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	<title>cinema-tropical &amp;laquo; WordPress.com Tag Feed</title>
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<title><![CDATA['La Ciénaga' best Latin-American movie of the decade]]></title>
<link>http://latinamericanfilm.wordpress.com/2009/12/02/la-cienaga-best-latin-american-movie-of-the-decade/</link>
<pubDate>Wed, 02 Dec 2009 22:16:24 +0000</pubDate>
<dc:creator>latamfilm</dc:creator>
<guid>http://latinamericanfilm.wordpress.com/2009/12/02/la-cienaga-best-latin-american-movie-of-the-decade/</guid>
<description><![CDATA[Argentina, Mexico and Brazil winners Cinema Tropical announced today the results of a poll of the to]]></description>
<content:encoded><![CDATA[<div class='snap_preview'><p>Argentina, Mexico and Brazil winners</p>
<p>Cinema Tropical announced today the results of a poll of the top Latin American films of the past decade which is headed by Argentinean filmmaker <strong>Lucrecia Martel</strong>&#8217;s <span style="color:#ff00ff;">La Ciénaga</span> (2001).</p>
<p>Cinema Tropical has compiled a list of the Top Ten Latin American Films of the Decade (2000-2009), based on a survey of distinguished critics, scholars and film professionals based in the New York City area.<!--more--></p>
<p>All three Lucrecia Martel&#8217;s movies are in the top ten with &#8220;<span style="color:#ff00ff;">The headless woman</span>&#8221; <span style="color:#ff00ff;">(La mujer sin cabeza)</span> being 8th and <span style="color:#ff00ff;">The holy girl (La niña santa)</span>, 9th. No other Argentine movie made it to this part of the table.</p>
<p>Second, Third, Fourth and Fifth movies are Mexican and Brazilian, respectively<strong> Iñárritu</strong>&#8217;s <span style="color:#ff00ff;">&#8220;Amores Perros&#8221;</span>, <strong>Reygadas</strong>&#8216; <span style="color:#ff00ff;">&#8220;Silent light&#8221; (Luz silenciosa)</span>, <strong>Meirelles</strong>&#8216; <span style="color:#ff00ff;">&#8220;City of God&#8221; (Cidade de Deus)</span> and <strong>Lacerda</strong>&#8217;s <span style="color:#ff00ff;">Bus 174 (Onibus 174)</span>. <span style="color:#ff00ff;">&#8220;Whisky&#8221;</span>, by Uruguayans <strong>Rebella</strong> and <strong>Stoll</strong> is 7th, just after the famous &#8220;<span style="color:#ff00ff;">Y tu mamá tambien</span>&#8220;, by <strong>Cuarón</strong> (6th).</p>
<p>By country, Argentina heads the table with 37 movies, while Brazil (30) and Mexico (21) come just behind.</p>
<p>This first-ever survey of its kind was culled from 33 prominent local voices in film whose work has been devoted to the promotion and dissemination of Latin American cinema in New York and the United States.</p>
<p>In all, 121 films representing 13 Latin American countries were nominated for the distinction of being Best of the Decade, demonstrating the great quality and diversity of films from the region.</p>
