EPILOGUE

Two friends meet a miner couple on their journey across Latin America.On their motorcycles, they are celebrating youth, life, and freedom. Butthe encounter with the couple changes their perspective on their journeyand their outlook on life. One becomes a revolutionary; the other—abiochemist—will follow him to Cuba to help build a new society. It istempting to see this key scene from Diarios de motocicleta, analyzed in thefirst chapter of this book, as the meeting ground between two variants of theroad movie from which “the Latin American road movie” departs. One(in the first part of the movie) is a liberal or individualistic variant, celebrat-ing the freedom of the individual, the openness of the road, and the abilityof technology to make us move faster. The other (after the encounter) is asocial or communitarian variant, which describes how individuals discoverthe other(s) along this same road or bump against obstacles that slow downtheir journey. Drawing upon the analysis offered in the first chapter, onecould say that the first variant roughly corresponds to the US model of thegenre, as exemplified by Easy Rider, whereas the second would then repre-sent the Latin American version of it.

The diversity of the road movies discussed in this book might suggest,at first sight, that there is no such thing as “the” Latin American roadmovie, but rather a rich, variegated body of works. Nevertheless, in hind-sight, pure examples of the “liberal” variant are few in number. Roadmoviescentering on individuals and their problems are included in Chap. 4 (Lavida segun Muriel,Nacido y criado, Liverpool) and Chap. 7 (Turistas,Musica

209© The Author(s) 2017N. Lie, The Latin American (Counter-) Road Movie and AmbivalentModernity, DOI 10.1007/978-3-319-45138-1

campesina). In all of these cases, however, the individuals are portrayed asstruggling with their identities, often finding themselves stranded incounter-road movies. Another considerable group of road movies blends acommunitarian with a more individualistic outlook. Que tan lejos and Jaujaare eloquent examples of this category, evoking sociopolitical issues (therising “pink tide” in Ecuador, the nineteenth century “Campaign of theDesert” against the natives in Argentina) alongside individual ones(a treacherous boyfriend, the disappearance of a daughter).

The majority of the road movies discussed in this book, however, clearlyprivilege the genre’s potential to shed a critical light on modern society, andthus relate to the so-called communitarian variant of the genre. This pre-dominance of socially inspired road movies recalls a leftist tradition ofpolitical filmmaking that these filmmakers both honor and revise. On theone hand, they share with their precursors in the New Latin AmericanCinema movement a special sensitivity toward the excluded persons ofmodern society, thus focusing on the margins of the road, or even invitingus to embark on perilous journeys with the poor and the homeless. On theother hand, contemporary road movie directors prefer an “open, frontalgaze” on today’s society over ideological grids, thereby diverging from theearlier models of Latin American filmmaking. This explains their attractionto the road movie as a genre privileging seeing and observing over judgingand telling—a genre, also, providing sufficient space for the “unforeseen.”

In their focus on the socially deprived, the works I have analyzed manifesta clear divide between films of the 1990s and films after 2000. Whereas thefilms of the 1990s brought into focus forms of “cruel modernity”—crimescommitted in the name of progress by state-based instances (exile, enforceddisappearances, genocide), the films released after 2000 draw the viewers’attention to modernity’s indifference toward the ones it excludes by a formof anonymous, structural violence. These films evoke the lives of the“human waste of modernization,” the people waiting on the other side ofthe walls which are being constructed by nations in order to safeguard theirprosperous territories. Road movies take us across these zones of “indiffer-ent modernity,”which seem to have become more prominent in third-stagemodernity. At the same time, the films under discussion often run counterto the victimization of these people, turning them into agentic protagonistsof fictional stories, in which they deploy a talent for overcoming obstacles,sometimes with the help of others with whom they form a Gemeinschaft.

In their ambivalent relationship with modernity, then, Latin Americanroad movies linger on the dark (cruel, indifferent) side of modernity.

210 EPILOGUE

Another insight after this book is that road movies in Latin America cannotbe mapped according to national criteria anymore. Rather, commonalitiesappear along lines of shared mechanisms of production and distribution,binding together road movies pertaining to “commercial art cinema” acrossnational boundaries and distinguishing them, for instance, from a cross-national family of festival films. A film likeDiarios de motocicleta by Brazilianfilmmaker Walter Salles has much more in common with The Three Burialsof Melquiades Estrada, by US filmmaker Tommy Lee Jones and Mexicanscriptwriter Guillermo Arriaga, than it has with Jorge Bodanzky’s Iracema,another road movie by a Brazilian filmmaker, which is more related toMexican festival films such as La jaula de oro.

And if national cinemas have become more internally diversified thanbefore, deploying transnational relationships in terms of aesthetics andgenres rather than nationally inflected characteristics, then Latin Americancinema itself is also to be conceived in a much more open and dynamic waywith respect to other cinemas. Contemporary Latin American filmmakersare increasingly influenced by an international family of road movie direc-tors, including Abbas Kiarostami, Wong Kar Wai, and Bouli Lanners. Tosituate the diverse forms of the Latin American road movie described herewith respect to road movies from other parts in the world, and to thus assesstheir truly “global” dimension, seems to me the most pressing task forfuture travelers across this diverse landscape. But then, as well: road moviesteach us that, rather than bringing us where we planned to go guided by ourmaps, roads take us where we never expected to end up.

