One of the brothers Vega has come to the Horizontes latino section to present the film La bronca. The Peruvian filmmaker portrays the diaspora that went abroad, incarnated in a family that lives in Montreal in 1991. An 18-year-old decides to leave Peru and go to live with his father because of the political situation in his country, but his father’s world is not what he expected. The film talks about the relationships between adaptations and cultural shocks, North and South, as well as the ignorance of so-called primordial ones vis-à-vis other countries. The script has an interesting direction, although the stoicity of the characters can sometimes take us out of the movie. The situation of Peru at the time, in an allusion to the Shining Path, is reported separately from the table. A few final stock images portray what is somehow present in the movie, beyond what the camera records.

Linked to this last idea, the room has been surprised today by the first film by Loïc Legrand that we have seen in Zinemira. The director, born in Bordeaux, has carried out the documentary project in Iparralde within an idea: Bring together 5 filmmakers and propose that they make a short film. Legrand has also imposed another dogma on them, asking them to rely on the legend of the Three Uhaines. The legend tells how once a fisherman received three waves of revenge on the orders of a witch and defeated the first two. But when the third one arrived, he took the harpoon and threw it at the heart of the wave, thus saving himself from the fate of a shipwreck. When he returned home, he found his wife dead with a harpoon in her heart. Starting from legend 5 young people will write and produce the film, with the advice of several filmmakers. In this process, various debates will be exposed related to the role of women, tradition and Basque culture. The film awakens interest in a place different from the usual, in the trajectory of creation. The proposal to create collectively is not easy to carry out, and in the documentary there are also difficult moments to make decisions. However, I have missed that, once it has been put into this process, it is moving further. The desire to demonstrate the democratization of cinema seems to have devoured its content at times, without its risks coming to an end.

On the other hand, Good Intentions is an Argentine film that has taken the dangers of the film seriously. Prima opera by Ana García Blaya, based in Buenos Aires in the 1990s. The director narrates the life of three children with separated parents, taking as protagonist his older sister, 10 years old. When the mother decides to move to Paraguay, doubts arise for the eldest daughter, who wants to stay with her father. However, the father does not meet the characteristics that require the care of some children. The first film of the Argentinian is inspired by his autobiography, as in his work of fiction he crosses very different stock images. The resource, in addition to operating aesthetically very well, gives great weight to history with brushed realism. García turns the file into a device, a power that adds meaning to the film. In this script, which investigates the family, we play characters that coincide quite with the psychoanalysis in the reflection on parents and childhood. In the experiences narrated from the role of children and adults, there is no sentence, but reflection. The work, carried out in tribute to this important moment experienced in childhood, is a direct bridge with the public and the outside world; the file has not been randomly drawn. This film, which can be seen in the New Directors section, exceeds the expectations of the section.