Synopses of Films
A terra dos homens vermelhos / Birdwatchers (Italy-Brazil, 2008)
Pagani, A., Bechis, M., Gullane, F. & Gullane, C. (Producers) & Bechis, M. (Director).
This visually compelling narrative focuses upon the impoverished conditions and violence that natives face in Brazilian protected areas. The story narrates the attempts of the Kaiowás to reclaim part of the land they consider theirs, but which instead, at least officially, belongs to a soya bean producer who constantly resorts to violence rather than dialogue.
Alamar / To the Sea (Mexico, 2009)
Gonzalez Rubio, P. & Romandia, J. (Producers) & Gonzalez-Rubio, P. (Director).
The Mexican narrative focuses upon a key episode in the life of Natan. The 5-year-old is set to move to Italy and leave his father behind on his fishing boat along the Chinchorro atoll reef. Before he embarks on his journey, Jorge, his father, passes on to him some of the important lessons he has learnt about the sea and its mysteries.
Alicia en el país / Alicia in the Land (Chile, 2008)
Piranha Films (Producer) & Larraín, E. (Director). (2008).
The plot highlights the plight of disenfranchised communities and their attempts to search for a better life. Director Larraín re-enacts the tumultuous journey of Alicia Esquivel, a 13-year-old Bolivian girl detained and deported in 2004 after attempting to enter Chile in search of work.
Antes o Tempo Não Acabava / Time was endless (Brazil, 2016)
De Morais, A.A. (Producer) & Andrade, S. & Baldo, F. (2017).
This fiction feature reflects on the challenges faced by Anderson, a young gay man trapped between his difficult family situation, the beliefs of his Amazonia-based community, and his sexuality. Mysticism, tradition, cultural clashes, and Anderson’s struggle to survive are important elements of the story.
Bien esquivo / The Elusive Good (Peru, 2001)
Negrón, C. (Producer) & Tamayo, A. (Director) (2001).
Set in the 17th century, the film focuses upon a mestizo soldier seeking to be acknowledged as a Spaniard. His dying mother is a key element in Jerónimo’s journey of self-identity. Meanwhile, the Catholic Church uses all its power to delete any trace of the indigenous religions and sacred objects in the area. A rebel nun becomes Jerónimo’s main ally.
Brava gente brasileira / Brave New Land (Brazil, 2001)
Murat, L. & Aché, C. (Producers) & Murat, L. (Director).
Framed as an allegory, the film revolves around clashes between Europeans and natives in the 17th century. Matters complicate when Anote, a Guaicuru girl captured by the Europeans, kills her new-born baby. Catholic interference and cultural differences between the Guaicuru people and the Portuguese troops leads to a dramatic ending.
Burwa dii ebo / The Wind and the Water (Panama, 2008)
Sanchez, M. & Colectivo Igaryala (Producer) & Bollow, V. (Director). (2008).
The film follows the journey of Machi, a young boy trying to survive in Panama City along with thousands who emigrate to the urban centre every year. A succession of events reunites Machi with Rosy, a Kuna girl raised in the city and daughter of a wealthy entrepreneur. Their love affair faces many obstacles. A backstory chronicles a construction company’s attempt to turn Machi’s hometown into a beach resort.
Caramuru (Brazil, 2001)
Figueira, E. & Filho, R. (Producers) & Arraes, G. (Director). (2001).
A satire about the colonization of Brazil, Caramuru explores the encounter between Mello, an incautious painter accidentally recruited to join an expedition to the Brazilian coast, and Amerindian sisters, Paraguaçu and Moema. Mello has the task of drawing a map of the new-found territories if he is to marry his fiancée back in Portugal.
Cenizas eternas / Eternal Ashes (Venezuela, 2011)
Cadenas, M. (Producer & Director). (2011).
The story revolves around a daughter, Elena, who decides to travel to the Orinoco River region to search for her mother, Ana. Elena is convinced that her mother survived the accident in which she allegedly died more than four decades ago. With the support of her aunt, Elena ventures into the jungle to find the truth.
Chochochi (Mexico, 2007)
Alcove Entertainment (Producer) & Cárdenas, I. & Guzmán, L.A. (Directors).
