As part of the Latin America’s 1968 Colloquium series, CLACS and NYU’s Department of Spanish and Portuguese are proud to present a screening of Cuatreros/Rustlers and a conversation with renowned Argentinian filmmaker Albertina Carri. The conversation will be moderated by Jens Andermann (NYU, Spanish and Portuguese). This event is free and open to the public.
About the film:
CUATREROS / RUSTLERS
(Albertina Carri, Argentina, 2016, 85 min. In Spanish with English subtitles)
In 1968 the Argentine sociologist Roberto Carri published his book Isidro Velázquez; formas prerrevolucionarias de la violencia, about which a film was made. Both Roberto Carri and the film disappeared in the Dirty War. Now his daughter, acclaimed filmmaker Albertina Carri, follows in the footsteps of both her father and Isidro Velázquez, the country's last cuatrero or rustler, accused of stealing cattle and shot dead by police in 1967. Building the narrative through archival footage, home videos, ads, movies and interviews, Carri's visually fertile documentary tells a story full of legends, families, politics and cinema.
“I am following in the footsteps of Isidro Velázquez, Argentinas last rustler. But, as the search for lost time is always erratic, am I really going after that fugitive of the bourgeois justice? Or am I going after my own footsteps, after my own heritage? So I travel to Chaco, to Cuba, seeking for a missing film. I also dig into film archives looking for moving corpses that could return to me something that was gone too early. What am I looking for? I search for movies, also for a family - of living and of dead. I seek a revolution, as well as some justice. I look for my missing mother and father, their remaining bones, their names, what they left on me. I realise I am making a western with my own life. I seek a voice, my own voice, through the noise and rage of those lives shattered by that same bourgeois justice that was looking for Isidro Velázquez.” A.C. 2017
“Voy tras los pasos de Isidro Velázquez, el último gauchillo alzado de la Argentina y, como la búsqueda del tiempo perdido siempre es errática, ¿voy realmente tras los pasos de ese fugitivo de la justicia burguesa? ¿O es que voy tras mis pasos, tras mi herencia? Viajo a Chaco, a Cuba, busco una película desaparecida, busco en archivos fílmicos cuerpos en movimiento que me devuelvan algo de lo que se fue muy temprano. ¿Qué busco? Busco películas, también una familia, una de vivos, una de muertos; busco una revolución, sus cuerpos, algo de justicia; busco a mi madre y a mi padre desaparecidos, sus restos, sus nombres, lo que dejaron en mí. Hago un western con mi propia vida. Busco una voz, la mía, a través del ruido y la furia que dejaron esas vidas arrancadas por aquella justicia burguesa.”
***Also presented by Cinema Tropical on October 19: https://www.cinematropical.com/new-events/special-screening-of-albertina-carris-cuatreros
About the filmmaker:
Albertina Carri - Director, producer and screenwriter whose award-winning films have been shown at festivals at Cannes, Berlin, Buenos Aires, Locarno and Rotterdam, among others. Albertina Carri is noted for her versatility and constant investigation in different genres. She has explored film noir as well as documentary, using techniques that range from direct intervention on celluloid to fiction, along with found footage, animation, observational documentary and political porn. She was born in 1973 in Buenos Aires, where she still lives and works. The Blonds (Los Rubios, 2003) distinguished her as among the best directors of her generation. The film defined dominant discourses about Argentina’s “Dirty War,” and marked a turning point in the ways that film can engage the politics and representation of memory.
About the series:
Latin America’s 1968
In Latin America, the year 1968 marked a turning point in the social, political, and cultural transformations that had been unfolding in the wide wake of the Cuban Revolution of 1959. For Latin America, as for the rest of the world, the sixties were shaped by geopolitics of the Cold War, and of anti-colonial struggles across the globe. Yet they are most remembered by those who lived them as a time when ordinary people felt, like never before and perhaps never after, that they could change the course of history: millions of youth in student movements, advocates for indigenous rights, workers, campesinos, educators, intellectuals, and artists, long with guerillas and other armed insurgents, were self-aware in world-historical projects of radical social, political, economic, and cultural change. In these years, the personal became the
political, politics became theatrical, theatre became a weapon, and the lines between self, art, and politics were forever redrawn. We study the complex relations between revolution, counterculture, and authoritarian rule as they emerged in Latin America’s 1968: the emergence of Brazil’s Cinema Novo, Cuba’s imperfect cinema, and militant documentary across the region; the rise of rick and activist nueva cancion, and also of experimental aesthetics in music, theatre, art and performance – tropicalia, nova objetividade, media art, happenings; the apogee of student activism and the counterculture in Brazil, Mexico, and Argentina, as well as its most harsh repression through the end of the “dictablanda” or “soft dictatorship” in Brazil, the massacre of Tlatelolco in Mexico, and, in 1969, the repression of the “Cordobazo” in Argentina.