Film at Lincoln Center’s “Art of the Real” Screens Latin American & Caribbean Titles

Cinema Tropical reminds us that Film at Lincoln Center’s annual showcase of the world’s most vital and innovative voices in nonfiction and hybrid filmmaking, Art of the Real 2022, opens this week with an exciting selection of films by Latin American and Caribbean filmmakers. ‘Art of the Real’ takes place March 31–April 7 at Film at Lincoln Center in New York City, with most of the featured Latin American filmmakers in attendance. Two of the Caribbean films playing this week are This House by Haitian-Canadian director Miryam Charles [still shown above] and Puerto Rican director Beatriz Santiago Muñoz’s The Crow, the Trench and the Mare (see descriptions below).

Film at Lincoln Center has announced the complete lineup for ‘Art of the Real,’ the ninth annual nonfiction showcase, which features a handful of Latin American titles including the opening night film My Two Voices by Colombian-American director Lina Rodríguez, the Argentine film Camouflage by Jonathan Perel, the Chilean film The Veteran by Jerónimo Rodríguez, This House by Haitian-Canadian director Miryam Charles; and the short films The Crow, the Trench and the Mare by Puerto Rican artist Beatriz Santiago Muñoz, and Colombia’s Abrir monte by Maria Rojas Arias.

This year’s edition of ‘Art of the Real’ is a vibrant slate of works by internationally acclaimed artists, and includes 17 features and four shorts. This year’s filmmakers take aesthetically daring approaches to a range of pressing and perennial issues, creating meditative observations of natural environments, examining steadfast resolve in the presence of violence, and reflecting on global histories and economies. The series is programmed by Dennis Lim and Rachael Rakes, with program advisor Almudena Escobar López.

[. . .] Through staged tableaux, lyrical voiceover, and vivid 16mm cinematography, This House narrates the events around the unexplained death of a 14-year-old girl in Bridgeport, Connecticut, in 2008. Collaborating with the teenager’s cousin, director Miryam Charles bridges locations—Haiti, Canada, the U.S.—and temporalities, proposing impossible narratives and alternate timelines: of migrations and homecomings, tragedy and the process of overcoming it.

The Crow, the Trench and the Mare, Beatriz Santiago Muñoz’s work of radical juxtaposition draws on methods of simultaneous narration from Sanskrit poetry to explore image and sound relations and the duality of bodies, objects, and places. [. . .]

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