of Contemporary Perú
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El perro del hortelano; Kay Pacha; Altiplano; Noshinto Shamporo
= Lame, Crummy.
= OK, Watchable.
= Good.
= Very Good.
= Great, Classic.
| Home |
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= Lame, Crummy.
= OK, Watchable.
= Good.
= Very Good.
= Great, Classic.
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ALTIPLANO
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War photographer Grace, devastated by a violent incident in Iraq, renounces her profession.
Her Belgian husband, Max, is a cataract surgeon working at an eye clinic in the Peruvian
altiplano. Nearby, the villagers of Turubamba succumb to illnesses caused by a mercury
spill from industrial mining. Saturnina (played by Magaly Solier), a young woman in Turubamba, loses
her fiancé to the contamination. The villagers turn their rage on the foreign doctors, and
in the ensuing riot Max is killed. Saturnina takes drastic measures to protest against the
violations towards her people and their land. When Grace travels to Turubamba to see the place
where her husband was killed, she comes across the Indians protesting against the miners,
and the two widows meet. A strange bond is forged between these two women from different
continents. Altiplano is a lyrical, provocative film full of beauty, wonder and
symbolism, boldly
fusing art and politics to raise our awareness of how all our actions are linked in this
seemingly divided world. A masterpiece. Co-director Peter Brosens has made documentaries
on Andean communities in Peru and Ecuador and has studied the phenomenon of protest
suicide.
Official site: www.altiplano.info
Sinopsis en español:
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ANTUCA
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Antuca (played by Graciela Huaywa Collanqui) is a maid in Lima who has joined a support group of
fellow maids. Antuca and a companera take a bus trip to revisit her home, a village in the hills outside
Cajamarca, and through a series of flashbacks we learn of Antuca's life: when she was little her widowed
mother sent her away to help her godmother, who placed her as a housemaid in Lima. She was not allowed
to go to school and received no salary. When her employer's son tried to rape her, she escaped and found a
series of other humiliating jobs. Finally, Antuca found a sympathetic employer who helped her with her education.
Returning to her village ten years later, she rediscovers her traditional culture. We see see parades, dancing,
ceremonial dress, weaving, shepherding, and making music. But this traditional life also demands work,
lots of it. She reunites with an old flame, Artemio, but in the end in the end Antuca returns with her friend
to Lima, where her women's group is building a cooperative community in the sand with woven straw houses that
look like a shanty town--a highly ambiguous ending.
Antuca was originally conceived as a documentary showing the harsh working conditions of maids. Women from the group Trabajadoras del Hogar participated in the film as actors and writers. It was never released theatrically but was used for educational purposes. It's no blockbuster, but the film effectively juxtaposes alluring scenes of Andean folkways with the call for progressive action, and a profoundly sad suggestion that you can never really go home again. There is also some great music, ranging from stridently authentic Quechua songs to catchy Andean folk-rock, and some nice scenery--look for a glimpse of the famous ventanillas, ancient niches carved in the mountainside by a forgotten Cajamarca people. Director Maria Barea was one of the founders of Grupo Chaski and the producer of Perros Hambrientos and Yawar Fiesta. She makes a cameo as one of Antuca's bosses. More info on Maria Barea can be found at www.wmm.com/filmcatalog/makers/fm456.shtml
Sinopsis en español: |
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DIOSES
(Gods)
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Agustín is a wealthy factory owner with two spoiled blond teenagers and a brand-new trophy
girlfriend, Elisa (Maricielo Effio). Elisa struggles to read up on topics of interest
to Agustín's friends' wives, and tries to make herself sophisticated, a goal
which includes keeping her indigenous background a secret. She has a
dream that her mother and grandmother show up at her new home in their humble
campesina clothing and she pretends to Agustín that they are the new maids. Elisa does eventually visit
her family, and she seems much more relaxed in their humble apartment, and yet she still must tell them they
can't come to the wedding. When Agustín's daughter becomes
pregnant, he makes both the daughter and Elisa leave the country for several months so that they can pretend
it is Elisa's child.
