Chile, Obstinate Memory (1997), directed by Patricio Guzmán, follows his emotional homecoming after more than two decades in exile as he arranges public screenings of his earlier landmark work The Battle of Chile. Journeying from Santiago down to Valparaíso, Guzmán reunites with many of the people who appeared in his original trilogy—former students turned adults, activists who have reshaped their lives, and even soldiers once sworn to uphold the coup. Through candid conversations and scenes of these reunion screenings, the film lays bare the lingering gaps between generations in how they remember 1973, highlighting both the scars of censorship that once silenced them and the cautious steps toward collective healing. In weaving together his personal quest with these first‑hand testimonies, Chile, Obstinate Memory not only honors the endurance of those who endured political upheaval but also meditates on the broader process by which a nation reclaims its own suppressed history.

Returning to Chile after 23 years, he screens the documentary that had been suppressed under Pinochet’s regime, using these events as a springboard for collective introspection. As the film unfolds, older attendees visibly relive the 1973 coup’s trauma, while younger generations—many raised on the official narrative that the military takeover saved the country—react with confusion, disbelief, or defensiveness. These emotional, often tense encounters expose a nation wrestling with forgotten or rewritten history. Guzmán chooses a spare, observational style, speaking little himself and allowing the camera to linger on faces, silent pauses, and poignant landscapes. His use of sustained tracking shots and tight close‑ups draws viewers into each individual’s testimony—whether it’s painter José Balmes describing memory as a return to the heart, or schoolteacher Ernesto reflecting on the literal meaning of “to remember.” These visual choices create moments of stillness that underscore the weight of what’s being shared.

By presenting intergenerational dialogue—juxtaposing public reactions to The Battle of Chile with first‑hand memories of the Popular Unity era—the film shows how collective memory fractures along age lines and political divides. Younger audiences, unfamiliar with the unvarnished truth, confront stories of repression and loss, while older witnesses grapple with seeing their past reframed or forgotten. Ultimately, Chile, Obstinate Memory goes beyond mere documentation. In an environment where Pinochet’s abuses remained officially denied, the screenings themselves become acts of truth‑telling and civic healing. By reviving hidden testimonies and challenging state‑sanctioned versions of history, the film plays a vital role in Chile’s ongoing struggle to reclaim its past and lay the groundwork for genuine reconciliation.

-Amyy

“The Battle of Chile Part 1” stands as a seminal documentary that captures the turbulent political landscape of Chile during its final years of fragile democracy. The film focuses on the period leading up to the coup against President Salvador Allende, documenting the hopes and inevitable despair of a nation caught between the promise of democratic reform and the harsh reality of political polarization. In this first part, the film provides an unflinching look at how Chile’s democratic institutions were increasingly challenged by both internal conflicts and external pressures, painting a picture of a government striving to preserve a democratic experiment in the face of economic and social crises.

From a formal perspective, the editing style of “The Battle of Chile Part 1” is both rigorous and visceral. Patricio Guzmán employs rapid montage sequences, intercutting closely with long, lingering shots that capture the raw emotion of street protests, political rallies, and confrontations between citizens and state forces. This dynamic editing not only conveys the intensity of the political struggle but also reflects the fragmented nature of Chilean society at that time—each cut a fragment of the larger narrative of resistance and disintegration. Guzmán’s direction is marked by its journalistic precision and poetic urgency; he allows the reality on screen to speak for itself while subtly shaping a narrative that is at once informative and powerfully emotive.

What makes this film particularly compelling is its dual focus: on one hand, it is a political chronicle that examines how democracy in Chile was undermined by escalating tensions and institutional collapse, and on the other, it is a deeply personal meditation on the cost of political engagement. The film’s aesthetic choices—its raw, almost guerrilla-style cinematography combined with an editing rhythm that mirrors the heartbeat of a nation in turmoil—invite viewers to experience the lived reality of political upheaval. It remains a critical work, not only for its historical documentation but also for its unflinching analysis of the fragility and resilience of democracy under pressure.

-Amyy

Glauber Rocha’s Terra em Transe is a landmark of Cinema Novo and a searing exploration of political chaos and ideological conflict in Latin America. The film presents a fictional political crisis that serves as a potent allegory for the revolutionary struggles faced by Brazil and other nations during times of intense social transformation. Rocha employs a deliberately disjointed narrative and a striking visual style—marked by raw black-and-white cinematography and expressive, symbolic imagery—to convey the turbulent clash between authoritarian control and the desire for liberation.

