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          <description>The date of the film’s release (year only). La fecha de estreno (año solamente).</description>
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              <text>&lt;span&gt;&lt;em&gt;Al sur of the north&lt;/em&gt; 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. (&lt;a href="http://cinetecavirtual.uchile.cl/cineteca/index.php/Detail/objects/2520" target="_blank" rel="noreferrer noopener"&gt;Cineteca de Chile&lt;/a&gt;)&lt;/span&gt;</text>
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              <text>&lt;em&gt;&lt;br /&gt;"Al sur of the north" unfolds in a Wayu community in Colombia in order to portray their culture and, at the same time, question the very form of portraiture. An experiment regarding how "indigeneity" is represented, this film delves into another time: that of its relationship with nature, as well as with globalization and the reconfiguration of identities." (Translated by Quetzali Gómez)&lt;/em&gt;</text>
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          <description>The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.</description>
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                <text>&lt;span&gt;&lt;em&gt;Al sur of the north&lt;/em&gt; 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. (&lt;a href="http://cinetecavirtual.uchile.cl/cineteca/index.php/Detail/objects/2520" target="_blank" rel="noreferrer noopener"&gt;Cineteca de Chile&lt;/a&gt;)&lt;/span&gt;</text>
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              <text>Alma no olho</text>
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              <text>&lt;span&gt;Zózimo Bulbul&lt;/span&gt;</text>
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          <description>The date of the film’s release (year only). La fecha de estreno (año solamente).</description>
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              <text>1973</text>
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          <description>The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar.</description>
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              <text>&lt;p class="p1"&gt;&lt;span class="s1"&gt;&lt;em&gt;Alma no olho&lt;/em&gt; (&lt;em&gt;Soul in the Eye&lt;/em&gt;), 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. [...] &lt;/span&gt;&lt;span class="s1"&gt;In recent years, many analyses have been carried out in the field of black cinema studies on &lt;em&gt;Alma no olho&lt;/em&gt;, 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 &lt;em&gt;Soul on Ice&lt;/em&gt;, the 1968 book by Black Panther Eldridge Cleaver about his time in exile, and the soundtrack consists of music from the album &lt;em&gt;Kulu Sé Mama&lt;/em&gt;, the 1965/67 collaboration by Juno Lewis and John Coltrane, to whom Bulbul dedicates the film. &lt;/span&gt;&lt;span class="s1"&gt;In &lt;em&gt;Alma no olho&lt;/em&gt;’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: &lt;span&gt;Oliveira, Janaína. "With the &lt;/span&gt;&lt;em&gt;Alma no Olho&lt;/em&gt;&lt;span class="subtitle-colon"&gt;:&lt;span&gt; &lt;/span&gt;&lt;/span&gt;&lt;span class="subtitle"&gt;Notes on Contemporary Black Cinema&lt;/span&gt;&lt;span&gt;." &lt;/span&gt;&lt;em&gt;Film Quarterly, &lt;/em&gt;vol. 74, no. 2, Winter&lt;span&gt; 2020, pp. 32–38, doi: &lt;/span&gt;&lt;a href="https://doi.org/10.1525/fq.2020.74.2.32" target="_blank" rel="noreferrer noopener"&gt;10.1525/fq.2020.74.2.32&lt;/a&gt;.)&lt;/span&gt;&lt;/p&gt;</text>
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                <text>&lt;span class="s1"&gt;&lt;em&gt;Alma no olho&lt;/em&gt; (&lt;em&gt;Soul in the Eye&lt;/em&gt;), 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. [...] &lt;/span&gt;&lt;span class="s1"&gt;In recent years, many analyses have been carried out in the field of black cinema studies on &lt;em&gt;Alma no olho&lt;/em&gt;, 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 &lt;em&gt;Soul on Ice&lt;/em&gt;, the 1968 book by Black Panther Eldridge Cleaver about his time in exile, and the soundtrack consists of music from the album &lt;em&gt;Kulu Sé Mama&lt;/em&gt;, the 1965/67 collaboration by Juno Lewis and John Coltrane, to whom Bulbul dedicates the film. &lt;/span&gt;&lt;span class="s1"&gt;In &lt;em&gt;Alma no olho&lt;/em&gt;’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: &lt;span&gt;Oliveira, Janaína. "With the &lt;/span&gt;&lt;em&gt;Alma no Olho&lt;/em&gt;&lt;span class="subtitle-colon"&gt;:&lt;span&gt; &lt;/span&gt;&lt;/span&gt;&lt;span class="subtitle"&gt;Notes on Contemporary Black Cinema&lt;/span&gt;&lt;span&gt;." &lt;/span&gt;&lt;em&gt;Film Quarterly, &lt;/em&gt;vol. 74, no. 2, Winter&lt;span&gt; 2020, pp. 32–38, doi: &lt;/span&gt;&lt;a href="https://doi.org/10.1525/fq.2020.74.2.32" target="_blank" rel="noreferrer noopener"&gt;10.1525/fq.2020.74.2.32&lt;/a&gt;.)&lt;/span&gt;</text>
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          <description>The date of the film’s release (year only). La fecha de estreno (año solamente).</description>
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          <description>The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar.</description>
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          <description>The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película.</description>
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          <description>An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso.</description>
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              <text>&lt;span&gt;&lt;br /&gt;A group of children perform a choreaographed reggeaton dance while enthusiastically singing semblances of Spanish lyrics. (Schiwy, Freya and Byrt Wammack Weber. &lt;i&gt;Adjusting the Lens: Community and Collaborative Video in Mexico&lt;/i&gt;. University of Pittsburgh Press, 2017.)&lt;/span&gt;</text>
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          <description>The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves.</description>
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          <description>The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.</description>
