Movies featuring the Indigenous Peoples of
Bolivia

Ajayu	Ukamau	¿Quién mató a la llamita blanca?

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El regalo de la Pachamama

	AJAYU (Soul) Director: Francisco Ormachea G. Writers: Francisco Cajias, Manuel DeLuca, Rogelio Vargas, Francisco Ormachea Cinematography: Fernando Vargas Villazon Music: Oscar Garcia 1996. 31 minutes. Setting: Lake Titicaca Language: Aymara Availability: DVD (Grupo Chaski)	Andres (Reynaldo Yujra Quispe) and his daughter Leonora (Celia Lopez) drown in Lake Titicaca on the Bolivian altiplano. With the help of their community, their spirits find a path to Korimarca, the aymara heaven. Since the father is blamed for the death of the girl, he must, according to Aymara custom, carry a heavy load to Korimarca. Therefore the people bury him with small items that he must carry to their loved ones. The objects will grow in size and become burdensome so that he can atone for the death of the girl, but in the end, they are reunited in Korimarca. This short film shows the fusion of indigenous and Catholic beliefs that comprise the religions of Andean peoples. It was filmed on La isla del Sol with native actors, and Oscar Soria created the soundtrack with native instruments: mocenos, tarkas, puna-quenas, pinquillos, and, for the funeral scene, the ayarachi. Sinopsis en español: La muerte en la cultura aymara es una experiencia en la que participan los deudos, la comunidad y las almas. Ritos milenarios, mezclados con la simbología católica asimilada por los pueblos aymaras desde la Colonia son el marco de esta historia en la que Andrés y su pequeña hija Leonora mueren ahogados en el Lago Titicaca y deben recorrer un accidentado camino al Korimarca (el cielo aymara) con la ayuda de la comunidad a la que pertenecen.
	BARTOLINA SISA Director: Demetrio Nina Writers: Demetrio Nina, Jorge Laruta 2008. 35 minutes. Setting: La Paz, 1700s Languages: Spanish Availability: none	Docudrama depicting the life of Bartolina Sisa (played by Yomar Ferino), an Aymara woman who together with her husband, Tupac Katari (Jorge Cardenas), led an indigenous uprising against the Spanish in La Paz in 1781. They held the city in siege for 184 days. Bartolina Sisa was executed September 5, 1782. This short film is part of a planned series of biopics on indigenous heroes. Sinopsis en español: Bartolina Sisa, una mujer heroína, una guerrera de 1781, juntamente con su esposo Tupac Katari hizieron el gran levantamiento y el cerco a la ciudad de La Paz. "Hemos querido recuperar el papel de la mujer aymará y que nuestros pueblos han tenido valores, libertad, valentía y lealtad a su pueblo." Demetrio Nina, Director General de Nina Films, dice que el Documental tiene la intención de que los jóvenes y niños no se avergüencen de la cultura aymará y lo que queremos nosotros es recuperar la identidad y surja la autoestima y nos sentamos orgullosos de nuestros lideres.
	LA CHASKAÑAWI Director: Hugo, Jorge, & José Cuellar Urizar Writers: Jorge & José Cuellar Urizar Cinematography: Jorge & José Cuellar Urizar 1976. Setting: southern Bolivia Languages: Spanish Availability: none	After his father dies, Adolfo, a law student, returns to his native village in the South of Bolivia, where he falls in love with Claudina, a beautiful chola girl nicknamed La Chaskañawi, which means "girl with big eyes" in Quechua. Falling under her spell, Adolfo forgets about his fiancee in the city, abandons his law studies, and succumbs to alcohol. Based on the 1947 novel La Chaskañawi: Novela de costumbres bolivianos, by Carlos Medinaceli (1899-1949). Starring Silvia Arévalo and Jorge Marchand. Sinopsis en español: Adolfo, joven nacido en el seno de una familia pueblerina regresa de visita a su lugar de origen. Allí es atrapado por el encanto de Claudina, hermosa chola, con la cual entabla una relación sentimental desaprobada por los padres de Adolfo y por todo el entorno. Con el tiempo Adolfo olvida los proyectos de regresar a sus estudios en la ciudad, dejándose absorber por el alcohol y por esa pasión destinada al fracaso. La novela de Carlos Medinaceli sobre la que se basa el film aborda desde una mirada sociológica la división de clases y culturas.