This visually compelling narrative focuses upon Evaristo and Luis Antonio, two Raramuri brothers who cannot be more different from each other. After taking their grandfather’s horse without permission and eventually losing it, they are forced to work to find the highly esteemed animal. The succession of events becomes complicated when the brothers cannot find each other either.
Climas / Climates (Peru, 2014)
Campos, E. (Producer) & Delgado, A. (Director).
The film rehearses three women from three different regions of Peru struggling to recover the strength to move on. While Victoria faces a personal crisis that makes her life in Lima crumble, Eva from the Amazon region engages in a sexual encounter with her uncle, and Zoraida, an elderly Andean woman, must face the return of her son.
Corazón del Tiempo / Heart of Time (Mexico, 2008)
Solares, A. (Producer) & Cortés, A. (Director).
Set in La Esperanza de San Pedro (Chiapas), this is the story of Sonia, a young girl destined to marry Miguel even if she is in love with insurgent Francisco. Marriage is not considered a private commitment between a couple, but rather a traditional community custom with a long history, a fact that complicates matters for Sonia.
Dauna: Lo que lleva el río / Dauna: Gone with the river (Venezuela, 2015)
Asociación Civil Yakarí & Alfarería Cinematográfica (Producers) & Crespo, M. (Director) (2015).
This fictional feature follows Dauna’s struggle against the patriarchy imposed by her father and her husband, Tarsicio. Dauna wants to work as a scientist, an aspiration that goes against the rules established for well-behaved wives and daughters. Choosing between her marriage, family life, and personal goals proves difficult.
Defensores de la vida / Defenders of Life (Costa Rica, 2015)
Ziyasheva, D. (Producer and Director).
The film revolves around Carmen’s life amid a matriarchy and the internal conflict experienced by Pamela, an anthropologist who struggles to understand the Ngöbe culture. Tradition dictates that Carmen’s granddaughter, Esmeralda, is to get married once she has completed the rite of passage that marks the beginning of her life as a woman.
Diarios de Motocicleta / Motorcycle Diaries (Argentina-Brazil-Chile-France-Germany-Peru-United Kingdom-United States, 2004)
Nozik, M., Tenenbaum, E. & Tenkhoff, K. (Producers) & Salles, W. (Director).
The film narrates Ernesto “Che” Guevara’s 1951 trip from his native Buenos Aires through deserts, mountains, and jungles to Venezuela. Gael García Bernal plays the iconic Che, while Rodrigo de la Serna (Argentina) interprets Alberto Granado, his companion in this adventure to the heart of the continent.
Dioses / Gods (Peru, 2008)
Méndez, J. & Campos, E. (Producers) & Méndez, J. (Director).
The story unfolds around Elisa’s quest to hide her indigenous legacy from her new upper-class friends. After marrying Agustín, a wealthy entrepreneur, she has decided to forget her humble roots. Elisa shares her new home with her self-indulgent stepchildren, Andrea and Diego, and their Quechua-speaking maids.
Distancia / Distance (Guatemala, 2011)
Santiago, P. (Producer) & Ramírez, S. (Director).
This Guatemalan film narrates the journey of Tomás to encounter his kidnapped daughter. After religiously attending the exhumation of bodies buried in common graves every day in the hope of finding her, Tomás receives the news that the girl, Lucia, is alive. They now face the obstacles imposed by linguistic barriers and opposed ideologies.
El abrazo de la serpiente / Embrace of the Serpent (Colombia, 2015)
Gallego, C. (Producer) & Guerra, C. (Director).
This widely acclaimed Colombian film revolves around the encounter of shaman Karamakate with two Westerners travelling into the heart of the Amazon rainforest, at separate times in history but with a similar goal. The first is ailing German explorer Theodor Koch-Grünberg, the second is American botanist Richard Evans. As the last survivor of his clan, Karamakate must decide whom to trust.
El destino / The man who came to the village (Argentina-Spain, 2006)
Pereira, M. (Producer and Director).