EPILOGUE 211

FILMOGRAPHY

This filmography contains feature films and documentaries. Neither shortfilms nor television series have been included.

(D): road movie documentary(CR): counter-road movie(P): only partially a road movie

ARGENTINA

abrazo partido, El (CR) Burman, Daniel Argentina 2004acacias, Las Giorgelli, Pablo Argentina-Paraguay 2011ambulante, El (D) De la Serna, Eduardo &

Marcheggiano, LucasArgentina 2009

amigo alem�an, El (P) Meerapfel, Jeanine Argentina-Germany 2012Amigomío Meerapfel, Jeanine Argentina-Germany 1995Arizona Sur Pensa, Daniel & Rocca,

Miguel AngelArgentina 2007

Bomb�on, el perro See El perroCaballos salvajes Pi~neyro, Marcelo Argentina 1995camino de San Diego, El Sorín, Carlos Argentina 2006camino, El Olivera, Javier Argentina 2000cielito, El (P) Menis, María Victoria Argentina 2004Cleopatra Mignogna, Eduardo Argentina 2003Diarios de motocicleta Salles, Walter Argentina-UK-USA 2004etn�ografo, El (D) Rosell, Ulises Argentina 2012Eversmile New Jersey Sorín, Carlos Argentina-USA 1989

(continued )

213© The Author(s) 2017N. Lie, The Latin American (Counter-) Road Movie and AmbivalentModernity, DOI 10.1007/978-3-319-45138-1

Familia rodante Trapero, Pablo Argentina 2004Familia tipo (D) Priego, Cecilia Argentina 2009Fotografías (D) Di Tello, Andrés Argentina 2007Historias mínimas Sorín, Carlos Argentina 2002Invierno, mala vida Cramer, Gregorio Argentina 1998Jauja Alonso, Lisandro Argentina-Holanda-USA 2014Liverpool Alonso, Lisandro Argentina 2008lugar lejano, Un See Venezuelamuerto y ser feliz, El Rebollo, Javier Spain-Argentina 2013muertos, Los Alonso, Lisandro Argentina 2004mujer sin cabeza, La(P, CR)

Martel, Lucrecia Argentina-Spain-France-Italy 2008

Mundo grua Trapero, Pablo Argentina 1999Nacido y criado (CR) Trapero, Pablo Argentina 2006noche con Sabrina Love,Una

Agresti, Alejandro Argentina 2000

Nordeste Solanas, Juan Diego Argentina-Spain-France-Belgium

2005

novia errante, Una (CR) Katz, Ana Argentina 2007Patagonia Evans, Marc UK-Argentina 2011película del rey, La Sorín, Carlos Argentina 1986perro [Bomb�on, el perro],El

Sorín, Carlos Argentina 2004

Road July Gómez, Gaspar Argentina 2011rubia del camino, La Romero, Manuel Argentina 1938Sur Solanas, Fernando Argentina-France 1988Tan de repente Lerman, Diego Argentina 2002Tatuado Eduardo Raspo Argentina 2005Todas las azafatas van alcielo

Burman, Daniel Argentina-Spain 2002

viaje, El Solanas, Fernando Argentina-France-Spain-Mexico

1992

vida segun Muriel,La (CR)

Milewicz, Eduardo Argentina 1997

viento se llev�o lo que, El(CR)

Agresti, Alejandro Argentina-Holanda 1998

Villegas Tobal, Gonzalo Argentina 2012

BOLIVIA

¿Quien mat�o a la llamita blanca? Bellott, Rodrigo Bolivia 2006Cuesti�on de fe Loayza, Marco Bolivia 1995Érase una vez en Bolivia Cordova, Patrick Bolivia-UK 2012

(continued )

214 FILMOGRAPHY

Mi socio Agazzi, Paolo Bolivia 1983Pacha Ferreiro Dávila, Héctor Bolivia-Mexico 2009Visa Americana (CR) Valdivia, Juan Carlos Bolivia-Mexico 2005

BRAZIL

Alem da Strada See Uruguay (Por el camino)Anjos do Sol (P) Lagemann, Rudi Brazil 2006Arido Movie Ferreira, Lírio Brazil 2005beira do caminho, A Silveira, Breno Brazil 2012busca (A Cadeira do Pai), A Moura, Luciano Brazil 2012Bye Bye Brasil Diegues, Carlos Brazil 1979caminho das nuvens, O Amorim, Vicente Brazil 2003Central do Brasil Salles, Walter Brazil 1999ceu de Suely, O Ainouz, Karim Brazil 2007Cinema, aspirinas e urubus Gomes, Marcelo Brazil 2005Dois filhos de Francisco Silveira, Breno Brazil 2005Iracema. Uma transaAmazonica

Bodanzky, Jorge & Senna, Orlando Brazil-Germany

1975

Pachamama (D) Rocha, Eryck Brazil 2009passaporte hungaro,Um (D)

