Die zwölf Regisseure des Films haben ihre persönliche Sichtweise auf die Geschichte des lateinamerikanischen Kinos und dessen Marksteine zu kleinen Episoden verarbeitet. Themen sind die Stummfilmzeit und der Beginn des Tonfilms, die Darstellung des menschlichen Körpers im mexikanischen Film, Zeugnisse vom „cinema novo” Brasiliens durch die Stimme ihres berühmten Vertreters Glauber Rocha, der längst gestorben ist; das venezolanische Kino der siebziger Jahre, das klassische kubanische Kino der sechziger Jahre, die indigene Problematik, die Sorgen des argentinischen und columbianischen Kinos bis zum Dokumentarfilm der sechziger und siebziger Jahre, welcher jene Epoche geprägt hatte. Aus der Welt des Kinos nehmen Stellung Pilar Miró, Michael Chanan, Costa Gavras und Robert Redford. „Die Ausdrucksweisen des Films sind so vielfältig wie die Ausdrucksweisen des lateinamerikanischen Kinos.” (Julio García Espinosa)
Dokumentiert die Geschichte der jüdischen EinwandererInnen in Mexiko in den 1920er und 1930er Jahren, basierend auf den Erinnerungen von ZeitzeugInnen und mündlich überlieferten Erzählungen. Eindrucksvolle Archivaufnahmen zeugen von der Vielfalt der kulturellen Hintergründe der jüdischen ImmigrantInnen, die in Videointerviews von den Hindernissen berichten, denen sie sich zu stellen hatten, bis sie Mexiko als ihre Heimat empfanden.
Regie: Daniel Goldberg
Regie: Ariel Gordon
Regie: Carlos Hagermann
After a few years working in New York to support his family back home, Pedro returns back home to his village in Mexico, where he now finds his daughters on the verge of adolescence, and is unsure of what to expect. The younger of the two, Heidi, quickly becomes eager to reconnect, while his older daughter, Lorena, is more distant than he imagined. His wife, Teresa, still has the same smile although she senses he may have had a woman in the US, and is guarded in their intimate moments. Having saved his earnings from two long periods of work in the US, Pedro plans to pursue his own version of the American Dream on the side by starting a band: the Copa Kings.
Regie: Carlos Bolado
Loosely based on Alejo Carpentier‘s novel Concierto Barroco, Leduc sends a Mexican and a Cuban Creole out to measure key points of the supposedly new world‘s history. They end up to Europe, experience the performance of Vivaldi‘s opera Montezuma and realise how the conquest of America is told here. BARROCO is the playful counterhistory of the glorified conquest. Without dialogue, and only with the means of music, Leduc designs a utopia against the background of blood-soaked history: the one and true melting pot.
Regie: Nicolás Echevarría
Regie: Gabriel Veyre
Nora and José used to be a happy loving couple. Now they have grown old and have been divorced for 20 years. They live in am Mexican city in two apartments on the same street and opposite to each other. Nora is planning her death and is eager to keep her ex husband José busy with it. It is her last will that José take care of her funeral, which, because of a religious holiday, turns out to be a difficult task…
Regie: Mariana Chenillo
92 min, 35mm, Farbe, OF mit dt./frz. UT
Regie: Maria Novaro
Juan Carlos Rulfo war zu Gast beim IFFI 2000 mit DEL OLVIDO AL NO ME RECUERDO und mit EL ABUELO CHENO 1996. Beide Filme drehen sich um Motive aus dem literarischen Schaffen des Vaters von Juan Carlos Rulfo, Juan Rulfo („Pedro Paramo“).
Regie: Juan Carlos Rulfo
Regie: Adolfo García Videla, Humberto Ríos
DIE FÜNF HIMMELSRICHTUNGEN (five points of direction) tells the story of the residents of the Mexican Village Tres Valles (Veracruz), following the two protagonists María Esther and Miguel. The film portrays the two lonely Mexicans, who live in Kansas City and work there as migrant workers without legal status hoping to be able to give their families at home a better life.
Regie: Fridolin Schönwiese
At the time of the US Invasion in Panama every night teenagers, small-time criminals and dockworkers meet in the shabby little night club Salon Panama to see the shows of the vaudeville artists and dancers. The mood in there is hilarious until a group of US soldiers storm the tavern and a dancer gets raped. The Americans insist on the ongoing of the show… DOLLAR MAMBO is a movie working completely without dialogues, the meaning is transported through dance, music and pantomime.
Regie: Paul Leduc
80min, 35mm; Farbe; Ultra-Stereo; span. OF mit dt. UT
Regie: Juan Carlos Rulfo
Dionisio, who lives in a state of wretched poverty, rescues a badly wounded cock, left for dead after a bloody fight. Miraculously, the cock recovers (while Dionisio’s mother dies) and they set off to find their fortune at cock-fights staged at country fairs.
Regie: Arturo Ripstein
132 min, 35mm, Farbe, spanische OmenglU
It is the story of a family that was torn apart by a war, which split up the brothers and placed them on opposite sides. The end of the armed conflict allowed the family members to return to an impoverished country. As they attempt to overcome the memories of war wounds, of the deaths that burden their recollections, of the guilt and the mutual hatred, they are confronted by a disintegrating social fabric that continues to drive them apart. The Rivera family shows how division, religious manipulation, male chauvinism and poverty are part of what the war left behind in Nicaragua.
Regie: Juan Paco Urrusti
Two young boys whose parents are abroad are to be guarded by the tyrannic German governess Mrs. Forbes. With her authoritarian educational methods she is ruining the kids’ holidays and so they start to fantasize about murdering their rigid minder. Yet, one night, when the boys shadow Mrs. Forbes, they unexpectedly get to know a completely different, unbridled side of her…The motion picture EL VERANO DE LA SENORA FORBES is based on a novel by Gabriel Garcia Márquez.
Regie: Jaime Humberto Hermosillo
90min, 35mm, Farbe, OmU
with Hannah Schygulla
A portrait of the construction workers involved in building the second deck of Mexico City’s Periférico freeway. Following the lives of a number of road-workers during the construction of a gargantuan bridge in Mexico City, the film follows a fairly loose narrative structure, but does what all good documentaries should do by helping us to understand why its subjects are the way they are. Rulfo offers us a mosaic of these people’s lives, helping us to come to terms with the spiritual, political and psychological motivations behind their behaviour. While they remain in many ways enigmatic, particularly the wonderful Shorty, we are always connected to them because of Rulfo’s skillful inclusion of humour and powerful visual sense. (IMDb)
Regie: Alberto Isaac
Regie: Brüder Alva
„In Mexico there are two things: The holy virgin of Guadalupe and football.” Jose Luis Trejo, the filmmaker’s father, is portrayed in his function as the coach of CF Pachuca, a renowned 1st league football team in Mexico. The film describes his stressful life and work as a football coach: team management, game analysis, training before and after the decisive games. Two thirds of professional coaches are suffering from various heart diseases including coach Trejo. To be a football coach is glorious and rewarding … as long as your team wins.