Based on a novel by Hector Tizon, the film chronicles the arrival of a priest in a town divided by those leading traditional lives, and those who embrace modernity. What almost noone knows is that the new priest is actually Pedro, a drug dealer escaping from those hired to murder him.
El facilitador / The Facilitator (Ecuador, 2013)
Parra, I. (Producer) & Arregui, V. (Director).
This fiction feature tells the story of Elena, the spoiled daughter of a high-ranking businessman, Miguel, who is sent to the countryside to reflect on her abusive use of alcohol and drugs. As this is her grandparents’ land, she is not new to the area and soon reunites with Galo, the son of the maid with whom she used to play as a child. Galo teaches Elena an important lesson.
El niño pez / The Fish Child (Argentina-Paraguay, 2009)
Morales, J.M. (Producer) & Puenzo, L. (Director).
Set mainly in a well-to-do suburb of Buenos Aires, the story unfolds around the love between Paraguayan maid, Guayi, and her employer’s daughter, Lala. Guayi has come to Argentina fleeing domestic violence and sexual abuse in her native country, but also escaping a difficult past that included giving birth to a son she conceived after her father raped her. The murder of Lala’s father is set to complicate the life of the young couple.
El regreso / The Return (Venezuela, 2013)
Ortega, P. (Producer & Director).
Structured as a road movie, the film explores the journey of Shüliwala, a young Wayúu girl escaping the horrors of the war. Now that her hometown has been invaded by armed groups, the 10-year-old must cross the border to survive and wait until the time comes to return home.
El regreso de Lencho / The Return of Lencho (Guatemala, 2010)
Ocularis Films (Producer) & Ocularis, M.R. (Director).
This is the story of Lencho, a 30-year-old graffiti artist who moves back to his native Guatemala after a long exile in the United States. Now that he is home, Lencho feels the need to encourage others to use art as a means of expression. Scarred by the horrors of the war, the Highland communities are reluctant at first.
El sueño del Mara’akame / Mara’akame’s Dream (Mexico, 2016)
Coria, J.F. & de Lara, M. C. (Producer) & Cecchetti, F. (Director).
The film revolves around Nieri, a young Huichol who dreams of performing music in Mexico City. However, faithful to tradition, his father opposes. Nieri is advised to wait until the Blue Deer appears in his dreams, a sign that he is ready to perform his duty as healer of the community.
El traspatio / The Backyard (Mexico, 2009)
Berman, S. (Producer) & Carrera, C. (Director).
A timely portrayal of a series of murders, rapes, and kidnappings that take place in Ciudad Juarez of which the main victims are women, the film explores the obstacles officer Blanca Bravo must face as she refuses to accept the sense of impunity that reigns within the police department.
El verano de los peces voladores / The Summer of Flying Fish (Chile 2013)
Erbs, S. (Producer) & Said, M. (Director) (2013).
The film explores the internal conflict of Manena, the young daughter of a wealthy family in southern Chile. While she is on holiday in the family’s summer farm, Manena begins to notice that Francisco, her father, uses extreme methods to free the nearby lagoon of carp. Francisco also uses unorthodox strategies when the Mapudungun communities protest. His daughter decides to do something about it.
El violín / The Violin (Mexico, 2005)
Castro, Á., Rodríguez H. & Vargas, F. (Producer) & Vargas, F. (Director).
Framed as an allegory, this is the compelling story of an 88-year violinist, Plutarco Hidalgo, who witnesses the military occupation of his hometown. Limited access to the village prevents the community from rebelling against the armed forces, particularly because armaments are hidden beneath the houses now occupied by soldiers. Plutarco uses his violin case to help his community in its struggle for justice.
Erase una vez Bolivia / Once upon a time in Bolivia (Bolivia, 2011)
Attar, N., Cordova, P. & Gosalvez, P. (Producers) & Cordova, P. (Director).
This road film follows the evolution of the relationship between Rocky and Nene. These half-brothers have different views on life, but their journey to the Bolivian-Chilean border stengthens their bond. A background story is the political climate of Bolivia and the role of ethnicity in daily interaction.
Erendira Ikikunari (Mexico, 2006)
Navas, W. (Producer) & Mora Cattlet, J. (Director).
