We’re happy to announce that we’re up to $5,000!!! Because we reached our first reward goal, we’re adding the Matador design by Carmen Pizarro to our Postcard Pack!!!
In addition to paying contributors, a portion of our book sales goes directly to several non-profit organizations helping undocumented Latino families receive legal help and obtain skills that would help ease their transition into the States.
From experience we know how difficult life can be for immigrants iour n the U.S. due to language barriers, lack of financial resources, lack of information, not knowing our rights and even fear of deportation.
We want to give back to our community as much as we can. And you can help too!
By backing our Kickstarter, we’ll be able to make books that will help benefit few great non-profit organizations:
(If you have any recommendations we would love to hear them!)
Because we’re part of a marginalized group of creators in the comics industry, we hope you can help us in spreading the word about our project while helping shape lives <3
Durante la cuarentena del año pasado realicé las ilustraciones y algunos de los diseños promocionales para el documental @docudesdelotroladodelrio sobre la escena musical del territorio de Las Compañías en La Serena. A continuación de izquierda a derecha:
-La ilustración final
- Uno de los diseños que más me agradó - Ilustración en su primera versión preliminar - Segunda versión preliminar - Un mock up
Antonio Salazar Self Portrait US (c. 1970) [Source]
Antonio Salazar is a photographer noted for capturing images of significant social and political activities in relation to the Chicano Movement from 1968-1972…
From 1968-1972, Salazar was an undergraduate student at the University of Washington in Seattle, Washington, as part of the first group of Chicano students to attend the University. The students, approximately 30 in count, quickly became political and organized the first United Mexican American Students organization (UMAS), which later became known as MECHA. The students lobbied the university administration to have its first Chicano studies class, and located Tomas Ybarra-Frausto to be its first instructor…
Salazar started his future into photography by taking mostly black and white images of the turbulent events during his college years, developing the images himself. He received some training and direction from Irwin Nash, a Seattle based photographer. Apart from the University of Washington MECHA students and their activities, he captured images of Cesar Chavez, Dolores Huerta, Corky Gonzalez, Reyes Tijerina, Luis Valdez, and other iconic Chicano leaders. Antonio Salazar graduated in 1972 with a degree in Latin American studies and stopped taking pictures to pursue a professional career.
Alejandro Mario Yllanes, b. Bolivia, 1913; d. Mexico, 1960? Self-portrait Number 1 Mexico (1944) Wood engraving [Source]
Alejandro Mario Yllanes, a Bolivian tin miner turned engraver, painter and muralist, vanished in the late 1940s after winning—but not claiming—the Guggenheim Fellowship. It is believed that he returned to Mexico leaving much of his work behind in New York.
His self-portrait was exhibited as part of a retrospective held at the Ben Shahn Galleries at William Paterson College (Wayne, NJ) in 1992. The exhibition also travelled to the Edith C. Blum Art Institute at Bard College (Annandale-on-Hudson, NY). Yllanes’ work had only been shown once before in Mexico when Diego Rivera championed his work and wrote in the 1946 exhibition catalogue that “artists and workers of Mexico should open their arms to […] this Bolivian who endured torture, languished in prison and suffered in exile because of the revolutionary affirmations expressed in his paintings.”
Jacqueline Barnitz, author of Twentieth Century Art of Latin America, writes that Yllanes was one of the few Bolivian artists to take a militant position and that his figures, the Andean peasants, are the “central actors of their own land, in control of their lives.”
The wood engraving, measuring 24 by 18 cm, follows the sophisticated patterns and speckles typical of his prints. The nicely kempt hair, and stylish suit and tie, contrast the clothing most of the Andean subjects wear in his paintings. Yet, the dark eyes and eagle-like face, traits found in many of his figures, are reflective of the silent suffering he not only depicts but must have endured himself.
Lucy Tejada Saenz was a Colombian contemporary painter… Her characters, imaginary beings of black and deep eyes live in her paintings, that resemble his world; a beautiful ideal world, inhabited only by women and boys. The artistic legacy is a trip by a world knitted of dreams, evocations and original proposals.
Liliana Maresca, b. 1951, d. 1994 Autorretrato con bronca / Self Portrait with Brawl Argentina (1982) Synthetic enamel on wood Location unknown [Source]
Maresca was one of the most active figures in the construction of an interdisciplinary artistic community that began as an underground towards the end of the military dictatorship. Her work was a critical response to the central problems of society, the political situation in the country and HIV, which affected her personally.
With overwhelming energy, she sought to expand the frontiers of art, blurring boundaries, categories and disciplines and confronting the socio-political situation. In addition to encouraging the rebuilding of the democratic community, she was able to capture and transmit – like a powerful antenna – the most central and urgent aspects of a tumultuous social situation. Her artistic practice ranged from addressing themes such as intimate political manifestos about the body, love and sexuality to social violence in Argentina and overseas.
Djanira da Motta e Silva was a Brazilian painter, illustrator and engraver, known by her first name Djanira. She was known for her naïve art paintings, depicting Brazilian common people, religious themes and landscapes.
MAÑANA: Latinx Comics From the 25th Century is now open for submissions.
[Noten: Toda esta información también está disponible en español a pedido.]
“In 1492, Christopher Columbus sailed to the islands of the Caribbean. That single event led to the radical transformation of the region, the hemisphere, and eventually the entire world.
Indigenous peoples were decimated. Lands were colonized. African peoples were displaced and enslaved. Race, as a concept, took root. Black women and indigenous women were subjugated. Cultures died, fused, changed, and were, sometimes, reborn. Art, music, foods, and faiths echoed these tangled pasts. Immigrants from across the planet flocked to the newly christened "Latin America.” A caste system based on race and color reigned. Liberation struggles were fought. Revolutions were won. Wars of independence were waged. Coups were orchestrated. Global capitalism ran amok, fueling the mass exodus… And we survived it all.
That all seems so far away now.“
MAÑANA: Latinx Comics From the 25th Century is a speculative fiction comics anthology set throughout Latin America in the 2490s, roughly one thousand years from the voyage that changed the world. It took 500 years to get us where we are now – where could 500 more take us?