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          <description>A name given to the resources. El nombre original del recurso.</description>
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              <text>Ana Rosa Duarte Duarte</text>
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          <description>The date of the film’s release (year only). La fecha de estreno (año solamente).</description>
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          <description>The language(s) that are spoken in the film or the language of the text. El idioma(s) de la película o del texto.</description>
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          <description>The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar.</description>
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          <description>The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película.</description>
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              <text>Ana Rosa Duarte Duarte (self-produced)&#13;
Fondo Estatal para la Cultura y las Artes de Yucatán (México)</text>
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          <description>An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso.</description>
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              <text>&lt;span&gt;&lt;em&gt;Arroz con leche: K óol uti’al k kuxtal&lt;/em&gt; (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. "&lt;em&gt;Arroz con leche&lt;/em&gt;: Audiovisual Poetry and the Politics of Everyday Life." &lt;em&gt;Adjusting the Lens: Community and Collaborative Video in Mexico&lt;/em&gt;, edited by Freya Schiwy and Byrt Wammak Weber, University of Pittsburgh Press, 2017, pp. 71-89. &lt;br /&gt;&lt;br /&gt;&lt;/span&gt;</text>
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              <text>Arroz con leche: Nuestro deseo de vivir&lt;em&gt; es un documental experimental que comencé a filmar en la década de los noventa, unos años después de que la política de desarrollo mexicana tomara un giro neoliberal radical, acompañado de nuevos discursos de género que exaltaban las habilidades emprendedoras de las mujeres rurales, en contraste con la supuesta irresponsabilidad de los hombres rurales. Los proyectos emprendedores para las mujeres rurales se habían convertido en la panacea para revitalizar el desarrollo rural. Aunque mi intención inicial era utilizar los medios audiovisuales para presentar un análisis crítico de cuatro de estos proyectos, este documental se convirtió en un medio para explorar mi propia identidad como nativa de la cultura maya, cuya carrera como antropóloga venía acompañada de constante presión para distanciarme de los conocimientos que había adquirido en mi propia aldea. Años atrás, durante el otoño de 1989, yo había vivido en las casas de cuatro de estas mujeres emprendedoras mientras realizaba una investigación de campo, pero la idea de hacer un documental sólo comenzó a tomar forma como resultado de mi contacto renovado con ellas durante mi investigación de campo a mediados de los años noventa. (Translation by Cinegogía Team)&lt;/em&gt;</text>
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          <description>The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves.</description>
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          <description>The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.</description>
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          <description>Website, streaming service, distributor</description>
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                <text>&lt;span&gt;&lt;em&gt;Arroz con leche: K óol uti’al k kuxtal&lt;/em&gt; (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. "&lt;em&gt;Arroz con leche&lt;/em&gt;: Audiovisual Poetry and the Politics of Everyday Life." &lt;em&gt;Adjusting the Lens: Community and Collaborative Video in Mexico&lt;/em&gt;, edited by Freya Schiwy and Byrt Wammak Weber, University of Pittsburgh Press, 2017, pp. 71-89. &lt;br /&gt;&lt;br /&gt;&lt;/span&gt;</text>
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          <description>A name given to the resources. El nombre original del recurso.</description>
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              <text>&lt;span&gt;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. (&lt;a href="https://yawar.art.br/portfolio/equilibrio/" target="_blank" rel="noreferrer noopener"&gt;Yawar Films&lt;/a&gt;)&lt;/span&gt;</text>
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                <text>&lt;span&gt;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. (&lt;a href="https://yawar.art.br/portfolio/equilibrio/" target="_blank" rel="noreferrer noopener"&gt;Yawar Films&lt;/a&gt;)&lt;/span&gt;</text>
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          <description>The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar.</description>
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              <text>&lt;span&gt;&lt;em&gt;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. &lt;/em&gt;(&lt;a href="https://hemisphericinstitute.org/en/" target="_blank" rel="noreferrer noopener"&gt;Hemispheric Institute&lt;/a&gt;)&lt;br /&gt;&lt;/span&gt;</text>
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          <description>A category of artistic composition, characterized by similarities in form, style, or subject matter. Una categoría de composición artística, caracterizada por semejanzas de forma, estilo, o tema.</description>
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          <description>The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves.</description>
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          <description>The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.</description>
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          <description>Website, streaming service, distributor</description>
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          <description>A name given to the resources. El nombre original del recurso.</description>
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              <text>Ilwen: La tierra tiene olor a padre</text>