Set in Michoacan in the 15th century, the film focuses upon Erendira, the young daughter of Chief Tangaxoan, whose father and fiancé expect will be an obedient, stay-at-home bride-to-be. Instead, she is eager to fight the new race of invaders (the Spaniards) who threaten the well-being of her community. The film is based on the life of Erendira, the mythical Purepecha princess.
Espiral / Spiral (Mexico, 2008)
Casas, A. (Producer) & Pérez Solano, J. (Director).
This fiction feature reflects on the families in impoverished Mexican towns left behind by those who emigrate. While Araceli must face the challenges of being left alone with her children, Diamantina is forced to separate from her fiancé.
Evo Pueblo (Bolivia, 2007)
Anteza, T., Ranvaud, D., Rodas, H. & Sardi, S. (Producers) & Antezana, T. (Director).
Based on the life of former Bolivian president Evo Morales, the film depicts Morales’ youth and eventual involvement in political circles. The semi-fictional biopic focuses upon his election as President and the creation of a pluricultural nation, exposing the multifaceted identity of Evo Morales while persuading spectators to avoid generalization and reductions.
Feriado / Holiday (Ecuador, 2014)
Skartveit, H.L. (Producer) & Araujo, D. (Directors).
The narrative follows introverted, well-to-do Juan Pablo, as he spends some days at his uncle Jorge’s second home in the countryside. The film explores the conflicting realizations he experiences after he meets Juano, a kichwa car mechanic based in a nearby village.
Guaraní (Argentina-Paraguay, 2015)
Peña, S. (Producer) & Zorraquin, L. (Director).
The story focuses upon the journey of Atilio, an elderly man determined to persuade his daughter, Helena, to give birth in the land of their ancestors. The aging fisherman travels with Iara, Helena’s first daughter, believing she can be his interpreter once he reaches Buenos Aires.
Hamaca Paraguaya / Paraguayan Hammock (Argentina-Paraguay, 2000)
Hughan, I., Sabaté, S. & Slot, M. (Producers) & Encina, P. (Director).
Entirely spoken in Guaraní, the film follows Candida and Ramon as they wait for their son to return from the Chaco War. The elderly couple also waits for it to rain, and for better days to come. Their dialogue, topics of conversation, and moments of silence are as symbolic as the agonizing heat.
Ixcanul (Guatemala-France, 2015)
Nofuentes, I. (Producer) & Bustamante, J. (Director).
This is the story of María, a 17-year-old girl who is to marry Ignacio, the owner of the coffee farm where she lives with her parents. The film revolves around the drama that ensues after Ignacio finds out about María’s infidelity and pregnancy, and how the local hospital tricks the disenfranchised family into believing the new-born has died, only for them to discover that the baby has been given up for adoption.
La carga / The Load (Mexico, 2016)
Jonsson, A. (Producer & Director).
Set in the 16th century, the story chronicles the bond that emerges between Elisa, a Spanish aristocrat, and Painali, an indigenous man hired to deliver tributes and goods, but also to ferry important members of the newly established Spanish colony. The couple embarks in a journey through the inhospitable jungle, seeking to free themselves from their social positions.
La Ciénaga / The Swamp (Argentina, 2001)
Stantic, L. (Producer) & Martel, L. (Director).
This acclaimed film explores the dysfunctional interaction of a decadent family headed by Mecha, the mother. A focal point is the figure of Isabel, a domestic servant who is humiliated and mistreated by her employers. In her powerful position, Mecha is unapologetic in her behaviour, but also harbours sensitivities about Isabel’s ethnic background.
La Jaula de Oro / The Golden Cage (Mexico, 2013)
Payá, I. (Produce) & Quemada Diez, D. (Director).
The film deals in explicit fashion with the journey of three teenagers who attempt to emigrate illegally to the United States despite the external and internal obstacles. It examines the challenges faced by a Tzotzil teenager, Chauk, who is unable to speak Spanish, and his mestizo companions, Sara and Juan.
La mujer sin cabeza / The Headless Woman (Argentina, 2008)
Almodóvar, P. et al (Producers) & Martel, L. (Director).
