Browse Items (64 total)
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Menino 23 - Infâncias Perdidas no Brasil
The Forgotten Boys of Brazil follows the research of historian Sidney Aguilar, beginning with the discovery of bricks marked with Nazi swastikas on a farm in the countryside of São Paulo. The documentary reveals something really frightening: during the 1930s, fifty black boys were taken from an orphanage in Rio de Janeiro and led to the farm where the bricks had been found. There, the boys were identified by numbers and subjected to slave labor by a family that was part of the political, military, and economic elite of the country. This family did not hide their affinity for the Nazi ideology.
At the time, Brazil had the largest German population-with 100,000 German-born people and a community of 1 million people of German descent. 2,822 were members of the Nazi Party. Such context helped Brazil become a safe haven for Nazi war criminals after WWII when 20,000 Germans settled there. The most notorious fugitive to settle in Brazil was Dr. Josef Mengele.
Two survivors from this Brazilian tragedy, Aloísio Silva (the “boy 23”) and Argemiro Santos, as well as the family of José Alves de Almeida (known as ‘Two’), reveal their stories for the first time. (Pragda)
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Cores e Botas
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) -
Afroargentinos
“Most Argentines, if you ask, will tell you: ‘In Argentina there are no black people.’” So opens AFROARGENTINES, a film which unearths the hidden history of black people in Argentina and their contributions to Argentine culture and society, from the slaves who fought in the revolutionary wars against Spain, to the contemporary struggles of black Argentines against racism and marginalization. The film uses historical documents from the 18th, 19th, and 20th centuries, but is mostly based on interviews with black Argentines from a variety of backgrounds: intellectuals and taxi drivers, immigrants from Africa and native Afroargentines. (Third World Newsreel) -
Más allá del fútbol
Más allá del fútbol is a feature length documentary film that introduces the highland Afro-Ecuadorian communities of the Chota-Mira valley and the genre of music and dance known as la bomba. Afrochoteños, as many in the region today self-identify, are the descendants of enslaved Africans brought by Jesuits in the sixteenth and seventeenth centuries to labor the sugarcane fields situated along the rivers Chota and Mira in the provinces of Carchi and Imbabura. For much of the twentieth century, Afro-Ecuadorians had been marginalized to the extent that their presence within the nation has now been reduced to their athletic contributions. This film goes beyond soccer to document the rich history and culture of the Afro-Ecuadorians through a discussion of la bomba. Featuring interviews with local community members, organization leaders, and renowned bomba musicians along with segments of bomba music and dance, Más allá del fútbol presents an overview of the history and development of la bomba and addresses the genre’s significance for afrochoteños. In the process, the film’s narrative and discourse illuminates the current dynamics of race and racism currently impacting perceptions and representations of la bomba and afrochoteño identity and culture today. (YouTube: https://www.youtube.com/watch?v=XtFEHrSGdJk) -
Vazante
Minas Gerais, 1821. Período em que a economia local era baseada na extração de diamantes entrou em colapso. Ao voltar para casa, depois de uma longa viagem, na qual conduzia uma tropa de escravos, Antônio, um patriarca português, descobre que sua mulher morreu em trabalho de parto. Sentindo-se sozinho e isolado em uma fazenda improdutiva, busca um novo casamento com Beatriz, uma menina muito jovem que frustra seu plano de ter filhos. Antônio, então, volta às expedições, negociando negros e gado. Sozinha, Beatriz encontra nos escravos sua companhia. Uma traição implode a família em uma espiral de violência, que é o prenúncio de mudanças. O filme revela algumas de nossas maiores cicatrizes: a escravidão, o casamento forçado de meninas, a mestiçagem fruto do assédio e da exploração sexual das negras, e as hierarquias de poder que pervertem até as relações entre os mais oprimidos. (Cinemateca Brasileira) -