	CHUQUIAGO Director: Antonio Eguino Writers: Óscar Soria Cinematography: Danielle Caillet, Antonio Eguino, Julio Lencia Music: Alberto Villalpando 1976. 87 minutes. Setting: La Paz, 1970s Languages: Spanish, some Aymara Availability: none	Chuquiago is the Aymara name for La Paz, the capital of Bolivia. The film is comprised of four stories about people of different ages and backgrounds living in La Paz. The first story is about Isico, an Aymara boy who is brought to the city by his aunt and uncle to live with, and work for, a cholla (mestiza) woman who sells beverages on the street. Isico has to start learning Spanish and the ways of the big city, but the woman is impatient. Isico drifts off, befriends another boy, and by the end of his story he has sunk further in the social order to become a "llevaré," one of the urchins who offers to carry packages for shoppers: "¡Llevaré, Senora!" ("I will carry, Ma'am") The second story is about an angry young man named Johnny who is ashamed of his Aymara family. He criticizes his father for being a bricklayer, working for someone else all his life. Johnny has dreams of moving to the U.S. to make it big. He robs an apartment to pay the fees for a migration service that will fix him up with a job in Miami. But he is caught and arrested. When he gets out of jail, he finds that the shady migration office has been shut down by the authorities. The third and fourth stories have no Indian content. The third is about a middle-management schmuck who neglects his family in favor of booze and prostitutes, and the fourth is about a sociology major, daughter of a wealthy businessman, who falls for a politically active student agitator wanted by the police. With its wide spectrum of social classes, Chuquiago is one of the most popular films in Bolivian history. Director Antonio Eguino was a cinematographer for Jorge Sanjines' films before making his own movies. Screenwriter Oscar Soria also worked with Sanjines. Sinopsis en español: La ciudad de La Paz (Chuquiago) es escenario de cuatro historias. Isico es el niño que llega del campo a la gran ciudad, sus deseos de aprender, de conocer la inmensa ciudad quedan atrapados al ser sometido a la explotación, lleva la pesada carga de la sociedad. Johnny el joven de la clase baja, viste a la moda, usa melena y trata de escapar a su humilde origen, a sus raices, su meta es salir hacia el país del norte, le molesta seguir la tradición familiar de bailar año tras año en la fiesta del Gran Poder. Carloncho el funcionario público de clase media, trabaja como empleado público para mantener a su familia y lleva una vida paralela de amigos, parrandas, y prostitutas, es en cierto modo el escape a su mediocridad, a la realidad de no poder aspirar a algo mejor en la vida. Patricia es hija de una familia rica pero con ideales revolucioarios, lo que le enfrenta a su familia. En una ciudad dividida y clasista termina negando sus ideales al casarse con alguien a quien no ama pero que pertenece a su misma clase social. Chuquiago es el film más taquillero de la historia del cine boliviano.
Isico      Johnny
	EL CORAJE DEL PUEBLO (The Courage of the People) Director: Jorge Sanjinés Writers: Jorge Sanjinés, Óscar Soria Cinematography: Antonio Eguino Music: Nilo Soruco 1971. 90 minutes. Setting: Siglo XX, a mining town in the state of La Paz, June 1967 Languages: Spanish, Quechua Availability: coming to DVD (?)	A reconstruction of the government's massacre of mine workers on June 23, 1967, known in Bolivia as "La masacre de la noche de San Juan." The workers of Siglo XX mine were complaining because their wages had been cut in half, and the supply stores, where they had to buy their food and anything else they needed, had cut off all supplies for over a week, causing the miners to starve so that they would no longer complain about their reduced wages. The miners appeal the store manager, then take their grievances to higher management of the mining company, but they continue to meet with denials. On the night of San Juan, June 23, they take a break from their struggles to celebrate the holiday, and, deep into the festivities, the nightmare begins. Soldiers and planes raid the town, shooting everyone on the street and invading homes. The next morning the army returns to arrest all the men who weren't killed. At the end of the film, names and photos of the perpetrators are shown: General René Barriento Ortuño, General Alvaredo Avando Candia, and many others. The making of the fim: In 1970, Sanjines and his film company Grupo Ukamau were traveling to mining towns to show their earlier films to workers and get their reactions. At one of these towns, Siglo XX, one of the world's major sources of tin, screenwriter Oscar Soria learned about the massacre of 1967. Soria interviewed the survivors and wrote a story, "La noche de San Juan," based on their accounts, which became the basis for the film. El coraje del pueblo was filmed not with professional actors but with witnesses and survivors of the massacre, who also helped with the writing and other aspects of the film. This is the most collaborative film in Sanjines's lifelong project of creating a cinema "junto al pueblo"--close to the people. They began making the film during the government of General Torres, who was not repressive towards filmmaking, but when Sanjines was finishing postproduction in Europe, Coronel Hugo Bánzer Suárez overthrew Torres' government, and Sanjines was exiled. Cinematographer Antonio Eguino was arrested for bringing a copy of the film into Bolivia, but was released after international protests. El coraje del pueblo was not shown in Bolivia until Sanjines's return from exile in 1979, after the film had won awards in Italy, Germany and France. Sinopsis en español: La noche del 23 de junio de 1967 se produce la masacre de San Juan durante el gobierno de René Barrientos contra los trabajadores mineros. Los personajes testimonian sus vivencias sobre los trágicos acontecimientos provocados por las fuerzas represoras del régimen, bajo el pretexto de sofocar un movimiento sindical subversivo vinculado a la guerrilla comandada por Ernesto "Che" Guevara en Bolivia. Los acontecimientos son reconstruidos en la película apelando al testimonio de sus protagonistas, con un repaso de las anteriores matanzas sufridas por los trabajadores del subsuelo. La película fue calificada por el crítico frances Guy Hennebelle como “uno de los 20 films más bellos de la historia del cine mundial.”