<p>The 32 participants were simply asked to provide their favorite top-ten list of Latin American films (those <span style="text-decoration:underline;">produced in a Latin American country and helmed by a Latin American director</span>) released either commercially or via film festivals between 2000-2009.</p>
<p>The ballots were then tabulated according to the following point system: The #1 pick received 10 points, the #2 received 9 points, and so on until reaching the #10 pick which was assigned a point value of 1. In total, 55 points were spread among the 10 films in each ballot.</p>
<p>Some participants chose not to rank their ballots. In those cases, the 55 total points were divided evenly among the ten selections. Each received a point value of 5.5.</p>
<p><strong>THE OVERALL LIST</strong></p>
<table border="0" cellspacing="1" cellpadding="1">
<tbody>
<tr>
<td align="left" valign="middle"></td>
<td>FILM</td>
<td>DIRECTOR</td>
<td>Country</td>
<td>P</td>
</tr>
<tr>
<td align="left" valign="middle">1)</td>
<td><strong>La Ciénaga </strong>(2001)</td>
<td>Lucrecia Martel</td>
<td>Argentina</td>
<td>114.5</td>
</tr>
<tr>
<td>2)</td>
<td><strong>Amores Perros </strong>(2000)</td>
<td>Alejandro González Iñárritu</td>
<td>Mexico</td>
<td>111</td>
</tr>
<tr>
<td>3)</td>
<td><strong>Luz Silenciosa / Silent Light </strong>(2007)</td>
<td>Carlos Reygadas</td>
<td>Mexico</td>
<td>104.5</td>
</tr>
<tr>
<td>4)</td>
<td><strong>Cidade de Deus / City of God </strong>(2002)</td>
<td>Fernando Meirelles</td>
<td>Brazil</td>
<td>83</td>
</tr>
<tr>
<td>5)</td>
<td><strong>Ônibus 174 / Bus 174 </strong>(2002)</td>
<td>Jose Padilha, Felipe Lacerda</td>
<td>Brazil</td>
<td>74</td>
</tr>
<tr>
<td>6)</td>
<td><strong>Y Tu Mamá También<br />
</strong></td>
<td>Alfonso Cuarón</td>
<td>Mexico</td>
<td>71</td>
</tr>
<tr>
<td>7)</td>
<td><strong>Whisky </strong>(2004)</td>
<td>Juan Pablo Rebella, Pablo Stoll</td>
<td>Uruguay</td>
<td>57</td>
</tr>
<tr>
<td> <img src='http://s.wordpress.com/wp-includes/images/smilies/icon_cool.gif' alt='8)' class='wp-smiley' /> </td>
<td><strong>La mujer sin cabeza / The Headless Woman </strong>(2008)</td>
<td>Lucrecia Martel</td>
<td>Argentina</td>
<td>53</td>
</tr>
<tr>
<td>9)</td>
<td><strong>La niña santa / The Holy Girl </strong>(2004)</td>
<td>Lucrecia Martel</td>
<td>Argentina</td>
<td>48.5</td>
</tr>
<tr>
<td>10)</td>
<td><strong>El laberinto del fauno / Pan&#8217;s Labyrinth </strong>(2006)</td>
<td>Guillermo del Toro</td>
<td>Mexico</td>
<td>36</td>
</tr>
</tbody>
</table>
<table border="0" cellspacing="1" cellpadding="1" width="597">
<tbody>
<tr>
<td>11)</td>
<td>Nueve Reinas / Nine Queens (2000)</td>
<td>Bielinsky</td>
<td>Argentina</td>
<td>35</td>
</tr>
<tr>
<td>12)</td>
<td>Bolivia (2001)</td>
<td>Caetano</td>
<td>Argentina</td>
<td>33</td>
</tr>
<tr>
<td>13)</td>
<td>La nana / The Maid (2009)</td>
<td>Silva</td>
<td>Chile</td>
<td>30</td>
</tr>
<tr>
<td>14)</td>
<td>Madame Satâ (2002)</td>
<td>Ainouz</td>
<td>Brazil</td>
<td>29.5</td>
</tr>
<tr>
<td>14)</td>
<td>Japón (2002)</td>
<td>Reygadas</td>
<td>Mexico</td>