Dioses is a mordant satire of the rich, and there
is much more to this fine film which I won't go into. The ethnic dimension is just a small
but crucial part of it. Magaly Solier (Madeinusa, La Teta Asustada, Altiplano) has
a brief role as one of the Quechua-speaking maids, who are the only likable people in the story.
Sinopsis en español:
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ÍCAROS: UNA VISIÓN
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Angelina (Ana Cecilia Stieglitz), a woman with a dire medical condition, arrives at the Anaconda Cósmica healing center
in Iquitos seeking a cure. The
young shaman, Arturo (Arturo Izquierdo), under the guidance of his grandfather Guillermo (Guillermo Arévalo Kestenbetsa),
treat her and other visitors with ayahuasca rituals. However, Arturo finds that he has a medical problem of his own:
he is losing his sight. As Angelina seeks a cure from Shipibo traditions, Arturo seeks a cure from western medicine.
Along the way we experience some of ayahuasca's mind-altering visions, conveyed not only by CGI special effects but also
through dazzling cinematography of the jungle cut with alternating glimpses of farther realms--U.S. hospitals, the
mysterious adobe city of Chan Chan in Trujillo, Arturo's mother's journey upriver to bring a healing plant to her son.
These disparate scenes are juxtaposed in ways that suggest the wildly associative mind under hallucinogens. Remembered
snatches of conversation float over the scenes, deeping the experience: "Everything you ever heard is already singing in
the jungle".... "You can go from dream to reality without leaving the dream."
Although the sacred plant does not cure Angelina's cancer, it helps her confront her susto, her fear of death.
This is a subtle, provocative and unforgettable film. (The ícaros of the title is a song sung during ayahuasca
rituals.) Note that there is also a 2014 documentary titled Icaros about the Shipibos living on the Ucayali River.
icarosavision.com
Sinopsis en español:
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DE INDIAAN (The Indian)
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Eight-year-old Koos (Matthias den Besten) lives in Netherlands with his adoptive parents.
He knows he's from Peru, but doesn't know much else about Peru. One day at a flea market
he sees a family of Andean musicians who look like him. They teach him
about Peruvian culture and his Inka ancestors, and give him an Ekeko doll (Ekeko was the
Tiwanakan god of prosperity, and the dolls, depicting a man loaded with gifts and money, are
popular tourist souvenirs). The son Illari, a little older than Koos, introduces him to
a slingshot and teaches him about courage: "Everything collaborates
with you when you're not afraid." Koos wants to learn what his real Peruvian name was, so
Illari's father consults the coca leaves and writes the name on a roll of leather and stuffs it in a wooden tube.
Koos and Illari go to the lake and throw the tube in the water. Koos must dive for it to
find his name, but he is afraid. One day Illari tells him that his family is moving back
to Peru. Koos wants to go with them, but when he finds they have already left, he runs
away, and rows out to the "Indian Island" in the lake. He dives for the wooden tube, and
finds his name written inside: Yaku, the Quechua word for water. When his father finally
finds him on the island, he explains that Koos is a variant of his own name, Iacobus, and
that Yaku agrees nicely with Iacobus. Thus the boy learns to embrace his Peruvian culture
and also accept his parents' love. This is a nearly-perfect children's movie, with none
of the schmaltz or artificiality one often finds in such films. Matthias den Besten, who
is of Guatemalan descent, deserves special praise for this large, demanding role.
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MAGALLANES
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Mexican actor Damián Alcázar plays Magallanes, a taxi driver who served in the army in Ayacucho during the terrorism of
the 1980s. He also works as a personal driver for his former coronel (played by Argentine actor Federico Luppi), who is
now elderly and suffers from dementia. One day Magallanes comes across Celina (Magaly Solier), a woman struggling
to run a hair salon on her own. Magallanes remembers her as a prisoner of the colonel, whom they ostensibly detained
for her protection while they were taking advantage of her sexually when she was 13. Magallanes must decide whether or not
to betray his commander and benefactor in order to make amends to Celina. This fine film is Magaly Solier's second role
as a survivor of Peru's civil war.
