Latin American Film
The Argentine filmmaker on colonialism, recreating history, and Zama.
In the early 1960s, Eduardo Coutinho began shooting a film about the murder of Brazilian trade unionist João Pedro Teixeira.
The filmmaker speaks about his self-portrait as a young poet
“Questions that once belonged to the cinematic institution have been set upon the world of spectacle we live in today. These questions belong to all of us now.”
Eduardo Williams’s debut feature takes us around the world on an ethnographic tour of labor, leisure, and logins.
“It was no longer important to be accurate. I came to understand that imagination and dreams were as important to them as any fact.”
Shining a light on Latin American cinema.
Selections by Nate Wooley, Laida Lertxundi, and Sarah Gerard.
“I prefer the film to be independent of myself. If you and your film are the same, then why make films?”
It’s hard to pin down exactly what happens with Lost Portraits, an almost mythical series of Super 8 and 16mm shorts—filmed between 1982–85 in Mexico City and New York—depicting Nicolayevsky’s young friends and peers while he was a film student at NYU.
While filming, Pedro Costa met people there who led him to Fontainhas, a now-vanished slum on the outskirts of Lisbon where many Cape Verdean immigrants used to live. Even as it was being torn down, this place became the location and actual subject of Costa’s future projects.
Andrés Wood’s film, Violeta Went to Heaven, brought me back to a decisive moment. I am 14 and I am crossing a threshold. I am walking down a hallway at my aunt Lola’s house on Manuel Montt Street in Santiago de Chile.
Matías Piñeiro makes intricate films that play with literature, history and language. His Shakespearean Viola opens on July 12 at the Film Society of Lincoln Center alongside a retrospective of his films.
Raúl Ruiz’s film, Night Across the Street, is an ode to antiheroic characters, and feels more like a coded public message than a late-style work.
Pereda, a prolific minimalist, and Naranjo, known for his highly stylized portraits of disaffected youth, discuss their divergent styles, practices, and their shared “exile” from their native Mexico.
Erasmus of Rotterdam claimed there were three types of people: those who lived in a dream world, those who lived in reality, and those who were able to turn one world into the other. The Venezuelan artist Javier Téllez belongs in this third category.