Submission Period
Submissions will be open to the public from May 27th - July 7th, 2019 (11:59 PM Pacific Time).
Who Can Participate
To pitch a story to MAÑANA, you must be Latinx or Latin American. We define Latinx as "a person living outside of Latin America whose cultural background includes any of the Spanish, Portuguese, or French-colonized countries of the Americas and the Caribbean.” We define Latin American as anyone born, raised, and currently living in any of those same countries.
You may pitch as a SOLO CREATOR (making the whole comic by yourself), as a WRITER ONLY (story writer who we will pair with an artist), or as an ARTIST ONLY (a comics artist who we will pair with a script).
Solo Creators with a strong story idea but not-as-strong artwork may receive an offer to be paired with a different artist (vice versa for pitches with stronger art than story).
“Writers Only” may request to be paired with a specific artist. The artist they request must be someone they know for a fact is filling out the “Artist Only” submission form. The reverse applies to “Artists Only” requesting a specific writer.
Age Restrictions
All contributors must be 18 years of age or older. All content must be suitable for readers as young as 14 years old.
Specifications
Comics from 2 - 12 pages long (must be an even number)
6.625” x 10.25” trim size (template will be provided)
Contributors will be compensated at a rate of $107/page plus any Kickstarter bonuses unlocked through stretch goals. Contributors also receive a minimum of 10 complimentary copies of the anthology, royalties on all digital sales proportionate to their page-count contribution, and royalties on any future print runs of the anthology after the first printing sells out.
“Writers Only” will receive $42/page, with bonuses, comp copies, and royalties split evenly between themselves and their artist.
“Artists Only” will receive $65/page, with bonuses, comp copies, and royalties split evenly between themselves and their writer.
All contributors have the right to purchase additional copies of the anthology at 50% off the cover price for as long as the anthology is in print.
Rights
Creators will cede exclusive first worldwide print and digital rights to their stories for a full calendar year from the date of publication, and non-exclusive worldwide print and digital rights (in both the English and Spanish languages) in perpetuity. Ownership remains with the creators.
What We WANT:
Comics (not illustrations, not prose, not poetry).
Previously unpublished stories.
The protagonist (or POV character) must be Latinx or Latin American.
Writers who have a connection to the country they choose as their setting (either from there, born there, parents or grandparents born there, lived there for many years, etc.)
Speculative fiction: How has technology changed? How has society changed? How have politics changed? The natural world? Fashion? The thoughtfulness of your world building will make or break your pitch.
Informed fiction: We want stories whose ideas about the future are rooted in an understanding of the past and present. For example: we’re less interested in whether flying cars exist and more interested in whether the Amazon rain forest makes a full recovery (and what that means for Brazil).
Optimism: your vision of 25th century Latin America doesn’t need to be utopic (although it can be) as long as themes of improvement, empowerment, growth, or problem-solving predominate.
Peaceful stories, sad stories, triumphant stories, funny stories, failure stories, action stories, philosophical stories, love stories – the full spectrum of humanity is welcome. The catch: it must end “positively.” Everything doesn’t have to work out, but we prefer stories end on a note of hope, new understandings, resilience, etc.
What We DON’T Want:
No fan works. No auto-bio. No prose. No one-off illustrations.
Comics that are already finished or that you’ve already started drawing.
Hacking the Mainframe: Unless you really, really think you can “WOW!” us with a highly original take, avoid “hackers take down the mega corporation” as a plot (because it’s been done to death).
Fantasy: We want science fiction and/or speculative fiction based in the real physical laws of our universe. However, certain elements of magic realism can work for us (e.g. in an otherwise realistic setting, a character speaks to a long departed ancestor, experiences old gods in a vision, or watches their life unfold out of sequence).
Ahistorical Takes: any stories that erase, deny, or revise the real-world histories of Latin American peoples will be rejected.
Horror: Your story can use fear and danger as plot elements, but if instilling fear/existential dread in the reader is the overarching goal, this is the wrong anthology.
Cursing is permitted as long as words aren’t used literally (i.e. “Shit, you scared me!” as opposed to “Let’s go shit in the woods!”) and are used very sparingly when used at all. In general, we’d prefer not.
No porn. No references to specific sexual acts. No explicit nudity whether sexual or non-sexual (sorry, folks). “Consensual fade-to-black sex between legal adults” is fine.
No depictions of abuse (sexual, physical, psychological) whether pictorial or written. Characters may vaguely reference (in non-graphic language) abuse that they have suffered in the past if doing so serves the story or is integral to the character.
No gore. People can get hurt, bleed, die, etc, but not in a grossly over-the-top way that fetishizes violence.
No slurs, no racist statements nor imagery, no misogyny, no transphobia, no ableism, no xenophobia, and no white supremacist nonsense in general. Since this anthology is about Latin America’s future, these topics can be broached in your story, but we urge you to tackle such subjects in a more creative way than “[insert drawing of some guy yelling a slur].”
A working title and page count for your comic (doesn’t have to be exact).
A synopsis of your story, including a beginning, middle, and end. Spoil everything, but try to keep it under 300 words.
Preliminary sketches associated with your pitch: character ideas, environment concepts (the latter is especially important if your portfolio lacks strong examples of background art), etc. These don’t need to be final or polished pieces! Just clear enough to give us an idea.
Links to any relevant publishing credits. Self-published works and webcomics count as credits! Choose examples that best reflect the style you intend to use for this comic. You may simply include a link to your portfolio if you have no pre-existing credits, but please note that folks with sequential storytelling examples will receive preference.
Tell us about yourself, your cultural and creative background, and why you want to be in MAÑANA. Short and sweet is best!
WRITERS ONLY:
A working title and page count for your comic (doesn’t have to be exact).
A synopsis of your story, including a beginning, middle, and end. Spoil everything, but try to keep it under 300 words.
Links to any relevant publishing credits. Self-published works and webcomics count as credits! You may simply include a link to your writing portfolio if you have no pre-existing comics writing credits, but note that folks with comics writing experience will receive preference.
Tell us about yourself, your cultural and creative background, and why you want to be in MAÑANA. Short and sweet is best!