<td>29.5</td>
</tr>
<tr>
<td>16)</td>
<td>Historias mínimas / Intimate Stories (2002)</td>
<td>Sorín</td>
<td>Argentina</td>
<td>29</td>
</tr>
<tr>
<td>17)</td>
<td>La libertad (2002)</td>
<td>Alonso</td>
<td>Argentina</td>
<td>27.5</td>
</tr>
<tr>
<td>18)</td>
<td>La teta asustada / The Milk of Sorrow (2009)</td>
<td>Llosa</td>
<td>Peru</td>
<td>26.5</td>
</tr>
<tr>
<td>19)</td>
<td>Diarios de motocicleta / The Motorcycle Diaries (2004)</td>
<td>Salles</td>
<td>Argentina</td>
<td>26</td>
</tr>
<tr>
<td>20)</td>
<td>XXY (2007)</td>
<td>Puenzo</td>
<td>Argentina</td>
<td>23</td>
</tr>
<tr>
<td>20)</td>
<td>Santiago (2007)</td>
<td>Salles</td>
<td>Brazil</td>
<td>23</td>
</tr>
<tr>
<td>22)</td>
<td>Jogo de cena / Playing (2007)</td>
<td>Coutinho</td>
<td>Brazil</td>
<td>19</td>
</tr>
<tr>
<td>23)</td>
<td>El violín (2005)</td>
<td>Vargas</td>
<td>Mexico</td>
<td>18</td>
</tr>
<tr>
<td>24)</td>
<td>Lake Tahoe (2008)</td>
<td>Eimbcke</td>
<td>Mexico</td>
<td>15</td>
</tr>
<tr>
<td>25)</td>
<td>Los Rubios (2003)</td>
<td>Carri</td>
<td>Argentina</td>
<td>14.5</td>
</tr>
<tr>
<td>26)</td>
<td>El baño del Papa / The Pope&#8217;s Toilet (2007)</td>
<td>Charlone, Fernández</td>
<td>Uruguay</td>
<td>14</td>
</tr>
<tr>
<td>27)</td>
<td>Edifício Master (2002)</td>
<td>Coutinho</td>
<td>Brazil</td>
<td>12</td>
</tr>
<tr>
<td>27)</td>
<td>O Céu de Suely / Love for Sale: Suely in the Sky (2006)</td>
<td>Ainouz</td>
<td>Brazil</td>
<td>12</td>
</tr>
<tr>
<td>29)</td>
<td>Dias de Santiago / Days of Santiago (2004)</td>
<td>Méndez</td>
<td>Peru</td>
<td>11.5</td>
</tr>
<tr>
<td>29)</td>
<td>Temporada de patos / Duck Season (2004)</td>
<td>Eimbcke</td>
<td>Mexico</td>
<td>11.5</td>
</tr>
<tr>
<td>29)</td>
<td>Cinema, Aspirinas e Urubus (2005)</td>
<td>Gomes</td>
<td>Brazil</td>
<td>11.5</td>
</tr>
<tr>
<td>32)</td>
<td>Los guantes mágicos / The Magic Gloves (2003)</td>
<td>Rejtman</td>
<td>Argentina</td>
<td>11</td>
</tr>
<tr>
<td>32)</td>
<td>Nadie te oye: Perfume de violetas (2001)</td>
<td>Sistach</td>
<td>Mexico</td>
<td>11</td>
</tr>
<tr>
<td>32)</td>
<td>Tony Manero (2008)</td>
<td>Lirrian</td>
<td>Chile</td>
<td>11</td>
</tr>
<tr>
<td>32)</td>
<td>Machuca (2004)</td>
<td>Wood</td>
<td>Chile</td>
<td>11</td>
</tr>
<tr>
<td>36)</td>
<td>El bonaerense (2002)</td>
<td>Trapero</td>
<td>Argentina</td>
<td>10</td>
</tr>
<tr>
<td>36)</td>
<td>Cama adentro / Live in Maid (2005)</td>
<td>Gaggero</td>
<td>Argentina</td>
<td>10</td>
</tr>
<tr>
<td>36)</td>
<td>El abrazo partido / Broken Embrace (2004)</td>
<td>Burman</td>
<td>Argentina</td>
<td>10</td>
</tr>
<tr>
<td>36)</td>
<td>La sagrada familia (2004)</td>
<td>Campos</td>
<td>Chile</td>
<td>10</td>
</tr>
<tr>
<td>36)</td>
<td>Oscar (2004)</td>
<td>Morkin</td>
<td>Argentina</td>
<td>10</td>
</tr>
<tr>
<td>36)</td>
<td>En el hoyo (2006)</td>
<td>Rulfo</td>
<td>Mexico</td>
<td>10</td>
</tr>
<tr>
<td>36)</td>
<td>Los muertos (2004)</td>
<td>Alonso</td>
<td>Argentina</td>
<td>10</td>
</tr>
<tr>
<td>36)</td>
<td>Suite Habana (2003)</td>