Kogut, Sandra Brazil-France-Belgium

2001

Raps�odia Armênia (D) Gananian, Cesar & Gary; DerHaroutiounian, Cassiana

Brazil 2012

S�olo Dios sabe See MexicoTerra estrangeira Salles, Walter & Thomas, Daniela Brazil-Portugal 1996Viajo porque preciso, voltoporque ti amo

Ainouz, Karim & Gomes, Marcelo Brazil 2009

Vidas secas Pereira dos Santos, Nelson Brazil 1963

CHILE

Crystal Fairy & The MagicalCactus and 2012

Silva, Sebastián Chile 2013

De jueves a domingo Sotomayor, Dominga Chile 2012Desierto sur Garry, Shawn Chile-Spain 2008frontera, La (CR) Larraín, Ricardo Chile-Spain 1991Hija (D) González, María Paz Chile 2011Huacho (D) Fernández Almendras, Alejandro Chile 2009

(continued )

FILMOGRAPHY 215

Musica Campesina (CR) Fuguet, Alberto Chile-USA 2011Sin Norte Lavanderos, Fernando Chile 2015Turistas Scherson, Alicia Chile 2006

COLOMBIA

Apocalípsur Mejía, Javier Colombia 2006María, llena eres de gracia Marston, Joshua Colombia-USA 2004Paraí so travel Brand, Simón Colombia-USA 2008Retratos en un mar de mentiras Gaviria, Carlos Colombia 2010viajes del viento, Los Guerra, Ciro Colombia 2009

COSTA RICA

camino, El Yasín, Ishtar Costa Rica-Nicaragua 2007ojos cerrados, A Jiménez, Hernán Costa Rica 2010

CUBA

Boleto al paraí so Chijona, Gerardo Cuba 2010Guantanamera Gutiérrez Alea, Tomás Cuba-Spain 1995Habana Blues (CR) Zambrano, Benito Spain-Cuba 2005ilusi�on, La (D) Barriga, Susana Cuba 2008Lista de espera (CR) Tabío, Juan Carlos Cuba-Spain-Germany-Mexico 2000Miel para Ochun Solás, Humberto Cuba 2001otro lado, Al See MexicoPersonal Belongings (CR) Brugués, Alejandro Cuba-Spain 2006Viva Cuba Cremata, Juan Carlos Cuba-France 2005

ECUADOR

Dos para el camino Cuesta, Jaime & Naranjo, Alfonso Ecuador 1981Pescador Cordero, Sebastián Ecuador 2011Que tan lejos Hermida, Tania Ecuador-Spain 2006ruta de la luna, La Jácome, Jaime Sebastián Ecuador-Panamá 2012

216 FILMOGRAPHY

GUATEMALA

camioneta, La: The Journey of oneAmerican Schoolbus (D)

Kendall, Marc USA 2012

C�apsulas Riedel, Verónica Guatemala 2011Ixcanul (CR) Bustamante, Jayro Guatemala-Francia 2015viaje, El Sodeju (colectivo) Guatemala 2013

HONDURAS

Sin Nombre See MexicoWho is Dyani Cristal? (D) García Bernal, Gael & Silver, Marc USA 2014

MEXICO

7 Soles Utreras, Pedro Mexico 2008Alamar González Rubio, Pedro Mexico 2009autom�ovil gris, El Rosas, Eduardo Mexico 1919Bajo California Bolado, Carlos Mexico 1998Burros Salazar, Odín Mexico 2011cebra, La León R., Fernando J. Mexico 2011Ciclo (D) Martínez Crowther , Andrea Mexico-Canada-

USA2013

Cochochi Cárdenas, Israel & Guzmán,Laura Amelia

Mexico-UK-Canada 2009

Crossing Arizona (D) De Vivo, Dan USA 2006De nadie (D) Dirdamal, Tin Mexico 2005Fando y lis Jodorowsky, Alejandro Mexico 1968ins�olitos peces gato, Los (P) Sainte-Luce, Claudia Mexico 2013Jap�on (CR) Reygadas, Carlos Mexico 2002jardín del Eden, El Novaro, María Mexico-Canada-

France1994

jaula de oro, La Quemada-Díez, Diego Mexico-Spain-USA 2013Lake Tahoe Eimbcke, Fernando Mexico 2008misma luna, La Riggen, Patricia Mexico-USA 2007monta~na sagrada, La Jodorowsky, Alejandro Mexico-USA 1972Norte, El Navas, Gregory USA-UK 1984Norteado Perezcano, Rigoberto Mexico 2009otro lado, Al Loza, Gustavo Mexico 2004Pancho Villa aquí y allí (D) Geilburt, Matías & Taibo II,

Paco IgnacioMexico 2008

(continued )

FILMOGRAPHY 217

Por la libre Llaca, Juan Carlos de Mexico 2000Profundo carmesí Ripstein, Arturo Mexico 1996Santitos Springall, Alejandro Mexico 1999Sin dejar huella Novaro, María Mexico-Spain 2000Sin Nombre Fukunaga, Cary Mexico-USA 2009S�olo Dios sabe Bolado, Carlos Mexico-Brazil 2006Subida al cielo Bu~nuel, Luis Mexico 1952topo, El Jodorowsky, Alejandro Mexico 1970tres entierros de MelquiadesEstrada, Los