ARTISTS ONLY:
Links to your portfolio and/or any relevant publishing credits. Self-published works and webcomics count as credits! You may simply include a link to your portfolio if you have no pre-existing credits, but please note that folks with sequential storytelling examples will receive preference.
Tell us about yourself, your cultural and artistic background, and why you want to be in MAÑANA. Short and sweet is best!
More Questions?
Check out the FAQ. If your answer isn’t there, Ask away!
My family’s All saints day/Day of the dead, Corn Cookies (galletas de maíz) (dough) 2 cups warm water 1 tsp sea salt 2 cups Masa (Found in most Latinx markets) ½ Tablespoon Chile powder ½ Tablespoon Red Pepper (Cooking) Step 1. make small 1" balls and flatten them into a small ROUND disk Make a “X” on the disk before frying then fry them, Both sides until golden brown. Step 2. sit on a cooling rack and Poor honey into the “X” and sprinkle A Mix of sugar and Red pepper into the a “X” Step 3. server and eat. also leave some for your Ancestors!
| Remembering that today we will have a double release, since the album by singer Lunay that contains “Todo o Nada”, in partnership with Anitta, will also be released soon after midnight.
Colombian children play in front of a grocery store advertising products in Palenquero
Palenquero is Latin America’s only surviving African-Spanish creole, that is spoken natively as a first language. Its speakers are based in the maroon town of San Basilio de Palenque on the Caribbean coast of Colombia. Palenque is considered to be the first self-liberated settlement of Afro-descendants in South America; founded in the 17th century by Africans seeking refuge from slavery. Although Palenquero employs the lexicon of various African languages, most of the Africans brought to the Caribbean coast of Colombia were from areas of modern-day Congo and Angola, and for this reason over 90% of the creole’s African-based lexicon has it’s origins in the Bantu linguistic family. The language is believed to be the most African-infused creole in the Americas, given it’s long history and isolation from European languages, and for this reason there’s little mutual intelligibility between Spanish and Palenquero speakers.
In the last few decades there has been a language shift from Palenquero to Spanish, and for this reason the number of native speakers has dropped significantly. It is estimated that only about half of the town speaks Palenquero fluently, that 88.7 percent of high school students use Spanish as their first language, and that only 15 percent of those students have frequent access to the Palenquero language outside school. One of the reasons for this shift, is that many Palenqueros traveled outside of their town to work in nearby banana plantations, where they were discriminated and ostracized for speaking their language by Spanish speakers; which until that time they had little to no interaction with. Another reason for the language shift, is due to accessibility with the rest of Colombia through the media.
However, with accessibility to the rest of Colombia via television and radio, also came accessibility to various cultures in Africa. Cultural interactions between Palenque and Africa have strengthened the black pride and consciousness of Palenqueros, which has also given the community an urgency to preserve the language. Many young musicians perform champeta songs in the Palenquero language; champeta is a popular genre of music which mixes Palenquero folklore and West/Central African genres such as soukous and highlife. Palenquero has also been made a mandatory language in schools, and linguists have also created the first dictionary of the language with the help of the towns elders. Recent studies have found a trend in younger generations, welcoming the concept of bilingualism.
The Miskitus are an Indigenous people living alongside the Miskito Coast of Nicaragua and Honduras. The majority of the Miskitu people are zambos; a racial category used in most Spanish speaking Latin American countries, to refer to people who are the product of Indigenous and black African intermixing, and who lack any apparent European admixture in phenotype.
The origin of the Afro-Indigenous ancestry of the Miskitu people derives from the time of British control of the coast. The British colonials brought enslaved Africans from their Caribbean colonies and also directly from Africa to this area. These Africans shorty made up the majority of the population on the coast, and came to be known as Creoles. Many of the Afrodescendants began to intermix with the Indigenous people of the coast, namely the Miskitus, but also smaller groups like the Rama and the Mayangna. The African and Indigenous input into the Miskitus likewise came from the Garifuna, an Afro-Indigenous ethnic group who sought refuge on the Miskito Coast from Spanish military conscription in Honduras.
Unlike the Garifuna who identify with both their African and Indigenous ancestry, and who display cultural traits from both groups; the Miskitus are largely seen as simply an Indigenous people, and their African descent is often ignored. The reason for this is largely due to the colonial powers during the British occupation, who feared that the Miskitus given their African-descent, would join other Afro-descendants like the Garifuna and the Creoles in revolts; so they went to extreme measures to install a solely Indigenous identity unto the Miskitus which survives until today.
Hondurans in the town of Gracias partake in the annual Chief Lempira Day Festival
“The festival celebrates the Lencan leader Chief Lempira who managed to unite historically warring tribes as Spanish conquistadors descended in the 1500s. Chief Lempira ultimately cobbled together an anti-Spaniard force 30,000 strong which caused the Spaniards considerable trouble. The Lencan leader was eventually killed by the Spanish, however, and in his absence the popular uprising fizzled. But Chief Lempira’s legend lives on. The currency of Honduras is called the Lempira and he is still a hero to the Lencans. His annual festival day transforms Gracias, normally a sleepy town of 25,000, with a parade, fireworks, rock concerts, an air force fly over, even the President of Honduras helicopters in for the event.”
The Pollera and Somberero Pintado: Symbols of Panamanian Culture
La Pollera
Refers to the traditional costume of Panama worn by women consisting of a skirt and a blouse. Its origins are that of Spanish clothing worn by peasant women in the seventeenth century. The most iconic pollera is that of the pollera de gala; its development began when upper-class Spanish women started settling in the Americas. Since their lavish clothing was unsuitable for the tropical climate, they would appropriate the dress of their [Spanish] servants. However to make them appear more luxurious they would decorate the garments with lavish embroidery and lace. This type of pollera was eventually adopted to the white criollo and mestizo population; and to this day is seen as a national symbol of Panama. Traditionally a woman owns two polleras in her life; one during childhood and the other when she becomes an adult. Typically polleras de gala are handmade of white linen and embroidered with colorful patterns such as flowers and fruit. However, there are many different variations of polleras outside of the pollera de gala, and differences base on region. Another common type of the pollera is that of the pollera congo, with its origins among the Afro-Colonial population of Colón. The most common style of the pollera congo is a colorful patchwork one made by the use old fabrics, and it reflects the polleras worn by African women during the days of slavery. A woman who wears a pollera is referred to as an empollerada.