<td>Pérez</td>
<td>Cuba</td>
<td>10</td>
</tr>
<tr>
<td>44)</td>
<td>Crónicas (2004)</td>
<td>Cordero</td>
<td>Ecuador</td>
<td>9</td>
</tr>
<tr>
<td>44)</td>
<td>Peões / Metalworkers (2004)</td>
<td>Coutinho</td>
<td>Brazil</td>
<td>9</td>
</tr>
<tr>
<td>44)</td>
<td>Plata Quemada / Burnt Money (2000)</td>
<td>Piñeyro</td>
<td>Argentina</td>
<td>9</td>
</tr>
<tr>
<td>47)</td>
<td>Tropa de Elite / Elite Squad (2007)</td>
<td>Padilha</td>
<td>Brazil</td>
<td>8</td>
</tr>
<tr>
<td>47)</td>
<td>25 Watts (2001)</td>
<td>Rebella, Stoll</td>
<td>Uruguay</td>
<td>8</td>
</tr>
<tr>
<td>47)</td>
<td>Cocalero (2007)</td>
<td>Landes</td>
<td>Bolivia/Arg</td>
<td>8</td>
</tr>
<tr>
<td>47)</td>
<td>La rabia (2008)</td>
<td>Carri</td>
<td>Argentina</td>
<td>8</td>
</tr>
<tr>
<td>47)</td>
<td>Estamira (2004)</td>
<td>Prado</td>
<td>Brazil</td>
<td>8</td>
</tr>
<tr>
<td>47)</td>
<td>Historias extraordinarias (2008)</td>
<td>Linás</td>
<td>Argentina</td>
<td>8</td>
</tr>
<tr>
<td>47)</td>
<td>El hijo de la novia (2001)</td>
<td>Campanella</td>
<td>Argentina</td>
<td>8</td>
</tr>
<tr>
<td>54)</td>
<td>Nunca más (2001)</td>
<td>Rodríguez, Restrepo</td>
<td>Colombia</td>
<td>7</td>
</tr>
<tr>
<td>54)</td>
<td>Perpetuum Mobile (2009)</td>
<td>Pereda</td>
<td>Mexico</td>
<td>7</td>
</tr>
<tr>
<td>54)</td>
<td>Maldeamores / Lovesick (2007)</td>
<td>Ruiz, Pérez</td>
<td>Puerto Rico</td>
<td>6</td>
</tr>
<tr>
<td>54)</td>
<td>Tomas de guerra (2003)</td>
<td>Castaño, Trujillo</td>
<td>Colombia</td>
<td>6</td>
</tr>
<tr>
<td>54)</td>
<td>La mujer de mi hermano (2005)</td>
<td>de Montreuil</td>
<td>Peru/Mexico</td>
<td>6</td>
</tr>
<tr>
<td>54)</td>
<td>El caso Pinochet (2001)</td>
<td>Guzmán</td>
<td>Chile</td>
<td>6</td>
</tr>
<tr>
<td>54)</td>
<td>El cielo dividido (2006)</td>
<td>Hernández</td>
<td>Mexico</td>
<td>6</td>
</tr>
<tr>
<td>54)</td>
<td>Casa de Areia (2005)</td>
<td>Waddington</td>
<td>Brazil</td>
<td>6</td>
</tr>
<tr>
<td>54)</td>
<td>Rocha Que Voa (2002)</td>
<td>Rocha</td>
<td>Brazil</td>
<td>6</td>
</tr>
<tr>
<td>54)</td>
<td>Hamaca Paraguaya (2006)</td>
<td>Encina</td>
<td>Paraguay</td>
<td>6</td>
</tr>
<tr>
<td>54)</td>
<td>Música en espera (2009)</td>
<td>Golfrid</td>
<td>Argentina</td>
<td>6</td>
</tr>
<tr>
<td>54)</td>
<td>O Cheiro do Ralo (2006)</td>
<td>Dhalia</td>
<td>Brazil</td>
<td>6</td>
</tr>
<tr>
<td>66)</td>
<td>El Perro (2004)</td>
<td>Sorín</td>
<td>Argentina</td>
<td>5.5</td>
</tr>
<tr>
<td>66)</td>
<td>Pachamama (2008)</td>
<td>Matsushita</td>
<td>Bolivia</td>
<td>5.5</td>
</tr>
<tr>
<td>66)</td>
<td>Chega de Saudade (2007)</td>
<td>Bodanzky</td>
<td>Brazil</td>
<td>5.5</td>
</tr>
<tr>
<td>66)</td>
<td>En la cama / In Bed (2005)</td>
<td>Bize</td>
<td>Chile</td>
<td>5.5</td>
</tr>
<tr>
<td>66)</td>
<td>La pasión de María Elena (2003)</td>
<td>Moncada Rodríguez</td>
<td>Mexico</td>
<td>5.5</td>
</tr>
<tr>
<td>66)</td>
<td>Janela da alma (2001)</td>
<td>Jardim, Carvalho</td>
<td>Brazil</td>
<td>5.5</td>
</tr>
<tr>
<td>66)</td>
<td>El Custodio (2006)</td>