The film follows Vero, a bourgeois woman whose life changes dramatically after she has an incident on the road. Once home, Vero is not sure whether she has actually run over an indigenous child, and the doubt plunges her into a moral crisis. Once a body is found, her doubt turns into guilt, but she attempts to pretend nothing happened.
La niña santa / The Holy Girl (Argentina, 2004)
Stantic, L. (Producer) & Martel, L. (Director).
The film provides a window into the life of Amalia and Josefina, two girls raised in different settings but sharing many commonalities. While Josefina comes from a conservative home, Amalia lives with her divorced mother and has access to the family hotel. An encounter between Dr. Jano, one of the guests, and Amalia has dramatic consequences, but also offers the young girl a sense of escape from her mundane reality.
La Sirga / The Towrope (Colombia, 2012)
Bustamante, D. & Ruiz, O. (Producers) & Vega, W. (Director).
The film charts the arrival of Alicia to the impoverished, dilapidated, and isolated inn her uncle Oscar runs with the help of Flora. The 19-year-old is not welcomed, but Oscar knows that, as with millions of others, his niece has become victim of the internal displacement brought about by the various guerrilla groups operating in the country.
La teta asustada / Milk of Sorrow (Peru, 2009)
Chavarrías, A., Llosa, C. & Morales, J.M. (Producers) & Llosa, C. (Director).
The film deals with the story of Fausta, a traumatized girl who decides to place a potato in her vagina to prevent potential rape. Through her uncle, Fausta manages to find a position as a domestic worker in service to Aída, a recognized though eccentric pianist. In the new house, she also meets Noé, a gardener Fausta progressively learns to trust.
La Tirisia / Perpetual Sadness (Mexico, 2014)
Gutiérrez, C., Pérez Solano, J. & Ramirez, T. (Producers) & Pérez Solano, J. (Director).
The film explores the obstacles faced by two pregnant women in a desolated area affected by massive emigration. The story focuses around Cheba’s decision to give up her newborn baby, product of an extramarital affair with Silvestre. It also focuses upon Angeles, an inexperienced teenager, also impregnated by Silvestre, who happens to be her stepfather.
Las niñas Quispe / The Quispe Girls (Chile, 2013)
Larraín, J.d.D. (Producer) & Sepúlveda, S. (Director).
This historical drama chronicles the story of Justa, Lucía, and Luciana, three Colla sisters who decide to commit suicide. Frightened by the presence of military troops in the area, and having lost another sister, the Quispe sisters lose any sense of hope.
Los ojos azules / The Blue Eyes (Mexico, 2012)
Aridjis, E. (Producer & Director).
Set in Chiapas, the story revolves around Karen and Paul, two American tourists whose lives change dramatically after a fatal encounter with indigenous forces. Odd experiences, hallucinations, and strange incidents appear to be linked to Paul’s grandfather, a former anthropologist working in the area.
Los viajes del viento / The Wind Journeys (Colombia-Germany-The Netherlands, 2009)
Bustamante, D. & Gallego, C. (Producers) & Guerra, C. (Director).
The movie follows Ignacio Carrillo, a musician who travels a long distance to return an instrument to his former master. Now that his wife has died, Ignacio has decided to not play music anymore. A young boy, Fermín, embarks on this journey with him, more than anything because he admires Ignacio.
Madeinusa (Peru, 2005)
Chavarrías, A., Llosa, C. & Morales, J.M. (Producers) & Llosa, C. (Director).
This controversial film focuses upon 14-year-old Madeinusa, a young girl about to be deflowered by her father and town major, Don Cayo, during the Holy Week festivities. The story is set in the village of Manayaycuna, a lost town in terms of space and time. Salvador, a geologist stopping on his way to another town, becomes instrumental in the escape plan devised by Madeinusa.
Magallanes (Peru, 2015)
Amador, F. (Producer) & Solar del, S. (Director) (2015).
This visually compelling narrative focuses upon the story of Harvey Magallanes, a taxi driver who tries to make amends for the abuses he committed against Celina and her family during Peru’s internal conflict two decades earlier. Celina, psychologically scarred and now settled in Lima, is not willing to forgive the humiliation and injustice she has faced over the years.
