7 Latin American Films from Sundance Festival Worth Anticipating

The Sundance Film Festival, held annually in January, serves as a launching pad for some lesser-known, small-budget, yet high-quality independent films to draw attention from distributors and streaming platforms. These films, further bolstered by exposure at several other international film festivals throughout the year, may even gain additional recognition during the next Oscar awards season and generate a new wave of buzz. Those who are new to these films might be surprised, "Ah! Another gem from last year's Sundance!"

For instance, "20 Days in Mariupol" and "Eternal Memory," which premiered at Sundance in January 2023 secured nominations for Best Documentary Feature at the Oscars (whose awards ceremony took place on March 11 this year). Another example is "CODA," which premiered at Sundance in January 2021 and went on to win the Best Picture Oscar at the end of March 2022.

So, what are the independent films worth anticipating from this year's Sundance? Let's start with Latin American films. Among the 82 feature films selected by the Sundance Institute this year, there are 4 from Latin American countries, 2 entirely produced in Latin America but considered U.S. productions, and 1 about Latin American immigrants, mostly in Spanish. Among these 7 films, 4 have received awards in different categories.

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1. Sujo
   World Cinema Grand Jury Prize: Dramatic

Mexico Dir: Astrid Rondero, Fernanda Valadez

Sujo is a boy from the Tierra Caliente ,Michoacán, central Mexico. In this country ravaged by the war on drugs, his rural hometown is just another lawless zone. At the age of 4, young Sujo witnessed the brutal execution of his father, a cartel sicario marked with the tattoo "8." Under the protection of two compassionate women who are disdainful of gang violence, Sujo is brought up together with two other boys. However, as they entered the rebellious teenage years, they find it hard to resist the allure of the cartel steeped in male hormones. Sujo, now marked with the gang tattoo "40," succumbs to the pull, yet still manages to keep a distance from the violent gangs thanks to the nurturing guidance and moral education from the kind-hearted women. He then ventures to Mexico City for work and education. With the help of a female acquaintance, he lives a healthy and normal life along with his journey from boyhood to manhood.

"Sujo" is not only a coming-of-age film but also a realistic drama that delves into the issues of drugs and violence, a theme common in films set in Mexico. But unlike those common films, there is not a single violent scene, nor a drop of blood is seen.

The directors of this film are two Mexican women deeply concerned about the pressing issue of children's growth. Fueled by profound love and a strong sense of responsibility, they train their lens to the severe social problems in their homeland, particularly the plight of gang orphans estimated to number as high as up to 80,000. It is imperative for the nation and society to take serious note of this situation.

One of the focal points of discussion at this year's Sundance is impact film, and audiences evidently anticipate "Sujo" to become a representative impact film. However, for the two directors, the perspective is clear: "We cannot expect a film to change reality; it's enough if it can change us."

Bonus: Here is the interview with directors of “Sujo”, in Spanish.

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2. Gaucho Gaucho

U.S. Documentary Special Jury Award for Sound

Argentina/U.S. dir. Michael Dweck, Gregory Kershaw

One of the directors of this documentary, Michael Dweck, is a renowned American visual artist who made a name for his narrative photography. In recent years, he ventured into film direction alongside cinematographer Gregory Kershaw. Notably, their collaboration also led to the film "The Truffle Hunters," which earned a nomination at Sundance and won the Best Documentary Director award from the Directors Guild of America in 2021.

Crafted by accomplished photographers, the movies inevitably feature their unique aesthetics and often place narrative in the backdrop of their distinctive visual style. The latest work, "Gaucho Gaucho," appears more like an ethnographic visual documentary. However, the meticulous cinematography elevates the technical quality of this documentary far beyond the anthropological works that seemed untouched by editing and thus match the rawness of their subject matters.

As the title suggests, the documentary revolves around the local people known as the Gaucho that reside in the Calchaquí Valley of the Salta Province on the outskirts of Argentine Pampas. There’s a prevailing belief that the traditional culture in remote areas cannot withstand the tide of globalization and modernization. However, perhaps due to aesthetic of the documentary authors, we can see in the film an extremely steadfast conservativeness against it among the Gaucho people, especially among the youth.