<td>Moreno</td>
<td>Argentina</td>
<td>5.5</td>
</tr>
<tr>
<td>66)</td>
<td>Leonera (2008)</td>
<td>Trapero</td>
<td>Argentina</td>
<td>5.5</td>
</tr>
<tr>
<td>66)</td>
<td>El inmortal (2005)</td>
<td>Moncada Rodríguez</td>
<td>Nicaragua/Mexico</td>
<td>5.5</td>
</tr>
<tr>
<td>75)</td>
<td>Un año sin amor (2005)</td>
<td>Berneri</td>
<td>Argentina</td>
<td>5</td>
</tr>
<tr>
<td>75)</td>
<td>Carandiru (2003)</td>
<td>Babenco</td>
<td>Brazil</td>
<td>5</td>
</tr>
<tr>
<td>75)</td>
<td>Rabioso sol, rabioso cielo (2009)</td>
<td>Hernández</td>
<td>Mexico</td>
<td>5</td>
</tr>
<tr>
<td>75)</td>
<td>O Prisionero Da Grade De Ferro (2004)</td>
<td>Sacramento</td>
<td>Brazil</td>
<td>5</td>
</tr>
<tr>
<td>75)</td>
<td>Liverpool (2008)</td>
<td>Alonso</td>
<td>Argentina</td>
<td>5</td>
</tr>
<tr>
<td>75)</td>
<td>Nada (2001)</td>
<td>Cremata Malberti</td>
<td>Cuba</td>
<td>5</td>
</tr>
<tr>
<td>75)</td>
<td>Señorita extraviada (2001)</td>
<td>Portillo</td>
<td>Mexico</td>
<td>5</td>
</tr>
<tr>
<td>75)</td>
<td>Tan de repente (2003)</td>
<td>Lerman</td>
<td>Argentina</td>
<td>5</td>
</tr>
<tr>
<td>75)</td>
<td>El telón de azucar (2005)</td>
<td>Guzmán Urzúa</td>
<td>Cuba</td>
<td>5</td>
</tr>
<tr>
<td>75)</td>
<td>O Fim e o principio (2005)</td>
<td>Coutinho</td>
<td>Brazil</td>
<td>5</td>
</tr>
<tr>
<td>85)</td>
<td>Juízo (2008)</td>
<td>Ramos</td>
<td>Brazil</td>
<td>4</td>
</tr>
<tr>
<td>85)</td>
<td>El método (2005)</td>
<td>Piñeyro</td>
<td>Argentina</td>
<td>4</td>
</tr>
<tr>
<td>85)</td>
<td>Náufragos: Vengo de un avión que cayó en las montañas (2007)</td>
<td>Arijon</td>
<td>Uruguay</td>
<td>4</td>
</tr>
<tr>
<td>85)</td>
<td>El niño pez (2009)</td>
<td>Puenzo</td>
<td>Argentina</td>
<td>4</td>
</tr>
<tr>
<td>85)</td>
<td>Accidente (2007)</td>
<td>Guimarães, Lobato</td>
<td>Brazil</td>
<td>4</td>
</tr>
<tr>
<td>85)</td>
<td>Hacer patria (2006)</td>
<td>Blaustein</td>
<td>Argentina</td>
<td>4</td>
</tr>
<tr>
<td>85)</td>
<td>Cleopatra (2007)</td>
<td>Bressane</td>
<td>Brazil</td>
<td>4</td>
</tr>
<tr>
<td>85)</td>
<td>Alamar (2009)</td>
<td>González-Rubio</td>
<td>Mexico</td>
<td>4</td>
</tr>
<tr>
<td>85)</td>
<td>El aura (2005)</td>
<td>Bielinsky</td>
<td>Argentina</td>
<td>4</td>
</tr>
<tr>
<td>85)</td>
<td>A Festa da Menina Morta (2008)</td>
<td>Nachtergaele</td>
<td>Brazil</td>
<td>4</td>
</tr>
<tr>
<td>85)</td>
<td>Soy Cuba, o mamute siberiano (2005)</td>
<td>Ferraz</td>
<td>Brazil</td>
<td>4</td>
</tr>
<tr>
<td>96)</td>
<td>Nacido y criado (2006)</td>
<td>Trapero</td>
<td>Argentina</td>
<td>3</td>
</tr>
<tr>
<td>96)</td>
<td>O Ano em que Meus Pais Saíram de Férias / The Year my Parents Went on Vacation (2006)</td>
<td>Hamburger</td>
<td>Brazil</td>
<td>3</td>
</tr>
<tr>
<td>96)</td>
<td>La sierra (2005)</td>
<td>Dalton, Martínez</td>
<td>Colombia</td>
<td>3</td>
</tr>
<tr>
<td>96)</td>
<td>El cuerno de la abundancia (2008)</td>
<td>Tabío</td>
<td>Cuba</td>
<td>3</td>
</tr>
<tr>
<td>96)</td>
<td>Copacabana (2006)</td>
<td>Rejtman</td>