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          <description>The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar.</description>
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              <text>&lt;span&gt;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. (&lt;a href="http://www.ccplm.cl/sitio/secciones/cineteca-nacional/" target="_blank" rel="noreferrer noopener"&gt;Cineteca Nacional Chile&lt;/a&gt;)&lt;/span&gt;</text>
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              <text>&lt;span&gt;Through a poetic language Francisco Huichaqueo, visual artist, paints a self-portrait with his father. This is the love story of a son and his father - both of Mapuche origin, and of the father towards the land. Through memories of a harsh economic reality he remembers the difficulties of his childhood and the distancing of his own father from the indigenous community they all belong to. His own affection for his children flourishes through his love of nature. This is his legacy. The images lured by the author's camera are witnesses and accomplices of that love. The garden patch is the place of bonding between parent and child as well as of self-affirmation of Mapu_Che (people of the earth) roots and beliefs. This work is cultivated between the memories of discrimination, deprivation and distress, but also in the amazed contemplation of the beauty and wonders of nature in the southern paradise of the Mapuche Nation. (&lt;a href="https://vimeo.com/338142354" target="_blank" rel="noreferrer noopener"&gt;Film description on Vimeo&lt;/a&gt;)&lt;/span&gt;</text>
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          <description>The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves.</description>
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          <description>The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar.</description>
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              <text>&lt;span&gt;Kalül Trawün was conceived and filmed during an exhibition in a room of the National Museum of Fine Arts located in a shopping mall, in Santiago de Chile. In this beautiful piece, Huichaqueo highlights the forms of violence and dispossession that the Mapuche people continue to endure, as well as their resistance. Working alongside a Mapuche family and the spontaneous audience, the filmmaker recorded improvised performances that responded to the conflicts in place in several Mapuche lands in southern Chile. Several symbolic elements are part of the setting, such as the eucalyptus leaves (referring to logging companies), the barbed wire (referring to territorial reductions), and the names of political prisoners from those days. (&lt;a href="https://sk.tranzit.org/en/project/0/2022-11-15/francisco-huichaqueo-perez-kaluel-trawuen-an-action-out-of-tenderness-to-heal" target="_blank" rel="noreferrer noopener"&gt;Tranzit.org&lt;/a&gt;)&lt;/span&gt;</text>
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              <text>&lt;em&gt;&lt;br /&gt;&lt;/em&gt;Kalül trawün&lt;em&gt; fue concebido y filmado durante una exposición en una sala de Museo Nacional de Bellas Artes ubicada en un centro comercial en Santiago de Chile. En esta hermosa pieza, Huichaqueo destaca las formas de violencia y despojo que siguen afectando al pueblo mapuche, así como su resistencia a estas fuerzas. Trabajando con una familia mapuche y el público espontáneo, el cineasta grabó actuaciones improvisadas que respondieron a los conflictos que se están produciendo en varios territorios mapuche en el sureste de Chile. Varios elementos simbólicos forman parte del escenario, como las hojas de eucalipto (en referencia a las empresas madereras), el alambre de púas (representando las reducciones territoriales) y los nombres de presos políticos de tiempos anteriores. (Traducido por Jocelyn Zhingri) &lt;/em&gt;</text>
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          <description>The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves.</description>
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                <text>&lt;span&gt;Kalül Trawün was conceived and filmed during an exhibition in a room of the National Museum of Fine Arts located in a shopping mall, in Santiago de Chile. In this beautiful piece, Huichaqueo highlights the forms of violence and dispossession that the Mapuche people continue to endure, as well as their resistance. Working alongside a Mapuche family and the spontaneous audience, the filmmaker recorded improvised performances that responded to the conflicts in place in several Mapuche lands in southern Chile. Several symbolic elements are part of the setting, such as the eucalyptus leaves (referring to logging companies), the barbed wire (referring to territorial reductions), and the names of political prisoners from those days. (&lt;a href="https://sk.tranzit.org/en/project/0/2022-11-15/francisco-huichaqueo-perez-kaluel-trawuen-an-action-out-of-tenderness-to-heal" target="_blank" rel="noreferrer noopener"&gt;Tranzit.org&lt;/a&gt;)&lt;/span&gt;</text>
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          <description>The date of the film’s release (year only). La fecha de estreno (año solamente).</description>
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          <description>The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar.</description>
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              <text>&lt;span&gt;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. (&lt;a href="https://iffr.com/en/iffr/2019/films/kbela" target="_blank" rel="noreferrer noopener"&gt;International Film Festival Rotterdam&lt;/a&gt;)&lt;br /&gt;&lt;br /&gt;&lt;/span&gt;</text>
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          <description>The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves.</description>
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          <description>The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.</description>
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          <description>Website, streaming service, distributor</description>
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                <text>&lt;span&gt;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. (&lt;a href="https://iffr.com/en/iffr/2019/films/kbela" target="_blank" rel="noreferrer noopener"&gt;International Film Festival Rotterdam&lt;/a&gt;)&lt;/span&gt;</text>
