Expired September 11, 2020 7:00 AM
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Some of the filmmakers on this program explicitly embrace counterculture movements’ radical political goals while others’ ideological concerns are implicit, but all of the films are unified by their allegiance to a range of underground, youth, or countercultural phenomena. Several of the films document performances, ephemeral actions, or interventions in public space. Narcisa Hirsch’s Marabunta involves the interaction of a film audience after seeing Antonioni’s Blow-Up. Enrique Pineda Barnet’s Juventud, rebeldía, revolución offers documentation of a performance by an international collective led by Cuba’s Grupo de Teatro Experimental. Manuel DeLanda’s Ismism captures the filmmaker’s interventions on Manhattan billboards. Sérgio Péo’s Esplendor do martírio visualizes a group of intellectuals occupying and disrupting urban space, later to be removed by the Brazilian military. Rolando Peña, an iconic figure of Venezuela’s avant-garde, produces an impossible dialogue in Cotorra 2, echoing the complex relationship between intellectual debates and the noise of “progress.” Alfredo Gurrola’s Super-8 trip, based on a poem by Tomás Segovia, points to preoccupations of a radical, alternative culture.

—Los Angeles Filmforum

Films in this program:

Juventud, rebeldía, revolución

Enrique Pineda Barnet, Cuba, 1969

Spanish with English subtitles

30 mins, Color, 35mm transferred to digital


Manuel DeLanda, Mexico/US, 1979

6 mins, Silent, Color, Super 8 transfered to digital


Narcisa Hirsch, Argentina, 1967

8 mins, B&W, 16mm transferred to digital


Esplendor do martírio

Sérgio Péo, Brazil, 1974

10 mins, Color, Super 8 transfered to digital

Cotorra 2

Rolando Peña, Venezuela, 1976

10 mins, Color, Super 8 transfered to digital

Segunda primera matriz

Alfredo Gurrola, Mexico, 1972

Based on: a poem by Tomás Segovia

Spanish with English subtitles

13 mins, Color, Super 8 transfered to digital

  • Runtime
    85 minutes