One of the film’s most compelling aspects is its refusal to offer a neatly packaged solution. Instead, Terra em Transe plunges its audience into the murkiness of political power, corruption, and the manipulation of the masses. Through its chaotic montage and intense performances, the film challenges viewers to confront the often brutal realities of political engagement, questioning whether true revolution can ever be achieved without an inherent loss of individual integrity.

Terra em Transe remains remarkably relevant in today’s global political climate. Its exploration of power struggles, ideological manipulation, and the chaos of populist politics mirrors many of the challenges we see in modern societies. In an era marked by increasing polarization, misinformation, and the strategic use of media to sway public opinion, Rocha’s depiction of a fragmented political landscape feels prescient. The film’s portrayal of leaders who manipulate rhetoric and exploit the masses resonates with current examples of populism, where charismatic figures often blur the lines between truth and propaganda to maintain control.

Furthermore, the film’s experimental narrative style and its refusal to offer neat solutions reflect the complexity and uncertainty that define our modern political discourse. Rocha’s work is not just a political manifesto but also a meditation on the role of cinema itself in a revolutionary process. The film’s experimental structure reflects the unpredictability and fragmentation of modern political life, suggesting that the very act of filmmaking—its capacity to both document and provoke—can be a form of resistance against the established order. Terra em Transe remains a provocative and enduring piece of art that continues to inspire debate on the nature of power and the potential for societal transformation.

-Amyy Mubeen

Glauber Rocha’s Black God, White Devil is a landmark film that encapsulates the revolutionary spirit of Cinema Novo, blending myth, politics, and visceral imagery into a striking cinematic manifesto. The film weaves together elements of Afro-Brazilian mythology and Catholic symbolism to explore the tension between tradition and modernity in Brazil. At its core, Black God, White Devil is a meditation on the struggle for identity and power in a society marked by stark social inequalities.

One of the most compelling aspects of the film is its audacious visual style. Rocha employs a raw, almost brutal aesthetic—using high-contrast lighting, dynamic camera movements, and striking compositions—to evoke the harsh realities of life in the Brazilian hinterlands. The imagery of the vast, unforgiving landscape becomes a powerful metaphor for the internal and external battles faced by the characters, who are caught between the allure of ancient spiritual forces and the corrosive influence of modern, capitalist exploitation.

The film’s narrative is equally provocative. It follows the journey of its protagonist as he navigates a treacherous world, encountering figures who embody both divine and diabolical forces. This duality—embodied in the title itself—highlights Rocha’s belief in the inherent contradictions of society, where the sacred and the profane, the traditional and the modern, collide in an ongoing struggle for meaning and liberation.

Ultimately, Black God, White Devil serves not only as a searing critique of the social and political order in Brazil but also as a bold statement about the transformative power of cinema. By fusing myth with reality, Rocha challenges audiences to confront the roots of oppression and to envision a new, more equitable future. The film remains a seminal work in the history of Latin American cinema, celebrated for its uncompromising vision and its enduring relevance in the discourse on cultural and political liberation.

-Amyy Mubeen

Barravento stands as a powerful testament to Glauber Rocha’s revolutionary vision in cinema. In this film, Rocha deftly intertwines documentary realism with mythic, symbolic imagery to explore the lives of Afro-Brazilian communities facing exploitation and social marginalization. His approach is both confrontational and poetic, as he uses raw, unfiltered depictions of everyday hardship to underline broader themes of injustice and resistance. The narrative unfolds with a deliberate pace that invites viewers to witness the profound struggles and innate resilience of its characters—a reflection of Rocha’s commitment to a cinema that is as much a tool for political critique as it is a form of art.

What truly resonated with me about Barravento was its uncompromising authenticity. Rocha’s vision is evident in every frame—from the haunting landscapes that evoke the spiritual essence of the region to the intimate portrayals of individuals whose lives are shaped by relentless socio-economic pressures. The film’s blending of ritualistic elements with everyday reality creates a cinematic language that challenges conventional storytelling. I appreciated how Rocha did not shy away from depicting the harsh realities of life; instead, he transformed them into a call for social awareness and change. This fusion of the epic and the didactic not only enriches the narrative but also serves as a potent reminder of cinema’s power to inspire and provoke critical thought.

In Barravento, women are portrayed with a complexity that reflects both their essential role in sustaining cultural and religious traditions and the vulnerability they face within rigid social structures. The film presents female characters as vital carriers of communal memory and spiritual life, actively participating in religious rituals that bind the community together. At the same time, these portrayals also reveal the constraints imposed on them by a system steeped in tradition and, at times, exploitation.

While Barravento is not an overtly feminist film in the modern sense, it does contain elements that resonate with feminist critiques—particularly the recognition of women’s indispensable contributions to cultural continuity and resistance. The women in the film are depicted as both powerful in their roles as nurturers of tradition and simultaneously marginalized by a patriarchal framework that often limits their agency. This duality invites a reexamination of traditional gender roles and challenges the viewer to consider the importance of elevating women’s voices within their communities.