<td>Argentina</td>
<td>3</td>
</tr>
<tr>
<td>96)</td>
<td>Matar a todos / Kill them All (2006)</td>
<td>Schroeder</td>
<td>Uruguay/Chile</td>
<td>3</td>
</tr>
<tr>
<td>96)</td>
<td>Batalla en el cielo (2005)</td>
<td>Reygadas</td>
<td>Mexico</td>
<td>3</td>
</tr>
<tr>
<td>103)</td>
<td>Abril Despedaçado (2001)</td>
<td>Salles</td>
<td>Brazil</td>
<td>2</td>
</tr>
<tr>
<td>103)</td>
<td>Fiesta patria (2006)</td>
<td>Vera</td>
<td>Chile</td>
<td>2</td>
</tr>
<tr>
<td>103)</td>
<td>Trópico de cancer (2004)</td>
<td>Polgovsky</td>
<td>Mexico</td>
<td>2</td>
</tr>
<tr>
<td>103)</td>
<td>Cidade Baixa (2005)</td>
<td>Machado</td>
<td>Brazil</td>
<td>2</td>
</tr>
<tr>
<td>103)</td>
<td>Conejo en la luna (2004)</td>
<td>Ramírez Suárez</td>
<td>Mexico</td>
<td>2</td>
</tr>
<tr>
<td>103)</td>
<td>Boivar soy yo (2002)</td>
<td>Alí Triana</td>
<td>Colombia</td>
<td>2</td>
</tr>
<tr>
<td>103)</td>
<td>Cordero de Dios (2008)</td>
<td>Cedrón</td>
<td>Argentina</td>
<td>2</td>
</tr>
<tr>
<td>103)</td>
<td>Baixio das Bestas (2006)</td>
<td>Assis</td>
<td>Brazil</td>
<td>2</td>
</tr>
<tr>
<td>111)</td>
<td>Cochochi (2007)</td>
<td>Cárdenas, Guzmán</td>
<td>Mexico</td>
<td>1</td>
</tr>
<tr>
<td>111)</td>
<td>A casa de Alice / Alice&#8217;s House (2007)</td>
<td>Teixera</td>
<td>Brazil</td>
<td>1</td>
</tr>
<tr>
<td>111)</td>
<td>Última parada 174 / Last Stop 174 (2008)</td>
<td>Barreto</td>
<td>Brazil</td>
<td>1</td>
</tr>
<tr>
<td>111)</td>
<td>Postales de Leningrado (2007)</td>
<td>Rondón</td>
<td>Venezuela</td>
<td>1</td>
</tr>
<tr>
<td>111)</td>
<td>El vuelco del cangrejo (2009)</td>
<td>Ruíz Navia</td>
<td>Colombia</td>
<td>1</td>
</tr>
<tr>
<td>111)</td>
<td>La familia rodante (2004)</td>
<td>Trapero</td>
<td>Argentina</td>
<td>1</td>
</tr>
<tr>
<td>111)</td>
<td>Perro come perro (2008)</td>
<td>Moreno</td>
<td>Colombia</td>
<td>1</td>
</tr>
<tr>
<td>111)</td>
<td>Memorias del saqueo (2004)</td>
<td>Solanas</td>
<td>Argentina</td>
<td>1</td>
</tr>
<tr>
<td>111)</td>
<td>Aquí se construye (ya no existe el lugar donde nací) (2000)</td>
<td>Agüero</td>
<td>Chile</td>
<td>1</td>
</tr>
<tr>
<td>111)</td>
<td>La zona (2007)</td>
<td>Plá</td>
<td>Mexico</td>
<td>1</td>
</tr>
<tr>
<td>111)</td>
<td>El camino de San Diego (2006)</td>
<td>Sorín</td>
<td>Argentina</td>
<td>1</td>
</tr>
</tbody>
</table>
<p><strong>NOMINATIONS PER COUNTRY</strong><br />
Argentina, 37<br />
Brazil, 30<br />
Mexico, 21<br />
Chile, 8<br />
Colombia, 6<br />
Uruguay, 5<br />
Cuba, 4<br />
Peru, 3<br />
Bolivia, 2<br />
Ecuador, 1<br />
Nicaragua, 1<br />
Paraguay, 1<br />
Puerto Rico, 1<br />
Venezuela, 1</p>
<p><strong>SURVEY PARTICIPANTS </strong>(in alphabetical order)<br />
<strong><br />
Inés Aslán</strong> &#8211; Communications Officer, El Museo del Barrio<br />
<strong>Graciela Berger Wegsman</strong> &#8211; Playwright / Journalist, New York Daily News, Hora Hispana<br />
<strong>Rodrigo Brandão</strong> &#8211; Director of Publicity, Kino International<br />
<strong>Fabiano Canosa</strong> &#8211; Film programmer<br />