Lee Jones, Tommy & Arriaga,Guillermo

USA-Francia 2005

viaje de Teo, El Doehner, Walter Mexico 2008Viaje redondo Novaro, María & Stavenhagen,

MarinaMexico 2009

Vidas errantes De la Riva, Juan Antonio Mexico 1985Voy a explotar Gerardo Naranjo Mexico 2008Which way home? (D) Cammisa, Rebecca USA-Mexico 2009Y tu mam�a tambien Cuarón, Alfonso Mexico (USA:

distribution)2001

NICARAGUA

camino, El See Costa RicaCarla’s Song Loach, Ken UK-Spain-Germany 1994

PARAGUAY

acacias, Las See Argentina

PERU

M�ancora Montreuil, Ricardo de Peru-Spain 2008prueba, La Vélez, Judith Peru-Cuba-Spain 2006Y si te vi, no me acuerdo Barreda Delgado, Miguel Peru-Germany 1999

218 FILMOGRAPHY

PUERTO RICO

200 cartas Irizarry, Bruno Puerto Rico-USA 2013

URUGUAY

Por el camino Braun, Charly Uruguay-Brazil 2010ultimo tren, El Ursuaga, Diego Uruguay-Argentina-Spain 2002viaje hacia el mar, El Casanova, Guillermo Uruguay-Argentina 2003

VENEZUELA

chico que miente, El Ugás, Marité Venezuela 2010distancia m�as larga, La Pinto Emperador, Claudia Venezuela-Spain 2014Domingo de resurrecci�on Bolívar, César Venezuela 1982lugar lejano, Un Novoa, José Ramón Argentina-Spain-

Venezuela2009

Manoa Hoogesteijn, Solveig Venezuela-Germany 1980Patas arriba (CR) García Wiedemann, Alejandro Venezuela 2011

FILMOGRAPHY 219

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236 BIBLIOGRAPHY

INDEX

Aabrazo partido, El (Burman, Daniel,

2004), 14, 213acacias, Las (Giorgelli, Pablo, 2011),

147, 213, 218Agamben, Giorgio, 144Agresti, Alejandro, 16, 98–104,

117n21, 182, 214Ainouz, Karim, 13, 215Alencar, José de (1829–1877), 158,

160Alicia en el pueblo de Maravillas (Díaz

Torres, Daniel, 1990), 74Alonso, Lisandro, 6, 13, 17, 23, 97,

110–16, 119n30, 182, 214amiga, La (Meerapfel, Jeanine, 1985), 32amigo alem�an, El (Meerapfel, Jeanine,

2012), 32, 104, 213Amigomío (Meerapfel, Jeanine, 1995),

9, 22, 31–3, 50–4, 59n32, 213Amores perros (González I~nárritu,

Alejandro, 2000), 55n6, 65, 87n3,131

Amorim, Vicente, 13, 215Anderson, Benedict, 63, 82A ojos cerrados (Jiménez, Hernán,

2010), 9Arriaga, Guillermo, 23, 126–34, 146,

148n9, 211, 218Augé, Marc, 16, 23, 98, 100, 117n19,

157autom�ovil gris, El (Rosas, Eduardo,

1919), 18, 217

BBabel (González I~nárritu, Alejandro,

2006), 66, 131Bakhtin, Mikhail, 10, 37Baudrillard, Jean, 111, 115, 118n26,

133, 134Bauman, Zygmunt, 123, 124, 141, 144,

145, 194, 195Beltrami, Marco, 127Bertelsen, Martin, 15, 25n6, 25n11,

27n18, 131, 149n12, 149n13

Note: Page numbers followed by “n” denote notes.

237© The Author(s) 2017N. Lie, The Latin American (Counter-) Road Movie and AmbivalentModernity, DOI 10.1007/978-3-319-45138-1

Bodanzky, Jorge, 8, 17, 156, 158, 159,161, 162, 211

Boda Secreta (Agresti, Alejandro, 1989),117n21

Bolado, Carlos, 14, 217, 218Bola~no, Roberto, 204n15Boleto al paraí so (Chijona, Gerardo,

2010), 80, 216Bomb�on el perro (Sorín, Carlos, 2004),

12, 97, 104, 107–9, 117n14, 213,214

Bonnie & Clyde (Penn, Arthur, 1967),12, 50, 148n10

Booth, Wayne C., 72, 89n17Borensztein, Sebastián, 12Brand, Simon, 182, 216Bread and Roses (Loach, Ken &

Quemada-Díez, Diego, 2000), 140Brecht, Bertold, 58n22Bring Me the Head of Alfredo García

(Peckingpah, Sam, 1973), 128Brugues, Alejandro, 80, 216Buenos Aires viceversa (Agresti,

Alejandro, 1996), 117n21Bu~nuel, Luis, 13, 218Burman, Daniel, 15, 213, 214Bush, George, 137Buzard, James, 179Bye Bye Brasil (Diegues, Carlos, 1979),