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          <description>A name given to the resources. El nombre original del recurso.</description>
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          <description>The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar.</description>
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          <description>The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película.</description>
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              <text>&lt;span&gt;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? (&lt;a href="http://www.sensacine.com/" target="_blank" rel="noreferrer noopener"&gt;Sensa Cine&lt;/a&gt;)&lt;/span&gt;</text>
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              <text>&lt;em&gt;Mecha y Gregorio están en su casa de campo deteriorada cerca de La Ciénaga con sus hijos adolescentes. Hace calor. Los adultos beben seguido. Mecha se corta, ocasionando un viaje al hospital y una visita de su hijo, José. Su prima, Tali, trae a sus hijos. Los niños estan solos, tomando el sol al lado de la piscina sucia, bailando en el pueblo, corriendo por las montañas con escopetas, manejando sin licencia. Una de las jóvenes ama a Isabel, una de las sirvientas a la que constantemente acusan de robo. Madre e hijo, hijo y hermana, adolescente e Isabel, se encuentran juntos en las camas y los baños con una intimidad extraña. Sin ningún adulto que preste atención, ¿quién está en riesgo? (Translation by Jeimy Hernandez)&lt;/em&gt;</text>
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          <description>The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves.</description>
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          <description>The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.</description>
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                <text>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)</text>
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          <description>A name given to the resources. El nombre original del recurso.</description>
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          <description/>
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          <description>The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar.</description>
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          <description>An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso.</description>
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              <text>&lt;em&gt;Misael lives in the immensity of the Pampas working with his ax. He survives only with the essentials and almost no contact with others. We watch his life minute by minute trying to discover through small movements or actions his way of living in this world. (Translation by Jessica Batista)&lt;/em&gt;</text>
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          <description>A broad category or mode of cinematographic production.</description>
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          <description>A category of artistic composition, characterized by similarities in form, style, or subject matter. Una categoría de composición artística, caracterizada por semejanzas de forma, estilo, o tema.</description>
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          <description>The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves.</description>
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          <description>The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.</description>
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          <description>The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar.</description>
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          <description>The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película.</description>
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          <description>An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso.</description>
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          <description>A category of artistic composition, characterized by similarities in form, style, or subject matter. Una categoría de composición artística, caracterizada por semejanzas de forma, estilo, o tema.</description>
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          <description>The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.</description>
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          <description>The date of the film’s release (year only). La fecha de estreno (año solamente).</description>
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          <description>The language(s) that are spoken in the film or the language of the text. El idioma(s) de la película o del texto.</description>
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          <description>The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar.</description>
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          <description>The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película.</description>
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              <text>&lt;span&gt;Three characters in present-day Havana must choose between clinging to their self-restricting beliefs, or getting rid of them to live more freely. Ballerina Mariana has promised God celibacy if she gets the role of "Giselle"; Social-worker Julia always faints after hearing a certain word; and pot-smoking percussionist Elpidio was abandoned by his mother, coincidentally named Cuba, some time ago and has not yet gotten over the loss. (&lt;a href="http://cinelatinoamericano.org/" target="_blank" rel="noreferrer noopener"&gt;Portal del cine y audiovisual latinoamericano y caribeño&lt;/a&gt;)&lt;/span&gt;</text>
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          <description>A category of artistic composition, characterized by similarities in form, style, or subject matter. Una categoría de composición artística, caracterizada por semejanzas de forma, estilo, o tema.</description>