<strong>Jerry W. Carlson</strong> &#8211; Film professor, The City College &#38; Graduate Center CUNY<br />
<strong>Rebeca Conget</strong> &#8211; VP Acquisitions and Distribution, Film Movement<br />
<strong>Gerard Dapena</strong> &#8211; Scholar of Hispanic cinemas and visual culture<br />
<strong>Christian Del Moral </strong>- Film blogger, CineLatinoNY<br />
<strong>Mario Díaz</strong> &#8211; Filmmaker / Film blogger<br />
<strong>Howard Feinstein</strong> &#8211; Film critic, Screen / Programmer, Panorama and Sarajevo Film Festival<br />
<strong>Cristina Garza</strong> &#8211; International Sales and Distribution, FiGa Films<br />
<strong>Marcela Goglio</strong> &#8211; Programmer, Latinbeat (Film Society of Lincoln Center)<br />
<strong>Pablo Goldbarg</strong> &#8211; Filmmaker / Writer, Remezcla, Cinema Tropical<br />
<strong>Javier Guerrero</strong> &#8211; Director, 100% Venezuela (NYU Venezuelan Film Festival)<br />
<strong>Carlos A. Gutiérrez</strong> &#8211; Co-Founding Director, Cinema Tropical<br />
<strong>Jytte Jensen</strong> &#8211; Curator, MoMA Department of Film<br />
<strong>Peter Lucas</strong> &#8211; Professor, Department of Photography and Imaging and Open Arts at the Tisch School of Arts at New York University<br />
<strong>Yehudit Mam</strong> &#8211; Filmmaker / Blogger, The Grande Enchilada<br />
<strong>Mary Jane Marcasiano</strong> &#8211; Special Events Advisor, Cinema Tropical / Programmer<br />
<strong>Alberto Medina</strong> &#8211; Author / Associate professor, Columbia University<br />
<strong>Micki Mihich</strong> &#8211; Film critic and columnist, On &#38; Off, Sci-Fi News, Starlog, Wizard<br />
<strong>Lucila Moctezuma</strong> &#8211; Coordinator, Tribeca Latin America Media Arts Fund (Tribeca Film Institute)<br />
<strong>Nuria Net </strong>- Editor-in-Chief, Co-Founder, Remezcla.com<br />
<strong>Louis Perego Moreno</strong> &#8211; Executive Producer, Skyline Features<br />
<strong>Carmen Oquendo</strong> &#8211; Researcher and film curator, NYU<br />
<strong>Jack Rico</strong> &#8211; Editor-in-Chief, ShowBizCafe.com<br />
<strong>Jerónimo Rodríguez</strong> &#8211; Film critic/Host, Toma 1 (NY1 Noticias)<br />
<strong>Paul Julian Smith</strong> &#8211; Author, The Cinema of Pedro Almodóvar and Amores Perros<br />
<strong>Roselly Torres</strong> &#8211; Distribution &#38; Marketing Director, Third World Newsreel<br />
<strong>Diana Vargas</strong> &#8211; Programmer, Havana Film Festival (NY) and Corto Circuito<br />
<strong>Mónica Wagenberg</strong> &#8211; Co-Founding Director, Cinema Tropical<br />
<strong>Naief Yehya</strong> &#8211; Film critic, La Jornada, Milenio / Author, The Transformed Body, War and Propaganda</p>
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<title><![CDATA[Invasion of retro Mexican sci-fi movies!]]></title>
<link>http://xtianczar.wordpress.com/2008/10/30/invasion-of-retro-mexican-sci-fi-movies/</link>
<pubDate>Thu, 30 Oct 2008 14:33:29 +0000</pubDate>
