¡Nos vemos en la edición 2020! | ¡Wir sehen uns 2020!



Sieben Tage voller Geschichten

Schnallen Sie sich an, wir nehmen Sie mit nach Lateinamerika. Sieben einzigartige Spielfilme, zwei Dokumentarfilme und zwei Kurzfilmblöcke haben wir in diesem Jahr ausgesucht, und zeigen diese vom 26. November bis 2. Dezember im Instituto Cervantes, dem Gasteig und dem Werkstattkino.

 

Auf gängige Klischees wie Salsa, Samba, Santería verzichten wir hierbei, denn Lateinamerika hat viel mehr zu bieten. Wir bringen Sie nach Kolumbien, Mexiko, Uruguay, Argentinien und Chile und begeben uns zum 100-jährigen Jubiläum des Bauhauses auch auf die Spuren deutscher Architektur in Argentinien. Begeben Sie sich mit uns auf die Reise durch Zeit und Raum. Es lohnt sich!

 

Siete días llenos de historias


¿Está Usted Listo? ¡Le llevamos a Latinoamérica!

Tenemos 7 largometrajes, 2 documentales y 2 tandas de cortometrajes que ya integran nuestro programa; van a proyectarse entre el

26 de noviembre y el 2 de diciembre del 2019 en el Instituto Cervantes, en Gasteig y en el Werkstattkino.
En este 2019 nos vamos para Colombia, México, Uruguay, Argentina y Chile, pasando por alto los eternos clichés de Salsa, Samba y Santería; claro está que Latinoamérica es mucho más que eso. ¡Acompáñenos en el viaje a través del espacio y tiempo, le va a encantar!



Ein kleiner Vorgeschmack auf das Programm 2019:

MONOS

2019  102 Min.

BELMONTE

2018 • 74 Min.

PERRO BOMBA

2019 • 80 Min.

LUCIÉRNAGAS

2018 • 88 Min.



Aus aktuellem Anlass - zur prekären Situation des brasilianischen Films (06.11.2019)

Auch wenn LAFITA 2019 keine Filme zu Brasilien im Programm hat, lässt uns die jüngste Entwicklung in der brasilianischen Filmbranche nicht indifferent. Im Gegenteil - die Verwüstung der Kulturlandschaft und Diskreditierung  von Filmschaffenden unter dem amtierenden Präsidenten Jair Bolsonaro nimmt Züge an, die uns zu denken geben und sehr unangenehme historische Echos freisetzen. Der brasilianische Fall gibt uns auch zu denken, weil Brasilien durchaus auch exemplarisch für andere Gesellschaften Lateinamerikas stehen kann. Auch in Argentinien, Chile, Kolumbien oder Guatemala ist in jüngster Zeit eine Drohkulisse vernehmbar, die der kulturellen und kinematographischen Vielfalt in hohem Maße abträglich ist.

Es ist uns ein Anliegen, auf die Zwänge und Ängste hinzuweisen, die auch jenseits von kommerziellem Kalkül die heutigen Filmproduktionen Lateinamerikas begleiten. Es ist uns ein Anliegen hier den Appell von Peter Azen zu teilen, eines Regisseurs und Drehbuchautors (CACAYA (2017), CALIDRIS (2019)), der die Lage der brasilianischen Kinematographie aus erster Hand beschreiben kann. Es ist traurig und gleichzeitig paradox, dass in einem Land, das bekanntlich den Fortschritt auf der Nationalflagge führt, die Uhren der Gegenwart rückwärts zu laufen scheinen und eine düstere Denkfeindschaft um sich greift: 

“What is the future of Brazilian Cinema?” That was the question that I was asked the most while in Europe last Summer.

 

Things in Brazil and South America are changing rapidly and in unpredictable ways. Instead of the question above, the question I've constantly been asking myself and my peers is, “How can we save Brazilian Cinema?”

 

Brazilian cinema haven't been this worldwide celebrated since the Cinema Novo years, and haven't been this daring since Cinema Marginal.

 

We are at an age of inventive films from incredibly creative voices. Voices that years ago would never be able to direct films because of lack of support. Voices as the ones of Adirley Queiroz, Yasmin Thayná, Affonso Uchôa, João Dumans, Guto Parente, Clarissa Campolina, Luiz Pretti, Juliana Antunes, Juliana Rojas and Marco Dutra, Tavinho Teixeira, Rodrigo Lima, and Filmes de Plástico, to name a few.