Regarding its relevance to contemporary society, Barravento offers a nuanced reflection on the ongoing struggle for gender equality. It underscores the idea that while women continue to be the backbone of cultural and spiritual life, there remains an urgent need to empower them further and dismantle structures that confine their potential. In this light, the film can be seen as a call to action—one that, even if not explicitly feminist, encourages modern audiences to acknowledge and address the persistent disparities in how women are valued and represented.

-Amyy Mubeen

MARANHAO 66
This film is a striking exploration of regional identity and socio-political struggle. Its narrative is imbued with a raw urgency, capturing the harsh realities of Maranhão through a lens that is both unflinching and poetic. What I found particularly interesting was how the film uses vivid, almost brutal imagery to portray the challenges of poverty and social injustice while simultaneously imbuing everyday life with a certain lyrical beauty. The interplay between documentary realism and epic, almost mythic sequences elevates the film beyond mere social critique, creating a moving, immersive experience. I appreciated its bold visual language and the way it confronts viewers with the complexity of life in a marginalized region.

AMAZONAS, AMAZONAS
In “AMAZONAS, AMAZONAS,” the vast, untamed beauty of the Amazon is brought to the forefront, interlaced with a critical examination of environmental exploitation and cultural erosion. The film’s cinematography is particularly arresting, using sweeping, panoramic shots to convey the majesty of the rainforest, while also incorporating intimate, close-up details that humanize the impacts of deforestation and modernity on indigenous communities. I was drawn to its capacity to evoke both awe and concern; it doesn’t shy away from portraying the breathtaking landscapes while also questioning the socio-economic forces that threaten them. This duality—celebration of nature’s grandeur alongside a somber warning about its fragility—resonated deeply with me.

Overall, what I appreciate about these films is their fearless blending of the didactic and the epic. They each function not only as vehicles for social and political commentary but also as deeply personal artistic statements. Whether through the stark realism of “MARANHAO 66,” or the environmental and cultural dualities in “AMAZONAS, AMAZONAS,” these works compel the viewer to confront complex realities while also inviting a visceral, emotional response. Their innovative approaches to storytelling are a testament to the enduring power of cinema as a medium for both reflection and transformation.

Cinema Novo was a revolutionary film movement in Brazil that broke away from traditional storytelling to confront social injustice, inequality, and political oppression head-on. Its leading directors—Glauber Rocha, Nelson Pereira dos Santos, Joaquim Pedro de Andrade, and Ruy Guerra—pushed the boundaries of cinematic language, using raw imagery and impassioned rhetoric to articulate the struggles of a society in flux. Eryk Rocha’s 2016 documentary Cinema Novo serves as both a tribute and a critical reflection on that transformative era. One of the aspects I truly admired about the film was its personal touch. Eryk brings a unique insider perspective, blending archival footage, intimate interviews, and personal reflections to evoke the spirit and passion of the movement. His reverence for his father’s legacy is palpable, and he does an excellent job of capturing the fervor and idealism that defined Cinema Novo. The documentary promotes the revolutionary ideas of the movement while also challenging viewers to reconsider its impact in a contemporary context. It invites audiences to see how the bold experimentation and political engagement of the 1960s continue to resonate today, making the film both a historical document and an artistic statement. The way it juxtaposes the raw energy of past works with modern-day reflections creates a layered narrative that is both celebratory and introspective. It captures the defiant spirit of a movement that dared to challenge the status quo, while also prompting us to reflect on how art and politics continue to intersect in our modern world.

– Amyy Mubeen

Sara Gómez’s short documentaries—Iré a Santiago (1964), Guanabacoa: Crónica de mi familia (1966), Una isla para Miguel (1968), and Mi aporte (1972)—are seminal works in film history, offering profound insights into post-revolutionary Cuban society and Afro-Cuban culture. In Iré a Santiago, Gómez presents a nuanced portrayal of Santiago de Cuba, capturing its vibrant streets and rich cultural tapestry. Guanabacoa: Crónica de mi familia delves into her personal heritage, exploring the Afro-Cuban traditions of her family and shedding light on the broader societal context of the time. Una isla para Miguel examines the re-education efforts on Isla de Pinos, following a young man’s transformative journey within the revolutionary framework. Mi aporte addresses the evolving role of women in Cuban society, highlighting their contributions and the challenges they face. Collectively, these films are pivotal for their authentic depiction of underrepresented communities and their critical perspective on the social transformations occurring in Cuba during the 1960s and 70s.