<dc:creator>El Captivo</dc:creator>
<guid>http://xtianczar.wordpress.com/2008/10/30/invasion-of-retro-mexican-sci-fi-movies/</guid>
<description><![CDATA[  La Aztec momia contra el robot humano A mad doctor builds a humanoid robot to fight an Aztec mummy]]></description>
<content:encoded><![CDATA[<div class='snap_preview'><p> </p>
<div id="attachment_274" class="wp-caption alignnone" style="width: 552px"><a href="http://xtianczar.files.wordpress.com/2008/10/robotaztec16yy1.jpg"><img class="size-full wp-image-274 " title="robotaztec16yy1" src="http://xtianczar.wordpress.com/files/2008/10/robotaztec16yy1.jpg" alt="La Aztec momia contra el robot humano" width="542" height="410" /></a><p class="wp-caption-text">La Aztec momia contra el robot humano</p></div>
<p>A mad doctor builds a humanoid robot to fight an Aztec mummy. Female aliens conspire to remove the lungs of a group of humans and use them to invade earth. An alien collector of monsters lands on earth to gather human specimens &#8230; And learns about love? </p>
<p>These are just three of the four plot lines from Mexican sci-fi movies released in the 1950s and 1960s that are being shown beginning today through Sunday in New York as part of &#8220;The Future South of the Border&#8221; film series sponsored by <a href="http://cinematropical.com/" target="_blank">Cinema Tropical</a>.</p>
<p>The movies are &#8220;The Aztec Mummy vs. The Human Robot&#8221; (1957), &#8220;The Monsters&#8217; Ship&#8221; (1959), &#8220;Planet of the Female Invaders&#8221; (1965), and &#8220;El Santo vs. The Martian Invasion&#8221; (1966). </p>
<p>The authors of the one &#8212; and from what I understand only &#8212; study of Mexican science fiction cinema from this era will present their book &#8220;El Futuro Más Acá&#8221; on Nov. 1. <a href="http://www.jornada.unam.mx/2007/02/28/index.php?section=espectaculos&#38;article=a08n1esp" target="_blank">In an article published in La Jornada</a> when the book was released, the authors said of the &#8220;cinematic value&#8221; of the movies: </p>
<blockquote><p>Es un nacionalismo que estaba hecho en una época en la que había que construir identidad. En este cine los mexicanos somos únicos. Luego de conocer planetas maravillosos, los extraterrestres llegan a México y dicen: &#8220;es el paraíso&#8221;.</p></blockquote>
<p>Without further ado, then, a spectacular scene from &#8220;The Monsters&#8217; Ship&#8221;: </p>
<p><span style='text-align:center; display: block;'><object width='425' height='350'><param name='movie' value='http://www.youtube.com/v/vQFIcaYSrrA&#038;rel=1&#038;fs=1&#038;showsearch=0&#038;hd=0' /><param name='allowfullscreen' value='true' /><param name='wmode' value='transparent' /><embed src='http://www.youtube.com/v/vQFIcaYSrrA&#038;rel=1&#038;fs=1&#038;showsearch=0&#038;hd=0' type='application/x-shockwave-flash' allowfullscreen='true' width='425' height='350' wmode='transparent'></embed></object></span></p>
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