in Toulouse, Chinelatino, to the stars

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Friday night’s Latin American cinema meetings raised the curtain in the beautiful halls of the Capitol and the nearby Cinematheque with festival guests, volunteers and friends in a reunion celebration after two years of social distancing caused by the health crisis. The 34th edition is also marked by several anniversaries: the issue of the magazine Cinémas d’Amérique Latine and the meetings of Cinéma en Construction, two specific and important pillars to “ Long live cinema “in Latin America.

From our special correspondent in Toulouse,

Next to the Saint-Sernin Basilica, a gem of Romanesque architecture, Cuban director Miguel Coyula came to present his amazing and wonderful film. corazon azullending itself under the sun for a photo shoot. Another generation, another look, Chilean documentary filmmaker Patricio Guzman is the star guest of this 34th edition. Forced to stay in Paris, where he lives due to health problems, he nonetheless participates virtually in the debates that follow his films, or in meetings like the one held this Saturday on the theme “From memory to stars” around his film. nostalgia for the worldand, more generally, around work that documents the present, while questioning the memory and a claim to the subjectivity of the documentary view. The festival offers a complete retrospective of the work of here regular Patricio Guzman from the trilogy Battle for Chile before pearl button as well as dream cordillera. We’re betting that his next film, currently being judged, will find a good place on the screens of Rencontres de Cinélatino.

Cinémathèque de Toulouse, 26 March: Chilean director Patricio Guzmán and astrophysicist Thierry Contini (G), Marion Gautreau and Ignacio Del Valle, teacher-researchers in the video. © Isabelle Le Gonidec RFI

The festival has a good place in Chile, as the news obliges, as the recent inauguration of new president Gabriel Boric opens up prospects for many filmmakers attending the festival’s 80 or so guests. a festival that runs until April 3 in Toulouse and its region. more than 130 feature or documentary films in various sections, competitions, discoveries and Another mirada, another look dedicated to the young Argentine director Matias Pinheiro. He is the author of a work that is little known to the general public, which explores acting, acting in the theater, acting in films, acting in life, in particular, the rethinking of Shakespeare’s work in his films. An instructive interview was dedicated to him in the previous issue of the magazine latin american cinema, as he was invited to the 2021 edition.

Latin American cinemas30 years

A review that celebrates its thirtieth anniversary this year, essential to accompanying the cinema of the subcontinent, and a jubilee issue largely dedicated to the preservation, restoration and transmission of the Latin American film heritage.

Thirty years is nothing … “(to the melody of tango)

It was in 1992, the year of the “discovery” of America, that the review was launched by the organizers of the festival, which had existed for four years. Then it was about making cinema known as a carrier of the cultures of the Latin American subcontinent in several languages, in French, Spanish or Brazilian Portuguese. The review sheds light on the Rencontres program, but also sheds light on the trends or issues that feed cinemas in Cuba, Argentina, Brazil or Central America. Journal articles are widely open to authors from the subcontinent, filmmakers, critics, journalists or research educators.r “cultivating a diversity of points of view and promoting dialogue between cultures wrote Paulo Antonio Paranagua, a journalist and film critic who gave impetus to critical and theoretical work in his pages. Published in paper form – originality joined by the authors – in black and white, without advertising – except for the back cover and for the Occitania region, which supports it financially, and available in a few months digitally. The magazine’s version occupies a worthy place among all those interested in Latin American cinema. From the first issues, typewritten, with hand-cut photographs and a railroad running through all the rooms of the apartment of the Saint-Dizier couple, a thief in law with the first founders, the magazine has been enriched and somewhat professional, even if it remains the fruit of the passionate work of volunteers who love Latin American cinema.

Cinema is part of the memory and therefore of the identity of a people, and America is the continent where film archives disappear the most, Patricio Guzmán warned a few years ago in a previous issue of the magazine. Lack of interest or culture, lack of money or for political reasons. We remember the horror a few months ago in Brazil, duringFire at Cinematheque Sao Paulo.

Cinema under construction, significant push

Since the 1990s, audiovisual and cinematographic legislation has been enacted in many countries, the texts of which also govern the preservation of this heritage. This is the dossier of this new edition of the review, and here we have to repeat one of the major contributions of the Latin American Film Meetings in Toulouse: assistance in making and distributing films. Cinéma en Construction, celebrating its 20th anniversary, was a pioneering tactic that has since been used at many festivals to support Latin American feature films in post-production, help complete and distribute them. Cinema Under Construction was first launched in collaboration with the San Sebastian Festival thanks to the late Jose Maria Riba ; Then the Lima Film Festival began. Bolivia, about the life of a Bolivian migrant worker in Argentina, a bitter and poignant film about the racism of Argentinean Israel Adrián Cayetano was the first to take advantage of this support. It will be rebroadcast to the public this Sunday at the Cinémathèque. Many others followed him like Ishkanul Guatemalan Jairo Bustamante, Pelo-Malo Venezuelan Mariana Rondon or Casa de Antigedades Brazilian Joao Paulo Miranda.

This device is all the more necessary in our time, when culture and cinema are under threat due to the consequences of a pandemic that has seriously affected the Latin American continent. If resistance was organized for filming, recalls Francis Saint-Dizier, president of ARCALT, an association that organizes meetings, commercial distribution schemes take on less risk. Moreover, traditionally, due to the lack of state aid and structured networks such as cinematheques, copyright film distribution schemes are fragile. Thirty years, twenty years… Rencontres de Toulouse’s help in cinematography has a bright future ahead of it.

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