A high school girl, disregarding the school's dress code, insists on wearing the traditional Gaucho attire and spends much time on local rodeo events. A boy, chopping wood on the farm with his father while sipping mate tea, holds a firm belief in his future, declaring, "I will become a Gaucho cowboy." Another two young boys assemble weathered bones into the semblance of a horse, cherishing its former glory without concerning themselves with its possible demise.

Years pass on along the arid plains; the witches continue their divinations of fate, the horses gallop as time passes by, and people thrive in the companionship of familiar neighbors.

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3. Igualada

Colombia Dir: Juan Mejía Botero

The entire film focuses on the presidential campaign of Francisca Márquez, a remarkable woman and a leader in the Colombian black rural community movement. As a Black activist challenging the status quo, she boldly embraced the originally discriminatory term "Igualada" which is used against the Afro-Colombian community - a group seemingly entitled to rights that don't align with their social status. It has now been turned into a rallying cry, inspiring a community to change their fate and strive for equality.

In a historic moment on August 7, 2022, Francisca Márquez achieved a groundbreaking victory: being elected as the Vice President of Colombia. She made history as the first Afro-Colombian Vice President in the country.

Márquez's presidential aspirations stem from her work in the La Toma community in the Cauca Province, where she has been dedicated to social and environmental improvement. Director Juan Mejía Botero has known her since 2006 and collaborated with her on two short films. Facing death threats over the years, Francisca Márquez's decision to participate in the making of this documentary underscores the trust she places in the director and the team. The close relationship that developed between them played a crucial role in the successful completion of this documentary on the election process.

This film holds the potential to continue influencing Colombian society. Following its premiere at the prestigious Sundance during the expensive skiing peak season, the documentary "Igualada" is set to embark on its journey as an impact film. Director plans to take it to the remote jungles of Colombia, where there are no theaters or streaming services. They intend to set up makeshift projection screens and play "Igualada" for the jungle Igualada communities, reclaiming the term that was once derogatory and restoring it to its true meaning for the broader community.

Bonus: Here is the interview with director of “Igualada”, in Spanish.
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4. Malu

Brazil Dir: Pedro Freire

The titular heroine, Malu, is an unemployed and faded theater actress. Her emotions are constantly in flux - one moment she is warmly embracing her daughter returning from Europe at the station, and the next she is engaged in a heated argument with her elderly mother whom she lives with. For some reason, the three women of different generations temporarily united in one of the sprawling favelas of Rio de Janeiro.

Under the continuous influence of Malu's drug-dealing boyfriend, her emotions and physical well-being become increasingly unstable. However, she still nurtures dreams of restoring her former glory days on stage. Malu incessantly discusses with her daughter about transforming the courtyard of the favela into a performing arts center, and making money through arts training to sustain her unfulfilled theatrical dreams.

The film, which is supposed to be a typical family drama, seems to take on the undertones of an anti-drug campaign. Just look at the families that are torn apart by the ravages of drug abuse at the Rio de Janeiro favelas free from government control. The entire film is characterized by noisy sounds in high tones, which makes sense given that the protagonist is a drug user. Her addiction and subsequent behavior add to the tension among three women.

However, it can be quite vexing watching the incessant quarrels and physical altercations among the three women on the big screen. If Malu does make it to establish a performing arts center, it's easy to imagine it to become an uncontrollable battleground.

Finding the incessant arguments between her mother and grandmother unbearable, the young daughter decides to move to her father's place in São Paulo. However, her mother's deteriorating wellbeing prompts her to return to Rio de Janeiro. She is determined to try and build a relationship with Malu, even if it means accompanying her through the final stages of life.

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5. Reinas

Peru Dir: Klaudia Reynicke

"Mis Reinas" ("My Queens") is how the two daughters in the story are most frequently called by their father Carlos. Though the title refers to the two girls, the central character is arguably the father, who spends his days aimlessly wandering the streets of Lima and lying through his teeth. At times, he claims to be a professional screenwriter disenchanted with the artistic atmosphere in Peru, while at other times, he presents himself as a forestry engineer battling crocodiles in the depths of the Amazon jungle. In yet another moment, he becomes the security chief in a Lima factory. Then again, in a quick twist, he whispers to his youngest daughter, "I am a national secret intelligence agent looking for terrorists. Don't tell anyone!"

