+ Solo puedo mostrarte el color / I can only show you the colorDir. Fernando Vilchez 25 min – Perú – 2014
In the high plateau of the Peruvian jungle, a mining company forces their way into the depths of the forest to search for mineral resources. Known for their fearlessness, the Awajun people stand up to the invaders. But in the fight for their land they are brutally struck down by the government. Violence breeds counter-violence. A video workshop is the way of follow the trail of violence. Short film premiered at Berlinale’s official competition of 2014.
Dir. Miguel Hilari (Bolivia) 7 min – Bolivia – 2014Energy in a time and space. An exploration of the relationship between dance and ritual. Hilari’s first documentary feature “The Corral and the Wind” premiered at Cinema du Reel 2014 and won best film at FIDOCS in Chile.
An unkown man with a camera invades a hermetic native village in the middle of the Peruvian jungle, when suddenly strange disappearances start happening in this ethnographical sci-fi film. Molero’s first feature, Reminiscencias (2010), screened at MoMA’s Modern Mondays, Rotterdam and FIDMarseille.
The man, the city, the machine. Once he’s up in the Enterprisse, he has to follow the instructions. Russo’s next short film, Juku, premiered at Sundance 2012.
Located in the middle of a market and a port on the Amazon jungle, a poor radio station can only broadcast through speakers. The filmmaker reduces his commentary to a few final shots, the rest is from the voice of the people.
Five radial narrations of the same soccer match of the Peruvian national team juxtaposed with a suggestive montage of empty streets and emblematic monuments of the country’s capital city, Lima. Robles Godoy is Peru’s first and main auteur but still undiscovered for international audiences. His films, like The Green Wall (1970), are a mysterious combination of lyrical images and fragmented structures.
Made out of fragments of footage filmed while making propaganda documentaries for the state lottery, and edited according to theoretical precepts of Soviet montage, Revolución could be considered Bolivia’s first experimental film. In addition to using cinema to resist dictatorships and American imperialism, Jorge Sanjinés was also one of the first to theorize the representation of non-Western subjectivities in cinema.
Founded in 2001 with the mission of distributing, programming and promoting what was to become the biggest boom of Latin American cinema in decades, CT brought U.S. audiences some of the first screening of films such as Amores Perros and Y Tu Mamá También. Through a diversity of programs and initiatives, CT is thriving as a dynamic and groundbreaking 501(c)(3) non-profit media arts organization experimenting in the creation of better and more effective strategies for the distribution and exhibition of foreign cinema in this country.