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Showing posts with label Colombia. Show all posts
Showing posts with label Colombia. Show all posts

Sunday, May 15, 2022

The City of Wild Beasts

La Ciudad de las Fieras / The City of Wild Beasts (2021, Colombia, Henry Rincon)

Tato (Bryan Cordoba) is a young rapper in Medellin who is looking to make ends meet and find money wherever he can. 

His days are spent in rap battles, hanging out with his girlfriend La Crespa (Valeria Pérez) and his friend Pitu (Joel Mosquera).


After his mother’s death, Tato attempts to dig out of poverty and debts but his life heads into dangerous territory riddled with guns and crime. When death comes looking for Tato, he escapes to the countryside to find his grandfather.


Tato has never met his grandfather Octávio (Óscar Atehortúa) before but his grandfather is the only relative he has left. Octávio isn’t initially impressed with Tato and his attitude and dress style. Meanwhile, Tato isn’t too keen to follow Octávio’s rules and hardworking lifestyle. Yet, as the two get to spend more time together, their perspectives start to change. 

The story at the core of The City of Wild Beasts sounds familiar and even some of the visuals of Medellin recall other Colombian films. However, the film is vibrant and full of life. Huge credit to director/writer Henry Rincon and the entire crew for making a tender film which gives me hope that cinema will always exist and continue to spin its magic as long as filmmakers are willing to tell stories in an honest manner.


Wednesday, November 07, 2012

Calgary Latin Wave Festival

The Third Annual Calgary Latin Wave Film Festival ran from Nov 2 - 4, 2012 and featured an excellent line-up of films. The following nine were shown this year:

The Delay (2012, Uruguay, Rodrigo Plá)
Distance (2011, Guatemala, Sergio Ramirez)
Gone Fishing (2012, Argentina, Carlos Sorin)
Habanastation (2011, Cuba, Ian Padrón)
Heleno (2011, Brazil, José Henrique Fonseca)
Juan of the Dead (2011, Cuba, Alejandro Brugués)
The Student (2011, Argentina, Santiago Mitre)
The Towrope (2012, Colombia, William Vega)
Violeta Went to Heaven (2011, Chile/Argentina/Brazil, Andrés Wood)

I had originally planned to see atleast six films but I could only make it out to four. Here are some brief comments on the films in order of preference.

1. Gone Fishing / Días de pesca

Marco (Alejandro Awada) heads to stunning Patagonia to find and patch-up with his daughter. With a little bit of work, he manages to find her but she is not in the mood to forgive him. The film doesn’t give anything away about his past but it is implied that his alcoholism and marriage break-up played a part in him not being there for his daughter when she was growing up. So naturally the daughter has scars that won’t heal overnight. Such a story could have gotten a completely different and more serious treatment in the hands of another director but Sorin smartly uses the visuals and pleasant score (composed by his son) to release any tension before it forms on the screen. When things are about to get serious Sorin ensures that the audience gets a nice reprieve either with a moment of humor or breathtaking beauty. Gone Fishing has a pleasant relaxed tone throughout even though there are some strained issues beneath the surface. However, those troubled issues never bubble to the surface but enough is depicted about the issues to allow audience to fill in their own version of events. Overall, Gone Fishing is a charming and thoughtful film that allows for plenty of contemplative moments.

 

2. Heleno

The name of Heleno de Freitas is not that well known in international soccer mostly because he didn’t play in a World Cup but also since his goals came in an era before television. But in his time, Heleno was a star who scored goals freely for his beloved Botafogo club. Those goals brought him fame, money, alcohol and women. Such a combination of temptations is never a healthy thing especially for a man whose career depended on being in top physical and mental shape. Also, Heleno had other characteristics, such as his ego, which also played a part in alienating him from those around him.

Jose Henrique Fonseca has created a devastating portrayal that perfectly depicts the self-destructive habits that led to Heleno de Freitas' decline. At times, it is painful to watch Heleno throw everything away but given his personality, his fall from grace was inevitable. Rodrigo Santoro has put in an incredible performance and plays the arrogant and fragile sides of Heleno perfectly. Also, a lot of credit goes to Angie Cepeda and Aline Moraes who light up with the screen with their presence. The music combined with the black and white visuals nicely evoke the 1940’s-50’s and enhance the mood of the film.