Nosilatiaj. La belleza / Nosilatiaj. Beauty (Argentina, 2012)
Urtizberea, A. (Producer) & Seggiaro, D. (Director).
This visually compelling narrative examines the life of Yolanda, a young girl employed in a home where she is treated with disdain due to her indigenous background. At one point, she is tricked into sacrificing her precious hair (an important symbol in the Wichí culture), when the employer’s daughter, Antonela, needs hair extensions for her 15th birthday celebration.
Pájaros de verano / Birds of passage (Colombia-Denmark-Mexico, 2018)
Gallego, C. (Producer), Guerra, C. (Director) & Gallego, C. (Co-director).
This inter-generational drama explores the Bonanza marimbera (Marijuana Rush) that took place in Colombia between 1960 and 1980. The plot line tells the love story of Zaida and Raphayet amid the bloodthirsty war around the smuggling of marijuana. The matriarchy, headed by Ursula, Zaida’s mother, and a series of conflicts with other families involved in drug-trafficking, are important aspects of the story.
Play (Chile, 2005)
Gandara, S., Lopez, M. & Trafford, N. (Producers) & Scherson, A. (Director).
This fiction feature explores the life of Cristina, the caregiver of a terminally sick Hungarian émigré, who is obsessed with Tristan, a recently divorced architect. Well-to-do Tristan ignores the fact that he has become the object of Cristina’s delusion and compulsion. Her Mapuche background problematizes the sense of alterity and power structures the story seems to invert.
¿Quién mató la llamita blanca? / Who killed the white llama? (Bolivia, 2007)
Lanza, R., Moreno, A. & Ranvaus, D. (Producers) & Bellott, R. (Director).
A satirical road comedy that mocks the failed governmental structures and Bolivian hypocrisy. The main characters are Domitila and Jacinto, a couple of criminals, also known as Los Tortolitos (Lovebirds), whose mission is to deliver 50kg of cocaine to the Brazilian border at any cost. Two unscrupulous counter-narcotic police officers assigned to apprehend them complicate matters further.
Retablo (Peru, 2017)
Campos, E. (Producer) & Delgado, A. (Director).
The film tells the story of a son, Segundo, who accidentally discovers his father, Noé, is secretly gay. The world of the 14-year-old boy, training to become an altar (story-box) maker, is inexorably changed in one day. Once Noé’s wife finds out, family life crumbles and eventually tension turns into physical violence.
Rito Terminal / Terminal Rite (Mexico, 2000)
Valdez, M. (Producer) & Urrutia, Ó. (Director).
This fiction feature reflects upon the contrast between the indigenous and non-indigenous worlds. The story revolves around Mateo, an urban reporter who loses his shadow after attending a traditional ceremony in an isolated rural village. Progressively, the mysticism of the surroundings and the odd line of events force the once sceptical journalist to question his own beliefs.
Roma (Mexico, 2018).
Cuarón, A. & Celis, N. (Producers) & Cuarón, A. (Director).
The film chronicles a year in the life of Cleo, a domestic worker / nanny employed by a middle-class family in Mexico City. Set in the 1970s, the story revolves around the challenges faced by the Mixtec young girl, but also by Sofía, her employer. Sofía’s marital crisis and eventual divorce and a country shaken by political unrest are parallel plot lines. The story follows Cleo as she falls in love, conceives a child, loses it, and risks her own life to save Sofía’s children from drowning.
Saraguro (Ecuador, 2014)
Moreira, J.P. (Producer & Director).
This Ecuadorian narrative focuses upon two key episodes ocurring at different moments in history. On the one hand, it re-enacts the plan drawn up by Sapa Tupac Yupanqui to recover the Kusibamba Valley. On the other, the story depicts the life of a Kichwa man who, through visions, becomes aware of his Saraguro essence.
Siguiendo las estrellas / Following the stars (Panama, 2010)
Disse, I. (Producer & Director).
