New Latin American Cinema

In the sixties, film-makers across the continent wrote manifestos as much as films: aesthetics of hunger for Glauber Rocha, third cinema for Solanas, imperfect cinema for the Cubans. The common idea is that a poor cinema, shot with little and distributed outside the usual channels, can act politically. Rocha filmed the Brazilian sertão as a land of prophets and bandits, Solanas edited four hours of clandestine film, Gutiérrez Alea followed a bourgeois who stayed in Havana after the revolution.

works 5

• CinemaBlack God, White DevilDeus e o Diabo na Terra do SolGlauber Rocha · 1964Film about a couple of peasants from the sertão who, after a murder, follow first a holy man and then a bandit.Cinema
• Feature filmLucíaHumberto Solás · 1968Seventy years of Cuban history, from the war of 1895 to the first years of the revolution, seen through three women.Cinema
• CinemaThe Hour of the FurnacesLa hora de los hornosFernando Solanas and Octavio Getino · 1968A four-hour documentary manifesto, made of archive footage and collages, conceived against spectacle.Cinema
• CinemaThe Jackal of NahueltoroEl chacal de NahueltoroMiguel Littín · 1969A drunken day labourer kills a woman and her children, then changes in prison under the eye of the justice system.Cinema
• Feature filmVampires in Havana¡Vampiros en La Habana!Juan Padrón · 1985A Cuban animated film for adults, in which vampires, gangsters and politicians fight over pre-revolutionary Havana.Cinema