Polleras are usually accompanied by jewelry and accessories. The most common ones are the peinetasandtembleques. Peinetas are golden tortoise-shaped combs that surround the head like a halo, while tembleques are ornaments made of wire, pearls, or crystals; attached to the peinetas. These two accessories are often passed down by families as heirlooms.
El Sombrero Pintado
Is a traditional Panamanian hat most commonly worn by men, but occasionally by women as well. Recognized by its distinctive pattern of white and black rings, its origins are in the province of Coclé, however these days its seen as a national icon similar to pollera de gala. It is handwoven using the fibers of plants bleached in the sun; the rings that are black are made by using an Indigenous method of boiling fibers with chisná bush leafs, which cause a natural black dye. The cost of a hat is based on the number of rings, and hats with more than twenty rings can take up to a month to make.
A Brazilian girl of German descent plays an accordion during a parade
In the first years of independence from Portugal, the government of Brazil sought to settle the heavily underpopulated southern region of Brazil with Europeans; the main reason for this was fear of invasion from Argentina or Uruguay. The first Europeans, outside of the Portuguese, to immigrate to these lands were the Germans starting from 1824. Germans were offered large tracts of farmland in the south of the country, where they could settle with their families and live off of agricultural work. Many families settled unoccupied lands at once forming towns, these towns came to be known as colonias or colonies. Alongside the Portuguese, the Germans made-up the majority of immigrants to Brazil until 1876, when a massive boom in European and Levantine immigration occurred. In 1876, Italians and Spaniards replaced Germans as the largest immigrant groups; Italians and Spaniards were highly desired by the government as they were both: white, culturally Latin, and Roman Catholic. The Spanish immigrants mostly migrated to settle and work in the coffee plantations of São Paulo and Rio de Janeiro; replacing the enslaved Africans who would shortly be emancipated. The Italians on the other hand, were divided into two groups: those who migrated to São Paulo alongside the Spaniards, and those who settled in the southern states alongside the Germans; starting their own colonias or populating cities already formed by German/other European-descendants. Despite the lower immigration rate of Germans, the German-Brazilian community had the largest birthrate in all of Brazil during that time, and for this reason they were able to maintain a large demographic and predominance over other Europeans, particularly in the state of Santa Catarina. Unlike many of the Italian immigrants, the German-Brazilians were also largely isolated from the rest of Brazilian society. This helped maintain their native German dialects, and for many non-Catholic Germans; their Protestant religion. Immigration of Germans continued into the 20th century, and both World Wars once again brought large influxes of immigrants from Germany, both ethnic German and Jewish. Smaller waves of immigrants continued to emigrate from Germany, until 1969.
These days German-Brazilians make up one of the largest ancestral groups in all of Brazil, and the country is home to the second largest German diaspora in the world. Most inhabit the southern states of the country, but are also a significant population in the southeastern states of São Paulo and Espírito Santo. In modern times, German-Brazilians have fully integrated into Brazilian society, the majority are now Catholic, and most speak Portuguese as their first language, however in many rural areas of the south and southeast they still continue to speak dialects of German. The most commonly spoken dialect of German is called Riograndenser Hunsrückisch, a uniquely Brazilian dialect based on Hunsrückisch German, but infused with: Portuguese, Italian, and even Guarani influence. German Brazilians have largely shaped the culture, architecture, and cuisine of southern Brazil. They are most renowned for their Oktoberfest festivities in the city of Blumenau, the second largest Oktoberfest event in the world.
Okay here’s a brief summary of some interesting movies I’ve seen, hopefully you guys can find something you like and practice your Spanish:
Amores Perros(2000).dir. Iñárritu.This one isn’t optional, if you haven’t seen it, you MUST. Seriously this is one of my favorite movies of all time, saying that it’s about relationships in Mexico City doesn’t even BEGIN to cover it. The cinematography, the music, the plot, the acting–everything is fantastic.
¡Átame!(1989). dir. Almodóvar. This is…an interesting (infuriating?) film. Basic plot: Guy gets out of a psychiatric institution, becomes obsessed with a woman, kidnaps her, Stockholm Syndrome. I think it’s supposed to be edgy with its sort of BDSM-esque aesthetic, and in 1989 Spain (Franco died in 1975) it definitely was. The ending of this film would make for some interesting classroom debates, that’s for sure.
Babel(2006). dir. Iñárritu. Another wonderful film by Iñárritu (my fave), this isn’t completely in Spanish but definitely deals with some Hispanic themes, namely Mexican/American, and also deals with much broader international themes–the film follows three different story lines, similar to Amores Perros, except all are in different countries instead of in the same city–yet they are all still connected. Really interesting and visually gorgeous film.
Bajo la misma luna (2004). dir. Riggen. This is… a sweet, feel-good film about an incredibly (unbelievably?) intelligent and motivated young boy who crosses the Mexican-American border looking for his mother.
Biutiful(2010). dir. Iñárritu. This film is also incredibly gorgeous (have I said I love Iñárritu yet?)–very sad film but super interesting, takes place in Spain, highly recommended.
Como Agua para Chocolate (1992). dir. Arau. This fits in with the “magical realism” genre, if that’s your thing. It’s a Mexican film based on a book by Laura Esquivel, and a love story, very dramatic.
Crónica de una fuga (2004). dir. Caetano. This is a really interesting film based on a true story about “the disappeared” youth in Argentina.
Cronos (1993). dir. Guillermo del Toro. This is a vampire movie, very del Toro in style, if you like his work and fantasy/horror stuff you might like this.
Cuatro Lunas (2014). dir. Velarde. WELL I watched this movie just because it was gay but it actually had kind of a surprisingly cute plot line (exploring 4 different phases ‘moons’ of the life of different gay men) so if you want a gay movie, I recommend it, it’s on Netflix.
Danzón (1991). dir. Novaro. Good movie from a female director (!) that explores some themes of gender, I remember having interesting conversations in class about the gendered “gaze” of the camera, and it’s a fun dancing/music related film theme-wise.
