y ficción, y con un sentido del humor y una libertad cercana al libertinaje formal, Serras da desordem reconstruye el viaje inicial de Carapirú, y retrata a través de su historia la tragedia de una cultura violada en aras de un progreso inventado y brutal. (Film Affinity ES)Tags Amazon / Amazonas -
Equilíbrio
Curta metragem retratando a condição humana no planeta Terra. O discurso da Kaapora, uma entidade espiritual indígena, norteia a discussão crítica da relação destrutiva de nossa civilização com o único planeta conhecido que tem suporte para a vida, e do qual nós mesmos dependemos para continuar nossa existência enquanto espécie. (Yawar Films) -
Fôlego Vivo
The Kariri people, located in the Chapada do Araripe, a rural area in northeastern Brazil, reflect on water. The community tells of the Indigenous myth of recreating the world together with water as against the capitalist developmental myth of controlling water and human and non-human bodies inhabiting the San Francisco River. (Hemispheric Institute) -
Mujeres Espíritu
Mujeres Espiritu aborda a cinco mujeres unidas por la espiritualidad y la poesía. Ellas no se conocen pero la fuerza declamatoria las une. Las lenguas stotsil, mapuzungun, kechua y español dan forma al campo de la semántica que, más allá de la palabra, enriquecen la sonoridad de la lengua materna, invitando al espacio espiritual propio de cada mujer y su territorio. (Coordinadora Latinoamericana del Cine y Comunicacion De Los Pueblos Indigenas - CLACPI) -
Utopía
Siguiendo el ritmo de varios tempos musicales (introducción, andante, patético, etc.) se entrecruzan tres situaciones que se desarrollan sucesivamente aumentando su intensidad dramática. Así, un grupo de muchachos discute acaloradamente sobre la existencia o no del barroco latinoamericano, mientras juegan una partida de dominó regada con abundante ron; una estudiante prepara intensamente con su profesor un desaforado recitado del poema 'Golem', de Jorge Luis Borges, y dos amas de casa se pelean por diversos temas operísticos mientras se hacen la manicura. El resultado: una visión irónica y desmitificadora de la cultura y de la vida cotidiana en Cuba, en las que el absurdo se evidencia. (WorldCat) -
Aquí cantamos
Los niños de Uspibil, Chemax, Yucatán, se divierten por las tardes, cantando y bailando. (El colectivo TURIX) -
Río Verde: El tiempo de los Yakurunas
El documental explora la percepción del tiempo en tres comunidades unidas por las aguas del Amazonas, sumergiéndose en un paisaje habitado por chamanes y sociedades arquetípicas. Narrativa híbrida que retrata los cuerpos de ancianos indígenas para invocar los fantasmas de la explotación del caucho a finales del siglo XIX y convocar la memoria de antiguas culturas aún vivas, pero en peligro de desaparecer a consecuencia del capitalismo global (Habana Film Festival) -
Kbela
Hair is an important marker of black female identity. Many films have been made about 'nappy' hair, but this debut by Yasmin Thayná is among the best. This powerful visual essay is a form of resistance to invisibility and an audiovisual experience about being and becoming a black woman. (International Film Festival Rotterdam) -
Alma no olho
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.) -
Arroz con leche: K óol uti'al k kuxtal
Arroz con leche: K óol uti’al k kuxtal (Rice pudding: Our desire for life) is an experimental documentary that I started filming in the 1990s, only a few years after Mexican development policy had taken a sharp neoliberal turn, accompanied by new gendered discourses exalting the entrepreneurial skills of rural women, in contrast to the alleged irresponsibility of rural men. Entrepreneurial projects for rural women had become the panacea for revitalizing rural development. Although my initial intention was to use audiovisual media to present a critical analysis of four such projects, instead this documentary became a means for exploring my own identity as a native of Mayan culture, one whose career as an anthropologist was being accompanied by constant pressures to distance myself from the knowledges that I had acquired in my own village. Years earlier, in the fall of 1989, I had lived in the homes of four of these entrepreneurial women while conducting field research, but the idea of making a documentary had only begun to take shape as a result of renewed contact with them during my field research of the mid-1990s. Source: Duarte, Ana Rosa. "Arroz con leche: Audiovisual Poetry and the Politics of Everyday Life." Adjusting the Lens: Community and Collaborative Video in Mexico, edited by Freya Schiwy and Byrt Wammak Weber, University of Pittsburgh Press, 2017, pp. 71-89. -
Los olvidados
Jabio, a teen, scapes from juvie and reunites with his friends. Along with Pedro and another kid, Jabio tries to jump Don Carmelo. Days later, Jaibo kills the teen who, supposably, was the reason why he went to juvie, in front of Pedro. Ever since this incident, the destinies of both individuals, will maintain tragically united. (Translation by Angel Carrillo) -
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) -
Principio y Fin
The film tells the story of the Boteros, a middle-class Mexican family struggling against poverty after their father's death. Ignacia (Egurrola) is the Boteros mother, a desperate woman who chooses to sacrifice the destiny of her three older children, in order to protect Gabriel (Laguardia) the youngest one. She believes Gabriel will climb the social structure and bring back the lost fortune to the family. But destiny has other plans for the Boteros and tragedy will overcome eventually. Based on the novel of Nobel Prize winner Naguib Mahfouz. (www.imdb.com) -
Macunaíma
No fundo da mata virgem nasce Macunaíma. Nasce diferente, a mãe acocorada deixando cair o feto preto, de cabeça. Corre em selvagem alucinação pela mata, de preto virando branco, e depois deixando o sertão em troca da cidade na companhia dos dois irmãos, Jiguê e Maanape. Na cidade, estranha e hostil, segue o mesmo caminho zombeteiro, conhecendo e amando a guerrilheira Ci e inúmeras outras mulheres, enfrentando o vilão milionário Venceslau Pietro Pietra, na busca de reconquistar a pedra mágica que herdara de Cy, a muirakitã. Depois de tumultuada aventura urbana, consegue reaver a muirakitã e deixa o caos da cidade, voltando para a selva cheio de quinquilharia citadina. Mas sua disposição em ser ladino não se adapta mais ao ambiente e, por isso, é abandonado por seus irmãos. Sozinho e faminto, mas sem disposição para caçar, Macunaíma relata suas aventuras para um papagaio até o dia em que uma súbita vontade de brincar o faz cair nos braços da Iara. (Cinemateca Brasileira) -
Limite
Em um pequeno barco a deriva, um homem e duas mulheres contam histórias de uma vida marcada por desventuras, tristezas, angústias e monotonia. As imagens e as histórias ensaiam uma fuga metafórica, que justifica o conformismo dos personagens diante da degradação humana. (Cinemateca Brasileira) -
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)