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          <description>The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves.</description>
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          <description>The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.</description>
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                <text>&lt;span&gt;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. (&lt;a href="https://www.premiosgoya.com/pelicula/la-vida-es-silbar/" target="_blank" rel="noreferrer noopener"&gt;Premios Goya&lt;/a&gt;)&lt;/span&gt;</text>
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          <description>A name given to the resources. El nombre original del recurso.</description>
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          <description>The director of the film. El/La director/a de la película.</description>
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              <text>Mario Peixoto</text>
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          <description>The date of the film’s release (year only). La fecha de estreno (año solamente).</description>
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          <description>The language(s) that are spoken in the film or the language of the text. El idioma(s) de la película o del texto.</description>
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          <description>The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar.</description>
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          <description>The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película.</description>
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          <description>An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso.</description>
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              <text>&lt;span&gt;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. (&lt;a href="http://www.cinemateca.gov.br/" target="_blank" rel="noreferrer noopener"&gt;Cinemateca Brasileira&lt;/a&gt;)&lt;/span&gt;</text>
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              <text>Three people sail aimlessly while remembering their past. (&lt;a href="http://www.imdb.com/"&gt;IMDB&lt;/a&gt;)</text>
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          <name>Category / Categoría</name>
          <description>A broad category or mode of cinematographic production.</description>
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              <text>Experimental Films / Cine experimental</text>
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          <description>A category of artistic composition, characterized by similarities in form, style, or subject matter. Una categoría de composición artística, caracterizada por semejanzas de forma, estilo, o tema.</description>
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              <text>Avant garde cinema / cine de la vanguardia</text>
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          <description>The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.</description>
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            <description>A name given to the resource</description>
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            <description>An account of the resource</description>
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                <text>&lt;span&gt;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. (&lt;a href="http://www.cinemateca.gov.br/" target="_blank" rel="noreferrer noopener"&gt;Cinemateca Brasileira&lt;/a&gt;)&lt;/span&gt;</text>
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          <description>A name given to the resources. El nombre original del recurso.</description>
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              <text>Los olvidados</text>
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        <element elementId="14">
          <name>Director</name>
          <description>The director of the film. El/La director/a de la película.</description>
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              <text>Luis Buñuel</text>
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          <description>The date of the film’s release (year only). La fecha de estreno (año solamente).</description>
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              <text>1950</text>
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          <name>Country / País</name>
          <description>The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar.</description>
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          <description>The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película.</description>
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          <description>An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso.</description>
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              <text>&lt;span&gt;El Jaibo, un adolescente, escapa de la correccional y se reune en el barrio con sus amigos. Junto con Pedro y otro niño, trata de asaltar a Don Carmelo. Días después, el Jaibo mata en presencia de Pedro al muchacho que supuestamente tuvo la culpa de que lo enviaran a la correccional. A partir de este incidente, los destinos de Pedro y de el Jaibo estarán trágicamente unidos. (&lt;a href="http://cinemexicano.mty.itesm.mx/" target="_blank" rel="noreferrer noopener"&gt;Cine Mexicano&lt;/a&gt;) &lt;/span&gt;</text>
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              <text>&lt;em&gt;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)&lt;/em&gt;</text>
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          <description>A category of artistic composition, characterized by similarities in form, style, or subject matter. Una categoría de composición artística, caracterizada por semejanzas de forma, estilo, o tema.</description>
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          <description>The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves.</description>
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              <text>&lt;a href="https://cinegogia.omeka.net/items/show/435"&gt;https://cinegogia.omeka.net/items/show/435&lt;/a&gt;</text>