El ángel exterminador (1962). dir. Buñuel. Okay this movie is definitely an “art film” and may be difficult to understand on the first watch, but it’s actually great. Black and white, some really interesting camera shots, explores themes of the helplessness of bourgeois society, if you like film history or technique, give this a shot.
El laberinto del fauno (2006). dir. Guillermo del Toro. Everyone loves this movie, and if you haven’t seen it, you should. It’s dark fantasy mixed with Spanish history.
El lugar sin límites (1978). dir. Ripstein. This is based on the novel by Donoso, it’s basically about a transgender* [*this may not be the best term–the term I would use is ‘travesti’ which is closer to ‘transvestite’ but this is one of those cases where because of the differences in culture/language it’s hard to translate exactly] woman and the dynamic between the travesti community and ‘macho’ gay men, and is the origin of an archetypal character [’La Manuela’]. If you’re interested in LGBTQ+ themes/history, this is an interesting watch.
Evita (1996). dir. Parker. This is a musical about Evita, Antoni Banderas is in it (idk why but this is hilarious to me he’s so Spanish?)–if you like musicals or are interested in Argentinian history, it’s not a bad film (though I don’t think this should be your only source to learn about the Perón family).
El secreto de sus ojos (2009). dir. Campanella. The ending of this movie is so amazing. There is a fairly graphic rape scene so be aware of that. It’s basically a detective film from Argentina, with all of the local accents and slang (which for me at least is fun).
El último verano de la Boyita (2009). dir. Solomonoff. Okay, I watched this movie because it’s the only movie I’ve ever seen or heard of about an intersex child, and it was actually quite good.
Il Postino (1994). dir. Radford. This film takes place in Italy but I’m including it because it’s basically about Pablo Neruda, so if you want to watch a film about the poet, this is your film.
La batalla de Chile: El poder popular(1979). dir. Guzmán. This film comes in three parts, and it’s a documentary about Chile surrounding the rise and fall of Allende and life under Pinochet. Quite good if you like history.
La hora de los hornos (1968). dir. Getino & Solanas. Also a documentary, about Argentina. Very good, deals with a lot of historical issues.
La Lengua de Mariposas (1999). dir. Cuerda. I LOVE this movie, it’s so sweet, it’s basically about a little boy and his relationship with his teacher with the Spanish civil war looming in the background. Watch this.
La ley del deseo (1987). dir. Almodóvar. This is actually my favorite Almodóvar film, maybe it’s because Antonio Banderas is very young and gay in it, but in terms of the cinematography it’s also got some quite pretty shots.
La Zona (2007). dir. Plá. This is about violent crime and…basically about class differences in Mexico and the family issues that can cause.
Little Ashes (2008). dir. Morrison. This film is mostly NOT in Spanish, but I thought I’d include it because it is about Lorca and deals with very Spanish themes, and hilariously also has Robert Pattinson playing Salvador Dalí. Really.
Los olvidados (1950). dir. Buñuel. This is about juvenile delinquents in Mexico City, basically, and deals with issues of class and is known for its surrealism (kind of an interesting thing for a film of that era).
Machuca (2004). dir. Wood. This is a film about class tensions during the 1973 coup in Chile, as seen from the perspective of two young boys. A very watchable movie on the topic.
Mar Adentro(2004). dir. Amenábar. This is about the legal question surrounding euthanasia, very touching, interesting film. Javier Bardem is in it and is great as usual.
Maria Llena de Gracia (2004). dir. Marshton. This is about drug smuggling and shows the grim reality of that life and why some women might chose to become ‘mulas.’ Hard to watch but very good.
Memorias del subdesarrollo (1968). dir. Alea. I hated the attitude protagonist of this movie but the actual film was so interesting, it’s about Cuba during the era where Soviet/US conflict was high and visually is a very gorgeous movie.
Mujeres al borde de un ataque de nervios (1988) dir. Almodóvar. This is probably one of Almodóvar’s most famous films and deals with the relationships between women, and was pretty interesting because when we watched this in class half the class thought this was a very feminist movie and half the class thought it was very sexist, so… decide for yourself, I guess.
Nostalgia de la luz (2010.) dir. Guzmán. This is a gorgeous movie about astronomy and the “disappeared” in Chile (and yes, they are related, sort of), it’s sort of a documentary but doesn’t feel like a documentary. Highly recommended for anyone interested in history.
Pepi, Luci, Bom y otras chicas del montón(1980). dir. Almodóvar. This Almodóvar film is probably the one that most explicitly explores the sexual revolution during la movida madrileña.
Sin dejar huella (2000). dir. Novaro. This is a roadtrip movie, featuring two women who explore Mexico. Definitely explores the variety of cultural and geographical landscape in Mexico.
También la Lluvia(2010). dir. Bollaín. Watch this. Gael is great in this movie (as always) and it’s very compelling plotwise. Essentially, this movie uses a Spanish film company making a movie about Columbus/Bartolome de las Casas/etc. during the Cochabamba protests in Bolivia to make a statement about neoimperalism/neocolonialism.
¡Qué viva México! (1979). dir. Eisentein. This was a film project began in the ‘30s and then later abandoned because of funding issues, but watching the surviving footage is super neat for anyone interested in the history of Mexico.
Soldados de Salamina (2003). dir. Trueba. This film is about a frustrated writer (ahhh, #relatable) investigating the Spanish Civil War. I liked this movie for having an (ambiguously) bisexual main character, and for how it weaved storylines from two different time periods together.
Todo sobre mi madre (1999). dir. Almodóvar. This is about a grieving mother and her attempt to come to terms with some tough issues, mainly what happens when a parent is transsexual.
Un Mundo Maravilloso (2006). dir. Estrada. I actually hated this film because it felt like it was beating me over the head with a hammer (having the leader of what was essentially the World Bank cackle and say “let’s kill poor people” is not v. subtle) but I wanted to mention Estrada because he’s made a number of films dealing with Mexico that I haven’t seen, and if Mexico interests you especially I would check out some of his other films or even give this one a try (the ending is kind of interesting).