Sinopsis en español:
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MADEINUSA
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In the small village of Manayaycuna, in the Cordillera Blanca region of
Peru, Holy Week is celebrated as a kind of Saturnalia. They believe that
from Good Friday to Easter Sunday, God is asleep and sees no sins, therefore
nothing is a sin and everything is permitted. The mayor, Don Cayo, plans
to devirginize his daughter on this "Tiempo Santo." Madeinusa (played by
Magaly Solier)
is only 14; her mother ran away to Lima for unexplained reasons, and her
sister Chale (Yiliana Chong) is nearly as abusive as her father. Into this
cauldron walks Salvador (Carlos J. de la Torre), a young geologist from
Lima stopping over on his way to another town. He is arrested for no
particular reason, and Madeinusa takes an interest in him, frees him from
her father's barn, and arranges to have Salvador deflower her before
her father can. Madeinusa is director Claudia Llosa's first film,
and also Magalay Solier's first film. It has excellent acting and directing,
and plenty of footage of indigenous customs--dancing, singing, religious
processions, etc. Solier wrote two of the songs sung in the film. I do not
know if there is a community that actually celebrates Holy Week in this
way. It may be a custom invented by Llosa, like the potato-in-the-vagina custom in
her second film, La Teta Asustada. The notes on the DVD package compare
Madeinusa to a western, but it is really more in the gothic tradition: a stranger
arrives at a strange town and meets a strange fate. More info and trailer at
www.filmmovement.com
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MAX IS MISSING
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Max (Toran Caudell) is the snotty son of an American archaeologist;
Juanito (Victor Rojas) is a savvy teen huckster who makes his living
from tourists on the Inca Trail. The two boys find themselves pulled
into a caper over a 15th-century gold
huaca sought by two criminals. In the course of their caper Juanito learns
that money isn't everything, and Max learns that, when you're poor,
money is everything. Humor, action and plot twists make this Showtime production
a fairly satisfying slice of family entertainment. Comparable to Postales below.
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NOSHINTO SHAMPORO
(Mi hija Shamporo)
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Elias, chief of an Ashaninka community in the jungle, returns to his native land to find a curandera who will
teach his daughter her craft. Father and daughter travel by boat, plane, and car to reach the aged curandera
who will then decide if Shamporo is ready to be a disciple. This film seems to be a fictionalized documentary:
the story is real but it is recreated--like so-called reality TV but without that fake feeling. (For a similar
technique, see the Mexican film Alamar.)
Official site: www.noshintoshamporo.com
Sinopsis en español:
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EL PERRO DEL HORTELANO (The Gardener's Dog)
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This film follows the story of Brus, a young Bora-Huitoto painter in Shintuya, a village in the Madre de Dios region of
the Amazon. A petroleum company has come to the village offering "development" and "progress" in exchange for the right
to drill in their ancestral land. Brus seeks help from a non-profit group, but grows suspicious of their
intentions. He secretly films coversations between the petrol representatives to reveal their true motives to his
community. The story is based on actual events: Hunt Oil went to Madre de Dios in 2007, when
President Alan Garcia was trying to make money from the Amazon. This film realistically portrays the
tactics that corporations use all over the world, offering
short-term assistance in exchange for drilling that will destroy communities and poison lands. Facebook page: facebook.com/pages/El-Perro-Del-Hortelano/180438481631
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POSTALES (Postcards)
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A wealthy family from the U.S. comes to Cusco to survey a plot of land where they plan to
build a hotel. The poor Quechua family living in a shack on the land are informed that
they must move out in three days. The two teen boys make a living on the streets, the older
one, Jano, by pickpocketing, and the younger, Pablo, by selling postcards. In a series of
coincidences, each brother ends up meeting the same-aged daughter of the U.S. family.