13, 24n1, 106, 215

CCaballos salvajes (Pi~neyro, Marcelo,

1995), 118n23, 213Cabeza de Vaca (Echevarría, Nicolás,

1991), 11Caetano, Adrián Israel, 82, 103caminho das nuvens, O (Amorim,

Vicente, 2003), 13, 215camino, El (Ishtar, Yasín, 2007), 12,

147n3, 182, 216

Canaro, Francisco, 84Candide (Voltaire, 1759), 10Capra, Frank, 9Cárdenas, Israel, 8, 217Carla’s Song (Loach, Ken, 1996), 140,

218Casanova, Guillermo, 181, 219Casas, Fabián, 111Cassavetes, John, 159Castro, Fidel, 74–7, 90n25Central do Brasil (Salles, Walter, 1999),

24n1, 31, 43, 58n28, 215Chambi, Martin, 57n20Chatwin, Bruce, 95, 116n4Chávez, Hugo, 176n11chico que miente, El (Ugás, Marité,

2010), 9, 23, 167–70, 172, 219Chijona, Gerardo, 80, 216Children of Men (Cuarón, Alfonso,

2006), 67Ciclo (Martínez Crowther, Andrea,

2013), 11, 217cielito, El (Menis, María Victoria, 2004),

10, 14, 157, 213Cinema, Aspirins, and Vultures

(Gomes, Marcelo, 2006), 13Cine�pata (Fuguet, Alberto, 2012),

196, 205n23Civilizaci�on y barbarie (Sarmiento,

Domingo Faustino, 1845), 119n33Clair de lune (Debussy, Claude), 137Clinton, Bill, 203n9Cochochi (Cárdenas, Israel & Guzmán,

Laura Amelia, 2009), 8, 217Conrad, Joseph, 112Cook, Thomas, 201n1Coraz�on de oro (Canaro, Francisco

(canción)), 66, 84Cordero, Sebastián, 14, 183, 202n5,

216Correa, Rafael, 184Cortázar, Julio, 24n3

238 INDEX

Cramer, Gregorio, 17, 104, 214Cremata, Juan Carlos, 9, 80, 216Cruel Modernity (Franco, Jean, 2013),

21Crystal Fairy & The Magical Cactus &

2012 (Silva, Sebastián, 2013),117n12, 182, 215

Cuarón, Alfonso, 1, 4, 22, 49, 55n6, 64,67–73, 77, 79, 88n8, 88n10–13,181, 182, 218

cuento chino, Un (Borensztein,Sebastían, 2011), 12

Cuesta, Jaime, 12, 184, 216

DDaguerre, 201n1Darwin, Charles, 95Debussy, Claude, 137de Certeau, Michel, 24de Cervantes Saavedra, Miguel, 133de Gortari, Salinas, 64De jueves a domingo (Sotomayor,

Dominga, 2012), 117n12, 215Deleuze, Gilles, 116, 120n34de Llaca, Juan Carlos, 9, 181, 218de Magallanes, Fernando (1480–1521),

95De nadie (Dirdamal, Tin, 2005),

149n15, 217de Saint-Exupéry, Antoine, 95, 116n4de San Martín, José, 87n6de Tounens, Orélie Antoine (1825–

1878), 96, 105, 116n6Desde adentro (Milewicz, Eduardo,

1992), 98Desierto Sur (Garry, Shawn, 2008),

117n12, 215Desnoes, Edmund, 75Diale�ctica del espectador (Gutiérrez

Alea, Tomás, 1982), 90n26

Diarios de motocicleta (Salles, Walter,2004), 1, 5, 8, 12, 14, 15, 22, 23,31–47, 49, 55n6, 58n28, 117n11,181, 209, 211, 213

Diegues, Carlos, 24n1, 106, 158,215

Donoso, José, 24n3Don Quixote (de Cervantes Saavedra,

Miguel, 1605; 1615), 10Dos horas (Fuguet, Alberto, 2008),

195Dos para el camino (Cuesta, Jaime &

Naranjo, Alfonso, 1981), 12, 184,185, 188, 216

Drake, Francis (1540–1596), 95

EEasy Rider (Hopper, Dennis, 1969), 8,

9, 12, 14, 34, 35, 41, 47, 55n4,56n11, 63, 209

Echevarría, Nicolás, 11Eimbcke, Fernando, 6, 117n15, 217Espaldas mojadas (Galindo, Alejandro,

1955), 126etn�ografo, El (Rossell, Ulises, 2012),

157, 213expedition to the Ranquel Indians, An

(Mansilla, Lucio, 1870), 119n33

FFamilia rodante (Trapero, Pablo,

2004), 1, 13, 82, 181, 214Fanon, Frantz, 37Ferreiro Dávila, Héctor, 8, 215Ford, John, 9Fornet, Ambrosio, 75, 89n19Foucault, Michel, 23, 40, 100, 101,

