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Parallel sectionsAspects of Mexican cinema : a disenchanted modernity
Along with Argentina, Mexico has had a strong position in art-house cinema on the American continent since the early 90s. The Mexican film industry has a long history, starting to become well know thanks to films such as the “Comedia Ranchera” (Mexican westerns) and the “Cabaretera” (films set in dancing halls). This popular cinema with a large audience following, coexisted since the seventies with art-house films, notably by Arturo Ripstein as well as Alberto Bojórquez, Felipe Casals and Jaime Humberto, whose films accompanied the “new waves” that appeared here and there throughout the world in the sixties and seventies. Ikbel Zalila
AMORES PERROS by Alejandro Gonzales INARRITU - Mexico ( 2000 ) JAPON by Carlos Reygadas - Mexico ( 2002 ) TEMPORADA DE PATOS by Fernando EIMBCKE - Mexico ( 2004 ) SANGRE by Amat ESCALANTE - Mexico ( 2005 ) FAMILIA TORTUGA by Rubén IMAZ CASTRO - Mexico ( 2006 ) DONDE ESTAN SUS HISTORIAS by Nicolas Pereda - Mexico ( 2007 ) PARQUE VIA by Enrique RIVERO - Mexico ( 2008 ) EL VIOLIN by Francisco VARGAS - Mexico ( 2008 ) INTIMIDADES DE SHAKESPEARE Y VICTOR HUGO by Yulene Olaizola - Mexico ( 2008 ) DESIERTO ADENTRO by Rodrigo Pla - Mexico ( 2009 ) NORTEADO by Rigoberto Perezscano - Mexico ( 2009 ) EL CASTILLO DE LA PUREZA by Arturo Ripstein - Mexico ( 1973 ) COMO AGUA PARA CHOCOLATE by Alfonso Arau - Mexico ( 1992 ) DANZON by Maria NOVARO - Mexico ( 1990 ) Close up on south African cinema
The film industry of South Africa is still largely unknown in the Maghreb, primarily due to linguistic barriers that separate the two regions. For some years now, the visibility of South African cinema has been dependent on the good will of European distributors who decide which films will meet the expectations of a Western audience. But, that is only one aspect of South African cinema. Like all African film industries, large parts of this rich, diverse cinema have been marginalized. To attain international success, the recipe seems to be Hollywoodian violence or good feelings. Ikbel Zalila
IZULU LAMI by Madode NICAYANA - South Africa ( 2008 ) U- CARMEN E KHAYELITSHA by Mark Dornford-May - South Africa ( 2010 ) ZULU LOVE LETTER by Ramadan Suleman - South Africa ( 2004 ) SARAFINA by Darell James Roodt - South Africa ( 1992 ) MAX ET MONA by Teddy Mattera - South Africa ( 2004 ) THEMBA by Stefanie Sycholt - South Africa ( ) MON NOM EST TSOTSI by Gavin Hood - South Africa ( 2006 ) WHEN WE WERE BLACK by Khalo Matabene - South Africa ( 2007 ) SEA POINT DAYS by François Verster - South Africa ( 2009 ) Cinema from the countries of Ex-Yougoslavia : splits and continuity between war and peace Relegated to the back seat after a black decade of armed conflicts and the division of former Yugoslavia, cinema from the region is reborn today and we now see Serbian, Croatian, Bosnian, Macedonian, Montenegrin and Slovenian films. Ikbel Zalila
PAPA EST EN VOYAGE D’AFFAIRES by Emir KUSTURICA - Yugoslavia ( 1985 ) SOME OTHER STORIES by Marija Dzidzeva, Ivona Juka, Ana Marija Rosi, Ines Tanovic, Hanna Antonina Wojcik-Slak - Tunisia ( 2010 ) KINO LIKA by Dalibor Matanic - Croatia ( 2008 ) THE BLACKS by Zvonimir Juric, Goran Devic - Croatia ( 2009 ) NO MAN’S LAND by Danis TANOVIC - Bosnia Herzegovina ( ) PREMIERE NEIGES by Aida BEIJIC - Bosnia Herzegovina ( 2008 ) GRABVICA by Jasmila ZBALIC - Bosnia Herzegovina ( 2010 ) DUST by Milcho MANCHEVSKI - Macedonia ( 2010 ) I AM FROM TITOV VELES by Teona STRUGAR MITEVSKA - Macedonia ( 2007 ) ORDINARY PEOPLE by Vladimir PERESIC - Serbia ( 2009 ) THE OLD SCHOOL OF CAPITALISM by Zelimir ZILNIC - Serbia ( 2009 ) THE POWDER KEG by Goran Paskalevic - Serbia ( 1998 ) GRAVE HOPPING by Jan CVITKOVIK - Slovenia ( 2005 ) | |