Browse Items (6 total)
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Wiñaypacha
Like the elderly couple in Ozu’s wonderful Tokyo Story (1953), the main characters of Wiñaypacha carry upon their bent backs the sadness of being forgotten by their son. Nonetheless, they do not invest in anger nor build up blame. They spend their days weaving the blanket that keeps them warm on cold nights, chewing on coca leaves, and dreaming of a wind that will bring their firstborn back home. (Film Affinity US) -
Wiñaypacha
Like the elderly couple in Ozu’s wonderful Tokyo Story (1953), the main characters of Wiñaypacha carry upon their bent backs the sadness of being forgotten by their son. Nonetheless, they do not invest in anger nor build up blame. They spend their days weaving the blanket that keeps them warm on cold nights, chewing on coca leaves, and dreaming of a wind that will bring their firstborn back home. (Film Affinity US) -
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) -
Ukamau
Historia de la venganza de un campesino indio, cuya mujer ha sido violada y asesinada por un mestizo. Su anécdota posee un alcance parabólico: el indio encarna a la clase más explotada y oprimida y el mestizo es el último eslabón en la cadena de explotación. (Film Affinity ES)Tags Aymara / aimara -
Qati qati
La película Qati qati [...] se sirve tanto del género del terror como de los recursos del relato oral. En el filme, una campesina aimara, Valentina, cuenta a su esposo Fulo la historia del qati qati, una cabeza humana voladora que se desprende del cuerpo de las personas mientras duermen. Fulo se burla de las supersticiones de su esposa e ignora los presagios funestos. Pero una noche la cabeza de Valentina, transformada en qati qati, queda enredada por las trenzas en los arbustos, causándole la muerte. El apenado hombre reconoce, mientras entierra a su compañera, que habría sido mejor prestar oído a las creencias ancestrales. (Möller González, Natalia. "Cine y video indígena en América Latina 2: La mirada indígena." Revista Icónica, sección Ensayo, 27 nov 2018, revistaiconica.com/cine-y-video-indigena-en-america-latina-2-la-mirada-indigena) -
Wiñaypacha
Like the elderly couple in Ozu’s wonderful Tokyo Story (1953), the main characters of Wiñaypacha carry upon their bent backs the sadness of being forgotten by their son. Nonetheless, they do not invest in anger nor build up blame. They spend their days weaving the blanket that keeps them warm on cold nights, chewing on coca leaves, and dreaming of a wind that will bring their firstborn back home. (Film Affinity US)