104, 180Franco, Jean, 20, 33, 46, 124

INDEX 239

Fresa y Chocolate (Guitérrez Alea,Tomás & Carlos Tabío, Juan,1993), 3, 74, 75, 80, 103

frontera, La (Larraín, Ricardo, 1991),16, 23, 104, 156–7, 162–7, 215

Fuentes, Carlos, 24n3Fuguet, Alberto, 3, 11, 16, 23, 117n15,

183, 184, 189, 195–201, 203n7,205n23, 205n24, 205n27,205n28, 216

Fukunaga, Cary Joji, 143

GGalindo, Alejandro, 126García Espinoza, Julio, 2García Márquez, Gabriel, 24n3García Wiedemann, Alejandro, 16, 219General Roca, 96, 105Getino, Octavio, 2Giddens, Anthony, 21, 106–9, 118n25Giorgelli, Pablo, 147n3, 213Gomes, Marcelo, 13, 167, 215Gone with the wind (Fleming, Victor,

1939), 100González I~nárritu, Alejandro, 4, 49,

55n6, 65–7, 131Granado, Alberto, 31, 35–9, 41, 44, 51,

55n7, 98Grapes of Wrath, The (Ford, John,

1940), 9, 124Grapes of Wrath, The (Steinbeck, John,

1939), 124Great Expectations (Cuarón, Alfonso,

1998), 67Greenblatt, Stephen, 38, 56n12Guantanamera (Gutiérrez Alea,

Tomás & Tabío, Juan Carlos,1995), 1, 8, 14, 22, 64–6, 73–80,103, 216

Guerra, Ciro, 6, 216

Guevara, Ernesto “Che”, 31, 34–41,44, 49, 51, 55n7–55n9, 56n13,56n14, 57n16, 57n18, 58n26,59n28, 98, 181

Gutiérrez Alea, Tomás, 1–3, 22, 66,74–80, 90n26, 216

Guzmán, Patricio, 204n16

HHabana Blues (Zambrano, Benito,

2005), 15, 80, 117n15, 216Habermas, Jürgen, 63Hagerman, Carlos, 136Heart of Darkness (Conrad, Joseph,

1899), 112Hermida, Tania, 8, 23, 182–9, 194,

202n4, 202n5, 203n6, 203n10,203n13, 216

Hija (González, María Paz, 2011), 12,215

Historias mínimas (Sorín, Carlos,2002), 1, 8, 23, 97, 104, 106, 108,109, 182, 214

Homer, 48Hudson, William, 95

IIdle Days in Patagonia (Hudson,

William, 1839), 95Il futuro (Scherson, Alicia, 2013), 189,

203n7ilusi�on, La (Barriga, Susana, 2008), 80,

216Imagined Communities (Anderson,

Benedict, 1983), 65ins�olitos peces gato, Los (Sainte-Luce,

Claudia, 2013), 11, 12, 217Invierno (Fuguet, Alberto, 2015),

205n24

240 INDEX

Invierno mala vida (Cramer, Gregorio,1998), 17, 104, 214

invisibles, Los (Silver, Marc/ GarcíaBernal, Gael, 2010), 149n15

Iracema. Uma transa amaz�onica(Bodanzky, Jorge & Senna,Orlando, 1975), 156, 158–62, 215

Ishtar, Yasín, 182, 216It Happened One Night (Capra, Frank,

1934), 9, 12

JJackiewicz-Klak, Edward, 180Jácome, Jaime Sebastián, 12, 183Jap�on (Reygadas, Carlos, 2002), 1, 217jardín del Ede�n, El (Novaro, María,

1993), 147n5, 217Jauja (Alonso, Lisandro, 2014), 17, 23,

97, 110–16, 119n30, 119n31,210, 214

jaula de oro, La (Quemada-Díez, Diego,2013), 8, 13, 23, 127, 140–6, 211,217

Jiménez, Hernán, 9, 15, 128, 129, 133,134, 216

Juárez, Benito (1806–1872), 71

KKaplan, Caren, 182, 197, 201Katz, Ana, 181, 214King, John, 3, 24n1King, Russell, 141, 155Kogut, Sandra, 17, 215

LLake Tahoe (Eimbcke, Fernando), 6, 15,

17, 117n15, 217Land and Freedom (Loach, Ken, 1995),

140

Larraín, Ricardo, 16, 104, 156, 162–7,215

Lee Jones, Tommy, 15, 23, 126–34, 211Lerman, Diego, 12, 181, 214Lista de espera (Carlos Tabío, Juan,

2000), 16, 80, 117n15, 216Littin, Miguel, 2, 204Little Princess, A (Cuarón, Alfonso,

1995), 67Liverpool (Alonso, Lisandro, 2008), 13,

23, 97, 110–13, 209, 214Lubezki, Emmanuel, 4, 5Luis Borges, Jorge, 114, 117n9, 119n31

MMaingueneau, Dominique, 52, 53,

59n30, 59n31, 193, 204n21Mansilla, Lucio V. (1831–1931),

119n33Martel, Lucrecia, 15, 214Martínez Crowther, Andrea, 11, 217Martín Gómez, Jonatán, 200, 205n28Marvelous Possessions (Greenblatt,