	EL EMBRUJO DE MI TIERRA (The Enchantment of my Land) Director: Jorge Guerra Villalva Writer: Luis Espinal, Juan Miranda, Jorge Guerra Villalva Cinematography: Juan Miranda, Jorge Guerra Villalva Music: Los Kjarkas and others 1974. Setting: various regions of Bolivia Language: Spanish Availability: none	The beauty and diversity of Bolivia are shown through the eyes of a French tourist played by Marie Lestringat. The plot combines a love story and scenes of festivals in various parts of Bolivia. The director made only one other film, the short Fuerza camba (1974). You can see a video clip of Embrujo de mi tierra on Youtube: http://www.youtube.com/watch?v=ccZ0DnjzctE Sinopsis en español: Bolivia y su diversidad descubierta a través de los ojos de una turista francesa interpretada por Marie Lestringant, con un argumento que entremezcla una historia de amor y escenas folklóricas de fiestas en distintos departamentos.
	EL GRITO DE LA SELVA (Cry of the Forest) Collective authorship by the Moxe community of Beni Cinematography: César Pérez Music: Donato Espinoza Advisors: Alejandro Noza, Nicolás Ipamo, Iván Sanjinés 2008. 95 minutes. Setting: Beni, 1990-1996 Language: Spanish Availability: no DVD yet	A timber company comes to a Moxe village in the lowland forests of Beni, offering to help the community and share its profits with them. Some people welcome the company for its employment opportunities, while others are suspicious. In time the company proves to be exploitive, attempting to cheat and disrespect the community in many ways--stealing their chickens, polluting their land, backing out of promises, and even raping women. When the community tries to drive the loggers out of their land, the conflict erupts into violence. All this happens in the mid-nineties, as the indigenous rights movement begins to gain ground in Bolivia. Two historical milestones are alluded to--the indigenous march into La Paz in 1996, and the Agrarian Reform Law of the same year that guaranteed indigenous communites ownership of their land. But as this film shows, freedom is a constant struggle, and laws have to be vigilantly defended against corruption. Aside from all the political activity, El grito de la selva also shows the daily life of the Moxe community--meetings and decision-making processes, herbal medicine, weaving, and conflicts between men and women. Described as Bolivia's first indigenous feature film, El grito offers one of the fullest portrayals of an indigenous community that I have seen. Although only 95 minutes long, you feel like you have lived with the people and come to know them. The production was coordinated by Ivan Sanjinés (son of Jorge), but the film is really a collective project. There is no single mastermind; the entire community contributed their knowledge and experience of the historical events, providing an unusually rich and multi-faceted story, of, by, and for the people. Sinopsis en español: La película narra acontecimientos basados en hechos reales sucedidos en los años 1990 y 1996 en el contexto de la preparación de la histórica marcha que los pueblos indígenas del Beni iniciaron a la ciudad de La Paz en reclamo de dignidad y territorio. Aborda el papel y lucha de las comunidades indígenas defendiendo sus derechos y su tierra. Es la primera película de largometraje realizada en la amazonía boliviana, y la primera experiencia de esta magnitud en el Departamento del Beni, realizada por comunicadores indígenas, lo cual marca un hito histórico en cuanto a comunicación intercultural se refiere en el país y también a nivel internacional.
	LOS HERMANOS CARTAGENA (The Cartagena Brothers) Director: Paolo Agazzi Writers: Paolo Agazzi, Oscar Soria Cinematography: César Pérez Music: Sergio Prudencio 1984. 105 minutes. Setting: Tarata and Cochabamba, 1952-1980 Language: Spanish; a few lines of Quechua Availability: DVD (no subtitles)	This film follows the lives of two half-brothers. Juan José is the legitimate son of landowner Don Luis, while the younger Martín is Don Luis' illegitimate son, the offspring of his affair with Opa, a mentally-challenged Indian women working on his hacienda. When Juan José learns of the affair, and that Martín is his brother, he grows to hate him, and shoots the mother. But when the Revolution of 1952 arrives, the peasants kill the father and the family is ousted from their land, leaving Martín all alone. Years later, as a teen, Martín moves to Cochabamba to work with his uncle and eventually gets involved in revolutionary activity. Juan José, meanwhile, comes to be one of the leaders of the paramilitary movement. In these opposing roles the two brothers clash and meet their destiny. Based on the award-winning novel ¡Hijo de opa! by Gaby Vallejo (translated into English by Alice Weldon as Son of the Murdered Maid). You can buy the DVD (blurry, no subtitles) from boliviamall.com Sinopsis en español: La historia contemporánea de Bolivia, de la revolución de 1952 en adelante, a través de las vidas paralelas de dos hermanos. Juan José, el vástago légitimo de don Luís el propietario de tierras, se transforma con el correr del tiempo en jefe de uno de los grupos paramilitares protagonista del cruento golpe de estado de 1980. Martín, el hijo natural, fruto de la violación por el hacendado de una humilde campesina mentalmente perturbada, ha llegado en cambio a ser un dirigente obrero perseguido en esas mismas circunstancias. Antes de llegar a definir de esa manera sus respectivos roles sociales, la película detalla el proceso que, desde sus disímiles actitudes infantiles, los conduce hacia el choque definitivo. El periplo individual de los personajes centrales pretexta una alegoría de sentido más amplio, aludiendo constantemente a los referentes contextuales. Libremente inspirada en la premiada novela “Hijo de Opa” de Gaby Vallejo.
