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Cinema Quema: Program 1: Mexico

02/22/19 | 7:30 pm

Anthology Film Archives

32 2nd Ave Map

212-505-5181


22-02-2019 12:00:00 22-02-2019 12:00:00 America/New_York Cinema Quema: Program 1: Mexico | 7:30 pm Made at a time when 2% of Brazil's population owned 80% of its arable land, THE LAND BURNS was the first in Gleyzer's intended sequence of radical dossiers of exploitation across Latin America. The film's protagonist is 35-year-old farmer Juan Amaro, whose struggles with child mortality and dry harvests form a devastating portrayal of dwindling options in the face of agrarian capitalism. Collectively made in the Cordoba province, this film profiles a handful of different pottery makers who sell their work to visiting tourists – but the main character is Alcira López de López, whose struggles are shown in a light consistent with Gleyzer's longer-form work, taking care to bring awareness to the role played by women both in earning money and maintaining home life. Even if it initially appears a traditional ethnographic survey, the film wastes little time in questioning the merits of its own existence (and of cinema as a tool for economic change at large). http://www.cityguideny.com/eventinfo.cfm?id=350263 Anthology Film Archives Anthology Film Archives

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Made at a time when 2% of Brazil's population owned 80% of its arable land, THE LAND BURNS was the first in Gleyzer's intended sequence of radical dossiers of exploitation across Latin America. The film's protagonist is 35-year-old farmer Juan Amaro, whose struggles with child mortality and dry harvests form a devastating portrayal of dwindling options in the face of agrarian capitalism. Collectively made in the Cordoba province, this film profiles a handful of different pottery makers who sell their work to visiting tourists – but the main character is Alcira López de López, whose struggles are shown in a light consistent with Gleyzer's longer-form work, taking care to bring awareness to the role played by women both in earning money and maintaining home life. Even if it initially appears a traditional ethnographic survey, the film wastes little time in questioning the merits of its own existence (and of cinema as a tool for economic change at large).

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