Violeta se fue a los cielos (2011). dir. Wood. Watch this. I loved this film, it’s about one of the leaders of the “nueva canción” movement in Chile, which is like folk song revival, but it’s a dramatization of her life (not a documentary). It features some great music and the heroine is just… a fascinating human being.
Volver(2006). dir. Almodóvar. Another Almodóvar film, not my favorite by him but if you like his style I’d recommend it. Basically about a mother-daughter team building a much more awesome life after…an incident.
Y tu mamá también (2001). dir. Cuarón. This is…a very sexy roadtrip/coming-of-age movie that takes place in Mexico. Fair warning, this film is pretty explicit, and I think became well-known just for that. It has some interesting themes though, particularly regarding male sexuality and where the line is (culturally) for what is/isn’t appropriate between male friends or what is/isn’t considered “homosexual.”
Alright! I’ve probably forgotten something but that should get you guys started. Feel free to ask me any questions or let me know what you think of these! Enjoy~
41. Yo, la peor de todas(1990).dir. Bemberg.This movie is about the famous Meixcan polymath Sor Juana Inés de la Cruz, and how crazy ahead of her time she was. The poetry is amazing, and this is a person worth knowing about.
42.Mala Educación (2004). dir. Almodóvar. This is an Almodóvar film that features Gael García Bernal in drag. The main topic is sexual abuse under Franco-era religious schooling.
43.Fresa y Chocolate(1993). dir. Alea. Okay, so I thought this was going to be essentially the same movie as El Beso de la Mujer Araña, but it’s so delightfully Cuban. Similar premise – young Communist develops a strange relationship with an older gay man – but it’s lovely if you are interested in Cuba, and it doesn’t end quite like I expected.
44.Esteros (2016). dir. Curotto. This is about two childhood friends who encounter each other and re-connect in adulthood. It’s not a masterpiece, but if you like Argentina and want something gay (with no death) or have a thing for your platonic friend, it hits the spot.
45.El Beso de la Mujer Araña (1985). dir. Babenco. Okay, the movie is inferior to Puig’s novel. But this is still a culturally important an layered story that is a lot more complex than most gay romances. If you like politics and unusual love stories, watch (or better, read) this.
46. El Espíritu de la Colmena(1973). dir. Erice. How could I forget this charming Spanish film about a little girl and her relationship to Frankenstein? This is a beautiful film if you love Spain–elegant, subtle, it feels like watching a memory.
47.Tristana (1970). dir. Buñuel. I would really only recommend this film if you like Buñuel or have an interest in 1960s/70s Spain. Basically a young woman gets taken advantage of by her guardian. It’s melancholic and surrealist.
48. Blancanieves (2013). dir. Berger. This is such a strange a beautiful movie. It’s made to look like an old silent film, and it’s basically the story of Snow White–except she is a Spanish bullfighter.
49.Cría Cuervos (1976). dir. Saura. The music and the strange young protagonist in this movie are unforgettable. A young girl must navigate the death of her father and life with extended family. Its very much a reflection of Spain at that time, and one of very layered those movies you could easily write pages about.
50.Peppermint Frappé(1967). dir. Saura. I found this movie very disturbing; everything is so idyllic and beautiful on the surface but it really reveals some messed up beauty standards of the time period, and, uh, Catholic repression.
51.Azul y no tan rosa (2012). dir. Ferrari. This Venezuelan gem is wonderful and interesting because it’s perhaps the only gay movie I have ever seen that focuses on the relationship between a gay parent and a straight child. My only critique is that it is certainly a movie that is trying to do many (perhaps too many) things at once, and the “message” is very much spelled out haha. There are also some very hard to watch (violent) scenes in this movie, just FYI. Still, I quite liked it - and we get to see a lotof topics covered in one film.
52.Desde Allá(2015). dir. Vigas. This is the previous film’s sadder cousin. It explores issues of fatherlessness, age gaps in gay relationships, and poverty in Caracas. If you are interested in Venezuela, though, it’s not bad.
53.El Libertador(2013). dir. Arvelo. This is a historical drama about Venezuela’s national hero, Simón Bolívar. It’s a very beautiful and moving movie about freedom, and fighting for justice.
54.La Casa del fin de los Tiempos(2013). dir. Hidalgo. This is a scary Venezuelan movie about a haunted house and time traveling. I didn’t even finish it, I was so scared. If you like horror, you’ll like it.
55.Sexo, Pudor, y Lágrimas(1999). dir. Serrano. This is, for some reason, a very high grossing and famous Mexican movie. To me, it was basically a lot of boring, heterosexual drama. Still, it had its funny moments.
56.XXY(2007). dir. Puenzo. This is an amazing and very forward-thinking Argentinian movie about an intersex child, and how the best way to treat them (socially and medically) might be. I loved… how this movie is one of the few movies that incorporate a more trans-masculine perspective.
57.Wakolda (2013). dir. Puenzo. This is an amazing true story of an Argentinian family and their relationship with a German doctor who was part of the “final solution” during the Holocaust. This film is so unsettling–the doctor is someone who saves lives and yet also kills others–and also a needed exposé of the strange Nazi community in Argentina post WW-II.
58.Vivir es fácil con los ojos cerrados (2013). dir. Trueba. This is such a cute story of an English teacher in 1960s Spain who takes a road trip in the hopes of meeting John Lennon. Some unlikely companions join him. It’s a rare feel-good movie (in this list, anyway).
ugh, that’s all I can think of for now, though I’m sure there’s more.
59.ReMastered: Massacre at the Stadium (2019). This is a documentary that tries to answer the decades long question: Who killed Victor Jara? For those of you who don’t know about the nueva canción movement in Chile, or are curious about Cold War era politics, this is a very accessible (and moving) first look into what, for me, is one of those most fascinating eras in history.
60.Muerte en Buenos Aires (2014). dir. Meta. This movie is a fun mix of Argentinian slang, great ‘80s music, detective/mystery vibes, and surprise ending. Honestly, I enjoyed this movie a lot, particularly the striking visual choices–like having a bunch of white horses running through Buenos Aires at night.
61.Una mujer fantástica (2017). dir. Lelio. Really proud of this movie - a Chilean film about a transgender woman - winning an Oscar in 2017. This film was an interesting break in the stereotypical “transgender” genre - the focus is not on physical transition, but on institutional and social barriers that pop up after the death of her partner (due to lack of civil protections).
