So it’s 2016, and by now we’ve all eaten our respective grapes, cleaned our respective houses, and rung in the New Year with a diverse array of local traditions. But there’s still one New Year’s celebration left for New York-area Remezcla readers to enjoy before we officially turn the page on 2015: The Film Society at Lincoln Center’s comprehensive program “Neighboring Scenes: New Latin American Cinema.”
Consisting of a dozen films from across the region, “Neighboring Scenes” is essentially a greatest hits showcase featuring some of the most buzzed-about Latin American films of the old year. Of course, a few big titles weren’t included on the bill for some reason or another, but programmers Rachel Rakes and Dennis Lim have done a damned good job of bringing some of this year’s most important Latin American features to New York’s premiere cultural and performing arts center.
Naturally, Remezcla followers have been reading our coverage of these films for the better part of a year, and many of you have rightfully expressed your frustration that most of them never make it stateside for our viewing pleasure. So now we can give thanks to the film gods, The Film Society at Lincoln Center, and co-presenters Cinema Tropical that our prayers have finally been answered. For a quick brush up on what’s what, we’ve put together a little guide of our past coverage so you can remember just how much you want to see these films. Plus, there’s a few chances to win free tickets.
Note: Fireworks, champagne, or burning effigies will be not allowed onto the Lincoln Center premises. Grapes might be fine, though.
Neighboring Scenes: New Latin American Cinema runs January 7 – 10, 2016 at the Walter Reade Theater.
Special offer for Remezcla readers: Save $3 on tickets to all films in Neighboring Scenes – tickets just $11! To redeem, select the “affiliate” ticket option when purchasing online here.
El Club (The Club)
Pablo Larraín’s latest made a splash when it earned a Silver Bear at 2015’s Berlin Film Festival before wrapping up with a Golden Globe nomination for Best Foreign Language Film later in the year. Unfortunately the film’s buzz couldn’t be parlayed into an Oscar shortlist nod despite being Chile’s official submission for the 88th Academy Awards. The story of a house full of pedophile Catholic priests is noteworthy for its novel take on masculinity and sexuality.
La calle de la amargura (Bleak Street)
This surreal, ripped-from-the-headlines true crime feature from Mexico’s legendary director premiered at Toronto before making its way to the Venice Film Festival.
Shot entirely in the Mayan language of Kaqchikel, this Guatemalan feature is one of the most internationally lauded films to come out of the country in decades. In addition to positive critical reception and wins at Berlin, Cartagena, and Guadalajara, Ixcanul had the honor of being the second Guatemalan Oscar submission ever.
La tierra y la sombra (Land and Shade)
This beautifully shot Colombian feature picked up a handful of awards from 2015’s Cannes Film Festival, including a Camera D’Or for Best First Feature. Unfortunately, despite numerous accolades and critical praise, La tierra y la sombra lost out to the equally-worthy El abrazo de la serpiente (Embrace of the Serpent) in Colombia’s 2015 Oscar selection.
Up-and-coming Chilean auteur Dominga Sotomayor followed up her last feature De jeuves a domingo with this improvisational seaside story set in an Argentine resort town. The feature premiered as part of the “Forum” sidebar at 2015’s Berlin Film Festival.
Un monstruo de mil cabezas (A Monster With A Thousand Heads)
Mexican-Uruguayan director Rodrigo Plá’s latest thriller takes on the shady practices of the insurance industry and earned him a nomination for the Venice Horizons Award at the 2015 Venice Film Festival.
Todo comenzó por el fin (It All Started at the End)
Luis Ospina turns the camera toward his radical roots for this documentary about the Cali Group, the Colombian artists’ collective that revolutionized art, cinema, and literature amid drug-related terrorism in the 1970s and ’80s.