	LOS HIJOS DEL ÚLTIMO JARDÍN (Sons of the Last Garden) Director/writer: Jorge Sanjinés Cinematography: César Pérez Music: Milton Guzmán 2004. 98 minutes. Setting: La Paz, 2003 Language: Spanish Availability: not available	This film takes place during the turbulence of Febrero Negro, 2003, when students protested President Gonzalo Sánchez de Lozada's decree to increase taxes. Five young friends are disgusted by government corruption and the lack of opportunites, and they decide to rob a parliament member's house to restore money to the people. When their plan takes a wrong turn, they must flee La Paz.
	LOS IGUALITARIOS Director: Juan Miranda Writer: Oscar Barbery Suarez Cinematography: Juan Miranda Music: Eduardo Santa Cruz 1991. Setting: Santa Cruz, 1876 Language: Spanish Availability: not available	Based on the life of Andrés Ibáñez, leader of the Movimiento Igualitario, a popular uprising in Santa Cruz in 1876 against the landowners who treated their workers as slaves. The central character is Rosendo Pedraza, a fugitive from an hacienda who decides to unite the troops. From the director of Tinku.
	MI SOCIO (My Partner) Director: Paolo Agazzi Writers: Oscar Soria, Paolo Agazzi, Raquel Romero, Guillermo Aguirre Cinematography: Hector Rios Music: Alberto Villalpando, Gerardo Arias 1982. 78 minutes. Setting: all across Bolivia Language: Spanish Availability: DVD (no subtitles)	Truck-driver Vito is a Colla Indian who happens to meet the orphan Brillo, a Camba. There is much tension between these two groups, the Colla being indigenous people in the west of Bolivia, and the Camba being the more European people living in the wealthier east. Vito takes on Brillo as his assistant and they travel across Bolivia from Santa Cruz to Oruro, making deliveries, seeing the Bolivian countryside, meeting different people, and getting into adventures. Cynical Vito is guarded at first, and tries to cheat Brillo, but gradually they become friends and learn to appreciate each other. One day Brillo runs into traffic to catch his puppy and is killed by a truck. Why did I just give away the ending? Well, look at the cover of the DVD. The ending is shown right there! Also, the film begins with the death of Brillo, before backtracking to Vito and Brillo's first meeting. Is this some sort of indigenous aesthetic? I don't know, but it must work for some people, since the film is very highly rated on IMDB. The spirited Andean folk music and beautiful scenery will appeal to everyone. You can order Mi Socio from boliviamall.com
	LA NACIÓN CLANDESTINA (Hidden Nation) Director/writer: Jorge Sanjinés Cinematography: César Pérez Music: Cergio Prudencio 1989. 128 minutes. Language: Aymará, Spanish Availability: coming to DVD?	Sebastián Mamani (played by Reynaldo Yujra, who starred in Ajayu) is an Aymara Indian who was was exiled by his community and threated with death if he ever returned. After living an isolated existence in the city for several years as a coffin maker, he decides to return to his village to perform an atonement ritual in which he must dance until he dies. On his way back to his village of Willkani, he remembers all the incidents leading up to his exile--his joining the military, his attempt to confiscate his brother's rifle, his withholding of important information from the village--but ultimately he prefers death over a life of loneliness. La nacion clandestina is considered the obra cumbre of the films produced by Jorge Sanjines and Grupo Ukamau. Vernacular music by Chajes, Grupo Khonsata, and Banda Real Gran Poder. Sinopsis en español: Sebastián Mamani, carpintero de una comunidad aymara, que fabrica ataúdes, decide retornar a su comunidad en el altiplano luego de varios años de ausencia. Sabe que su viaje al pueblo significa el fin de su vida porque había sido expulsado para siempre por corrupción como dirigente comunal. Mientras prepara el viaje se produce en La Paz un golpe y la sangrienta represión en los barrios marginales es inmediata. Durante el trayecto a pie hasta Wilkani, Sebastián recuerda momentos claves de su vida...
	PARA RECIBIR EL CANTO DE LOS PÁJAROS (To Receive the Birds' Song) Director/writer: Jorge Sanjinés Cinematography: César Pérez, Raúl Rodríguez, Guillermo Ruiz Music: Cergio Prudencio 1995. 97 minutes. Language: Spanish Availability: not available	A group of young filmmakers arrive at an indigeous community to make a film about the Spanish conquerors. In their zeal to make the film, the students unwittingly reproduce the same prejudices they seek to criticize in their film.
