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Calles negras, Las [The black streets]

Date produced: 2018

Filmmaker(s):

Felipe Tirado

Description:

"A successful man living in a great metropolis is increasing awareness of the unjust social reality that lives in the absurdity. This immerses him in a uneasiness that sinks into alcoholism and depression. In his wandering through the streets viewer gets to be the unfortunate suicide of another victim of the meaninglessness of life, which will produce a series of dreamlike hallucinations bordering on the madness. In a stroke of consciousness of his misfortune, he does run aimlessly without course. Devastated, to the dawn, with the light of the dawn he sees to be reborn the hope personified in an innocent girl who stretches the hand donating bread" Internet Archive.


Tovar

Date produced: 1971

Filmmaker(s):

David Celestinos

Description:

"Un documental sobre las acciones plásticas de Raúl Tovar, pintor pop integrante del Salón Independiente, egresado –igual que Celestinos– de la ENAP. En él aparecen jóvenes con los cuerpos pintados de negro y las bocas rojas en algo parecido a un happening, la elaboración de un mural colectivo con frases icónicas de la época ("la imaginación al poder", "Peace", "Love", citas de Lao-Tse, etcétera). En la película predominaba un ambiente psicodélico que no llegaba más allá de la obra del pintor y del contexto juvenil en el que se producía" (Vázquez Mantecón, 2012).

"A documentary about the plastic art actions of Raúl Tovar, a pop painter member of the Independent Hall, alumni –same as Celestinos– of the ENAP. In it, young people appear with their bodies painted in black and their mouths painted in red in some sort of happening, there is also the making of a collective mural with iconic phrases of the time ("all power to the imagination", "Peace", "Love", quotes by Lao-Tse, etcetera). A psychedelic ambiance prevailed, not going beyond the work of the painter and the youthful context produced at the time" (Vázquez Mantecón, 2012).


Patria libre [Free Country]

Date produced: 1979

Filmmaker(s):

Sergio García Michel

Description:

"En Patria Libre, Sergio García documentó los primeros logros de la revolución sandinista en Nicaragua. [...] Se trataba de un documental convencional, con una voz off (leída por Felio Eliel) sobre un momento de frescura y esperanza por el triunfo del Frente Sandinista de Liberación Nacional. El arranque del documental con una serie de imágenes de Sandino en alto contraste que culminan en la foto de un adolescente guerrillero (mientras que en la banda sonora se escucha a Pablo Milanés cantar "Los caminos") preludian el tono que se desarrollará sobre el caso de la revolución sandinista" (Vázquez Mantecón, 2012.)

"In Patria Libre [Free Country], Sergio García documented the first achievements of the Sandinista Revolution in Nicaragua. It was a conventional documentary, with an off voice (read by Felio Eliel) about a moment of freshness and hope because of the triumph of the Sandinista National Liberation Front. The documentary begins with a series of highly contrasted images of Sandino that end with the picture of a guerrilla teenager (while the soundtrack plays "Los caminos" [The roads] by Pablo Milanés), which is a prelude to the tone that will be used to describe the Sandinista Revolution" (Vázquez Mantecón, 2012).


Eureka

Date produced: 1974

Filmmaker(s):

Nicolás Echevarría

Description:

"Primer súper 8 de Nicolás Echevarría, quien ya había realizado un trabajo experimental en 16 milímetros y veía en los superocheros una suerte de "comunidad de marginados" con la que se sentía a gusto, mostraba sobre el fondo de una pieza de Ravel las poses de un contorsionista que buscaba la autosatisfacción en un decorado que asocia la noción burguesa de confort al erotismo" (Vázquez Mantecón 2012)

"First super 8 film of Nicolás Echevarría, who had already filmed and experimental piece in 16 mm and saw in the supereighters a sort of "outcasts' community" that he identified himself with, it showed with the background of a Ravel musical piece the poses of a male contortionist looking for self-satisfaction in a setting that associates the notion of the bourgeoisie to the comfort of eroticism"


Aquila non caput muscas / Águilas no cazan moscas [Eagles don’t hunt flies]

Date produced: 1971

Filmmaker(s):

Alfredo Gurrola

Description:

"Se trataba del regreso de un soldado de origen mexicano a la Ciudad de México después de haber combatido en Vietnam con las tropas estadounidenses. El hombre llega a la estación del ferrocarril de Buenavista y recorre la ciudad para acabar finalmente en el departamento de su hermano. Busca trabajo y no lo encuentra. Por la voz off que sigue el hilo de sus pensamientos, nos enteramos que a su mente guerrera le cuesta trabajo adaptarse a la vida pacífica. La película intercala una serie de secuencias oníricas que de alguna manera ilustran su delirio belicista: sueña que es un soldado griego que asesina al niño que lo molesta en el taxi colectivo (un pesero) que lo conduce a casa de su hermano; imagina en el personaje que lo entrevista cuando aplica para obtener un trabajo a Napoleón Bonaparte (interpretado por Juan José Gurrola) dirigiendo una batalla; o sueña que es un caballero medieval que asesina a su familia en un pacífico día de campo. Finalmente el personaje no encuentra cabida en la sociedad pacífica y acude –todavía en traje de caballero medieval – al aeropuerto para comprar un boleto de avión "a la guerra más próxima"" (Vázquez Mantecón, 2012).