Heleno’s story also contains shades of Garrincha who was truly a great soccer player. Like Heleno, Garrincha also played for Botafogo. In fact, both played roughly the same amount of games for Botafogo, Heleno with 235 & Garrincha with 236. Both were stars in their own time but alcohol and women sped their decline. At the height of their powers, both players were rich but were completely broke near the end of their careers. The one difference between the two is that Garrincha played in 3 World Cups and won 2 while Heleno could never fulfill his dream of playing in the World cup.

 

3. The Student / El estudiante

Santiago Mitre, writer for Pablo Trapero’s Carancho and Lion’s Den, makes a stunning directorial debut with The Student, a razor-sharp film that examines core issues at the heart of politics: tactics, strategy, managing & manipulating people. Even though The Student is set in Argentina (University of Buenos Aires), it is universal in showing negotiations & backroom deals part of any political process. Mitre’s films also shares some sentiments with The Storm (Kazim Öz) & Haasil (Tigmanshu Dhulia) in depicting political fires lit in universities.

 

4. The Towrope / La Sirga

At first, the isolated house in La Sirga appears as a peaceful retreat far from the chaos of the cities. But as the film progresses, that isolation appears less as an escape but more as a trap. In this regard, Vega’s film like Crab Trap depicts how an isolated picturesque part of Colombia is not immune to strains of conflict taking place elsewhere.

 

Thursday, February 24, 2011

Copa America 2011: Colombia

The first entry of the 2011 Copa America Film & Book Festival.

All countries are far too complex to be reduced to a single word label but that is exactly what normally happens as most nations are often tagged with a single word. One reason for such quick labels is that most nations are ignored in their moments of silence but only given headline space when a war, disease, crisis or a revolution occurs. So naturally, a single word then gets associated with a nation in times of such an event or crisis. Yet, it is in moments of peace that one can truly grasp what a nation is about because at moments of tragedy, a single event/incident overshadows everything else at work in the nation. In the case of Colombia, these single word labels are either "war" or "drugs", two common associations with the South American country. However, there is much more to Colombia than just these two labels but one would not know that going by the quick headlines published in major publications around the world.

A primary goal for the 2011 Copa America festival was to pick a film that gave a richer look at Colombia and moved past this quick label of "war" or "drugs". For the book selection, the idea was to move beyond a different label altogether. When it comes to Colombian literature, the label of "Magic Realism" jumps out. It is true that magic realism was once highly popular but Colombian literature is far more diverse than just "Magic Realism". For example, the McOndo movement was started in contrast to magic realism and sought to portray a true reality of everyday life in the Latin nations. Both Magic Realism and McOndo have common roots in portraying the everyday life yet each movement takes a different route -- magic realism softens the harshness of reality with a mythical element while McOndo does not want to have any filters in its presentation. So when it came to selecting a book from Colombia, the choice was to pick a book about the harsh reality in the vein of McOndo. As it turns out, both film and book choices still have war in the horizon but their treatment ensures the focus is more on the human story as opposed to letting humans be a mere statistic.

Book: The Armies by Evelio Rosero
Film: Crab Trap (2009, Oscar Ruiz Navia)
Bonus Film: The Wind Journeys (2009, Ciro Guerra)


The Armies is about the nerve racking impact on people effected by a constant state of war. The everyday lives of residents are disrupted as disappearances/abductions of loved ones or neighbors can occur at any moment while those left behind try to maintain an illusion of normality. The story may be set in Colombia but could easily apply to a handful of nations across Latin America, Africa or Asia where people live in a constant state of fear. Human nature tries to find a reason for an ongoing war or violent state of a nation. For example, if a person is taken from their house by guerrillas, then neighbors assume reasons for such an abduction because in their view the kidnapping cannot be random. People believe there must be a valid explanation for a kidnapping and that the missing person must have done something or was involved in a negative trade. If no theory can be found to explain the abduction, then a new set of logic is applied. By always trying to find a theory to explain violence ensures that a person is always on edge and constantly attempting to reason things out. In essence, a person is always playing chess in their mind and their internal decisions lead to outward choices such as deciding when to leave the house, which path to take, etc.

The Armies puts forward some of the frenzied decision making that takes place in a person's mind and what the consequences of constantly thinking and living in fear does to a person. Evelio Rosero's background as a journalist certainly helps in crafting a realistic portrayal of people trapped in an endless cycle of uncertainty.

