The Secret Nation (La Nación Clandestina) | Jorge Sanjinés | 1989 | Bolivia
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Tatiana Huezo
Director and screenwriter Tatiana Huezo was born in 1972 in San Salvador, El Salvador. Huezo first garnered international attention for her 2011 debut documentary film, The Tiniest Place, which was screened at over 80 film festivals globally and won the Grand Prix for Best Feature-length film at Visions du Reel. Her film Tempestad, which follows the stories of two women affected by human trafficking, won Best Documentary at the 2016 Fenix Awards, and four Ariel Awards. Huezo's first fictional feature, Prayers for the Stolen, received a Special Mention from the jury at Cannes.
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TOWARDS A THIRD CINEMA: NOTES AND EXPERIENCES FOR THE DEVELOPMENT OF A CINEMA OF LIBERATION IN THE THIRD WORLD (Argentina, 1969)
"This profoundly influential manifesto, which coins the term Third Cinema, lays out Solanas and Getino’s strategy in making their groundbreaking La hora de los hornos (The Hour of the Furnaces, Argentina, 1968). They position Third Cinema in contra-distinction to Hollywood fi lm (First Cinema) and European “waves” and art cinema, including cinema novo (Second Cinema). They give priority to the documentary as a form of cinema that allows for social and political analysis and transformation, calling it the main basis of revolutionary fi lmmaking. They set out to transform not only what kinds of images appear on the screen but also the ways in which moving images are distributed and screened in Latin America, arguing for exhibition practices that lie outside the dominant, capitalist modes of spectatorship. As Jonathan Buchsbaum has demonstrated, Solanas and Getino did not mean for this manifesto to be static; as such they revised it over the years, adapting it to political changes and to what they discovered through their collective Cine Liberación and through screenings of Hour of the Furnaces throughout Latin America." (Film Manifestos and Global Cinema Cultures, a Critical Anthology, 2014, Scott MacKenzie)
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Los hijos de puta no se sienten hijos de putas.
La odisea de los giles (Borensztein, 2019)
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