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Trends in Contemporary Peruvian Cinema Year of Peru Lecture Series (2011-2012)
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- Istruzione
In the past, the story of Peruvian cinema has not been precisely characterized as one of the most interesting traditions in the Latin American cinema scene. Since the second half of the twentieth century, vigorous cinema industries from Mexico, Argentina, and Brazil dominated the range of Latin American cinema, through competitive systems of production that resulted in outstanding movies and filmmakers. Peru's own cinema industry lagged behind. However, towards the end of the century, some important figures arose; Armando Robles Godoy, for example, whose film Espejismo (Mirage) was nominated for Best Foreign Film at the Golden Globe Awards in 1973 and a new generation of filmmakers arose thanks, in part, to a new law that promoted the cinema industry -Francisco Lombardi would be the most international exponent. Despite the fact that cinema production in Peru is still precarious and not abundant; it can be said that a young generation of filmmakers has obtained international acknowledgment in the 21st century. For example, the terrorism sequels have been incorporated in movies like Las Malas Intenciones (Rosario García Montero’s The Evil Intentions) or La Teta Asustada (Claudia Llosa’s The Milk of Sorrow,), Berlinale 2009 winner and nominee to Oscar for Best Foreign Language Film in 2010. Let's also mention films like Octubre (Daniel and Diego Vega’s October) and Paraíso (Héctor Gálvez Paradise). Finally, thanks to the new digital technologies, a group of young directors has appeared in Lima and other provinces, inside the cultural and underground circuit, parallel to the commercial one, reaching an artistically valuable production and acknowledgement, as the case of Juan Daniel Fernández (his experimental documentary Reminiscencias -Remembrances- was exhibited at the MOMA in 2011).
In the past, the story of Peruvian cinema has not been precisely characterized as one of the most interesting traditions in the Latin American cinema scene. Since the second half of the twentieth century, vigorous cinema industries from Mexico, Argentina, and Brazil dominated the range of Latin American cinema, through competitive systems of production that resulted in outstanding movies and filmmakers. Peru's own cinema industry lagged behind. However, towards the end of the century, some important figures arose; Armando Robles Godoy, for example, whose film Espejismo (Mirage) was nominated for Best Foreign Film at the Golden Globe Awards in 1973 and a new generation of filmmakers arose thanks, in part, to a new law that promoted the cinema industry -Francisco Lombardi would be the most international exponent. Despite the fact that cinema production in Peru is still precarious and not abundant; it can be said that a young generation of filmmakers has obtained international acknowledgment in the 21st century. For example, the terrorism sequels have been incorporated in movies like Las Malas Intenciones (Rosario García Montero’s The Evil Intentions) or La Teta Asustada (Claudia Llosa’s The Milk of Sorrow,), Berlinale 2009 winner and nominee to Oscar for Best Foreign Language Film in 2010. Let's also mention films like Octubre (Daniel and Diego Vega’s October) and Paraíso (Héctor Gálvez Paradise). Finally, thanks to the new digital technologies, a group of young directors has appeared in Lima and other provinces, inside the cultural and underground circuit, parallel to the commercial one, reaching an artistically valuable production and acknowledgement, as the case of Juan Daniel Fernández (his experimental documentary Reminiscencias -Remembrances- was exhibited at the MOMA in 2011).
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