"It is about the comeback of a Mexican soldier to Mexico City after fighting in Vietnam along with American troops. The man arrives to the train station in Buenavista y goes around the city to end up at his brother's apartment. He looks for a job and cannot find one. The off voice, that follows his train of thought, tells us that his war mind has trouble adapting to a peaceful life. The film inserts a series of dreamlike sequences that in a way illustrate his war delirium: he dreams he is a greek soldier that murders the kid that bothers him in a collective cab that drives him to his brother's house; he imagines the character that interviews him when he is looking for a job is Napoleon Bonaparte (played by Juan José Gurrola) directing a battle: or he dreams he is a medieval knight that murders his family in a peaceful day in the country. Finally the character doesn't find a place in a peaceful society and goes –still in medieval armor– to the airport to buy a by a plane ticket to the "nearest war" " (Vázquez Mantecón, 2012).


Fin, El [The end]

Date produced: 1970

Filmmaker(s):

Sergio García Michel

Description:

"Una historia sobre el acoso sufrido por la juventud por parte del mundo de los adultos. La posición alternativa del grupo [de realizadores] se hacía explícita desde las primeras tomas, en donde los créditos aparecían escritos en las paredes de una casa en ruinas, omitiendo los apellidos y dejando solo los nombres de pila de quienes participaron" (Vázquez Mantecón, 2012).

"A story about the harassment suffered by the youth from the adult world. The alternative position of the group [of filmmakers] was made evident from the first shots, where credits appeared written on the walls of a house in ruins, omitting last names and leaving only the first names of the participants" (Vázquez Mantecón, 2012).


Tercer suspiro, El [The third sigh]

Date produced: 1970

Filmmaker(s):

Alfredo Gurrola

Description:

"EL TERCER SUSPIRO. Separa de un grupo de paseantes en la Alameda a un joven que al aceptar la invitación a subir a un auto que le hacen tres desconocidos (identificados con el movimiento revolucionario de 1910, mediante un montaje de fotografías de la época), durante el paseo por el Periférico se ve acometido por una serie de evocaciones imaginarias. Primero se le ve huir del coche saltando a un paso de peatones, y ser acosado a través de casas derruidas. Al regresar al tiempo presente uno de los hombres le pone la mano en un revólver. Después se ve en un lugar desierto, penosamente sostenido en pie por un aparato ortopédico, mientras una marea creciente lo empieza a cubrir. En ese punto desciende del coche en marcha y se coloca en el centro de la carretera, amenazando con el arma a algo que se aproxima; pero antes de que se produzca el disparo evoca un encuentro amoroso. Esta acción se repite varias veces antes de disolverse en las imágenes de un lago que ahora lo ha cubierto todo"(Garmendia en Vázquez Mantecón, 2012).

"THE THIRD SIGH. Separates a young man from a group of pedestrians in the Alameda, when he accepts an invitation by three unknown men to get into a car (the men were identified with the revolutionary movement of 1910 through a photographic montage of the time), during the ride through Periférico, he is undertaken by a series of imaginary evocations. First he is seen running away from the car, jumping to a crosswalk, and being harassed through demolished houses. When coming back to the present, one of the men puts his hand on a revolver gun. Afterwards, he is seen in a desert place, shamefully sustained by an orthopedic device, while a rising tide starts to cover him. At this point he descends from the moving car and goes to the center of the highway, menacing with his gun something that is approaching; but before the shot is produced, a loving encounter is evoked. This image is repeated several times before dissolving into images of a lake that has now covered everything" (Garmendia in Vázquez Mantecón, 2012).


Luz externa [External light]

Date produced: 1974

Filmmaker(s):

José Agustín Ramírez

Description:

"Luz externa fue una de las producciones más ambiciosas del súper 8 mexicano. El guión se basaba en el monólogo de Ernesto, un machín jipiteca, que relata a un amigo las peripecias con su novia Raquel. Posteriormente el guión sirvió como la base del cuento con el mismo título que apareció como parte del libro El rey se acerca a su templo. Tanto la película como el cuento se abocaban a describir el abanico amplio de la juventud clasemediera urbana contracultural que había aparecido a fines de los años sesenta y principios de los setenta: los macizos que acceden al consumo de drogas, las muchachas de buena familia que se acercan a ese mundo, los nuevos conversos a la revolución social o los intelectuales que participan del ambiente con simpatía" (Vázquez Mantecón, 2012).

"Luz externa [External light] was one of the most ambitious productions of the Mexican super 8. The script was based in the monologue of Ernesto, a 'machin' hippie, that tells a friend about his adventures with his girlfriend Raquel. The script served later as the base for a short story with the same title that appeared as part of the book El rey se acerca a su templo [The king approaches his temple]. Both the movie and the short story described the wide range of the middle class urban countercultural youth that emerged at the end of the sixties and the beginning of the seventies: the strong men that had access to drugs, the girls from good families that entered that world, the new converts to social revolution or the intellectuals that sympathize with that ambiance" (Vázquez Mantecón, 2012).


Wheels Across Europe

Date produced: 1971

Filmmaker(s):

Julian Gromer

Description:

"In 2 parts, the film depicts a cycling journey around central Europe through Belgium, France, Switzerland, Italy, Yugoslavia, West Germany, and the Netherlands. Tourist scenes includes shots of Venetian canals, the leaning tower of Pisa, and Dutch windmills.In 2 parts, the film depicts a cycling journey around central Europe through Belgium, France, Switzerland, Italy, Yugoslavia, West Germany, and the Netherlands. Tourist scenes includes shots of Venetian canals, the leaning tower of Pisa, and Dutch windmills." Chicago Film Archives.


Wheels Across America

Date produced: 1968

Filmmaker(s):

Julian Gromer

Description:

"2 part edited travelogue following young men on a bicycle trip cross country (San Francisco to New York City) with Wandering Wheels, a faith based organization. Along with the noteworthy locations they visit, such as the Four Corners and New York City, this film includes much documentation of their down time and visits to Native American and small town communities to sing and meet with the people." Chicago Film Archives.


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