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                <text>&lt;em&gt;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)&lt;/em&gt;</text>
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          <description>The date of the film’s release (year only). La fecha de estreno (año solamente).</description>
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          <description>The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar.</description>
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          <description>The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película.</description>
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          <description>An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso.</description>
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              <text>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. (&lt;a href="http://www.cinemateca.gov.br/" target="_blank" rel="noreferrer noopener"&gt;Cinemateca Brasileira&lt;/a&gt;)</text>
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              <text>&lt;em&gt;Macunaíma is born deep in the virgin forest. Born different, his mother crouches, allowing the black fetus to fall on his head. He runs in wild hallucination through the woods, turning from black to white, and then leaving the jungle in exchange for the city in the company of his two brothers, Jigue and Maanape. In the strange and hostile city, he continues in the same mocking way, meeting and loving guerrilla Ci and countless other women, facing the millionaire villain Venceslau Pietro Pietra, and seeking to recapture the magic stone, the muirakitã, that is handed down by Cy. After a tumultuous urban adventure, he is able to recover the muirakitã and leaves the chaos of the city, returning to the jungle. But his willingness to be ladino can no longer adapt to the environment, therefore, he is abandoned by his brothers. Alone and hungry, but unwilling to hunt, Macunaíma recounts his adventures to a parrot until the day when a sudden urge to play makes him fall into the arms of Iara. (Translation by Jessica Batista)&lt;/em&gt;</text>
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          <description>The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves.</description>
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                <text>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)</text>
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          <description>The director of the film. El/La director/a de la película.</description>
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          <description>The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar.</description>
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              <text>&lt;p&gt;&lt;span&gt;&lt;em&gt;Malón Wiño / La serpiente de plata&lt;/em&gt; es un microcortometraje sobre la comunidad mapuche que comunica que "&lt;/span&gt;&lt;span&gt;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)&lt;/span&gt;&lt;/p&gt;</text>
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              <text>&lt;em&gt;&lt;br /&gt;Malón Wiño / The Silver Serpent is a micro-short film about the Mapuche community that shows "we are still alive." It explores the complexities of Mapuche identity through traditions of rhythm, memory, knowledge and resistance. The director Francisco Huichaqueo Pérez describes it as a short film that showcases “the most beautiful ways of being Mapuche.” &lt;span&gt;(Cinegogía Team)&lt;/span&gt;&lt;/em&gt;</text>
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          <description>A broad category or mode of cinematographic production.</description>
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          <description>The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves.</description>
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          <description>The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.</description>
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          <description>Website, streaming service, distributor</description>
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&lt;p&gt;&lt;a href="https://vimeo.com/742899887"&gt;Malón Wiño&lt;/a&gt; from &lt;a href="https://vimeo.com/huichaqueo"&gt;Mapuchecineasta&lt;/a&gt; on &lt;a href="https://vimeo.com"&gt;Vimeo&lt;/a&gt;.&lt;/p&gt;</text>
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            <description>A name given to the resource</description>
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                <text>&lt;span&gt;&lt;em&gt;Malón Wiño / La serpiente de plata&lt;/em&gt; es un microcortometraje sobre la comunidad mapuche que comunica que "&lt;/span&gt;&lt;span&gt;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)&lt;/span&gt;</text>
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              <text>&lt;span&gt;Guía en español: &lt;a href="https://cinegogia.omeka.net/items/show/856"&gt;https://cinegogia.omeka.net/items/show/856&lt;/a&gt;&lt;/span&gt;</text>
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              <text>Guide in English (with translations of poems): &lt;a href="https://cinegogia.omeka.net/items/show/857"&gt;https://cinegogia.omeka.net/items/show/857&lt;/a&gt;</text>
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              <text>&lt;span&gt;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. (&lt;a href="https://clacpi.org/2020/06/02/mujeres-espiritu-del-cineasta-francisco-huichaqueo-tiene-su-estreno-mundial-en-linea-este-jueves/" target="_blank" rel="noreferrer noopener"&gt;Coordinadora Latinoamericana del Cine y Comunicacion De Los Pueblos Indigenas - CLACPI&lt;/a&gt;)&lt;br /&gt;&lt;/span&gt;</text>
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              <text>&lt;span&gt;&lt;br /&gt;&lt;em&gt;This film weaves together a collective portrait of five women united by spirituality and poetry, five women who challenge the camera with their words. They don’t know each other personally, but the force of their declamatory speech, unique to each of their territories, brings them together in a filmic “braiding” that bonds them forever. Tzotzil, Mapuzungun, Quechua, and Spanish, are four beautiful languages that form a semantic field that is not only spoken word, but is also enriched by the sonority of each mother tongue transporting us on a spiritual journey with each woman and her territory.&lt;/em&gt; (Indigenous Cinema '22, &lt;a href="https://hemisphericinstitute.org/en/events/indigenous-cinema-22.html" target="_blank" rel="noreferrer noopener"&gt;Hemispheric Institute&lt;/a&gt;)&lt;/span&gt;</text>