Jaro dates the older girl, and she waits for her family to spend the day in Sacsaywaman
so she can bring him up to their hotel room. The story between the younger boy and younger
girl is more tender. Pablo returns the wallet that Jano has stolen from the girl's father,
and they spend the day strolling through beautiful Cusco as the girl arrives at an
understanding of the poverty that exists amid the city's spectacular sights.
Postales is a little on the "messagy" side, like an after-school special, but the sweet story, compelling pacing,
and honest view of this great, contradictory city make the film a success. Based on the director's own short film, Chicle.
Available on Amazon: amazon.com/Postales-Guimel-Soria-Martinez/dp/B008OEOWJE
Sinopsis en español:
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RETABLO
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A retablo is a kind of diorama in a wooden cabinet with plaster figures depicting scenes from daily life or history. The tradition
originated in Ayacucho, a region of southern Peru that is still famous for making them. In the film Noé (played by Amiel Cayo) is a
respected retablo master passing the craft on to his 14-year-old son, Segundo (Junior Bejar). But Noé harbors a secret that will change
the lives of Segundo and his mother Anatolia (Magaly Solier) forever. This beautiful film is spoken almost entirely in Quechua and serves as a great showcase (retablo?) for the folkways of Ayacucho-- dancing, parties, food, and even the famous Piki Mach'ay cave, site of one of the oldest known human skeletons in the Americas. facebook.com/retablolapelicula
Sinopsis en español:
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ROSA CHUMBE
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Rosa Chumbe is a washed-up police officer in Lima who puts more effort into drinking and gambling than into her job.
She has an
uneasy relationship with her daughter, who, upon learning she is pregnant, abandons her first baby, leaving the
responsibility to Rosa. With no husband, Rosa is left caring for the baby alone. One day when she wakes up from a night
of drinking she finds the baby dead, and must decide what to do with it. The slow pace and rather thin plot will may
turn off audiences accustomed to more entertaining movies, but Rosa Chumbe may win over other viewers with its
dry, morbid humor, its subtly sympathetic portrayal of the slacker cop, and realistic scenes of Lima. My only reason for
including the film on this site is Rosa's last name, Chumbe, which is a common Quechua name (it would be "chumpi" in
un-hispanicized Quechua).
rosachumbe.com facebook.com/RosaChumbeOficial
Sinopsis en español:
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LA TETA ASUSTADA (The Milk of Sorrow)
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Fausta (played by Magaly Solier) is a melancholy young woman who becomes even more
depressed after her mother dies. When her uncle takes her to the doctor because of her
fainting spells, the doctor tells the uncle
that Fausta has an infection because she keeps a potato in her vagina (which she believes
will keep men from touching her). But her uncle explains that her illness is "la teta
asustada" (literally "the astonished tit"), a disease transmitted through the milk of
mothers who were raped or abused during Peru's terrorist war. Fausta remembers watching
her mother's rape from inside the
womb, and believes that her soul has hidden in the ground ever since. In order to raise
money to take her mother's body back to her hometown for burial,
Fausta must overcome her fear of the outside and accept a job as a maid at "The Big House,"
the home of a wealthy concert pianist. The pianist, a cold woman, has writers' block and
plagiarizes
the folksongs she hears Fausta singing in Spanish and Quechua (Magaly Solier
wrote many of these songs herself). The elderly gardener Noé (Efraín Solís), also employed
at the Big House, gently helps Fausta overcome her fear of men. This slow-paced film is
full of symbolism and rewards the patient, perceptive viewer. La teta
asustada is director Claudia Llosa's second feature, and her second collaboration with
Magaly Solier (see Madeinusa above).
