By Michael Koresky, Jeff Reichert | October 28, 2010

We asked our writers to pick a contemporary filmmaker from a Latin American country who they’d like to champion; this could trigger a longer discussion about an oeuvre or an idea on a national cinema, or it could remain a close reading of a film itself.

By Benjamin Mercer | October 27, 2010

His films refuse the documentary classification by insisting on including fictional elements, and reject the narrative categorization by dropping hints concerning character and story only obliquely.

By Damon Smith | October 24, 2010

This exceedingly strange bundle of nested narratives dared to introduce scores of characters and storylines (some rich tributaries, others dead ends), perspectives and locales (Mozambique-for-India, the Salado River) with an almost ceaseless stream of omniscient voiceovers.

By Leo Goldsmith | October 24, 2010

At an unflagging pace and a bracing sensorial intimacy, each of Polgovsky’s documentaries exploits the paradox of HD video: its mobility and immediacy and its seemingly endless plasticity.

By Justin Stewart | October 24, 2010

It remains tethered to noir and thriller conventions, but more intently commits to probing character psychology and, with narrative obfuscations, stubborn silences, and stylistic mood swings, venturing outside assumed viewer comfort zones.

By Vicente Rodriguez-Ortega | October 23, 2010

The 1989 short Isle of Flowers, a social critique about poverty in contemporary Brazil, is a direct descendant of the Cinema do Lixo movement, directed by renowned director Jorge Furtado, who remains a popular filmmaker to this day, touching upon social issues in documentary, fiction feature, and TV work.

By Michael Koresky | October 22, 2010

Like all of his films, it’s a work of major excavation, only in some ways more literal: setting the groundwork for the film’s many narrative and philosophical threads is its portrait of the Atacama desert, its past and present, its sky and earth, its technological and historical resonances.

By Matt Connolly | October 21, 2010

Who is José Padilha: clear-eyed chronicler of society’s forgotten souls, or misanthropic peddler of pummeling law-and-order fantasies? It’s a question implicit in the critical reactions to Elite Squad (2007), the Brazilian director’s fictional follow-up to his 2002 documentary debut, Bus 174.

By Jeff Reichert | October 21, 2010

The two low-key films Rebella and Stoll made together exist in largely anonymous urban spaces; even though the pair has been touted as leaders of new Uruguayan cinema (a notion which Stoll rejects), their films feel almost as if they could have been made anywhere—but this isn’t a criticism.

By Chris Wisniewski | October 20, 2010

She possesses a rare and unsettling talent; her movies are at once confounding and, in their way, perfectly intelligible. Already, she has staked a claim as a major film artist with a small but astonishing oeuvre that demonstrates a preternatural command of the medium.

By Jeff Reichert | October 20, 2010

Federico Veiroj’s pint-sized second feature, A Useful Life, runs only slightly over an hour, but the gauntlet it tosses at the feet of the cinephiles who are its most likely audience suggests a young filmmaker eager to grapple with the state of film culture.

By Michael Koresky | October 19, 2010

Not only does he acknowledge gay men’s longing and desire, he makes it explicit by eroticizing both their gaze and ours—statuesque, youthful, darker-skinned bodies moving alluringly through time and space.

By Genevieve Yue | October 19, 2010

Though she made her feature filmmaking debut with Mutum (which closed Cannes’ Directors’ Fortnight program in 2007 and toured as part of 2009’s Global Lens initiative), Sandra Kogut has been an active documentarian for the past two decades.