So quando eu danço
Only When I Dance was begun as a hopeful documentary about social projects in Rio’s favelas, the aim being simply to show another side to the Brazilian image of violence and hopelessness, with kids achieving real things in their appallingly blighted neighbourhoods. Director Beadie Finzi and producer Giorgia Lo Savio could never have imagined just what they would end up filming. Having decided that capoeira was overdone as a Brazilian theme, Beadie was drawn to the idea of ballet - she’d been told about a remarkable teacher, Mariza Estrella, who runs Rio’s Centro de Dança, where she gives free lessons to kids she talent-scouts in the favelas. In her top two classes Beadie found two outstanding children: Irlan Santos da Silva, a boy set apart from all others by the intensity of his love of dance, his beautiful physique and his evidently unusual talent, and Isabela Coracy, who faced the biggest barrier possible in her dream of becoming a ballerina: she is black. Even out in the world there are few black classical ballerinas - in Brazil, there are none. (The Arts Desk.com) -
Rancheador
El Rancheador era un mercenario al servicio de los esclavistas para capturar a los negros esclavos en fuga y devolverlos a sus amos. Francisco Estévez no se detiene ante nada y reprime incluso a los campesinos blancos, pero su meta es Melchora, incapturable líder de los negros fugados. Esta historia está basada en el "Diario del Rancheador", obra del escritor cubano Cirilo Villaverde. (Film Affinity ES) -
Tarjeta roja
La historia de Agustín (Tin) Delgado, una de las máximas figuras de la historia del fútbol ecuatoriano, es el eje de este documental dirigido por el periodista y comunicador social Rodolfo Muñoz, que investiga a partir de su historia la existencia del racismo contra los afroecuatorianos. El punto clave del film, el que saca a la luz esa latente situación, es un escándalo disciplinario durante un partido de fútbol entre Barcelona (de Guayaquil) y Liga Universitaria de Quito, que culminó con la suspensión por un año del entonces ya veterano jugador de la Liga, quien venía de tener un excelente desempeño con la selección ecuatoriana en el Mundial de Alemania 2006. Mediante entrevistas a familiares, dirigentes y periodistas, varias recreaciones y algunas ficcionalizaciones, Muñoz narra la historia futbolística del jugador del Valle del Chota -región con alto porcentaje de población negra- para llegar a la conclusión de que los resultados futbolísticos de esa selección con alto porcentaje de afroecuatorianos en el Mundial sólo sirvió para tapar brevemente esa historia de racismo en el país, y que el posterior incidente en el clásico volvió a poner en primer plano, condenando al jugador de una manera inmerecida y excesiva. A Delgado tampoco lo habría ayudado haberse tornado más crítico con los dirigentes del fútbol del Ecuador y exigir los premios que fueron ofrecidos al equipo por su rendimiento en el Mundial y nunca pagados. Tarjeta roja -cuyo título juega con los dos modelos de expulsión, el social-racial y el estrictamente futbolístico- profundiza un tema que se repite en varios países del continente y del mundo: el complejo proceso de identificación y potencial frustración con los ídolos deportivos. Y, si además esta relación viene teñida de fuertes condimentos raciales, la situación se hace más compleja aún, ya que en ese extraño juego de amor-odio entran elementos que reflejan las debilidades de sociedades que no terminan por asumir -y, por eso mismo, no enfrentan del todo- el racismo en el que están inscriptas. (Retina Latina) -
Raíces de mi corazón
A present day AfroCuban woman [Mercedes] seeks her roots through her family history. Old photos, newspaper clippings jealously guarded by her grandmother, and her mother's stories reveal her great-grandparents' history. The historical truth raises the curtains through a love story. Reality and fantasy get mixed in, but all the elements integrated into the narration point towards the central figure, the woman, and to a moving chapter of turn of the century Cuba, when there occurred a violent repression of the AfroCubans who protested out of the frustration that fell over Cubans after the War of Independence. Thousands of descendants of Africans dedicated their lives to the struggle against Spanish colonialism in Cuba. They also fought against