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Latin American Panorama
This year's selection of the crème de la crème of Latin American production is ruled by Mexican cinema. However, that shouldn’t surprise you, nor the fact that the films are mostly debuts. A remarkable number of new talents who enrich the world cinema appear in Mexico – and in the whole continent, after all – every year. At the same time, the genres of the Mexican films cannot be more different: The Obscure Spring is a psychological analysis of destructive amorous passion, resembling the best films by Polish Krzystof Kieslowski. The Thin Yellow Line is a road-movie about the power of friendship. The two studies of handicapped outsiders approach the issue very differently: Yo represents a neo-Realist portrait of a mentally challenged boy, while Walking Distance brings a humorously minimalist story of a lonely man who breaks the confines of his own body despite crippling obesity. Jeremy is a comedy, sizzling with original direction and witty ideas, focusing on the troubles of a child “genius.” 600 Miles, starring the excellent Tim Roth, addresses a typically Latin American topic in a distinctive way: the world of crime, violence, and drug cartels. The stylistic variety of Mexican films at this year's Febiofest is emphasised by a visually impressive and narratively unusual historical reconstruction of an expedition of three Spanish conquistadors to the secrets of Popocatépetl, which is offered by Epitaph in the Upstream section. Other countries are obviously represented in our selection as well. We cannot ignore Brazil with its sensitive story of “lost children,” Campo Grande. The topic of the never-ending suffering of those small and helpless in countries terrorized by paramilitary units is addressed in The Silence of the River (El Silencio del Río) from Colombia. Clever, a minimalist story of one car and its barmy owner, will entertain you with its humour in Jarmusch style, which has practically become an export feature of Uruguayan cinema. Argentina is represented by a socially critical drama called The Red Land, which was directed by Diego Martinez Vignatti, an iconic cameraman, and by a key personality who started the new wave of Latin American cinema two decades ago – Pablo Trapero. Trapero won the award for the Best Director in Venice for his latest opus, The Clan, which portrays an infamous Argentinian criminal family.
 
600 Miles / 600 Miles / 600 mil (Mexico) Director: Gabriel Ripstein (Latin American Panorama )
Campo Grande / Campo Grande / Campo Grande (Brazil, France) Director: Sandra Kogut (Latin American Panorama )
The Clan / El clan / Klan (Argentina, Spain) Director: Pablo Trapero (Latin American Panorama )
Clever / Clever / Clever (Uruguay) Director: Federico Borgia, Guillermo Madeiro (Latin American Panorama )
Jeremy / El Jeremías / Jeremy (Mexico) Director: Anwar Safa (Latin American Panorama )
The Red Land / La tierra roja / Červená země (Belgium (Wallonia - Brussels), Argentina) Director: Diego Martínez Vignatti (Latin American Panorama )
The Silence of the River / El silencio del río / Mlčení řeky (Colombia, France, Uruguay) Director: Carlos Tribiño Mamby (Latin American Panorama )
Yo / Yo / Yo (Mexico, Canada, Switzerland) Director: Matías Meyer (Latin American Panorama )
 
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