Programa
Descripción del coloquio
Description du colloque
Symposium description
Poster
Ciclo de cine
Cineteca Nacional de Chile
Embajada de Venezuela
Embajada de Mèxico
Embajada de Argentina |
Independencia y Revolución en América Latina
Université d’Ottawa / University of Ottawa
Edificio de Artes, 70 Laurier, Sala ARTS 257
(En colaboración con las embajadas de Argentina, México, Venezuela y la Cineteca Nacional de Chile)
Entrada libre
Jueves 11 de septiembre, 19:00 horas
El santo de la espada (The Saint of the Sword), Leopoldo Torre Nilsson (Argentina, 1970). Spanish. “This is the story of the great South American hero, General Don Jose de San Martin, one of the three great liberators of the American Colonies from the European empires, next to Washington and Bolivar. The storyline covers near a decade of his life; from the arrival of San Martin to Buenos Aires after his military training in Europe, going through all his historical battles (San Lorenzo, Maipú, Chacabuco), and ends when he encounters General Bolivar, after liberating North Argentina, Chile, and South Peru from the Spanish forces” (www.imdb.com).120 min.
Viernes 12 de septiembre, 19:00 horas
La hora de los hornos (Hour of Furnaces), Fernando Solanas y Octavio Getino (Argentina 1966-1968). English subtitles. "This brilliant documentary launched the Third Cinema movement and put Latin American cinema on the international map. It combines new and old film footage to explain the history of Argentina and the wave of revolutionary fervor that swept many countries in Latin America. From the Spanish invasion to modern military concerns financed by foreign powers, this film examines racism, social upheaval, native massacres and the precarious political situations that could change in the wake of revolutionary rebellion. In a noted sequence, director Solanas juxtaposed images of American commercialism and scenes from a slaughterhouse with snatches of Sgt. Pepper's Lonely Heart's Club Band playing over top. The scene climaxes with a rapid staccato montage of starving children, bleeding cows and Coca-Cola signs matched with the sound of machine gun fire. The sequence is as thrilling as it is haunting—a masterpiece of pure cinema. This feature took the Critics Award at the Pesaro New Cinema Festival" (movies.nytimes.com).
Jueves 18 de septiembre, 19:00 horas
El húsar de la muerte (Hussar of the Death), Pedro Sienna (Chile, 1925) (película silente). "Es el único largometraje chileno del cine mudo que es posible ver en la actualidad (...) En 1998 fue declarado monumento histórico. La película narra las aventuras de Manuel Rodríguez entre 1814 y su muerte en 1818" (www.cinechileno.org). “Es una cinta extremadamente refinada para la época. La imaginería visual es de una riqueza extraordinaria. Sienna juega con maestría con la transición de los tiempos, con la mirada subjetiva de los personajes y con sus pensamientos. Sin palabras cuenta una historia épica con toques exquisitos de humor y una acertada descripción de la sociedad colonial chilena”. Carolina Robino, BBC Mundo. 65 min.
Viernes 19 de septiembre, 19:00 horas
¡Vámonos con Pancho Villa! (Let's Go with Pancho Villa!). Fernando de Fuentes (México, 1936). English subtitles. Filmed in 1936, this film has been rated as number 1 on the 100 best movies of Mexican cinema. "The Mexican Revolution is on its way when six brave peasants, known as "Los Leones de San Pablo", decide to join Pancho Villa's army and help end the suffering in their community by assisting in the struggle. After several battles and valiant heroics, the original group is eventually reduced to the leader Tiburcio Maya (Frausto) and young Becerrillo (Vallarino). When Becerrillo is infected by smallpox, Villa orders Tiburcio to kill him and burn the corpse. After reluctantly doing his duty, Tiburcio is ordered to leave the army, and returns home" (www.imdb.com). 92 min.
Jueves 2 de octubre, 19:00 horas
Rojo amanecer (Red Dawn), Jorge Fons (México, 1989). English subtitles. "Set entirely in the city residence of a notable, but not ruling-class family of Mexico, this drama explores what happened during a 1968 student uprising, which was brutally suppressed by the government. In the story, the family's two college-aged boys are ardent advocates of change. Despite the vigorous warnings of their parents, the boys have left to attend a street meeting. The family looks out onto the streets as the dramatic events of that time unfold" (www.princeton.lib.nj.us). 96 min.
Viernes 3 de octubre, 19:00 horas
El chacal de Nahueltoro (Jackal of Nahueltoro). Miguel Littin (Chile, 1969). English subtitles. “Third world films of the 1960s were often statements of social outrage, especially in Latin America where entire populations of indigenous peoples were shoved aside to make way for economic development, i.e., private profit. One of the most influential and respected of these pictures is Miguel Littin's The Jackal of Nahueltoro, a Chilean film structured not as a Marxist rant but as a reasoned portrait of a dysfunctional society. Although filmed in a gritty newsfilm style and lacking high production values, Littin's film conveys its message with an honesty that commands attention, making other social protest films seem puny by comparison” Glenn Erickson (DVDSavant Review). 95 min.