	EL REGALO DE LA PACHAMAMA (The Gift of Mother Earth) Director/writer: Toshifumi Matsushita Cinematography: Gustavo Soto Nuñez Music: Oscar Garcia, Luzmila Carpio 2008. 104 minutes. Language: Quechua Setting: Uyuni and other small villages in the Condoriri mountains Availability: not yet on DVD	Kunturi is a 13-year-old Quechua boy who works with his father, Sauci, at the salt lake of Uyuni, harvesting salt which they barter for goods in other towns. While Sauci and Kunturi are away at the salt lake, the grandparents grow quinua on their land. Once a year Sauci loads up his llamas with salt blocks to bring to remote towns in the mountains. This is Kunturi's first year going on the salt caravan, and his first opportunity to see other parts of Bolivia. They travel from town to town distributing salt, which everyone receives gratefully and trades for squashes, watermelons, and corn. Along the way they also receive news, collect medicinal plants, attend a Tinku Festival in Potosi (ritual combat commemorating ancient warriors, in which blood is spilt on the ground to honor Pachamama, mother earth). On their last stop, Kunturi meets a girl his age, Ulala, and falls in love. Created by first-time Japanese filmmaker Toshifumi Matsushita, Pachamama is a love poem to the Bolivian countryside. Contemplative and poetic, with lush cinematography, it may be one of the most beautiful films you will ever see. Youtube trailer (no English subtitles): www.youtube.com/watch?v=gPPEbNmel8k CAST: Kunturi - Christian Huayga. Sauci - Francisco Gutierrez. Mother - Hilaria Cabrera. Sinopsis en español: Un cálido y vibrante film sobre la niñez que cuenta la historia de Kunturi, un niño Quechua tradicional de 13 años que disfruta de la vida junto a su familia en las cercanías de Uyuni, un lago de sal. Durante varios meses acompaña a su padre en una travesía por Bolivia, viajan por "la senda de la Sal" con bloques de sal atados sobre su manada de llamas, intercambiando el mineral por otros productos de los Andes. Con todas sus experiencias, Kunturi empieza a comprender quién es como joven y como Quechua. Cuando el viaje se acerca al final, conoce a una hermosa chica en un festival en un lugar sagrado para su gente. Los jóvenes sienten un remezón en sus corazones mientras comparten un sueño simple pero profundo: cruzar el lago de sal en bicicleta. Al final, él descubre lo que su padre le quiso decir con "El regalo de la Pachamama."
	TINKU: EL ENCUENTRO (Tinku: The Encounter) Director: Juan Miranda Writers: Rolando Chavarria, Miguel Bustos Plot: María Luisa Ovando Cinematography: Julio Lencinas Music: Alberto Villalpando, Charles Suarez, Ernesto Cavour, Los Payas, Los Taquipayas 1985. 97 minutes. Language: Spanish Availability: not available	An Indian boy is orphaned when his father dies at a Tinku festival. The boy is taken in by a priest and learns to play the charango. The priest's cousin from the U.S. visits and adopts the boy and takes him back to the U.S. Years later, as a teenager, the boy returns to Bolivia to rediscover his roots and find inspiration for a planned concert for charango and orchestra. He arrives in time for the Tinku festival, and meets a girl who shows him around, re-introducing him to the magic of his culture. Sinopsis en español: Durante la visita en el norte potosino, una pareja de norteamericanos adoptan un niño, el niño es arrancado de sus raices para ser educado de manera muy diferente, amparado por otra cultura. Ya de mayor, decide conocer su país de origen; al regreso conoce a una bella cruceña, con la que inicia un romance; acompañado de la joven recorre las distintas regiones del país que le vió nacer. Descubre el charango instrumento originario de la región donde él nació, surge así una atracción por el sonido del instrumento. Ese mágico encuentro que se produce cuando uno regresa a casa, despues de tiempo, hace que sus raices y su amor por Bolivia, se fortalezcan mucho más.
	UKAMAU ¡Así Es! (And So It Is) Director: Jorge Sanjinés Writers: Jorge Sanjinés, Óscar Soria, Jesus Urzagasti Cinematography: Hugo Roncal, Genaro Sanjinés Music: Alberto Villalpando 1966. 75 minutes. B&W. Setting: Isla del Sol (an island in Lake Titicaca) Language: Aymará Availability: not currently available	This is the first feature-length film by Jorge Sanjinés. Andres Mayta (played by Vicente Verneros Salinas) is an Aymara man who finds that his wife Sabina has been raped and killed by the mestizo merchant who does business with Andres. Andres decides to wait one year to exact his revenge. During this interval we see the different lifestyles of each: Andres lives in harmony with his community, while Ramos takes advantage of people in his transactions. But all the while, Andres plans his revenge. Sinopsis en español: La historia de una venganza y una historia de amor que termina en tragedia. Paulina es ultrajada por un desclasado y explotador hacendado, mientras su marido pesca en el lago. A partir de este sangriento hecho se desencadena una persecución silenciosa rota a veces por el lamento de la quena del que busca la venganza, consumada en un duelo cuerpo a cuerpo con el altiplano como escenario sangriento.
	YAWAR MALLKU Sangre de cóndor (Blood of the Condor) Director: Jorge Sanjinés Writers: Jorge Sanjinés, Óscar Soria Cinematography: Antonio Eguino Music: Alfredo Domínguez, Ignacio Quispe, Alberto Villalpando 1969. 85 minutes. B&W. Setting: Indian village in altiplano Languages: Quechua, Spanish Availability: none	Ignacio Mallku (played by Marcelino Yanahuaya) is the leader of an Indian village in the altiplano. He becomes concerned with an epidemic of infant deaths and lack of births in the past year. As he investigates the situation he learns that the U.S. Peace Corps is secretly operating a sterilization program to eliminate the indigenous population in Bolivia. At the same time, he must raise money to pay for medical fees for his brother who was shot by soldiers. The title of the film is both literal and metaphorical: the brothers' last name is Mallku, and Ignacio has to buy blood for his wounded brother, since his own blood is not compatible. On another level, Ignacio must become fierce like the condor, and not rely on traditional prayers or blame the problem on evil spirits, when it is the gringo invaders who have brought the epidemic upon them. Stark and powerful, this film is intended to arouse indignation in the viewer, and yet it is not just propaganda but an artistic achievement as well. Sinopsis en español: Ignacio, Mallku de una comunidad quechua es apresado junto a sus compañeros bajo la orden de aplicárseles la “Ley de Fuga”, pero sobrevive y es trasladado a la ciudad de La Paz por Paulina, su mujer. Ignacio había descubierto operaciones clandestinas que un grupo del Cuerpo de Paz a mujeres de la comunidad dejándolas estériles sin su consentimiento, presuntamente para fomentar planes de desarrollo. Finalmente los miembros del llamado Cuerpo de Paz son expulsados de Bolivia y la imagen de cierre muestra a un grupo de personas empuñando armas símbolo de rebeldía y lucha en contra de la opresión y división de clases. Elenco: Benedicta Huanca, Marcelino Yanahuaya, Vicente Verneros, Danielle Caillet, Mario Arrieta, Ilde Artés, Comunarios de Kaata.

