South American Film

South America holds a wealth of artistic innovation. To me, I feel that the Latin-American literature boom of the 20th Century is carrying over into the best South American films.

First up is the fantastic ‘drug-crime’ pairing of City of God and Elite Squad which put Brazil on the 21st century film map.

Argentina won Academy Award acclaim with The Secret in Their Eyes featuring Ricardo Darin, the star of Argentinian film. I’d also recommend the brilliantly hilarious Wild Tales (also starring Darin) to add to your Argentine collection.

With films like Embrace of the Serpent, Colombia is also making headlines. And don’t forget Chile, a country bolstered by Pablo Larrain, one of South America’s most promising directors (see Neruda for evidence).

With a world of film at your fingertips, South America is a fantastic place to start your film quest! Find the best South American films below, or click on a country below to go somewhere particular:

Argentina, Bolivia, Brazil, Chile, Colombia, Ecuador, Guyana, Paraguay, Peru, Suriname, Uruguay, Venezuela

Anina (Uruguay) – A Whimsical Animation With A Unique School Punishment

Anina Film Difficulty Ranking: 2

Do you miss the animations and story books you used to read as a kid? Anina will bring back your childhood with whimsical animation and a heart-warming story. If you have young ones or you’re young at heart, this one’s for you.

Why Watch Anina?

For anyone with kids, or your young at heart
To see it’s unique style which may remind you of a storybook
To hear the ‘worst names’ from Uruguay (Anina hates her name which is read the same forwards and backwards)
It’s here on YouTube (if you can understand Spanish)

The Breakdown

Anina starts at the end of a school day. Some parents are crowding round the entrance of the school waiting for their kids under their umbrellas. Some of the other kids are waiting at a bus stop nearby. It’s obvious who the protagonist is as she’s the only one with hair that stands out against the palette of grey, beige, and brown. Her hair is red and sticks out from her head. She’s Anina, our 10 year old protagonist.

You’ll notice the look of this animation is different to the Disney and Pixar films you’ve become used to. Firstly it’s 2D rather than the 3D used in most modern animation. Secondly, it’s uses a flat colour palette with no vibrant colours. As a result, Anina looks more like a children’s storybook rather than a vibrant Pixar film. This made it feel more whimsical and endearing.

One of my favourite stylistic moments occurs when she has a childhood memory. In the memory, the animation becomes even more basic than in the present: her facial expressions are less detailed and the background is plainer. It reflects the memories we all have, in which the detail is eroded by time.

Image result for anina

Conclusion

Like the best family films, Anina combines humour with a beautiful message about the family and friends. In addition, it’s unique animation evokes a nostalgia for children’s storybooks. If you’ve got young kids, or you still feel like a kid inside, Anina is worth a watch.

For more whimsical animation check out Song of the Sea by Tomm Moore. Also, no matter what age you are, watch Princess Mononoke by Hayao Miyazaki.

Guiana 1838 (Guyana) – Slavery Wasn’t Abolished in 1833

Guiana 1838 Film Difficulty Ranking: 2

Slavery was abolished in the British Empire in 1833, but was it enforced? In Guiana 1835 you’ll see that slavery was replaced with another form of slavery: indentured servitude. If it’s available you can find the film here on Amazon or here on YouTube (with audio errors).

Why Watch Guiana 1838?

Learn about slavery and indentured servitude in Guyana – the educational video style interruptions in the opening 30 minutes of Guiana 1838 will give you a quick understanding!
See what happened to freed slaves in Guyana
Witness the whole process of the Indian indenture system
If you think the British Empire is something to be proud of

The Breakdown

Guiana 1838 starts with 2 white men on horses patrolling a sugar cane plantation full of black workers. He singles out one of the workers for questioning. When he doesn’t get a response, he takes the black worker to the whipping pole.

At this point, the film jumps to one of a handful of educational-video style interruptions to teach you about the start of the slave trade. In a few minutes, it gives you a brief low-down on how it started, why it started, and a few of the figures calling for abolition.

Then, jumping back to the dramatisation, one of the younger slaves overhears a man from Britain telling the slave owner that slavery has been abolished. She runs back to her family to tell them the good news.

Again, the film jumps back to an educational slide-show to show you the slave owners solution: indentured servitude. This was a system which lasted until 1917 in which people from across the British Empire (and further afield) were contracted or tricked into cheap labour. Guiana 1838 follows a group of Indians that were ‘contracted’ to work in Guyana (effectively tricked into slave labour).

Conclusion and What to Watch Next

If you don’t know what indentured servitude is or you don’t know much about the Atlantic slave trade, you should watch Guiana 1838. It’s educational style may remind you of the historical enactment videos you watched at school so expect to learn a lot.

