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Film vs. Latin American customs Bolivian cult film "?

Desdeque premiered in 1925 'Heart aymara' , considered the first feature no less important Bolivian laproducción of "Wara Wara " (1929) key work in national silent film, a kind de'expresionismo to Bolivia ', however due to limitations-mainly-delay techniques, and technological, cultural and economic that boasted the most multicultural country in South America, the birthplace of folkloric most recalcitrant, little could be done to develop elséptimo art, despite that with the 1952 Revolution was created Film elInstituto Bolivia in a bid to promote the fledgling film industry, despite all this, much time and little celluloid hatranscurrido has run.

noteworthy Escasostítulos have populated the national film library, cutting produccionesmayoritariamente documentary. Distant, are those years in losque Bolivian cinema has produced a batch of good titles, perhaps Ladeco 90's was the most fruitful in terms of film big-budget, capable of lighting works are not exempt from quality, choice and commitment, that Yes, within yeconómicas technical limitations of our reality, but often it was referred to lafinanciación foreign agencies.

Rejoice or worse, film patriotic haseguido a path similar to the literature, it suffers from an excessive attachment to develop opredilección indigenous issues, local customs in an effort ofolclóricas claim the roots and values, circunstanciaque somehow undermined the possibility that our cinema is most famously international arenas, especially commercial, largely limiting its dissemination enfestivales specialized. Aúnasí gradually in recent decades has been changing that trend, following the participation of international producers and therefore elinvolucramiento of actors and actresses of prestige at home and abroad, providing them some films a glamorous able to compete with nearby cinemas.

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Jorge Sanjinés , the director's most successful international anivel, author of obrasclaves as: ‘El coraje del pueblo’ , ‘Yawar Mallku’ (Sangre de cóndor), obrapremiada en varios festivales internacionales, considerado uno de los mejoresfilmes latinoamericanos y según la Unesco elegida entre las 100 mejorespelículas de todos los tiempos.  Posteriormenteha dirigido ‘Banderas del amanecer’ ‘La naciónclandestina’ y ‘ Para recibir el cantode los pájaros’ , este último un trabajo más bien críptico, digna de múltipleslecturas, pero no bien resuelta y que contó con la participación de lainternacional Geraldine Chaplin.

Jorge Ruiz, delcine documentary for national excellence, has produced 'Voices EARTH', 'The Window', 'Mina Alaska' and 'Back Sebastiana' , the latter considered by especialistascomo Bolivian cinema masterpiece.

Antonio Eguino , another great director, author of ' PuebloChico' and Chuquiago ' (a very well done portrait of the troubled sociedadpaceña) national cinema major titles, has recently directed 'The Andesno believe in God. "

Paolo Agazzi, an Italian based in Bolivia, hadirigido titles like, ' The hermanosCartagena' The deep road movie ' My partner' (remembered bellabanda by sound), then went 'The day silence died' yrecientemente the police thriller 'The robbery' , work of great calidadtécnica and excellent staging.

Marcos Loayza, led one of the movies Mascara by critics and the public, very successful for its visual richness, lacomedia manners ' Question of Faith'.

Juan Carlos Valdivia has directed two títulosimportantes, 'Jonah and the whale Pink' (tape failed, although visually appealing and elerotismo remembered for introducing the national cinema, as conservatism of Bolivian society) and 'American Visa' an odyssey adaptaciónsobre emigrating to the U.S.. and had the excellent performance delactor Demian Bichir Mexico in the lead role.

Noobstante the emergence of young talents in management, the produccióncinematográfica has slipped back into unestancamiento of which does not appear in more than a decade. After the creative boom of the nineties, laspropuestas risky and financing possibilities, the patriotic film havuelto your darkest hour, to a state of drowsiness that salirfácilmente can not and more so if we must add the little or no state support, máspreocupado in 'decolonizing' the minds of citizens. While tecnologíadigital has opened new possibilities, recent results have sidomediocres or of poor quality, unworthy to be minimally remarkable.

Inconclusion, Bolivian film has so little that instantly seconvierte in cult film or not?


References: bolivian history of cinema or - CONACINE