SILENT FILMS: CORAZÓN AYMARA [Aymara Heart] (Pedro Sambarino, 1925) Based on a play by Angel Salas (who also wrote the screenplay). Lurpila, and Aymara girl, must prove her innocence when her stepmother accuses her of being unfaithful to her husband. The film denounced the feudal enslavement of Indians by authorities and the church. GLORIA DE LA RAZA [Glory of the Race] (Luis Castillo and Arturo Posnasky, 1926) Miniature models and optical effects dramatize the extinction of Tiahuanaco culture. HACIA LA GLORIA [Towards Glory] (José María Velasco Maidana, 1931) A white baby is abandoned by a river and raised by an Indian family. He late becomes a pilot. Based on the life of an actual Bolivian pilot, Rafael Pabon. (I'm not sure how much Indian content there is.) PROFECÍA DEL LAGO [Prophecy of the Lake] (José María Velasco Maidana, 1925) A rich landowner's wife living by Lake Titicaca falls in love with their Indian servant. The film offended the upper class and was censured; it may have been burned as well. This film is believed to be lost. WARA WARA (Jose Maria Velasco Maidana, 1930) [Original title: El ocaso de la tierra del sol.] Based on the novel La voz de la quena, by Antonio Díaz Villamil (1897-1948), who also wrote the screenplay. During the conquest, a Spanish soldier falls in love with a ñusta, a virgen princess dedicated to the sun. "Wara Wara" means "stars" but is also the name of a character. This film is now lost.

Wara Wara

Airamppo: Semilla que tiñe (Alexander Muñoz, 2009) Alzire, oder der neue Kontinent (Thomas Koerfer, 1977; made in Germany) Amargo mar (Paolo Agazzi, 1984) Los Andes no creen en Dios (Antonio Eguino, 2007) Domingo, El (Óscar Cárdenas, 2009) [Two women from Potosi emigrate to Spain. Starring Carla Ortíz and Elmer Hermosa.] La oscuridad radiante (Hugo Ara, 1996, TV mini-series) [Guerrilla activity in the town of Tarata in the 1960s seen through the eyes of a priest. Based on the novel by Oscar Uzin.] Pueblo chico (Antonio Eguino, 1974) ¿Quién mató a la llamita blanca? (Rodrigo Bellott, 2006) Sena/Quina: La inmortalidad del cangrejo (Paolo Agazzi, 2005) Zona sur (Juan Carlos Valdivia, 2009) SHORT FILMS: ¡Aysa! Qati Qati ¿Ahora de quien es la verdad? (Alfredo Copa, Constancia Chileno, 2004, 35 min) Este video presenta una reflexión histórica desde la perspectiva de los pueblos indígenas originarios, rememorando diferentes capítulos desde la vida previa a la conquista española, la explotación y exterminio en la colonia y la república y la lucha de los pueblos indígenas originarios hasta el día de hoy, cuando a partir de las propias exigencias indígenas se ha hecho realidad la necesidad de convocar a una Asamblea Constituyente. El video responde preguntas como: ¿Qué es una Asamblea Constituyente?, ¿Qué peligros y posibilidades representa?, ¿Qué sociedad queremos para Bolivia?, etc. Angeles de la tierra (Patricio Luna, 1997, 35 min.) An young Aymara man encounters betrayal when he moves to Cochabamba to find work. Los antiguos (Boris Bani, Esteban Espejo, 2004, 25 min.) Un joven indígena recuerda como de niño converso con los "dueños de la naturaleza", motivo para reflexionar sobre la realidad actual del territorio de los Thimanes. Producido por Iván Sanjinés. Ajayu Irpaxata (Cristóbal Condoreno) La pérdida del Ajayu es una enfermedad provocada por el susto. Los sabios Yatiris lo curan reencontrando el ánimo perdido mediante una terapia conocida como el "ajayu irpaxata". Dramatizado por los alumnos de Siriquina en la búsqueda colectiva de fortalecer la autoestima, en el proceso de revalorización cultural y de una enseñanza descolonizadora. Una producción del Taller de Historia Oral Andina. ¡Aysa! (Cave-In!) (Jorge Sanjines, 1965, 20 min. Quechua and Spanish) A lone miner works the mines that the corporations have exhausted and abandoned. While his family is being evicted from their shack, the man dynamites a mine and is caved in. [Un minero boliviano perteneciente a la condición de pirquiñero (trabajador independiente que extrae mineral en los parajes peligrosos y abandonados por las empresas de minas consideradas agotadas) lucha por conseguir algo de mineral perforando la roca con sólo un cincel y martillo.] Chayaw Anata (Longing for Home) (Jose Miranda, 1994, 6 min.) An Aymara man migrates to La Paz, experiences alienation, and remembers home. Choitée (Renacer): Historia de un Movima (Miguel Yaulama, 55 min.) Es la historia de Roberto, un joven indígena movima sometido desde niño al trabajo en una hacienda ganadera, sufriendo una extrema explotación. Ya siendo joven en el desarrollo de su