Set on Ukub Seni island, the story depicts the internal conflict of a Kuna fashion designer who takes distance from her ethnic ancestry. For young Tutu, the lifestyle, traditions, and epistemology of her father’s clan are old-fashioned and primitive. Progressively, she learns to appreciate her legacy, nevertheless moved by the success of Kuna stamped patterns in a fashion show.
Sueño en otro idioma / I dream in another language (Mexico, 2017)
Enriquez, B. (Producer) & Contreras, E. (Director).
The fiction feature revolves around the animosity between two former friends, Isauro and Evaristo, who happen to be the last surviving speakers of Zikril, a rare Amerindian language on the verge of extinction. Despite a number of attempts, the locals have accepted the idea that reconciliation is not an option. Martín, a researcher in linguistic revitalization, has a mission to reunite them at any cost.
Tainá (Brazil, 2001)
Limberger, V. & Rovai, P.C. (Producer) & Svartman, R. (Director).
Set in the Amazon Basin, the film explores the life of an orphaned girl who courageously takes a stand against animal smugglers operating in the vicinity of her home. Tainá is aware that it is in her hands to save her surroundings, and with help from a number of allies, she manages to.
Taínos: La última tribu / Taínos: The last tribe (Puerto Rico, 2005),
Lopez, B. (Producer & Director).
This production is set in modern times and revolves around the academic devotion of an archaeology student, Sara, to the highly celebrated but vanished Taino Empire. As part of her research, the young student organizes an excursion along with four friends and a guide, Yabey, without imagining the trip would change their lives forever.
Tiempos menos modernos / Not so modern times (Argentina-Chile, 2011)
Castro, H.& Alvarez, C. (Producer) & Franco, S. (Director).
The film offers a comic but in-depth account of a suspicious Tehuelche who suddenly receives a television set as part of a state programme to reach indigenous communities living in distant rural areas. Having lived in isolation for most of his life, Ramiro Payaguala is suspicious of any contact with the outside world.
Vaho / Becloud (Mexico, 2009)
Smucler, A. & Bicceci A.G. (Producers) & Bicecci, A. G. (Director).
Set in Mexico City, this is the story of three former schoolmates who reunite to reflect on a tragedy that scarred their community and each on a personal level. José, Felipe, and Andrés come to terms with the fact that their lives are intertwined far beyond a childhood incident.
Xingu (Brazil, 2012)
Barata Ribeiro, A., Berlinck, B. & Meirelles, F. (Producers) & Hamburger, C. (Director).
The narrative revolves around the creation of the Parque Nacional do Xingu (Xingu National Park) by the Villas-Boas’ brothers, and how their efforts contributed to the preservation of an important number of indigenous communities. The fact-based story narrates how these three men became key figures in the establishment of protected areas within the Amazon basin and paved the way to the safeguarding of endangered communities.
Yvy Maraêy: Tierra sin mal / Yvy Maraêy: Land without evil (Bolivia, 2013)
Sanchez, J. & Ehrenberg, M. (Producers) & Valdivia, J.C. (Director).
Set in rural Bolivia, this feature film, spoken in Guaraní, Quechua, and Spanish, narrates the adventures of two friends, Andrés and Yari, in the dramatic landscape. While Andrés operates as a reflection of the director’s alter ego, Yari embodies the rapidly disappearing Guaraní communities. Central to the film is the sincere friendship between two apparently different men.
Zama (Argentina, 2017)
Domenech, B., S. Gallelli & V. Catani (Producers) & Martel, L. (Director).
Based on Antonio di Benedetto’s novel (Zama, 1956), the film revolves around a forgotten servant of the Spanish crown stationed in an isolated town in the Chaco region. The story delves into Don Diego’s daily life in a place he abhors, and his numerous attempts to be acknowledged for his diligent services, without much success.
Zona Sur / Southern District (Bolivia, 2009)
Maire, G. (Producer) & Valdivia, J.C. (Director).
The film explores the time of economic change and social unrest brought about by Evo Morales’ presidency. Set in a wealthy area of La Paz, the narrative explores the relationship between Aymara-speaking servants and a well-to-do family. The primary focus is the daily lives of Carola, a divorced mother, her three children, and Wilson, their diligent butler / housekeeper.