Stephen, 1991), 38Meerapfel, Jeanine, 9, 22, 31, 33, 51,

52, 54, 104, 213Memorias del subdesarrollo (Desnoes,

Edmundo, 1965), 75Memorias del subdesarrollo (Gutiérrez

Alea, Tomás, 1968), 75Menem, Carlos, 46, 64, 82Menis, María Victoria, 10, 157Miel para Ochu�n (Solás, Humberto,

2001), 9, 80, 216misma luna, La (Riggen, Patricia,

2007), 3, 136, 217Missing (Una inverstigaci�on) (Fuguet,

Alberto, 2009), 195Moreno, Francisco ‘Perito’, 95muerte de un bur�ocrata, La (Gutiérrez

Alea, Tomás, 1966), 75

INDEX 241

muertos, Los (Alonso, Lisandro, 2004),6, 8, 110, 114, 214

mujer sin cabeza, La (Martel, Lucrecia,2008), 15, 214

Mundo grua (Trapero, Pablo, 1999),16, 22, 64–6, 80–6, 98, 104, 214

Mu�sica campesina (Fuguet, Alberto,2011), 3, 16, 17, 23, 117n15, 183,195–201, 203n7, 209, 210, 216

NNacido y criado (Trapero, Pablo, 2006),

15, 17, 82, 98, 99, 101–3, 209,214

Naissance de la Clinique (Foucault,Michel, 1963), 180

Naranjo, Alfonso, 12, 184, 216Nashville (Altman, Robert, 1975), 183,

196–200, 205n27Natural Born Killers (Stone, Oliver,

1994), 50Nava, Gregory, 138, 140, 217Nicholls Lopeandía, Nancy, 163, 165Nora, Pierre, 85Nordeste ( Solanas, Juan Diego, 2005),

157, 182, 214Norteado (Perezcano, Rigoberto,

2009), 16, 17, 23, 126, 134–9, 217Norte, El (Nava, Gregory, 1983), 138,

140, 142, 217Nouzeilles, Maria Gabriela, 86, 96, 100,

112, 116novia errante, Una (2007), 181, 214

OOdyssey, The (Homer), 10, 48Old Gringo (Puenzo, Luis, 1989)On the Road (Kerouac, Jack, 1957), 1,

7, 8, 12, 43, 55n4, 57n21, 126

On the Road (Salles, Walter, 2012), 31,43

Orélie Antoine de Tounens (1825–1878).See de Tounens, Orélie Antoine

PPacha (Ferreiro Dávila, Héctor, 2009),

8, 215Pachamama (Rocha, Eryck, 2009),

55n10, 215Paraí so Travel (Brand, Simon, 2008),

182, 216passaporte hu�ngaro, Um (Kogut,

Sandra, 2001), 17, 215Pastrana Arango, Andrés, 203n9Patagón, 95Patagonia (Evans, Marc, 2011),

116n5Patas arriba (García Wiedemann,

Alejandro, 2011), 16, 17, 219Paz González, María, 12Paz, Octavio, 185película del rey, La (Sorín, Carlos,

1986), 106, 214Pereira dos Santos, Nelson, 13, 215Perezcano, Rigoberto, 16, 23, 126,

134–9, 146, 217Personal Belongings (Brugues,

Alejandro, 2006), 80, 216Pescador (Cordero, Sebastián, 2011),

14, 183, 216Piazzolla, Astor, 45Pigafetta, Antonio, 95, 109, 116n2Pi~neyro, Marcelo, 118n23, 213Pinochet, Augusto, 156, 162–4,

175n9Pizza, birra, faso (Caetano, Israel Adrián

& Stagnari, Bruno, 1998), 82Play (Scherson, Alicia, 2005), 189, 193,

195, 204n20

242 INDEX

Por la libre (de Llaca, Juan Carlos,2000), 181, 218

Powers of Horror, The (Kristeva, Julia,1980), 128

Prisoner of Azkaban, The (Cuarón,Alfonso, 2004), 4

Profundo carmesí (Ripstein, Arturo,1996), 1, 218

Puenzo, Luis, 3

QQuemada-Díez, Diego, 127, 140–6que se quedan, Los (Rulfo, Juan Carlos &

Hagerman, Carlos, 2008), 136Que tan lejos (Hermida, Tania, 2006), 8,

23, 182–9, 192, 193, 196, 197,202n4, 203n11, 210, 216

Quintin, 110, 111, 119n33

RRetratos en un mar de mentiras (Gaviria,

Carlos, 2010), 14, 23, 157, 170–4,216

Revenant, The (González I~nárritu,Alejandro, 2015), 4, 5

Reygadas, Carlos, 1, 137, 217Ripstein, Arturo, 1, 218Rocha, Eryck, 55n10, 215Rocha, Glauber, 2, 25n4, 105, 158Roca, Julio Argentino (1843–1914),

96Rosas, Eduardo, 18, 217Rossell, Ulises, 157Rouch, Jean, 159Ruiz, Raœl, 204n16Rulfo, Juan, 136ruta de la luna, La (Jácome, Jaime