faena sufre un accidente que lo inhabilita para el trabajo, pero su patrón no entendiendo el problema lo castiga echándole de la hacienda. Casi muerto Roberto es rescatado y asistido por una familia movima que le posibilita su rehabilitación. Durante la fiesta de la comunidad Roberto se reencuentra con su patrón a quien le pide saldar cuentas, hecho que le custa la vida. Circulo de Oscar Cerruto (Alberto Villalpando, 35 min.) The story of a young man trapped in the snares of the past, mystery, and death. La historia de un joven atrapado en las redes del pasado y de misterio y la muerte. Cocanchej sutimpy (Humberto Claros & Albino Pinto, 2005, 45 min.) La historia refleja la permanente lucha de las familias productoras de la hoja de coca en el Chapare (Cochabamba). El pueblo se moviliza y organiza en defensa de sus derechos y del principal sustento de sus familias frente a la represión de las tropas militares. Desempolvando nuestra historia (Alfredo Copa, 1999, 26 min.) Mediante el relato de tres antiguos comunarios conocemos la historia, las costumbres y la problemática actual de las comunidades quechuas de Caltapi y Silvi en Potosí, hoy en franco riesgo de desaparición por la migración de las nuevas generaciones. Destinos de tierra (Eduardo López, 1991, 30 min.) En una comunidad campesina, la presencia de sectas religiosas, de organizaciones no gubernamentales y los conflictos entre leyes y tradiciones conforman una compleja problemática social. El viaje de un anciano en busca de los signos necesarios para pronosticar acertadamente el tiempo y las sucesivas apariciones de un duende-oráculo, tejen la trama del argumento. Diablo nunca duerme (The Devil Never Sleeps) (Humbarto Paz, 1999, 25 min.) Traditional Guarani tale of a wandering con man who preys on people until one day the community rises up against him. Ecunaha: Nuestra Historia Cavineña (25 min.) El embarazo (Pregnancy) (Ivonne Muñoz Cañedo, 1991, 10 min.) Recrea la vivencia de una joven pareja y su expectativa ante un posible y deseado embarazo. La ansiedad del esposo, los sueños, creencias y recomendaciones que genera el embarazo y el nacimiento de un niño son parte del video. En busca del guerrero (In search of the Warrior) (Regina Monasterios) A Guarani girl struggling to adapt to modern urban society discovers corruption among her acquaintances, and takes on the role of a "warrior" deeply connected to her traditions. Espiritu de la Selva (Faustino Pena, 1999, 25 min.) A Moxeño tale from lowland Bolivia tells of the spirit that takes the form of a beautiful woman to harm those who wander the forest alone. Itziki Tshiij (Tigre Fuego) (collective authorship: Los niños de Covendo, 2007, 8 min.) Basada en mitos de origen, se narra la Aventura de los animales-niños, guardianes de la selva Mosetén, que se las ingenian para combatir la cacería y la tala de árboles con sus mágicas travesuras. Jach’atatala Jach’amammalan Thakepu (El Camino de las Almas) (1989, 30 min.) Documental ficcionado que aborda el problema del saqueo de textiles ceremoniles andinos por comerciantes extranjeros. Recrea la gesta de la comunidad de Coroma para recuperar sus textiles. Muestra detalles de este proceso y la profunda significacion simbolica de los textiles en el mundo andino. In Spanish and Aymara. Llanthupi Munakuy (Quererse en las sombras) (Loving Each Other in the Shadows) (Marcelina Cárdenas, 2001, 47 min.; in Quechua) A village divided against itself sets the stage for a star-crossed love affair. This compelling fiction, one of the first from the Andes written and directed by a woman, is based on the oral tradition of the filmmaker's community, CK'ochas. Magic and Catholicism (Hubert Smith, 1974, 34 min) En el pueblo de Vitocota se celebraba la Fiesta de Santiago, el Santo Patrón, cuando llegó la noticia de un accidente de tránsito en el que supuestamente habían muerto algunos lugareños. Este hecho trágico, que resultó ser falso, es destacado en esta obra, con el fin de indagar en la visión fatalista que el aymara tiene de su vida y su destino. Markasan Jucha T'aqawipa (La Justicia de Nuestros Pueblos) (Sonia Chiri, 2006, 42 min.) Shows how an Aymara community deals with two llama thieves. Martin de las Crujias (Eduardo Lopez, 1992, 27 min.) Docudrama about a man who moves from the altiplano to La Paz. [La historia de Martín Llanque es la historia de muchos. Un campesino aymara que lo ha perdido todo y decide irse a la ciudad. El testimonio de su sobrino perfila su destino, y las premoniciones de su gente marcan el signo de la fatalidad.] Misterio de la palerma (Eladio Uraeza, 