Oscar Ruiz Navia's impressive debut feature Crab Trap is about Daniel's (Rodrigo Velez) need to escape from his old life. His journey takes him to the beach town of La Barra where he just needs a boat to leave Colombia. However, he has to wait for the town's fishermen to return from sea to get an available boat. In the meantime, he eats, sleeps and wanders around town. Sometimes he sleeps by himself and on other occasions with the only available woman around. There are some scattered clues given to Daniel's need to escape but not knowing the reason does not take away from the film's calm and tranquil mood. The peace and quiet of the beach is interrupted frequently by Paisa who enjoys playing loud rap music from his music system. Paisa wants to drive away the locals so he can annex the land and develop a hotel/resort to attract tourists. So his methods from playing loud music to blocking access to an open beach lead him in constant conflict with the locals but Daniel tries best to stay away.

The leisurely paced film ensures that all relevant details, including the visuals and sounds of the ocean or rap songs blaring from a music system, filter onto the screen thereby allowing the viewers to get a sense of the landscape. Nothing about the beach suggests Colombia but news reports on a television set convey that the militants are not far away. The location of the small town is fascinating as in order to arrive at the town a person has to go through a forest. In a sense, the town represents the end of the line for anyone traveling through Colombia. The open sea represents a possibility to jump off to far away lands but in reality the sea only leads people to exit but does not provide an entry point for people wanting to make their first stop in Colombia. One can imagine La Barra's way of living as frozen in time until the forest is cleared and roads built to allow tourists to make their way to the beach or until the war manages to directly touch the inhabitants.

Michael Guillen's excellent interview with Oscar Ruiz Navia is essential reading about the film.

The bonus film entry ends up being another journey through a vast Colombian landscape rarely seen on screen. After his wife's death, Ignacio (Marciano Martinez) wants to return the accordion he has played for most of his life back to his mentor and be freed from the burden of possessing such a powerful devilish instrument. A young teenager Fermin (Yull Nunez) tags along with Ignacio much to Ignacio's displeasure. Fermin wants to be a musician and seeks to be Ignacio's pupil although Ignacio would prefer to be alone and not bothered. Fermin is persistent and continues to shadow Ignacio.

The reluctant master and eager pupil encounter a series of intriguing encounters centered around the hypnotic and magical power of music, be it an accordian duel or a drum initiation blessed with a lizard's blood.
One of the film's most incredible scenes involve a knife duel to the death with Ignacio required to play the music until one man dies. The families of both men are present on opposing sides and it is a gut wrenching moment for both families to witness one (or both) loved one's killing.
The film's visuals and mood echoes Brazilian cinema such as The Middle of the World, Behind the Sun, Central Station, and House of Sand because in the last decade, Brazilian cinema has portrayed journeys across a hot and vast land in search of parental love or friendship. Yet, these stories and journeys are not restricted to Brazil alone or to South America for that matter. The tales could easily be set in any continent. What The Wind Journeys does is garnish the journey tale with a few Colombian ingredients to add some local flavour and differentiate it from other such stories set around the world.

The Wind Journeys is certainly worth a look but overall a tad disappointing compared to the other Brazilian films mentioned above. One reason for the disappointment is that the reserved character of Ignacio prevents any relevant emotional attachment to the film as a whole. Only near the end when Ignacio reaches the conclusion of his journey to his mentor's home do some emotions fill the screen. In fact, the emotional strength of the ending combined with the visuals of a hut on a white sanded beach shares some similarity to the House of Sand.

Monday, November 15, 2010

2011 Copa America Film & Book Festival

An updated summary of the books and films selected for the 2011 Copa America Spotlight in lieu of the recently made draw for the South American soccer tournament:

Group A: Argentina, Colombia, Costa Rica, Bolivia
Group B: Brazil, Paraguay, Ecuador, Venezuela
Group C: Uruguay, Chile, Mexico, Peru

** Note: Costa Rica have officially replaced Japan at the Copa. However, I will still have a book and film representing Japan.