The film is set in the early 1990s, a turbulent period in Peru when the Shining Path, a communist militant group, launched bomb attacks against government targets from time to time. Elena, a woman with a successful career, receives an opportunity to work in Minnesota, USA. She couldn’t wait to take her daughters away from their homeland, which is plagued by political chaos and economic collapse. But there’s one last thing to do: to obtain the signature and approval of Carlos, whom she has divorced but still is the father of her children.

Thus, like all family stories about contradictions and reconciliation, the absent father returns just as the children are growing up. He re-establishes connections with his adorable daughters, potentially competing for the mother's affection.

From coastal beaches in daylight to the big house at night, everything about the middle-class family in Peru seems normal. However, once curfew sets in, it’s such a perilous adventure to leave home under the watchful eye and interference of a brutal military regime. Is there anything else that get in the way of the ‘Reinas’ ? Perhaps, they are simply afraid of change.

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6. Frida
The Jonathan Oppenheim Editing Award: U.S. Documentary
U.S./Mexico Dir: Carla Gutiérrez

Regarding the legendary Mexican female painter Frida Kahlo, there have been numerous biographical dramas, career documentaries, and even exhibitions of promotional films. The director of this latest documentary, Carla Gutiérrez, is the editor for "RBG," which may allow her to demonstrate her ability to synthesize and organize a storyline from vast historical materials.

The final edition of this version of "Frida" seems to have thoroughly visualized the documentary materials from the Frida Kahlo Museum. With this documentary available, I doubt if it's still necessary to visit Frida's house in Mexico City while touring. The famous Blue House always has long queues and may deny entry as when full.

The abundance of materials is partly because the protagonist, Frida Kahol, is a public figure. She left behind a wealth of black-and-white news footage, family documentary images, interview videos, and extensive diaries—typical for a sensitive artist—for her admirers to dig deeper into her life.

Perhaps due to a deep reverence for Frida, Carla's portrayal of her seems to focus on the most positive aspects of the painter's life. For instance, she drew paintings to ease her pain caused by a car accident. Also, she remains unruffled learning about her husband Diego Rivera's numerous affairs. However, the romantic involvement between Frida and the Communist revolutionary leader Trotsky is left unmentioned.

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7. In the summers
U.S. Cinema Grand Jury Prize: Dramatic

U.S. Dir: Alessandra Lacorazza

To some extent, this family film can be seen as a New Mexico version of the film "Aftersun" set on the Turkish coast two years ago. It looks like the film take the father-daughter story during a summer holiday from the latte and multiplies it by four, becoming a collection of emotional stories over four summers in a teenage girl's coming-of-age journey. The two girls in "In the Summers" fly to Las Cruces, New Mexico, each summer, staying in the Puerto Rican father's large house with a pool. This property is an inheritance from his mother and adds to the charm of this charismatic yet peculiar man. The film captures four stages of their growth, from childhood to adolescence and into adulthood, narrating the struggles and clashes of adolescence and rebellion.

"I am from here," replies Vincent when his daughter questions why he has settled in Las Cruces and refuses to go anywhere else. Even though Puerto Rico is his homeland, he grew up here. Despite the aging process, the relentless New Mexico sun, and the ever-present pool table in the old bar, Vincent's lifestyle remains unchanged. Immersed in alcohol throughout the day, he has become like a glass of whiskey infused with the flavor of life. His new daughter is learning to walk and talk, while the two daughters from his previous marriage come and go, growing into adults.

The daughter who “came out” in the film may be a representation of the director herself, Alessandra. As a Colombian-American queer, he/she might share similar family dynamics and, over time, have chosen to embrace her true self. In the closing scenes, the two daughters wait for their flight to leave Las Cruces, with a magnificent sunset at the end of the runway. Watching their lengthened shadows, Lacorazza may be recalling her own time "In the Summers."