Three films shot in Bolivia compete at Cuban festival

Three films shot in Bolivia compete at Cuban festival

Bolivian cinema will occupy a considerable space at the 43rd International Festival of New Latin American Cinema, held in Havana, Cuba, by registering six films (two of which are still in the script stage) in five different categories.

In the Latin American Competitions section, there is Alejandro Loayza’s “Utama”. In the Early Works category, Bolivia is represented by Kiro Russo’s “El gran movimiento”. And in the selection dedicated to the Latin American Perspective is Rodrigo “Gory” Patiño’s “Pseudo”.

The scripts section includes Marcelo Landaeta’s “Familia” and Gory Patiño’s “Talión”.

Finally, “Los Viejos Soldados” by filmmaker Jorge Sanjinés is part of the Mediums section in the Special Presentation section.


The relationship between the land and its inhabitants has inspired numerous national stories, and the discussion with “Utama” and “Los Viejos Soldados” regains its vitality by adding emotional variants that show brotherhood as the breath of life pushing the injured ecosystem.

On the one hand, La Paz’s Alejandro Loayza film is about an elderly couple in the Bolivian altiplano, Virginio and Sisa, who, after facing years of marital chores and a long drought, are on the verge of an inevitable decision: to continue to resist. they succumb to that part of the world that they regard as their own, or to the environment and time.

Among other achievements, this film was selected by the Bolivian Filmmakers Association (Asocine) to represent Bolivia at the 2022 Oscar Awards; won Best Supporting Actor—Santos Choque—at the 2022 Beijing International Film Festival; It won the Grand Jury Prize in the World Cinematic-Dramatic category at the Sundance Festival (USA), and won three awards at the 2022 Malaga Festival (Spain), the Golden Biznaga for Best Ibero-American Film and the Biznagas Silver for Best Director. Best Music for Alejandro Loayza and Cergio Prudencio.

For its part, “Los viejos soldados” by award-winning filmmaker Jorge Sanjinés from La Paz addresses another dimension of human devotion: friendship.

Over its 105-minute run, the film chronicles the birth and development of the bond between Guillermo, a young man from a wealthy family who joined the Bolivian army in the midst of the Chaco War, and Aymara nobleman Sebastián. villager. After the former saves the latter from death, an intimacy develops that will be tested after the soldier is sentenced to death for contempt for the racist colonel.

Seeing the opportunity to reciprocate Guillermo’s gesture, Sebastián aids his escape by entering the Chaco, which both deprives them of peace and water. After resisting the harshness of the place they are in, they manage to get out of the desert. They vow to meet again before they say goodbye, and 30 years later they will see what life has done to each of them.


Social conflicts, marginality, crime, conspiracies and corruption are some of the themes that provoke the stories of Kiro Russo, Gory Patiño and Marcelo Landaeta.

Gory shows his undying passion for detective thrillers with “Pseudo” and “Talion”.

The most notorious “Pseudo” was co-directed with Spaniard Luis Reneo and captured the periphery of La Paz—filmed in Alto Obrajes, Bajo Auquisamaña, Miraflores, Chasquipampa, and Sopocachi—“money stains all ideologies,” in Patiño’s words.

The film chronicles a taxi driver’s bumpy journey not between the points of the city, but between his own indifferent presence and a passenger whose identity he usurps during a robbery. He is revealed to be a mercenary hired to commit a crime, and the taxi driver gradually feels more comfortable under his new fake persona, to the point of being confined to an extremist cell.

“Pseudo” won the award for Best Ibero-American Project at the Bolivian Lab in 2014; It premiered at the Gramado Film Festival in Brazil and has been acquired by the HBO MAX platform, which is currently broadcasting in North American territories.

On the other hand, the plot of “The Great Movement,” by Kiro Russo of La Paz, is about a misunderstood and sick miner, the Elder, degenerating physically and spiritually as he tries to earn his daily bread and liquor. friends, “Mother” Pancha, and Max, the wandering healer, who will in turn seek the hero’s healing.

Finally, “La familia”, also written by Marcelo Landaeta from La Paz, harks back to the period of forgetfulness of the Bolivian people in the 1990s, when they elected former dictator General Hugo Banzer Suárez as president.

The tape suggests seeing the story from the perspective of the person responsible for these events, according to the producer. That’s why Landaeta portrays a paramilitary and a minister who staged a coup as heroes, not to justify violent acts, but to denounce the impunity of these characters.

This is the subject of the films that will be released in Cuba next month.

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