 

This year we have films, such as “Bacurau” and “Divino Amor”, taking over the film festival circuit. We won the Jury Prize and the Un Certain Regard Award at Cannes. We had Régis Myrupu, an indigenous actor, winning the Best Actor Award at the Locarno Film Festival for his role in Maya Da-Rin's “A Febre”. We have a festival in Biarritz doing a Julio Bressane retrospective. Film at Lincoln Center in New York City screening for the first time a series completely dedicated to Brazilian Cinema this December. Festivals and Series all over Brazil and the World showcasing hundreds of new Brazilian films from new Brazilian directors. Lafita is a perfect example of one of these festivals and series throughout the World. We have a market that generated R$24,5 Billion of profit and employed over 98 thousand people in 2016, and that number was growing 9% per year. This is more than the pharmaceutical industry.

 

One can say that Brazilian cinema is at a very promising moment. It is, and it is a moment that took many years to build. Built by slowly giving education and the means so that the people of Brazil can have the power to tell their own stories. People are working to get Brazilian to this level for many years. Diversity is strong in contemporary Brazilian cinema, as it should. We never had so many women, people of color and queer people expressing themselves through cinema, and this number is only growing. We never had so many debates about the importance of diversity in the arts during festivals and film series. The big corporations that used to run Brazilian cinema are still active, but they are not the monopoly anymore. Things are finally changing.

 

It is a very exciting time.

 

But while we are experiencing this exciting time, the future of our cinema also looks very dark. The shutting down of the Ministry of Culture, which now became a Secretary of Culture inside another Ministry; the constant threat of extinguishing ANCINE (Brazilian National Film Agency); LGBTQ themed projects that were already approved by ANCINE being shut down by the President during a livestream; war being declared against culture by various members of the government. When asked about the censorship, the President states that he is not censoring cultural works, but instead is preserving Christian values. News like these are constantly happening week after week since January 2019.

 

ANCINE had a program to support certain films to go to festivals. You would apply and if accepted ANCINE would help reimburse the filmmakers' expenses to go promote the film at certain top-tier festivals. Earlier this year, filmmaker Juliana Antunes, was going with this grant to New York Film Festival, where she screened her short film “Plano Controle”. Ten days before her trip, ANCINE decided to cut down the grant. So ten days before her trip, Juliana found herself with no money to travel, for accommodation or food. The representative at ANCINE told Juliana that they cut her grant because of budget cuts that the government demanded. Rumor was that the government was attacking the films chosen because of their themes. Juliana managed to solve this by doing a last-minute crowd-funding.

 

Stories like this are happening every day. Brazil is moving backwards at a very fast pace.

 

Brazilian cinema has gone through many ups and downs since its first film in 1898. In 1931, the audience thought that “Limite” by Mário Peixoto was a complete nonsense, and the film was nearly left for dead, a film that Abraccine considers the best Brazilian film of all times.

 

During the 1940s, Orson Welles was in Brazil to make “It's All True”. Welles never finished the film mostly because of changes in RKO Studio, but also because the Brazilian government of Getúlio Vargas was unhappy with Welles. Welles wasn't making the tourist commercial film they thought he would do. Instead he was making a very complex film about the working-class people of Brazil. Welles was filming what the Brazilian government didn't want filmed. Getúlio would attack Welles by calling him a communist, and would take away the Brazilian governmental support from the production.

 

After the military coup of 1964, the government would attack the Cinema Novo filmmakers, also calling them communists. Many filmmakers from the Cinema Novo and the Cinema Marginal movements, as well as artists from every medium, would have to run away from Brazil to other countries to escape prison and torture.

 

After a rise in production during the 1970s and 80s with Embrafilme, Brazilian cinema reached its all-time low during the 90s. Throughout the decade, for the most part, only extremely rich filmmakers could make films. Some great films were made during that period, but only through the voice of the extremely rich people of Brazil.

 

In the 2000s Brazilian cinema started to slowly rise again, culminating to the energy that is bursting out of it at the moment.

 

Now, filmmakers are being called communists by the current government again, in an attempt to censor any art with creative voices that won't agree with their conservative ideology.

 

Coming back to my question about saving Brazilian cinema, there is no correct answer, but people are organizing, are getting together, and I believe that it is too late for us to go down without a proper fight. If they take away our grants, we will keep doing films guerrilla style. If they take away our freedom, we will find a way to break away from their chains somehow.

 

There are hundreds of NGO teaching cinema for children in the peripheries or people from our indigenous population for free. People are learning to use video as a way to protect themselves, to save our culture and document our ways. We also do have members of the Congress on our side, fighting in favor of culture and freedom of expression, and a few weeks ago we went to the Congress to join forces with a few representatives and start this new Front in favor of Brazilian Cinema.

 

The current government is trying to get us tired of this fight, but I believe that they are underestimating our potential. As the character of Lunga says in “Bacurau”, “Cansado é o caralho. Eu tô é com fome” (“I'm not f***ing tired. I am hungry”).

 

We are hungry. Very hungry.

Peter Azen
Peter Azen