Books

Argentina: Hopscotch by Julio Cortázar
Brazil: Zero by Ignácio de Loyola Brandão
Bolivia: Aurora by Giancarla de Quiroga
Chile: The Secret Holy War of Santiago De Chile by Marco Antonio de la Parra
Colombia: The Armies by Evelio Rosero
Costa Rica: Cocori by Joaquin Guteierrez
Ecuador: The Ecuador Reader, edited by Carlos De La Torre, ***
Japan: Kafka on the Shore by Haruki Murakami
Mexico: The Underdogs by Mariano Azuela
Paraguay: I, The Supreme by Augusto Roa Bastos
Peru: Conversations in the Cathedral by Mario Vargas Llosa
Uruguay: Body Snatcher by Juan Carlos Onetti, ***
Venezuela: Chronicles of a Nomad by A.A. Alvarez

*** Note (May 9, 2011): these two were new replacement entries after English translated copies of the following two original choices were not readily available.
Ecuador: Huasipungo by Jorge Icaza
Uruguay: The Shipyard by Juan Carlos Onetti

Films

Argentina: Crane World (1999, Pablo Trapero)
Bolivia: Cocalero (2007, Alejandro Landes)
Brazil: Black God White Devil (1964, Glauber Rocha)
Chile: Tony Manero (2008, Pablo Larraín)
Colombia: Crab Trap (2009, Oscar Ruiz Navia)
Costa Rica: Cold Water of the Sea (2010, Paz Fabrega)
Ecuador: Cronicas (2004, Sebastián Cordero)
Japan: Tokyo Sonata (2008, Kiyoshi Kurosawa)
Mexico: Duck Season (2004, Fernando Eimbcke)
Paraguay: Noche Adentro (2009, Pablo Lamar, 17 min)
Peru: Milk of Sorrow (2009, Claudia Llosa)
Uruguay: A Useful Life (2010, Federico Veiroj)
Venezuela: El Don (2006, José Ramón Novoa)



[Update May 9, 2011]

Substitute / Bonus Films

I will be watching an additional number of South American films to compliment some of the above titles. This will mean at most one title from each country.

Argentina: Lion's Den (2008, Pablo Trapero)
Colombia: The Wind Journeys (2009, Ciro Guerra)
Ecuador: Ratas, ratones, rateros (1999, Sebastián Cordero)
Paraguay: I Hear Your Scream (2008, Pablo Lamar, 11 min)
Peru: Madeinusa (2006, Claudia Llosa)
Venezuela: Araya (1959, Margot Benacerraf)

Two films for Ecuador have been added courtesy of Michael C. and Pacze Moj.


The three countries missing films are Ecuador, Paraguay and Japan. There are no shortage of Japanese titles but it is the Paraguayan entry that will most likely be the last title to be picked. The one readily available Paraguayan film is Paraguayan Hammock but I already used that for the 2010 World Cup Movie Festival so I want to pick a new Paraguayan film but currently nothing appears to be on the horizon. If I am still stuck for a title come June 2011, then I will go with Paraguayan Hammock.

All entries should be judged prior to the soccer tournament's kick-off on July 1, 2011. So that means all books have to be read and all films have to be seen by June 30, 2011.

Sunday, September 07, 2008

Spotlight on South America

Machuca: Chile, 1973

Early on in the film, two friends, one rich (Gonzalo) and the other poor (Pedro Machuca), cross a soccer field packed with local kids playing the beautiful game.

Near the film's end, Gonzalo is seen cycling through the same soccer field but it is empty. We know from the political events outlined earlier in the film that there is a reason there are no kids playing in the field.

In the scene immediately after Gonzalo hurriedly cycles past the empty soccer field, we see poor people rounded up at gunpoint and taken away. A solider mistakenly tries to take away Gonzalo but he shouts that he is not one of ‘them’ and points towards his imported German sneakers. The solider looks at Gonzalo’s white shoes and backs off. Meanwhile, the two friends eyes meet. Machuca knows the fate that awaits him and so does Gonzalo.

Final Scene: Gonzalo is standing in front of an empty soccer field, looking at the sun setting over the mountains in the background. We know that this soccer field will never have kids or even adults play on it. Not for a while at least.

In a way the four scenes highlight how people disappeared in Chile. Did the rest of the world know? Even if they did, would they have cared?

1973. A dictator comes into power. Who helped him? Look closely. You will see men lurking in the shadows. And among these men are some economists who offered advice in 'helping' the Chilean economy.

The Year My Parents Went on Vacation: Brazil, 1970

A boy standing with a soccer ball in his hands. The image is taken from the backseat of a car driving away. The car contains his parents who are apparently going on "vacation". But his parents are not going on "vacation". Unfortunately, 1970’s in South America saw a different form of vacation. People normally plan their vacations, inform their loved ones where they are going and when they will come back. But in 1970's South America, certain people believed that they were privileged enough to offer free vacations to their nation’s citizens. The citizens went on vacation, never to return back.