62.No (2012). dir. Larraín. While I have a hard time accepting the casting choice of Gael Garcia Bernal as a Chilean advertising guru, this is truly a fantastic movie. No explores the 1988 plebiscite as to whether or not to continue under Pinochet, but it also explores a very interesting (and relevant) political trend: the idea that political campaigns should be sold on icons and slogans, and not ideas. Instead of addressing the horrors that occurred under dictatorship, the No campaign decides to take notes from the advertising strategies of Coca-Cola,to immense success.
63.43(2019). This short Netflix series explores the likely murder/coverup by the Mexican government of 43 students who disappeared on their way to commemorate the 1968 Tlatelolco killings.
64.1994 (2019). This Netflix documentary series explores the turbulent year of 1994 in Mexican history, with the signing of NAFTA, the beginning of the Zapatista movement, and the assassination of Luis Donaldo Colosio.
65.Roma (2018). dir. Cuarón. This is a stunningly gorgeous film that absolutely deserved its Oscars. What I loved about Roma was its focus on the live-in housekeeper, the mixtecolanguage, the fact that women drive this entire film. A must-see for anyone interested in Mexico.
66.La dictadura perfecta (2014). dir. Estrada. While to me, this movie felt a bit like a metaphor that is a little too obvious and hard-hitting, it does represent a reality about Mexican politics. Essentially, it takes media monopoly, corruption, and presidential politics in Mexico with a healthy dose of very dark humor.
67.Doña bárbara (1943). dir. de Fuentes. The main actress in this movie, María Félix, was an icon in Mexican cinema. This movie, while much older than most on this list, is interesting for a lot of reasons: firstly, you could easily teach this film in a gender studies class, as the doña in this movie breaks a lot of gender norms, is fiercely independent, and takes revenge on men who have hurt her in the past. Secondly, you get a glimpse of Mexico from 80 years ago - which, in itself, is an interesting starting point for more sociological study.
68.Frida (2002). dir. Taymor. Disappointingly, this movie is originally in English, and does have a very Hollywood-take-on-Mexico kind of feel to me. However, I’m including it because there are some enjoyable moments in this film, and if you’re interested in surrealism and Mexican art (and who isn’t..!), it could be worthwhile. Frida Kahlo certainly has an amazing personal story.
69.Papita, maní, tostón (2013). dir. Hueck. This is a cute, easy to watch Venezuelan rom-com that is from a simpler time. Basically, a man and a woman who are fans of rival baseball teams fall in love - and a lot of awkwardness ensues.
70.Relatos salvajes (2014). dir. Szifron. This is an absolutely wild, hilarious, bizarre Argentinian film that explores six short stories of people in distress - it’s truly filled with a lot of unforgettable moments. If you like black humor, or watching people absolutely lose it at their wedding, you’ll like this movie.
71.La historia oficial (1985). dir. Puenzo. This is one of my all-time favorite Latin American movies - it takes place in an Argentina trying to both deny and come to terms with the atrocities of the ‘70s and the desaparecidos. This story follows a young history teacher and her “adopted” daughter - who both struggles with how to portray history in her classes, and the reality that her daughter may have been stolen from her parents and “re-homed” by the government - something that really happened in Argentina at that time. As she realizes her young daughter’s family may be searching for her, she is faced with some very difficult (and dangerous) decisions about what to do. Aesthetically, this film is beautifully shot and incredibly memorable.
72.Diarios de motocicleta (2004). dir. Salles. This is a fun road-trip movie that also hides some very interesting historical tidbits, as it follows the young Che Guevara on a journey through South America, where he begins to develop a political consciousness. This is a wonderful movie to learn about South America, and really addresses the idea of a pan-American consciousness, a mestizo identity that transcends artificial national boundaries.
73.Tango feroz (1993). dir. Piñeyro. If you like rock nacional, or are interested in the origins of Hispanic rock, this is a great movie. It follows the life of Tanguito, one of the pioneers of Argentinian rock, under a violent and repressive regime.
74.Contracorriente (2009). dir. Fuentes-León. This is a Peruvian ghost story that takes place in a small, conservative fishing town. Essentially, a married man must deal with the death of his (male) lover, and process those emotions in secret. Something about this film - the ocean setting, or perhaps the fact that this village seems lost in time - strikes a chord.
75.En la gama de los grises (2015). dir. Marcone. This is a Chilean movie that addresses bisexuality - the protagonist does not so much discover that he is gay, as much as that sexuality is a spectrum (hence, the title).
76.Who is Dayani Cristal? (2013). dir. Silver. This is a great but tragic documentary about the epidemic of people going missing in the Arizona desert while trying to cross the border. I was thrilled to see Gael pushing for this story to be told, and I think this is mandatory viewing for anyone interested in U.S.-Mexico relations.
Okay, that’s enough for now. I have a separate list of movies I haven’t seen yet and want to watch - maybe in the next two years we’ll make it to 100 Latin American films… !
77.Yawar Mallku (Blood of the Condor) (1969). dir. Jorge Sajinés. This is a Bolivian film I’ve had a difficult time getting out of my mind since watching it, and I’m so intrigued to watch more of Sajinés’ works, but his films have been difficult to find. I watched this film as part of my Peace Corps training, because the film is about an American organization called “Progress Corps,” (obviously a thinly veiled reference to the Peace Corps), which comes to an Andean village to set up a medical clinic that is secretly sterilizing indigenous women. The context for this movie is too large to explain in a short paragraph, but essentially this film led to the expulsion of the Peace Corps from Bolivia in the early ‘70s. This movie has so many interesting contrasts between the local and the global, and it somehow still feels incredibly relevant to the day, especially in discourse around development, volunteering, voluntourism, and related fields. I absolutely recommend this film, but if you watch it, I also deeply recommend reading the article “A Sacrificial Llama? The Expulsion of the Peace Corps from Bolivia in 1971″ by James F. Siekmeier for a more complete picture of the context and controversy surrounding this film, because there’s a lot to be said.