Jueves 9 de octubre, 19:00 horas
Bolívar soy yo (Bolivar I Am). Jorge Alí Triana (Colombia, 2002). English subtitles. "The actor, Santiago Miranda, frantically abandons the production set of the popular soap opera "The Lovers of the Liberator," because he doesn't agree with the script considering it a misunderstanding of history. Balancing between lucidity and madness, he aspires to rewrite and direct the remaining episodes of the soap opera in order to illustrate the real vision and dream of Bolivar" (www.store4dvd.com). “This multi-award winning comedy from Colombian director Jorge Ali Triana is a delirious and razor-sharp satire of Latin American politics and contemporary media.(…) Triana has crafted an intelligent black comedy that celebrates while it also satirizes Bolivar's hero status, network television and the violent, marvelous, chaotic world of contemporary Colombia” (www.acmi.net.au). 93 min.
Viernes 10 de octubre, 19:00 horas
Manuela Sáenz. Diego Risquez (Venezuela 2000). English subtitles. "In 1856, a whaler arrives in Paita, Peru; on board is Herman Melville, who is astonished to learn that Manuela Sáenz, for eight years the lover of Simón Bolívar, is still alive. He calls on her, and although she will not talk to him about her life, his visit sends her to her chest of Bolívar's letters. As she reads them, the sepia-toned present gives way to flashbacks in color: she meets 'the Liberator' in 1822, becomes his lover, and also becomes a colonel in his military movement to realize the 'Gran Colombia', one nation across South America. As plague (brought by the ship) closes in on Manuela's household, so does her tempestuous story move toward Bolívar's betrayal and death" (www.hyperhistory.net). 97 min.
Jueves 16 de octubre, 19:00 horas
La primera carga al machete (The First Charge of the Machete). Manuel Octavio Gómez, (Cuba 1969). English subtitles. "The time is October, 1868, when Cuban nationalists in Oriente province rebelled against the Spanish colonial regime, captured the city of Bayamo and, later, decimated the Spanish troops sent in to put down the rebellion. The principal instrument of the Cubans was the machete, the lowly farm tool that was elevated to the status of lethal weapon in a time of crisis" (www.movies.nytimes.com). "Even within the context of revolutionary Cuban cinema—distinguished for its innovations in bringing history to the screen—First Charge is a whole new kind of historical film. Produced as a part of a cycle dedicated to the celebration of "One Hundred Years of Struggle," the film fuses the political and the poetic into a reconstruction of the 1868 uprising against Spanish colonials and in so doing redefines historical cinema. The experimental nature of First Charge is immediately apparent in the richness of its formal structure. The film is designed to appear as if the technological capabilities (and resulting aesthetic) of cinema verité had been available in 1868. Light hand-held cameras and portable sound equipment produce "on-the-spot" interviews and follow the Cuban rebels into the very center of the battle. This eminently modern "TV documentary" style is complimented, however, by a high-contrast film that resembles ancient newsreel footage and by a manner of posing individuals at the beginning of sequences as if they were in old historical photos. The clash of aesthetics at once so up-to-the-minute and so archaic results in the formal "dialectical resonance" for which Cuban cinema has attained such renown" (www.filmreference.com). 84 min.
Viernes 17 de octubre, 19:00 horas
Memorias del Sub-desarrollo (Memories of Underdevelopment). Tomás Gutiérrez Alea (Cuba, 1968). English subtitles. “The time is 1961, not long after the Bay of Pigs, and Sergio (Sergio Corrieri), the hero of Tomas Gutierrez Alea's superb Cuban film, "Memories of Underdevelopment," moves through Havana as if he were a scuba diver exploring the ruins of a civilization he abhorred but cannot bear to leave. The world he sees is startlingly clear. It is also remote. The sounds he hears are his own thoughts. "Everything happens to me too early or too late," says Sergio, an intellectual in his late 30's whose critical faculties have effectively rendered him incapable of any action whatsoever. After his estranged wife and his mother and father have fled to Miami, with the other bourgeosie, he thinks he will write the novel he has always thought about, but then Sergio's standards are too high to allow him to add to the sum total of civilization's second-rateness. He finds himself blocked”. Vincent Canby, (movies.nytimes.com) “This landmark film from one of Cuba’s greatest directors’ is a mesmerizing and insightful story about the alienation of an intellectual caught in the midst of the rapidly changing social reality of revolutionary Cuba.
Politically uncommitted, he cannot come to terms with the changes happening around him, but unlike some of his middle class contemporaries, cannot bring himself to leave.
'It is a miracle... a beautifully understated film, sophisticated and cosmopolitan in style, fascinating in its subtlety and complexity... a profound, noble film.' - The New York Times (www.barbican.org.uk/film).97 min.
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