Even though slavery has shaped the world perhaps more than any other event, there haven’t been that many films to document it, especially compared to the excess of Hollywood westerns. That being said, here are some films you must see:

12 Years a Slave: the 2014 Best Picture Winner from Steve McQueen that doesn’t shy away from the reality of slavery
Sankofa: A Burkinabe film which provides a perspective of Maafa (the African Holocaust) that Hollywood rarely gets close to
Roots: The original iconic TV series based on Alex Haley’s novel featuring Kunta Kinte
Django Unchained: Yes, Tarantino’s film follows the ‘white saviour’ narrative and can be seen as insensitive, but where else can you see a film in which an ex-slave gets revenge on his white slave masters??

The Restoration – Latin American Competition – SBIFF

The Restoration features Tato, a useless 50 year old cocaine addict that has moved back into his mothers home following his latest divorce. In a moment of misguided ingenuity he decides to sell his bedridden mother’s house (one of the last old houses in Lima) behind her back. To fool her, he recreates her bedroom in a shed in the desert.

In it’s best moments, The Restoration contains a tragic satire of the rapid modernisation of Lima. It’s self aware and able to play comedy off a dark(ish) subject matter with ease, much like Luis Estrada’s El Infierno (which manages to get away with poking fun at the narco-state of Mexico).

However, unfortunately this commentary becomes obscured as the movie chooses to focus on carrying out the ‘magic trick’ of switching Tato’s mum from her old bedroom into a makeshift one without her noticing. It turns the movie from a promising social satire into a relationship comedy of the dying mum and her useless cocaine-addicted son. After beginning the film with a brief commentary on the consequences of Lima’s modernization, the cheap laughs and attempted tugging on heart strings are the easy way to end the film.

Ultimately The Restoration is ends as a somewhat funny Latin film in the realm of the Eugenio Derbez film universe. There’s stereotyped characters, quick laughs, and melodramatic cheesiness. If that sounds like your thing, this film might just be for you.

The Retirement – Latin American Competition – SBIFF

This is an Argentinian take of the ‘grumpy old man facing an unwanted situation that forces him to open up his heart’ story. In this case, it’s a old man entering retirement as a widow who wants to be left alone. However, his housekeeper disappears leaving him to look after her young son.

He faces a lot of opposition from his daughter in his choice to take care of the kid on behalf of his housekeeper. The way he spoils him makes his daughter jealous – he’s being the dad she didn’t get have because he was so obsessed with work. As per convention, the grumpy old man learns to love the young boy and opens himself up to learn to love his daughter again.

It’s a heartwarming film about retirement and life as an old widow. Perfect if you don’t want to think much. However, if you’re looking for something more than a film about grumpy old man that is forced to open his heart, you’ll probably be disappointed. The tropes are mostly obvious and expected. And when they’re not, they feel out of place and manipulative – such as the mum going into labour at the kids school (giving Rodolfo an opportunity to show his caring side to his daughter). It’s careful not to tread new territory. Although to be fair, this mid-range silver cinema fare is being budgeted out of Hollywood cinema these days.

Head to our Santa Barbara International Film Festival Hub for more reviews from the Santa Barbara International Film Festival 2020.

The Intruder – AFI Fest 2020

The Intruder does a lot in the opening 15 minutes. It develops the character of Ines rapidly to set the tone for the rest of the movie. We see that she works as a voice actor helping to dub foreign movies and is a part time chorister. We also find out that she has a lot of nightmares and is terrified of a lot of things such as planes and bats. There’s also her annoying boyfriend who helps to define her as the more grounded and normal of the two. All of this is crammed into the opening without feeling rushed, so when a catastrophe happens, we’re already familiar with Ines and her world.

This opening gives us a grasp of what’s normal for Ines. So, after her traumatic event, we can see that her life seemingly returns to normal. She’s back in the recording studio doing dub tracks and she’s back singing with her choir. The only things that change are her voice and a rise in the number of her dreams. But neither thing feels that alarming or unusual at first. Plus, it’s at this point that her mum shows up to help her recover from her trauma and a organist appears to rekindle her love life. They both help to enforce the normalcy of Ines’ life by appearing in the mundanity of it. But something just doesn’t feel quite right. Her life feels a bit like uncanny valley.

The director, Natalia Meta uses Ines’ dreams to establish the dream world as another place that exists beside Ines’ reality. It’s so close to her reality that we slip between the two with ease. The transition between the two worlds are aided by the darkness of Ines’ life. She moves from her dark apartment to the dark studio recording rooms and artificially lit choir hall and is never spotted in daylight. As she’s inside for most of the film, it’s hard to know what time of day it is at any point. As a result, we lose track of time, and with it our hold on reality. It’s hard to pinpoint when she’s dreaming or awake. The darkness facilitates the creation of Ines’ dream world and it’s merging with her everyday reality.

Head to our AFI Fest Hub for more reviews and short films from AFI Fest 2020.