Sebastián, 2013), 12, 183, 216

SSaavedra, Cornelio, 96Sainte-Luce, Claudia, 11, 217Salgado, Sebasti~ao, 57n20Salles, Walter, 1, 22, 23, 24n1, 31–3,

38–44, 47–9, 51, 54, 55n9, 56n15,57n16, 57n20, 57n21, 58n26–8,181, 211, 213, 215

Sanjinés, Jorge, 2San Juan, Edgar, 135Santos Pereira, Nelson, 158Sarmiento, Domingo Faustino

(1811–1888), 119n33Scherson, Alicia, 21, 23, 182, 184,

189–95, 203n7, 205n23, 216Schwarzenegger, Arnold, 137Se arrienda (Fuguet, Alberto, 2005),

195secreto de sus ojos, El (Campanella, Juan

José, 2009), 5Senna, Orlando, 8, 17, 156, 158–62,

2157 Soles (Uteras, Pedro, 2008), 136, 217Shane (Stevens, Georges, 1953), 145,

146Sin dejar huella (Novaro, María, 2000),

12, 218Sin Nombre (Fukunaga, Cary Joji,

2009), 143, 150n19, 217, 218Solanas, Fernando, 1, 2, 22, 31, 32, 42,

44–9, 51, 54n1, 58n25, 64, 98,181, 214

Solanas, Juan Diego, 157, 182Solás, Humberto, 9, 80, 216S�olo con tu pareja (Cuarón, Alfonso,

1991), 67S�olo Dios sabe (Bolado, Carlos, 2006),

14, 215, 218Sorín, Carlos, 1, 12, 23, 97, 104–10,

114, 115, 181, 182, 213, 214

INDEX 243

Stagnari, Bruno, 82Stone, Oliver, 50Subida al cielo (Bu~nuel, Luis, 1952), 13,

218Subiela, Eliseo, 98Sur, El (Borges, Jorge Luis, 1944),

114

TTabío, Juan Carlos, 3, 16, 64, 66, 73–80,

117n15, 216Tan de repente (Lerman, Diego, 2002),

12, 181, 214Terra estrangeira (Salles, Walter &

Thomas, Daniela, 1996), 31, 43,215

Thelma & Louise (Scott, Ridley, 1991),12, 14, 50, 148n10

Theroux, Paul, 95, 111, 116n4,117n9

389 miles Living the Border (RomeroDavis, Luis Carlos, 2014),149n15

360 Degrees (Meirelles, Fernando,2011), 66

Tit�on: From Havana to Guantanamera(Ibarra, Mirtha, 2008), 89n19

Tobal, Gonzalo, 12, 214T€onnies, Ferdinand (1855–1936), 109Toro, Guillermo del, 49, 67tourist gaze, The (Urry, John, 1990),

180tres entierros de Melquiades Estrada, Los/

The Three Burials of MelquiadesEstrada (Lee Jones, Tommy/Arriaga, Guillermo, 2005), 127–34

Turistas (Scherson, Alicia, 2009), 21,23, 182, 183, 189–97, 200, 216

21 grams (González I~nárritu, Alejandro,2003), 131

UUgás, Marité, 9, 156, 167–70, 219Urry, John, 23, 42, 180, 181, 183, 184,

189–92, 194, 199, 201n1

VValdivia, Juan Carlos, 15, 215Vargas Llosa, Mario, 24n3Vel�odromo (Fuguet, Alberto, 2010), 11,

195, 205n24Vergara, Jorge, 67viaje de Teo, El (Doehner, Walter,

2008), 136, 218Viaje, El (1994), 98viaje hacia el mar, El (Casanova,

Guillermo, 2003), 181, 219viajes del viento, Los (Guerra, Ciro,

2009), 6, 8, 216Viajo porque preciso, volto porque ti amo

(Ainouz, Karim & Gomes,Marcelo, 2009), 13, 215

vida segu�n Muriel, La (Milewicz,Eduardo, 1997), 16, 17, 21, 98,100–2, 182, 209, 214

Vidas secas (Pereira dos Santos, Nelson,1963), 13, 155

viento se llev�o lo que, El (Agresti, Alejandro,1998), 16, 17, 99, 100, 182, 214

Villegas (Tobal, Gonzalo, 2012), 12, 214Visa americana (Valdivia, Juan Carlos,

2005), 15, 215Viva Cuba (Cremata, Juan Carlos,

2005), 80, 216Voltaire (1694–1778), 10Voyage of the Beagle (1839), 95

WWhich Way Home? (Camissa, Rebecca,

2011), 149n15, 218

244 INDEX

Who is Dyani Cristal? (Silver, Marc/García Bernal, Gael, 2013),149n15, 217

Wild at Heart (Lynch, David, 1990),50, 148n10

wretched of the earth, the (Les damne�sde la terre) (Fanon, Frantz, 1961),37

YY tu mam�a tambie�n (Cuarón, Alfonso,

2001), 1, 13, 15, 55n6, 65–73, 80,87n6, 181, 182, 203n11

ZZambrano, Benito, 15, 80, 117n15, 216

INDEX 245