the slave system which kidnapped men, women, and children from the African continent and converted them into anonymous cogs of the sugar and coffee plantations. In the War of Independence (1868-78 and 1895-98), AfroCubans joined the Liberation Army (the Mambises) following the ideas of important leaders such as Jose Marti, but also inspired by the example of the Black generals of the War, such as Antonio Maceo, Quintin Banderas, and many others. Unfortunately, at the turn of the century, AfroCuban veterans felt the contempt of a Republic born distorted and completely alienated from the principles raised up by Jose Marti: "One Republic with everyone and for the good of everyone." Racism was part of official injustice. The process of cultural, economic, and political marginalization of Blacks in Cuba at thedawn of the present century is connected at a deep level with the fate of other African Americans up and down the continent. Peruvian, Uruguayan, Venezuelan, Columbian, North American, Argentinian, Brazilian, and other Blacks saw themselves deprived of their place of honor in the official history of their own countries. The protest organized by AfroCubans in 1912 was beaten back by the National Army itself and ended in a real human massacre which had its main scene in Oriente Province. This is the synopsis of the story our central figure is going to discover through her family. (AfroCubaWeb) -
Quilombo
Palmares is a 17th-century quilombo, a settlement of escaped slaves in northeast Brazil. In 1650, plantation slaves revolt and head for the mountains where they find others led by the aged seer, Acotirene. She anoints one who becomes Ganga Zumba, a legendary king. For years, his warriors hold off Portuguese raiders; then he agrees to leave the mountains in exchange for reservation land and peace. It's a mistake. Zumbi, a warrior whose mother was killed by Portuguese and who spent 15 years with the Whites, stays in the mountains to lead Palmares. In 1694, the Portuguese import a ruthless captain from São Paulo to lead an assault on the free Blacks. Can Zumbi keep Palmares free? (IMDB) -
Invisible color
This latest documentary by the Dean of Afro-Cuban Cinema Sergio Giral investigates the black Cuban exile community in South Florida, since the first wave of political refugees in the 1959 revolutionary aftermath, to today. It tracks its presence throughout the region, and highlights its contribution to Miami’s civic culture through testimonies and visual documentation. (African Diaspora International Film Festival) -
El valle de los negros
En el Valle de Azapa, un grupo de afrodescendientes se organiza para realizar el primer censo afro de la historia de Chile, buscando el reconocimiento del Estado, el cual ha invisibilizado su cultura y rasgos africanos durante más de 200 años. (Cine Chile) -
La Playa D.C.
Tomas, an Afro-Colombian teenager who fled the country’s Pacific coast pushed out by the war, faces the difficulties of growing up in Bogotá, a city of exclusion and racism. When Jairo, his younger brother disappears, Tomas plunges in the streets of the city searching for Jairo. This initiatory journey compels him to face his past and to leave aside the influence of his brothers in order to find his own identity. Tomas reveals a unique perspective of a vibrant and unstable city that, like Tomas, stands on the threshold between what once was and what might be. (https://en.unifrance.org/movie/34912/la-playa) -
La raíz olvidada
La presencia de los esclavos africanos en México ha sido desconocida por la historia oficial. La raíz olvidada incursiona en este tema desconocido para la mayor parte de la población mexicana. (SIC México) -
Diálogo con mi abuela
Un audiovisual donde se mezcla el documental y la ficción. Una foto de los años 20 es la imagen de la evocación espiritual. El Grupo Vocal Baobab interpreta los cantos tradicionales del espiritismo cubano. La voz original de la abuela Inocencia y el conjunto de fotos familiares de la realizadora Gloria Rolando, forman parte del relato cuyo objetivo es darle valor, en la historia social de Cuba, a esos pequeños y grandes pasajes de la vida cotidiana de una familia negra. (CubaCine - Portal del ICAIC) -
La Soledad