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EL ÚLTIMO GUERRERO CHANKA (The Last Chanka Warrior)
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500 years ago there existed a race of warriors called the Chankas, who sacrificed a witch
who vowed that he would return to take revenge on them. Five millennia later, two
archaeology students discover strange signs in ancient rocks. The time has come for the
evil being to free himself and unleash his fury. The Chancay culture
flourished in Lima between 800 and 1400 A.D. and left behind a distinctive, sometimes comical style
of pottery, but El último guerrero Chanka dispenses with history to
present a mash-up of fantasy, horror and martial arts films. Facebook page: facebook.com/elultimo.guerrerochanka
Sinopsis en español:
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EL VIENTO DEL AYAHUASCA
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Miguel (played by Johnny Palacios), a Lima sociologist visiting Iquitos, meets Nexy
(Silvia Chavez Toro), an Amazonian native. Miguel
finds that Nexy has many phobias, including a fear of Yacurunas, mythic creatures of the
Amazon. To cure her fears the couple seek the help of Meliton (Meliton Delgado), a curandero, who administers an ayahuasca ritual and helps her relive her
infancy and the destruction of her home. After Nexy disappears, Miguel submits to the
ayahuasca ritual to better understand the beliefs of the Amazon people. El viento del
ayahuasca is Nora de Izcue's only fiction film; she has made several documentaries on
indigenous peoples of Peru, the Agrarian reform, and the Fujimori administration.
Viento del ayahuasca is seemingly impossible to find, but there is a clip on
Youtube: https://www.youtube.com/watch?v=UCyt9tGZ0kM
Sinopsis en español:
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WIÑAYPACHA
(Eternity)
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Phaxsi (played by Rosa Nina) and Willka (Vicente Catacora) are a very old Aymara couple who live high on the mountain of Allincapac,
far from any neighbors. They tend their llamas and sheep, grow crops, and face the brutal elements while waiting for their son to return
from the big city, but Antuku never appears. They wonder what happen to him, what kind of life if the city would teach one to abandon
one's parents. They remember him saying, "Speaking Aymara is embarrassing." One day the mother has a dream that their son falls naked
into the water, which they
interpret as a bad omen. They read the coca leaves, which tell them that misfortunes will come and death is near. After a while strange
things start happening.
Wiñaypacha means eternity in Aymara (and Quechua), suggesting perhaps the antiquity of their culture, or the afterlife that soon awaits them. And yet one wonders throughout the movie how long this way of life can last, when the modern world will creep in with its inevitable destruction. (The only traces of outside technology we see are glass bottles, paper, and matches--there are films set deep in the Amazon that have more than that!) This film is reminiscent of Hamaca Paraguaya, in which the parents wait for their son to return home from war, though Wiñaypacha is not as severely minimalist as that. No war is hinted at in Wiñaypacha, but mass migration to the cities is a major problem in the Andes, slowing draining life from the millennial cultures that once flourished there. facebook.com/Winaypacha.Eternity
Sinopsis en español:
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| Films Not Yet Reviewed: | ||
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Chicama (Omar Felipe Forero Alva, 2012) César acaba de terminar sus estudios en un instituto pedagógico de la sierra. Por fin cumplirá su sueño de migrar a la costa. Pero no todo sale como lo desea. La única plaza a su alcance queda en un pueblito perdido en los Andes.
Coliseo: Los campeones (Alessandro Rossi, 2012)
Cusco 4 Suyos (Alvaro Sarmiento, 2010)
Desaparecer ( Dorian Fernández–Moris, 2015)
El Dorado (Terry Cunningham, 2010, 180 minutes)
El espacio entre las cosas (Raúl del Busto, 2011)
Lengua de los zorros (Federico García Hurtado, 1991)
Mapacho (Carlos Marín Tello, 2017)
Octavo Cuadro (Elizabeth Rojas Tomás)
Los Ronderos (Marianne Eyde, 1987, 74 min.)
Secret of the Inca's Empire (Alla ricerca dell'impero sepolto) (Gianfranco Parolini, 1987)
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Aya
(Dead Person)
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A boy lives with his mother in Maras, Cusco, home of the famous salt beds. His mother is sick, and he must raise 400 soles.
In Quechua with Spanish subtitles.