2000, 15 min.) Experiencia de las mujeres y niños guarayos de la comunidad de Yotaú, en la producción del aceite de cusi a partir del fruto de una palmera existente en la región. Ellos lo comercializan en la carretera aprovechando sus propiedades curativas como un apoyo en el sostenimiento económico de sus familias. Nuestra Palabra: La Historia de San Francisco de Moxos (Julia Mosúa, 1999, 22 min.) Members of a highland Aymara community give an account of their history since the 1930s, focusing on their attempt to maintain control of their land. Docudrama. Oro Maldito (Cursed Gold) (Marcelino Pinto, 1999, 35 min.) Traditional tale of a young Quechua man whose greedy quest for gold leads him deep into the Cochabamba jungle. Qamasan Warmi (Woman of Courage) (Jose Miranda, 1993, 42 min.) Docudrama on the life of Gregoria Apaza, leader of the 1871 Aymara uprising against the Spanish. Qati Qati (Susurros de muerte) (Whispers of Death) (Reynaldo Yujra, 1998, 35 min.) Traditional tale from the Carabuco region of Lake Titicaca. A man pays dearly for not believing in the souls and spirits present in everyday life. [Adaptación de un cuento de la zona altiplánica de Carabuco, Lago Titicaca, que nos relata la historia de un hombre que deja de creer en ideas antiguas sobre la presencia de almas y espíritus. Él posteriormente tiene que enfrentarse a la desaparición de su esposa, quien muere misteriosamente. Busca generar un espacio de reflexión sobre la perdida progresiva de las creencias y tradiciones aymaras andinas.] Qulqi Chaliku (El chaleco de plata) (Vest Made of Money) (Patricio Luna, 1999, 25 min.) Traditional Aymara tale of two men and the evil that results from their greed for money. [Recreación de un cuento aymará. Es la historia de Satuco, un avaro que guardaba mucho dinero en un chaleco que nunca se lo quitaba, misteriosos hechos le anuncian su deceso por lo que, decide revelar su secreto a Cihuacollo, único comunario de su confianza; éste hecho determina un desenlace inesperado de la historia.] Siw sawinaka amuyt'ayiri (Boris Balderrama Villazón, 1992, 14 min.) Relata la decisión de un joven campesino de viajar a la ciudad en busca de asesoramiento ante el Consejo Regional de Semillas de La Paz. Su abuelo, al quedarse solo, habla para sí mismo expresando su esperanza en una juventud que trabaja por el bienestar de la comunidad, procurando cambios sin olvidar sus tradiciones. El sueño de Waylla Wisa: profecía de la conquista (Cristóbal Condoreno, 1991, 28 min.) Video que registra una representación teatral, en la que Waylla Wisa, un shamán, narra sus sueños y premoniciones: la llegada de los conquistadores, la caída del imperio incaico y la resurrección del inca, quien promete un futuro diferente. Supaya: El diablo bueno (Inocencio Ramos, 1996, 11 min.) Aymara folktale of a trickster spirit who fools one person in order to help the entire community. In Aymara. Trilogía (Luis Mérida, 1992, 30 min.) Basada en un triángulo amoroso, enmarcado en un mito andino que narra la llegada de Manco Capac y Mamá Ocilo, la fundación del Imperio Incaico y más tarde la toma del gobierno realizada por Mariano Melgarejo. Tsimane: Äyedyé Yedyé Jác Si Tsun (Tsimane: El grito de nuestra tierra) (docudrama, 29 min.) The Tsimane community gains official recognition as a heritage site, but nevertheless coorporations and wood companies continue to assail their land. Tunupa (Alberto Villalpando, 30 min.) La leyenda de Tunupa, dios mitológico del lago Titicaca. Venciendo el miedo (Maria Morales Tarqui, 2004, 55 minutes. In Aymara.) When an impoverished Aymara family migrates from the highlands to seek a better life elsewhere, the husband abandons his wife, Manuela, and their children. Manuela moves on with her life, becoming the leader of a woman's organization that fights for indigenous rights. [Cuando una sacrificada familia aymara emigra del altiplano en busca de mejores condiciones de vida, el marido abandona a su mujer, Manuela, y a sus hijos. Manuela sigue adelante con su vida, incluso organizando a las mujeres por los derechos indígenas.] Warmis, epunas (Mujeres de Palabra) (María Eugenia Puma, 29 minutes) Two women, one Quechua and one Tacana, meet and discuss their problems.

Araona Aymara Ayoreo Ava-Guaraní Baure Bororo Caripuna Caviña o Cavineño Cayuvava o Canichana Chácobo Chapacura Chiman o Tsiman Chiquitano Esse Ejja (Chama) Guarayo Itonoma Izozo-Guaraní

Machineri Mosetén Movima Moxos (Mojos) Pakahuara Quischua (Quechua) Simba Guaraní Sirionó Tacana (Takana) Toromona Uru Chipaya Uru Iruito Uru Chipaya Weenayek Yaminahua Yuqui Yuracaré