La Soledad is a dilapidated villa located in one of the wealthiest neighborhoods of Caracas. It used to be the home of director Jorge Thielen Armand’s great-grandparents, but when the owners passed away fifteen years ago, the property was unofficially inherited by their lifelong maid, Rosina, now 72, who remained to care for the house and raise her grandson, José, now 27, Jorge’s childhood friend. José works as a handyman, dreaming of a better life for his six-year-old daughter Adrializ, amidst Venezuela’s economic crisis. Waiting in long queues for food and the medicine Rosina so desperately needs is part of José’s routine. When he learns that the legal inheritors of the house plan to sell the estate, José struggles to try to find a solution that will keep his family away from the crime-ridden slums. Yet the house holds a secret that could save them all: a treasure that is rumored to be buried in its walls. Set in the beautiful derelict eponymous mansion and played by the real inhabitants, LA SOLEDAD (THE SOLITUDE) poetically depicts Venezuela’s socio-economic crisis through José’s struggle to save his family from homelessness. (Festival Scope) -
Ventos de Agosto
Mascaro’s film shows a place in the process of disappearing; in this case, due to climate change. It centers on two main characters: Shirley (Dandara de Morais) and her boyfriend, Jeison (Geová Manoel dos Santos). Shirley used to live in a big city but moved back to the village to care for her aging grandmother. She works as a truck driver at a coconut farm where Jeison is a coconut picker. Shirley wants to be a tattoo artist and Jeison spends his free time practicing underwater fishing. The everyday life of the characters is disrupted by the arrival of a meteorologist (or a wind researcher, as the final credits describe him—played by the director himself) who arrives in the village to study the sounds of the winds. An accident befalls the researcher and Jeison fnds him drowned at sea. As his body is never claimed, Jeison becomes determined to notify the authorities, despite the difficulties he encounters in the process. Source: Cunha, Mariana. "Bodies in Landscape: The Scientist's Presence in Viajo Porque Preciso, Volto Porque Te Amo, and Ventos de Agosto." Space and Subjectivity in Contemporary Brazilian Cinema, edited by Antônio Márcio da Silva and Mariana Cunha, Palgrave Macmillan, 2017, p. 85. -
Ôrí
While giving an overall look at the documented history of BLACK MOVEMENTS in Brazil (during the 70s and 80s), ORI tells the story of a woman, Beatriz Nascimento, activist and historian, who searches for her identity through research into the history of the "QUILOMBOS" as warrior establishments and focuses of cultural resistance, from 15th-century Africa to Brazil in the 20th century. (Culture Unplugged - watch complete film here) -
A negação do Brasil
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) -
¿Dónde está Sara Gómez?
Sara Gomez was a 'searcher.' My first encounter with her was watching her only fiction film and it blew my mind. She was the first Afro-Cuban woman filmmaker to have shot a fiction film and, more than thirty years later, the film (as well as her documentaries) remains so vibrant, so contemporary, and so touching. She searched new territories, brought people together from opposite worlds, and created new landscapes. And she died like a drama character, in the early seventies at age thirty-one, leaving behind a couple of brilliant films, two husbands, and three children; the ones who knew her, regret her departure. She left no apparent trail in the new filmmakers generation, but it’s as if her ghost is still around, sometimes in the most unexpected places. This film tells three love stories: 1) of Sara and her husband Germinal (who was also one of the finest Latin-American sound people), 2) of Sara and her family, and 3) of Sara and cinema, which she expanded so that Afro-Cuban culture is adequately represented. (Culture Unplugged - watch complete film here) -
Coraje