Available on Youtube: youtu.be/GNemjCMipw8
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Bienvenidos
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The internet comes to the rural communities of Ingatambo and Vista Alegre in San Pablo, Cajamarca, in the northern sierra, arousing
excitement, curiosity, and skepticism. The film was created by Luces Para Aprender, a project of the non-profit group Organización de
Estados Iberoamericanos. The mission of Luces Para Aprender is to bring the internet to poor communities, so this film could be regarded
as a commercial, but it is nevertheless a heart-warming story.
oei.es/en/Education/luces-para-aprender/bienvenidos youtube.com/watch?v=3TzoY99oNKI
Sinopsis en español:
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Chicle (Gum) Director: Josh Hyde 2005. 14 min. In English, Quechua and Spanish Chicle addresses the innocence and incorruptibility of a young boy trying to survive and remain on the path to morality in Cusco, despite the depraved actions of those around him. Pablo, a gum seller, discovers a lost American girl and helps her find her mother. Meanwhile, his older brother robs an American tourist who happens to be lost girl's mother and gives the stolen money to his own mother. Pablo has to return to his family heartbroken and empty-handed. But his spirits are raised when his brother presents him with a stolen photo of the girl, and his mother gives him two American dollars to buy gum for the next day. This film was remade into the feature-length film Postales. | |||||||||||||||||||||
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Chullachaqui Director: Dorian Fernández 2007. 30 min. Inspirado en la leyenda amazónica del chullachaqui. Siete estudiantes de biología se internan dentro de la selva amazónica para recolectar muestras y tomar apuntes para una asignación final. El lugar elegido es Supayacu (Cocha del diablo), donde se han reportado misteriosas desapariciones. En el trayecto, vivirán una serie de acciones que harán de un viaje de placer y con fin académico, una auténtica pesadilla, en la cual irán desapareciendo uno por uno, sin percatarse que quizás se han encontrado, sin desearlo en medio de la exuberante vegetación, con una criatura mitológica y fatídica de pies desiguales. Algunos de los rasgos más saltantes de esta criatura, según la mitología amazónica, son su capacidad de mimetización, adquiriendo la forma que desee. Además, una característica cojera, producto de la asimetría de sus pies. Dícese que en circunstancias muy especiales, sale al bosque a buscar incautos o personas en excursión, los cuales al ser hechizados, son conducidos hasta parajes desconocidos y nunca más se vuelve a saber de ellos. | |||||||||||||||||||||
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Erase una voz (Once There Was a Voice) Director/writer: Harold Palacios Rodriguez 2012. 16 minutes. In Quechua and Spanish. Avelina (Mariluz Quispe Janampa), a campesina from Socos, Ayacucho, is cheated out of her land after her husband dies when a swindler from the big city persuades her to sign a contract she cannot read, telling her she must sign it in order to inherit the land. youtube.com/watch?v=ZtL_MY5_56s | |||||||||||||||||||||
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Kay Pacha (This World) Director/writer: Álvaro Sarmiento 2012. 15 minutes. Un drama con tintes de humor que relata la vida de Maribel, de 15 años, quien trabajan en la calle tomándose fotografías con turistas junto a su amiga Rosmery. Escuchan en la radio sobre un concurso de canto y Maribel sueña con participar, sin embargo solo es un sueño. Ella debe trabajar día a día para poder ayudar económicamente a sus padres. | |||||||||||||||||||||
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Kentishani y Chaavaja Directed by Aldo Salvino 1996. 29 minutes. Two Asháninka children, Kentishani (played by Fredie Iñapi) and Chaavaja (played by Yerme Aquituari) return from a visit to relatives and find their village destroyed and in flames. The only survivor they find is their grandfather, who tells them to run to Shima and warn their relatives of the coming danger. As the two children head toward Shima they encounter a wounded soldier who commands them to take him down river in their canoe. Although they don't speak each other's language, the children and the soldier eventually learn to respect each other. After a brief stay at the militar base, Kentishani and Chaavaja return home to rebuild their village.