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          <description>The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves.</description>
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          <description>The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.</description>
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                <text>&lt;span&gt;&lt;em&gt;Mujeres Espiritu&lt;/em&gt; 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. (&lt;a href="https://clacpi.org/2020/06/02/mujeres-espiritu-del-cineasta-francisco-huichaqueo-tiene-su-estreno-mundial-en-linea-este-jueves/" target="_blank" rel="noreferrer noopener"&gt;Coordinadora Latinoamericana del Cine y Comunicacion De Los Pueblos Indigenas - CLACPI&lt;/a&gt;)&lt;br /&gt;&lt;/span&gt;</text>
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          <description>The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar.</description>
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              <text>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. (&lt;a href="http://www.imdb.com" target="_blank"&gt;IMDB&lt;/a&gt;)</text>
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              <text>&lt;em&gt;La pelicula nos cuenta la historia de los Boteros, familia mexicana de clase media que sufre de pobreza despues de la muerte de su padre. Ignacia (Egurrola) es la madre de los Boteros. Como mujer desesperada en la película, ella toma la decisión de sacrificar el destino de sus tres hijos para proteger a Gabriel (Laguardia), el hijo más joven. Ignacia cree que Gabriel podrá subir la estructura social y devolverles la fortuna perdida de la familia. Sin embargo, el destino tiene otros planes para los Boteros, y la tragedia triunfará eventualmente. (Translation by Angel Carrillo)&lt;/em&gt;</text>
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          <description>The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves.</description>
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          <description>The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.</description>
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            <description>An account of the resource</description>
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          <description>A name given to the resources. El nombre original del recurso.</description>
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          <description>The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar.</description>
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Desfase Films (Perú)</text>
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          <description>The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves.</description>
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          <description>The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.</description>
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          <description>The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar.</description>
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          <description>The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película.</description>
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          <description>An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso.</description>
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              <text>&lt;span&gt;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. (&lt;a href="https://www.filmaffinity.com/es" target="_blank" rel="noreferrer noopener"&gt;Film Affinity ES&lt;/a&gt;&lt;a class="waffle-rich-text-link"&gt;)&lt;/a&gt;&lt;/span&gt;</text>
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              <text>&lt;em&gt;&lt;br /&gt;The documentary, using re-enactments, traces the steps of an indigenous man from a small Amazon tribe, who may be the sole survivor of a 1970s era massacre. (&lt;a href="http://www.imdb.com/" target="_blank" rel="noreferrer noopener"&gt;IMDB&lt;/a&gt;)&lt;/em&gt;</text>
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          <description>A broad category or mode of cinematographic production.</description>
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          <description>The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves.</description>
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              <text>Indigenous peoples / Pueblos indígenas</text>
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          <description>The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.</description>
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              <text>Contemporary / Contemporáneo</text>
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        <element elementId="99">
          <name>Available at</name>
          <description>Website, streaming service, distributor</description>
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            </elementText>
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        <element elementId="97">
          <name>Film Guide / Guía de película</name>
          <description>Add link to related film guide</description>
          <elementTextContainer>
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              <text>&lt;a href="https://cinegogia.omeka.net/items/show/836"&gt;https://cinegogia.omeka.net/items/show/836&lt;/a&gt;</text>
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            <description>A name given to the resource</description>
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          <element elementId="41">
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            <description>An account of the resource</description>
            <elementTextContainer>