Engaging with these documentaries has deepened my understanding of the complexities inherent in cultural identity, social reform, and the lived experiences of marginalized groups. Gómez’s innovative approach to storytelling, blending personal narratives with broader societal issues, offers a compelling and intimate perspective on the challenges and triumphs of a nation in flux. Her work not only enriches the tapestry of film history but also serves as a testament to the power of cinema as a tool for social commentary and change.

Octavio Getino and Fernando Solanas’s “La Hora de los Hornos” (The Hour of the Furnaces) is a seminal work in film history, emblematic of the Third Cinema movement that sought to challenge colonial and neocolonial narratives through revolutionary filmmaking. The film offers a comprehensive analysis of Argentina’s socio-political landscape in the 1960s, dissecting the pervasive impacts of neocolonialism and systemic violence. Its innovative use of montage and juxtaposition serves not merely to depict reality but to critique and transform it, engaging audiences in a dialogue about oppression and liberation. This approach underscores the power of cinema as a tool for social and political change.

Santiago Álvarez’s documentaries, such as “Now!” and “LBJ,” exemplify the potency of agitprop cinema in confronting pressing social issues. “Now!” employs found footage and a dynamic soundtrack to highlight the struggles for racial equality, creating an urgent call to action against injustice. Álvarez’s rapid production methods and innovative storytelling techniques reflect a commitment to immediacy and relevance, ensuring that his films resonate with contemporary audiences. Engaging with Álvarez’s work has deepened my understanding of how film can serve as a catalyst for awareness and activism, demonstrating the medium’s unique capacity to document and influence societal discourse.

“De Cierta Manera” (One Way or Another), directed by Sara Gómez, holds a significant place in film history as a pioneering work that seamlessly blends fiction and documentary to explore post-revolutionary Cuban society. As Cuba’s first female filmmaker and one of the few Afro-Cuban directors of her time, Gómez utilized her unique perspective to delve into issues of race, gender, and class. The film portrays the challenges faced by marginalized communities in Havana, highlighting the tensions between traditional values and the transformative ideals of the revolution. Gómez’s innovative narrative approach and focus on Afro-Cuban culture have cemented the film’s status as a landmark in both Cuban and feminist cinema. The film follows Yolanda, a progressive school teacher, and Mario, a factory worker from a marginalized neighborhood. Their relationship serves as a lens through which the film examines machismo, class struggles, race, and the challenges of social change within the revolutionary Cuban context. Set in the Miraflores neighborhood, a former shantytown being integrated into socialist society, the film critiques the persistence of pre-revolutionary ideologies, particularly in gender relations and racial inequality, despite Cuba’s socialist policies.

Yolanda is a strong, independent, and progressive educator who represents the ideals of the Cuban Revolution’s efforts toward social transformation. As a teacher, she seeks to instill new values in her students, emphasizing equality, education, and the breaking down of old societal norms. However, her relationship with Mario highlights the challenges of implementing these ideals in everyday life. She faces resistance from Mario and his male peers, who struggle to accept her independence and forward-thinking mindset. 

Rooted in traditional machismo, Mario initially upholds patriarchal values, viewing Yolanda’s independence as a threat to his masculinity. His friendship with Humberto, who resists societal changes, contrasts with Mario’s own internal conflict between old-world perceptions and the new revolutionary ideals. Throughout the film, Mario’s relationship with Yolanda challenges his ingrained beliefs, pushing him towards self-reflection and growth.  

The film delves into several societal issues, notably gender roles, class disparities, and racial identity. Despite revolutionary progress, men still expected women to be submissive, highlighting the slow social adaptation to political change. It critiques the persistence of traditional gender roles and the challenges women face in achieving equality. The film also underscores inequalities within Cuban society, especially between different social classes, and examines how education and social policies attempt to bridge these gaps. Additionally, it indirectly addresses Afro-Cuban identity, an issue often overlooked in mainstream revolutionary discourse, illustrating how many Black Cubans, like those in Miraflores, faced systemic struggles despite the revolution’s promises. These themes resonate with ongoing societal issues today, such as gender inequality, economic class struggles, racial disparities, and cultural resistance to change. Many societies still grapple with machismo and sexism in professional and personal life, wealth gaps persist even in socialist and capitalist societies, Afro-Latin communities continue to fight for visibility and equal opportunities, and deep-rooted societal norms take longer to shift despite political changes. Conclusively  Sara’s work serves as a poignant reminder that true societal transformation requires more than policy changes; it demands a deep-seated shift in cultural consciousness. The themes explored in the film remain relevant today, prompting reflection on the ongoing struggles for equality and social justice.

– Amyy Mubeen