Sinopsis en español:
La película fue hecha en 1994, en plena guerra Ashaninka contra el Sendero Luminoso. Este mediometraje fue el primero
de tres que se realizarían en la sierra y la costa para formar un largometraje, proyecto que no prosperó, sin embargo
la historia de los niños Ashaninka tuvo una gran difusión internacional a excepción del Perú donde solo fue visto
en algunos canales pequeños y eventos temáticos.
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Mosocc Punchaw (Nuevo Dia / New Day) Director/writer: Juan Carlos Paitan Montes 2012. 11 minutes. Paulina (Noemi Sotacuro Castillo), una joven que vive en la comunidad de Ambato, Huancavelica, cuenta su historia de cómo vive y como llega a ser regidora del distrito de Yauli, pese a la discriminación que sufre como mujer. In Quechua with Spanish subtitles. youtube.com/watch?v=5oFkBPWsg6g | |||||||||||||||||||||
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El sonido del sol Director/writer: Jossué Gandhi Morales Mendoza 2012. 15 minutes. A boy (Hermitaño Suclle Huamán) sells paltry items on the street in Cusco. A blind quena player sits down near him and has no more luck than the boy. The boy then goes on a quest to find something; we don't know what until the end. This film has no dialogue. People who have visited Cusco will enjoy recognizing some of the sights. Available on Youtube: youtube.com/watch?v=tx0W1xBHvKA | |||||||||||||||||||||
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El tayta Director: Michael Contreras Camayo 2012. Quechua. Cada 24 de julio los elegidos de cada estancia recorren kilómetros rumbo al cerro Huacravilca en la cordillera de los Andes para rencontrarse con el gran Tayta Shanty (Apóstol Santiago). Durante muchos años Tayta Shanti estuvo apartado de la gente, esperando al elegido. Mama Maura junto a sus pastores también son parte de esta peregrinación, deteniendo su marcha en cada lugar sagrado para hacer el pago a la tierra. Después de la ardua caminata todos logran llegar a Huacravilca. El Tayta Shanty recibe a mama Maura poniéndola a prueba. En el proceso los pueblos escuchan su canto, por lo cual todos marchan con sus respectivas ofrendas, el momento propicio y de acuerdo ala profecía, Tayta Shanty logra rencontrarse con su pueblo dejando a ellos como su legado continuar la festividad en honor a su nombre. | |||||||||||||||||||||
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Una tragedia del alcohol Director: Joseph Lora 2009. 13 min. Quechua. Silvestre Condori retorna hebrio a su casa luego de gastarse el dinero de la venta de los vellones que su esposa Antuca le habia encargado, Antuca y su hija Mañuca aguardan la llegada de Silvestre. Silvestre ya cerca a su casa encuentra a Miguelcha su hermano, invitándole a beber unos tragos más en la casa, luego de concluir una botella, éste entra a la cocina y le dice a Antuca que le preste el tupo de su manta para abrir una nueva, ella se opone; caldeando los ánimos del marido y este en un arranque de furia golpea con la botella en la cabeza de Antuca, desparramándose el trago por doquier y causando un incendio de descomunales proporciones y la muerte a su esposa y su pequeña hija. josephlorautda.blogspot.com/2008/09/una-trajedia-del-alcohol-rodaje.html youtube.com/watch?v=QxP30mHglqU | |||||||||||||||||||||
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Ukuku Director: Gastón Vizcarra 2009. 20 min. A more kindly version of the woman-bear offspring myth than the one found in Kukuli above. This Ukuku is not a menace but a misfit, a misunderstood creature looking for ice in a warming world. vimeo.com/15212858 [El ukuku de la mitología andina es una criatura nacida de la unión de una mujer con un oso de anteojos, de los que hereda su sabiduría y fuerza, respectivamente. Su condición de semidios le confiere la potestad de salvaguardar la buena conducta de su poblado, sin embargo, su principal función es la de escalar a los más altos nevados de la cordillera para picar un pedazo de hielo que bajará para la ceremonia de purificación del pueblo y de sus primeras cosechas. En los tiempos que corren, es durante la fiesta del Señor de Qoylluriti, en Cusco, cuando los ukukus ascienden a los nevados en pos de las bendiciones. En El Ukuku de Gastón Vizcarra los tiempos han cambiado y la naturaleza sufre los efectos del calentamiento global y las incurias del hombre, ergo el ukuku--símbolo de la cosmovisión andina y la conservación del medio ambiente--está desfasado de su contexto y por eso desvaría en la costa. El corto pone en contraste la jocosa actitud del ukuku con la irritable conducta de los costeños como símbolo de dos mundos distantes.] | |||||||||||||||||||||
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Viaje de ilusiones Director: Alejandro Legaspi 1997. 10 minutes. Julian, a boy from the countryside, sees his village emptying out, his friends and neighbors fleeing from a devastating drought. Julian's father consults a curandero who reads in the coca leaves death and desolation. The father is determined to stay, but Julian finds a job at a gold prospecting camp in the jungle. There he begins to understand why his father did not want to abandon his village and his culture. From the director of Gregorio and Juliana.