Coraje is about the last few months in the life of María Elena Moyano, who was killed at the age of 33 by the Peruvian revolutionary movement Sendero Luminoso. María Elena was the founder and leader of the so-called Women's Federation of Villa El Salvador, a slum district that had been built in the desert on the outskirts of Lima and was run by the inhabitants themselves. This community won several prizes abroad, such as the Spanish 'Principe de Asturias' and the 'Messenger City of Peace'. Two months before the brutal attack, María has spoken out against the campaign of hatred and violence of Sendero Luminoso and even though she was called 'Mama Coraje' by the local press, that condemned her to death.The film is narrated by a female Spanish doctor who remembers María's last months. We see the difficult conditions in which the vital and charismatic María did her work: the economic crisis, the hunger in the Villa, the bureaucratic opposition and increasing terror of the Senderos. But Coraje is above all a lively and intimate portrait of a fascinating woman who is not portrayed as a inviolable heroine, but as an ordinary woman with two children and a husband who is characterised by doubts and despair as well as courage. (International Film Festival Rotterdam) -
El otro Francisco
Based on the novel Francisco by Anselmo Suárez y Romero, "The Other Francisco" is a socio-economic analysis of slavery and class struggle through the retelling of the original novel. The film contrasts the romantic conceptions of plantation life found in Suárez Romero's novel with a realistic expose of the actual historical conditions of slavery throughout the Americas. It offers a critical analysis of the novel, showing how the author's social background led to his use of particular dramatic structures to convey his liberal, humanitarian viewpoint. (IMDB) -
Tango Negro: les Racines Africaines du Tango
Tango Negro explora la expresión africana en el tango y la contribución de las culturas africanas al tango. El tango era una reflexión de la vida de los esclavos llevados a Sudamérica – Argentina y Uruguay entre otros países – desde África Central en su mayoría, sobre todo desde el antiguo reino de Congo. La película revela hasta qué punto la música africana dejó sus huellas en el tango, mezclando la música en directo con entrevistas a amantes e historiadores del tango en Latinoamérica y en Europa, el famoso pianista argentino Carlos Cáceres entre ellos. (Film Affinity ES) -
Ganga Zumba
Near the end of the 16th century, slaves working in northeastern Brazilian sugar cane mills conspire to escape to Quilombo dos Palmares, a haven for fugitive black slaves. Among the group is young Ganga Zumba (Antonio Pitanga), who rises to become head of the first revolutionary republic in the Americas. (Film at Lincoln Center) -
Xica da Silva
In the 18th century, in Minas Gerais, the Portuguese mined diamonds and gold. João Fernandes de Oliveira arrives from Lisbon with the Crown's exclusive contract for mining diamonds. He quickly asserts control, letting the intendant and other authorities know that he's onto their corruption. Xica, a slave of the local sergeant-major and possessed of phenomenal sex drive and tricks that cause men to howl with pleasure, quickly captures João. He denies her no extravagance; miners die for his greed. Eventually Lisbon hears of João's excesses and sends an inspector. José, a political radical, provides Xica refuge; her unrelenting sexual tingle is Brazil's spirit. (IMDB) -
La última cena
The film showed a pious sugar plantation owner in Cuba who holds a large banquet and attempts to teach his slaves about religion and the necessity of suffering for eternal happiness. While the slaves believe that they are being shown kindness, they are merely being placated, and the landowner does not give them the following day off of work as he promised to do, leading to a slave revolt. This film also makes anti-religious commentary through the actions of the count and the hypocritical ideologies that he preaches. Source: Sundt, Catherine. “Religion and Power: The Appropriation of Da Vinci’s the Last Supper in Viridiana and L’Ultima Cena.” Romance Notes, vol. 49, no. 1, Jan. 2009, p. 72. -
Tú y yo
The Mrs., an old widow, and Aridia, a young maid, live together in a house filled with orchids in the center of Santo Domingo. Aridia cleans, the Mrs. gardens, and when work is slow, they can share some gossip. But sometimes, the atmosphere gets too tense: the Mrs. wakes up grumpy, she blames Aridia and when Aridia tries to defend herself, the Mrs. has to remind her "where her place is"; in time, they end up not talking to each other. But the hours pass by, the soap appears on TV, something happens in the neighborhood, and, out of nowhere, the Mrs. and Aridia come close again, ending the day sharing some laughs. The film is an excuse to watch their relationship closely, to perceive what happens when the border seems to diffuse itself in a place where difference of social class and race remain deep in the culture. (Cinema Tropical) -