78.Pelo Malo (2013). dir. Mariana Rondón. This Venezuelan film was very difficult to watch. In essence, it’s about a young boy who thinks his curly/natural hair is “bad,” and wants to straighten it, but his mother becomes concerned that this is a sign her son is gay. The film shows the intersection of racism, homophobia, and poverty, and of course the backdrop is a country known for its focus on beauty and obsession with beauty pageants.
79.Bajo la Sal(2008). dir. Mario Muñoz. This Mexican horror-mystery movie feels like it’s trying to tackle a lot of things at once: the disappearance, abuse, and murder of young women, which is a very real and current problem in Mexico that recently sparked a long string of protests earlier this year; but it also seems to deal with corruption, small-town life, and being an outcast.
80.Vuelven (Tigers Are Not Afraid) (2017). dir. Issa López. This is another Mexican horror-mystery film that deals with issues related to disappearing women. What was unique about this film was that it follows a gang of young children trying to survive and take care of each other in an environment of poverty, gang/drug wars, and absent parental figures. The film uses a lot of magical realism that reminded me of Pan’s Labyrinth, and the use of children and magic made this movie interesting, different, and impactful (even if it was quite dark).
81.Los Fuertes (2020). dir. Omar Zúñiga. This is a cute gay Chilean film that tugged at my heartstrings. I don’t have any major TWs for this film; it’s melancholic at times but not majorly violent or sad, as gay films often are. In fact, it was really quite sweet, and I loved seeing shots of somewhere I used to live. The film follows a young gay couple in Southern Chile as they navigate their relationship and try to figure out the future. Reminded me of cute dates in Valdivia, made me very sentimental.
82.Plan B(2009). dir. Marco Berger. Another queer film, this time in Argentina. I actually thought this movie was hilarious, because the premise was so crazy. This movie follows a guy who is upset that his girlfriend left him, and who decides to seduce his ex-girlfriend’s new boyfriend so that they will break up. Honestly, this is a great, fun movie to watch with queer friends.
83.Ya No Estoy Aquí (2019). dir. Fernando Frias. A Netflix movie! I watched this movie because Netflix recommended it to me, and while it was not life-changing, I did enjoy it. The movie is about a young boy obsessed with cumbia, and caught up in difficult circumstances immigrating from Mexico to the United States. Cumbia is a style of music I had a difficult time understanding for a long time, but it has grown on me as I’ve been exposed to it in different situations. Recommended if you like music.
Okay! that’s all for now. When I get paid next I’m going to order some more films on my list and I’ll let you guys know how they are! In the meantime, check some of these out if you’re still quarantining like me.
Hello Beloved! As the election continues to be decided and brings stress to the nation, here is some positive election news:
Ritchie Torres (NY) (he/him) became the first Afro-Latinx LGBTQ+ person to be elected to Congress. Mondaire Jones (NY) (he/him) will also become the first LGBTQ+ person of color, alongside Torres, to be elected to Congress. Sarah McBride (DE) (she/her) became the first openly transgender person to be a state senator. Stephanie Byers (KS) (she/her) became the first openly transgender person to have a seat in Kansas’s state legislature and became the first Native American transgender person to be elected to any state legislature. Mauree Turner (OK) (she/they) has become the first non-binary person elected to any state legislature. They are also the first Muslim to be elected to the Oklahoma state legislature. Taylor Small (VT) (she/her) became the first openly transgender person to have a seat in Vermont’s state legislature. Shevrin Jones (FL) (he/him) became the first openly LGBTQ+ person to have a seat in Florida’s state legislature. Jabari Brisport (NY) (he/him) became the first openly LGBTQ+ person of color to have a seat in New York’s state legislature. Kim Jackson (GA) (she/her) became the first openly LGBTQ+ person to have a seat in Georgia’s state senate and one of only 3 LGBTQ+ women of color to have a seat in any state senate. David Ortiz (CO) (he/him) became the first openly bi person to have a seat in Colorado’s state legislature. He also became the first wheelchair user in Colorado’s state legislature. Sharice Davids (KS) (she/her) has been re-elected. Davids is the first Native American LGBTQ+ woman to serve in Congress
No matter what happens with the presidency, change is coming, Beloved. Be hopeful and continue fighting
Today is Transgender Day of Remembrance2016. We remember. We will not forget. We will ally, flank and do whatever it takes to stand with trans folks, including the many bisexual+ trans people in the U.S. who face increased anti bisexual+ and anti transgender sentiments but still keep living, thriving and working to help us all b free.
In the name of the so many who came before, I send prayers up in the memory of Sylvia Rivera, trans bi+ Latinx icon FOR ALL transgender, nonbinary and gender nonconforming people in the world.
I hope that they, and my own beautiful nonbinary child, experience every day in the love they deserve.
I pray that the times the T in LGBT experience hatred or discomfort become rare, but *when* it does happen that trans people are quickly be surrounded in love and in light, with an explicitly anti-racist and a delightfully pro trans soft place to heal.
I pray as well that more and more cisgender people begin to celebrate the awesomeness of trans and nonbinary experience, for we should be a more grateful people to so often be blessed with bravery beyond measure.
I, and my family, personally pledge to more frequently open my home, heart and wallet to ensure that safety under the rule of the D.
I hope you all, including those unnamed, find yourself surrounded with more work that uplifts every intersection of your being, and that you get to laugh and live in love every day of your life. You deserve to.
Thank you for blessing my life both personally and professionally, and I pray that the bi+ community is more frequently seen at your side in pride. ~~Faith Cheltenham, President BiNet USA
I’ve been working on my Tiefling character, Emen! I might tweak her a bit and give her a sick robe. When she casts magic there’s a flame that appears between her horns (à la #hellboy).
Holy bandwagon, this meme is going around again. I’m happy to say that I feel more productive this year already and am excited to see what comes next. ✌ : : : #artvsartist #mkeart #instart #illustrationdaily #surrealism #lowbrowart #weird #artistsoninstagram #artistsofinstagram #latinxart #hispanicartists #recentwork #illustration #illustratorsofinstagram #digitalpainting #madewithwacom #art #instarte #artvsartistchallenge #selfie #latinx #artnerd #illustrationnow
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