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                <text>&lt;span&gt;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. (&lt;a href="https://www.filmaffinity.com/es" target="_blank" rel="noreferrer noopener"&gt;Film Affinity ES&lt;/a&gt;&lt;a class="waffle-rich-text-link"&gt;)&lt;/a&gt;&lt;/span&gt;</text>
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        <name>Amazon / Amazonas</name>
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              <name>Title</name>
              <description>A name given to the resource</description>
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      <name>Filmography</name>
      <description/>
      <elementContainer>
        <element elementId="71">
          <name>Title / Título (Original)</name>
          <description>A name given to the resources. El nombre original del recurso.</description>
          <elementTextContainer>
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              <text>Utopía</text>
            </elementText>
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        <element elementId="85">
          <name>Title</name>
          <description/>
          <elementTextContainer>
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              <text>Utopia</text>
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        <element elementId="14">
          <name>Director</name>
          <description>The director of the film. El/La director/a de la película.</description>
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              <text>Arturo Infante</text>
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        <element elementId="72">
          <name>Release Date / Fecha de estreno</name>
          <description>The date of the film’s release (year only). La fecha de estreno (año solamente).</description>
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              <text>2004</text>
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        <element elementId="73">
          <name>Language / Idioma</name>
          <description>The language(s) that are spoken in the film or the language of the text. El idioma(s) de la película o del texto.</description>
          <elementTextContainer>
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              <text>Spanish / español</text>
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        <element elementId="74">
          <name>Country / País</name>
          <description>The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar.</description>
          <elementTextContainer>
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              <text>Cuba</text>
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        </element>
        <element elementId="75">
          <name>Production Company / Compañía de Producción</name>
          <description>The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película.</description>
          <elementTextContainer>
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              <text>Guagua &amp; Co. (Cuba)</text>
            </elementText>
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        <element elementId="76">
          <name>Description / Descripción</name>
          <description>An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso.</description>
          <elementTextContainer>
            <elementText elementTextId="12792">
              <text>&lt;span&gt;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)&lt;/span&gt;</text>
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              <text>&lt;span&gt;This little film by Arturo Infante throws a bittersweet dart at Cuba's much tooted free for all educational system. In three short vignettes it shows the results obtained by Communist dictatorship after almost fifty years of manipulating education and culture. (&lt;a href="http://www.imdb.com/" target="_blank" rel="noreferrer noopener"&gt;IMDb&lt;/a&gt;)&lt;/span&gt;</text>
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        </element>
        <element elementId="83">
          <name>Category / Categoría</name>
          <description>A broad category or mode of cinematographic production.</description>
          <elementTextContainer>
            <elementText elementTextId="12794">
              <text>Experimental Films / Cine experimental</text>
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        <element elementId="78">
          <name>Subject Coverage / Tema</name>
          <description>The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves.</description>
          <elementTextContainer>
            <elementText elementTextId="12795">
              <text>Politics / La política</text>
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              <text>Social inequality / Desigualdad social</text>
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        <element elementId="79">
          <name>Cinematic Period / Periodo cinematográfico</name>
          <description>The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.</description>
          <elementTextContainer>
            <elementText elementTextId="12797">
              <text>Contemporary / Contemporáneo</text>
            </elementText>
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        </element>
        <element elementId="99">
          <name>Available at</name>
          <description>Website, streaming service, distributor</description>
          <elementTextContainer>
            <elementText elementTextId="12798">
              <text>YouTube: &lt;a href="https://youtu.be/LHjKNjtEn_I" target="_blank" rel="noreferrer noopener"&gt;https://youtu.be/LHjKNjtEn_I&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Rialta: &lt;a href="https://rialta.org/utopia/" target="_blank" rel="noreferrer noopener"&gt;https://rialta.org/utopia/&lt;/a&gt;</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
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                <text>Utopía</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
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                <text>&lt;span&gt;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)&lt;/span&gt;</text>
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        <name>Short Film / cortometraje</name>
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