La negrada
La Negrada is the first Mexican feature film about the Afro-Mexican community, filmed entirely with people from different towns around the Costa Chica in Oaxaca. Neri, a fisherman, splits his time between two women: his wife Juanita with whom he has a daughter and his lover Magdalena, mother of three additional children. Things are about to change for Neri as Juanita falls gravely ill and Magdalena prepares to take her place. Shot entirely on the beautiful beaches of Corralera in Oaxaca and featuring a cast of non-professional actors from the nearby communities, La Negrada explores the social mores of and the discrimination faced by Mexico’s unacknowledged black community. Sources: Pan African Film Festival & Cinema Tropical -
La isla rota
Guy, un niño haitiano que huye de la pobreza, presenció el asesinato de sus padres mientras cruzaba la frontera dominicana. Años más tarde, se enfrenta a los asesinos, enredados en una vorágine de venganza, amor, odio racial y un futuro incierto. (Parada RD) -
Yuli
Yuli relata la vida de Carlos Acosta, leyenda de la danza y primer bailarín negro cubano en interpretar algunos de los papeles más famosos del ballet, originalmente escritos para blancos, en compañías como el Houston Ballet o el Royal Ballet de Londres, donde ha sido primer bailarín durante más de quince años. El filme abarca desde su dura infancia hasta su madurez, etapa protagonizada por él mismo, quien, pese al éxito y al reconocimiento internacional, nunca olvidó sus orígenes. Inspirada en No Way Home, autobiografía de Carlos Acosta. (CubaCine - Portal del ICAIC) -
Miriam miente
El tranquilo mundo de una familia pequeñoburguesa comienza a desmoronarse a partir del momento en que Miriam (Dulce Rodríguez), de 14 años, conoce a su novio de Internet. Mientras sus amigas preparan con entusiasmo la tradicional fiesta de los quince años, Miriam no sabe cómo explicar a su familia que su novio es negro. (Parada RD) -
Raza
This documentary attempts to tackle the racial problems in Cuba today, through the voices of researchers, officials, musicians, artists and the general public. (DVD container) -
PM
Controversial cinéma vérité analysis of Havana’s lumpenproletariat in waterfront bars and cafés shortly after the failed Bay of Pigs invasion. (Letterboxd.com) -
Maluala
En la época colonial, los negros esclavos que huían, cimarrones, fundaban comunidades conocidas como palenques. Maluala fue el principal palenque de la región oriental de Cuba. Ante la imposibilidad de vencer, los sublevados deciden tomar justicia por sus manos. Una historia de otro siglo, llena de acción. http://cinematecacubana.com/ -
Now!
Powerful short documentary on the struggle for civil rights of Black people in the United States in the 1960s. https://www.filmaffinity.com/ -
1912, Voces para un silencio
1912, VOCES PARA UN SILENCIO es el titulo general para el proyecto de tres capitulos dedicado a la historia del Partido de los Independientes de Color (PIC). Una aproximacion necesaria a esta pagina tan poco conocida de la historia de CUBA. Se trata de un material documental , didactico, cuyos recursos principales son las voces de los historiadores y figuras de la cultura cubana que de alguna manera se han ocupado del tema y expresan sus valoraciones. Pero este capitulo es una especie de introduccion al tema que pretende cubrir algunos antecedentes en la historia de lucha de resistencia de los afrocubanos. Un recorrido necesario para ir paso a paso en la trayectoria del movimiento negro en cuba desde la epoca colonial, las luchas por la independencia y la situacion de los negros cubanos una vez que la Isla de Cuba logro su independencia en 1902. Aparece la referencia de lideres negros muy importantes desde el siglo XIX como son los casos de Juan Gualberto Gomez, Martin Morua Delgado. Se habla de la importancia de la figura de Antonio Maceo, de Quintin Banderas. -
Pelo malo
Junior tiene nueve años y el "PELO MALO". Se lo quiere alisar para la foto de la escuela y así verse como un cantante de moda. Esta situación generará un enfrentamiento con su madre Marta. Mientras Junior busca verse bello para que su mamá lo quiera, ella lo rechaza cada vez más. Finalmente Junior se verá obligado a tomar una dolorosa decisión. (Film's Official Website) -