Julián, un niño campesino de 12 años, ve con tristeza cómo su pequeño pueblo se va quedando vacío. Sus amigos y vecinos
huyen de la terrible sequía que empobrece cada día más a todos. El padre de Julián pide al brujo que lea el futuro en
las hojas de coca y lo que éstas presagian es muerte y desolación; esto no atemoriza al padre de Julián, quien está
decidido a quedarse en su comunidad, pero Julián decide ir a trabajar a los lavaderos de oro de la Selva. Ya en el
campamento, Julián se da cuenta que todo es diferente. Recién entiende por qué su padre no abandona su pueblo, su
cultura, ni su tierra. Con Robert Matamoros, Joel Ezeta, Merit Olaya, y William Hipan.
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OTHER SHORT FILMS:
El acompañante (Alvaro Delgado-Aparicio L., 2012)
Apacheta (Jorge Monsalve, 2016, 14 min.)
Ayaymama (Marco Antonio Tam Orellana, 2016, 14 min.)
Aywakushun (Vámonos) (Dalila Salas Alarcon 8 min.) Cadena de cristal (Nilo Inga, 2007, 45 min.)
El campeón de la muerte (Juan Armesto, 2014, 19 min.)
Carlito se va para siempre (Quentin Lazzarotto, 2018, 8 min)
Consuelo (Paul Johnson, 2014, 19 min.)
Gran viaje del Capitan Neptuno (Aldo Salvini, 1990, 14 min.)
Nakaj (Daniel Aizenstat, 1994, 20 min.)
El niño que quería ser oso (Anja Dalhoff, 1999, 32 min.)
El silencio del río (Francesca Canepa, 2018)
Paramo (Daniel Rodriguez, 2009, 17 min.)
Pichqa Minutukuna Llaqtanchispi Wanuqkunamanta (Five Minutes for the Souls of America) (Cesar Galindo, 5 min.)
Punuy Wambra (Selva Rica, 15 min.) Q’ayqasqa: Cuentos de San Jerónimo (Maykon Lope, 2010, 12 min.)
Qué Tal James (What’s up James) (Fabricio Linares Santillan, 2011, 4 min.) Sendero del Chulo (Oscar Catorca, 2007, 45 min.)
Shicshi Rabo (Carlos Marin, 2014, 20 min.)
Supay (Sonia Ortiz, 2018)
Tajimat Pujut (El buen vivir) (Janeth Paukai Deten, 2012, 8 min.)
Umari Awa: El hombre que se transformó en garza (Microcine Kukisha, Iquitos, 6 min.)
El Viaje Macho (Luis Basurto, 2016)
Wakcha (Orphan) (Pierre Llanos, 2017, 20 min)
Watita (Alonso Llosa, 2012, 10 minutes. In Quechua)
Yacuruna (Carlos Marin, 2014, 25 min.)
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