The world did not know of this vacation policy until much later. In the meantime, Brazil danced to the 1970 World Cup victory in some style, playing possibly the best football the world has seen. In 1978, Argentina won their first ever World Cup title, although the rumours about their 6-0 victory over Peru will never go away. Were the Peruvians bribed? Or did the Peruvian players have one look at the government in charge of Argentina and decide that losing 6-0 was better than getting a free unlimited vacation?

Men sitting in offices. Talking with dictators, discussing economic reforms. Privatize everything, open the country up. All will be well. Oh and while you are at it, hand out some free vacations. Things will eventually work out.

Have things worked out yet? The playgrounds are not empty anymore. But if one stands on those grounds, one can hear voices in the distance. Voices that cry out, wanting the world to listen. But the world cannot listen. It has moved on. Yet those voices continue to haunt soccer fields, not only across South America, but Asia and Africa as well.

Bolivia: Argentina, present day

At the start of the film Bolivia, we see a televised match between Argentina and Bolivia. After Argentina jump to an early lead, the Argentinean commentator remarks that Argentina were more alert. After the third goal goes in, he mentions that the Bolivian defense is terrible, just terrible. A few harmless words mask the hidden superiority of Argentine football.

If one had any doubts to the intention of those words, then the rest of the film just confirms the idea of a supposed superior Argentinean identity, an identity that exists even when the soccer game is over. An illegal Bolivian works in a local cafe/pub. Some of the local patrons include taxi drivers, including one who dislikes the Bolivian. Everything the Bolivian does is wrong. For example, when he brings a bottle of beer from the freezer, he is scolded for not bringing a cold bottle, even though he returns and brings a second bottle from the exact same freezer. When someone dislikes another person, no matter what the other person does is wrong. Simple fact of life. It is equally true in any part of the world.

It appears to be only a matter of time when emotions will boil over and they eventually do. Beautifully shot in black and white, Bolivia gives a glimpse of the frictions that exist in daily life. While the Clashes are started by government decisions regarding employment and immigration, the prices are always paid by ordinary citizens. If a poor nation shares a border with a richer nation, then illegal border crossing will occur. But if the apparently rich nation does not have enough jobs for its own citizens, then anger is directed at the newly arrived persons. The newcomer is always blamed for the misfortunes of a nation. Amazingly, one can walk the streets of Canada or USA and hear similar sentiments.

Bolivia is shot in Argentina but it may take place in any part of the world.

Adios Momo: Uruguay, 40 day Carnival

Obdulio just wants to play soccer but he does not have time as he has a daytime job delivering papers. One night he encounters a man who promises to educate him. Inspired by the man’s writing, Obdulio spends his nights witnessing the magic of a carnival where artists entertain the audience. As a result, he is often tired in his daytime job.

The charm of the carnival is flushed out in detail but the story also maintains a dream like nature of the events shown. And near the film’s end, clues are provided which indicate that the carnival is a happier mask over the sinister events of disappearance of children from the city, a la Pied Piper.

A Titan in the Ring: Ecuador, 2001

The film takes place in a small town where religion and wrestling are the equal source of people's interests. Both events are not compatible and some locals are caught between both. A local priest comes up with an interesting solution in the hopes of reaching out to the people. But his choice is at odds with what he preaches.

A man quietly sits listening to his radio on a bench while around him the complicated lives of the characters revolves. As it turns out, the man is mostly listening to soccer games. And just before the screen fades to black, the radio commentator is busy celebrating Ecuador’s first ever qualification to the Soccer World Cup (2002). The joyous message is meant to soothe over the not so happy events that the town has had to face depicted in the film.

Making ends meet

In A Titan in the Ring, we are given a glimpse into how unemployment can lead to certain youth heading down the criminal path.

In Pizza, Beer and Smokes, a few young kids go from one criminal activity to another just to gather some cash. The problem with such activities is that a person can be roped into believing that all they need is just one big job to ensure financial freedom. After that one big job, people believe they can easily walk away from crime. But as one knows, it is never that easy. So the tragedy that eventually takes place in Pizza, Beer and Smokes can be seen from the first few frames.

A few friends enjoy hanging out and pulling off pranks on their neighbours in Montevideo in 25 Watts. Shot in Black and white, the film evokes shades of Clerks in certain segments but unfortunately lacks the energy that made Clerks such a joy to watch.