El techo
En el centro de La Habana, sobre una azotea, tres jóvenes amigos se reúnen día a día para contarse historias y sueños, a tratar de que el tiempo pase sin notarse. En medio de su aburrimiento, sin apenas recursos y soñando la prosperidad, deciden armar un negocio propio. El costo de este sueño, al fin, los conducirá a la madurez personal no exenta de cierta felicidad. (Portal del cine y audiovisual Latinoamericano y caribeño) -
De cierta manera
Conflicts between old habits that perpetuate marginalization and a new moral era, in the context of the social tranformation that took place in Cuba beginning with the victory of the 1959 Revolution. The construction of the Miraflores neighborhood in 1962 by its residents: the conflicts, contradictions and changes seen from a personal, individual perspective. The film is based on true events and combines documentary wth fiction. (Translation by Jeimy Hernandez) -
Orfeu Negro
Young lovers Orfeu (Breno Mello) and Eurydice (Marpessa Dawn) run through the favelas of Rio during Carnaval, on the lam from a hitman dressed like Death (Ademar Da Silva) and Orfeu's vengeful fiancée Mira (Lourdes de Oliveira) and passing between moments of fantasy and stark reality. This impressionistic retelling of the Greek legend of Orpheus and Eurydice introduced bossa nova to the world with its soundtrack by young Brazilian composers Luiz Bonfá and Antonio Carlos Jobim. (IMDB) -
Integração racial
Uma visão abrangente da situação dos diferentes grupos étnicos existentes no Brasil. Nos depoimentos, recolhidos nas ruas e bairros de diversas capitais, negros, brancos, mulatos, portugueses, italianos e japoneses manifestam sua opinião e descrevem experiências pessoais, envolvendo o relacionamento, o racismo, a miscigenação e o intercâmbio cultural. (Cinemateca Brasileira)Tags Cinema Nôvo -
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) -
Os Inquilinos
Durante os dias de atentado do PCC em São Paulo, a realidade de uma família de periferia é alterada com a chegada de três jovens barulhentos que alugam a casa vizinha. Valter, Iara e seus dois filhos pequenos passam a dormir mal. Valter, empregado em uma banca de frutas, se atormenta com as mudanças no cotidiano de sua rua, que conhece apenas pela narrativa de Iara. Iara, desde a chegada dos novos inquilinos, lhe parece cada dia mais bonita. Logo, eles percebem que os três rapazes fazem parte do crime organizado. O uso da violência parece ser inevitável, e eles começam a se sentir acuados. (Cinemateca Brasileira) -
Empoderadas
Empoderadas é uma websérie que apresenta entrevistas com mulheres negras das mais diversas áreas, profissionais bem sucedidas que falam sobre suas trajetórias, sobre o mercado de trabalho e o racismo e o machismo que o envolvem. Cada capítulo nos apresenta uma personagem real e uma história única. Foram entrevistadas atrizes, artesãs, cantoras, professoras, dentre várias outras profissionais que conversam com a câmera e falam sobre negritude, gênero, suas vidas e suas lutas. (Arte Aberta) -
Afrolatinos
El cortometraje Afrolatinos es un reportaje que cuenta la historia de los africanos y sus descendientes en América Latina, recalcando la importancia de su influencia en la cultura e historia de varias regiones. Inspirado por la vida del director afropanameño Edwin Pitti, el documental explora lo que significa ser afrodescendiente, apoyándose en la investigación y entrevistas. Pitti muestra cómo los afrodescendientes enfrentan la desigualdad social, luchando contra el racismo y abogando por la representación y mejor acceso a los sistemas de educación, salud, y política. (Resumen de Éowyn Bailey) -
Cores pretas
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) -
Nana dijo: Radiografía irresoluta de la conciencia negra
“Nana Dijo. Radiografía irresoluta de la conciencia negra”, es un trabajo que expone las condiciones de segregación, discriminación, censura y violencia cultural contra las poblaciones afrodescendientes en Latinoamérica y negros latinos en Estados Unidos. Es, pues, un documental que está llamado a convertirse en material elemental para comprender y transformar la conciencia general sobre la negritud en países de habla hispana, donde lo afro ha sido silenciado por siglos, incluso, para los mismos afrodescendientes. En una industria cultural inundada de proyectos sobre afro-descendencia políticamente tibios, con enfoques completamente subordinados a las hegemonías culturales y que solo apuestan por la exortización del cuerpo del oprimido y no por su empoderamiento, “Nana Dijo” emerge como un esfuerzo sólido por afirmar las narrativas de la experiencia Negra en primera persona (afrofeminas.com) -
Espejos del corazón
Lourdes Portillo is a filmmaker of undoubted importance for Latin American nonfiction cinema. Her lucid filmography oscillates between documentary, experimental film and video art. Astutely inscribing herself to the genealogy of Third Cinema, she became a pioneer in the exploration of Latin American identity within and outside of the United States. Dealing with themes of extreme sociopolitical complexity and exploring them through a meticulous investigation guided by intuition and feeling, Lourdes’ work – which has documented situations from Argentina to California – carefully highlights the postcolonial relationalities that have emerged in the various societies that reside in the continent commonly referred to as the “Americas”. [...] This is a film in which Lourdes rerouted her experimentation towards the task of informing audiences in the United States about Bolivian, Dominican and Haitian societies and cultures. Portillo weaves together a documentary that is at once formally conventional while also defiant of the model in which it was produced due to its insightful social, political and aesthetic study. This documentary directly speaks of the consequences and changing contradictions that have occured in these territories due to European colonization and the neo-colonial process coming from the United States. Making use of a procedural approximation, she shows us the crystallized elements but also a point of demonstrating that we are witnessing cultures in the process of transformation and hybridization: presenting traits and fragments of who they were and who they will become. (Portillo, Lourdes. Interview with Eduardo Makoszay. Corrientes, Nov-Dec 2020, www.corrient.es/portillo-makoszay-eng) -
A mí también me pasó
En esta ocasión Heny Cuesta, Zualy Riazco, Maio Rivas, Karen González, Lorena Benitez, Lina Lucumi y yo contaremos las maneras en que hemos vivido el racismo y la discriminación en diferentes etapas y momentos de nuestras vidas y como el mismo se encuentra en microracismos, esas situaciones cotidianas como ver los ojos de un guardia de seguridad puestos sobre ti, como si fueras una ladrona así vayas con la mejor ropa, el que desde pequeña no te veas representada en la televisión y si lo hay es la persona del servicio, la nana, pero no como un papel principal, el siempre vivir con zozobra cuando estás cerca de un policía, el que te digan a ustedes las “negritas” les quedan bien esos colores, tu cabello parase una esponja, pero tú no eres tan “negra”, etc. Con A mí También Me Pasó, queremos generar empatía, que como mujeres negras nos podamos sentir identificadas y apoyadas al escuchar testimonios únicos, pero que a la vez son de todas nosotras, porque lo hemos vivido y padecido en el transcurrir de nuestras vidas, nuestro propósito con este proyecto audiovisual es que todas podamos alzar la voz para denunciar públicamente todos estos actos de racismo que continúan siendo maquillados en el día a día, desde la casa, los medios de comunicación, la política, la educación, maestros que lamentablemente no tienen el más minino conocimiento de lo que es la cátedra afrocolombiana y no enseñan a nuestros niños y niñas que nosotras hacemos parte la construcción de nación con nuestros rasgos, herencia cultural, literaria, intelectual musical y más. (Cimarrón Producciones) -
They Are We
They Are We is the story of a remarkable reunion, 170 or so years after a family was driven apart by the ravages of the transatlantic slave trade. In Central Cuba, proud members of the Ganga-Longoba, a small Afro-Cuban ethnic group, have kept their unique heritage alive. Incredibly, through decades of brutal enslavement, independence wars, and then the denying of all religions after the revolution, they have retained a collection of distinct songs and dances that one of their ancestors brought from Africa as a slave. (Icarus Films)