The favelas of Rio once again form the background in the well shot City of Men which explores the tale of two friends who dodge bullets as the gang turf war wages on around them. Juggling between their jobs and women, the two find their friendships stretched as they unravel past events which pits them on opposite sides of the warring gangs.

Sao Paulo is the venue for the Brazilian pic Antonia which features four women hoping to make it big with their hip-hop routines in order to etch out a better life.

A job interview

Even when one has a job, the need arises to find a better job. But switching jobs is not often an easy task. An interview is a key part of the job hunting process and sometimes when people spend a long time working in one company, they may be out of touch with the challenges required out in the industry.

The Method shows a cut-throat interview process designed to weed out any unwanted candidates. After a series of 2-3 interviews, the short listed candidates are all put together in one room. They are all surprized to learn that their final interview will require them to face off against each other in the board-room while the hiring manager is hidden among one of the candidates. Each person has to guess who the hiring manager is and one by one, a candidate will be eliminated based on a series of ethical and technical exercises. As the interview progresses, the real personality traits of the candidates are exposed. Based on a play, the film is a fascinating watch.

Colombia -- A myth retold in a modern setting

Oedipus Mayor cleverly resets the ancient Greek tale of Oedipus Rex into a modern day Colombian town setting. Not having read the short story (by Gabriel Garcia Marquez) that the film is adapted from, I cannot comment on how faithful the adaptation is but overall the film does a very good job at unfolding the mythical tale of murder and incest one layer at a time.

Passing the time away by watching tv or just staring at the clock

The hilarious Peruvian film El destino no tiene favoritos shows the obsession that day time tv commands while poking fun at the cliched story-lines of most soaps.

El Nomindo takes the concept of reality tv shows such as Survivor and Big Brother to extremes. Contests are locked up in a bunker underneath the snow-capped Andes mountains, completely cut-off from civilization. Cameras record all their movements with the contestants voted out by viewers. But things go horribly wrong when a contestant is murdered. Instead of stopping the show, the cameras continues rolling as the game is tailored to guess who will be killed next. A decent idea is wasted as the film ends up being yet another slasher film.

In La Espera, Sonja looks after her elder bed-ridden mother. But she is frustrated by her mother’s constants demands which eliminates any chance of a social life that Sonja may have. So all she can do is wait, patiently wait for her mother to pass away.

The River as a means to escape and explore

Los Muertos

Forests, empty landscape, rivers. Observing nature up close, far from the chaotic Buenos Aries city life. This is not the Argentina often seen in films.

I thought about Carlos Reygadas while watching Lisandro Alonso’s Los Muertos. A beautiful film which features haunting shots of the surroundings. A man on a boat, drifting effortlessly through the backwaters. The man has just been released from prison after serving his murder conviction. He heads to the river to track his past and even to escape.

1888 el extraordinario viaje de Jules Verne

A journey to track down a hidden treasure with a fictional Jules Verne. Along the way, a love triangle is explored while an adventure unfolds by the banks of the Amazon.

Ratings out of 10

  • Bolivia (2001, Argentina, Adrián Caetano): 9



  • The Year My Parents Went on Vacation (2006, Brazil, Cao Hamburger): 9



  • Machuca (2004, Chile, Andrés Wood): 9



  • The Method (2005, Argentina co-production, Marcelo Piñeyro): 8.5



  • Los Muertos (2004, Argentina, Lisandro Alonso): 8.5



  • City of Men (2007, Brazil, Paulo Morelli): 8



  • Oedipus Mayor (1996, Colombia, Jorge Alí Triana): 8



  • El destino no tiene favoritos (2003, Peru, Alvaro Velarde): 8



  • Antonia (2006, Brazil, Tata Amaral): 7



  • Don't Tell Anyone (1998, Peru, Francisco J. Lombardi): 7



  • La Espera (2002, Uruguay, Aldo Garay): 7



  • Pizza, birra, faso (1998, Argentina, Adrián Caetano/Bruno Stagnaro): 6.5



  • Adios Momo (2006, Uruguay, Leonardo Ricagni): 6



  • Un titán en el rincón (2002, Ecuador, Viviana Cordero): 5



  • 25 Watts (2001, Uruguay, Juan Pablo Rebella/Pablo Stoll): 5



  • 1888 el extraordinario viaje de Jules Verne (2005, Venezuela, Alfredo Anzola): 3



  • El Nominado (2003, Peru, Nacho Argiro/Gabriel Lopez): 3