{"id":29389,"date":"2025-03-20T12:43:06","date_gmt":"2025-03-20T19:43:06","guid":{"rendered":"https:\/\/vlaff.org\/?p=29389"},"modified":"2026-07-03T12:40:34","modified_gmt":"2026-07-03T19:40:34","slug":"the-bold-new-films-of-albertina-carri-and-anna-muylaert","status":"publish","type":"post","link":"https:\/\/vlaff.org\/es\/the-bold-new-films-of-albertina-carri-and-anna-muylaert\/","title":{"rendered":"The Bold New Films of Albertina Carri and Anna Muylaert"},"content":{"rendered":"

Two female Latin directors, filmmakers behind some of the most groundbreaking cinema in Latin America, are releasing films this year that deserve attention: Albertina Carri (Argentina) with <\/span>\u00a1CAIGAN LAS ROSAS BLANCAS! (White Roses, Fall!)<\/b> and Anna Muylaert (Brazil) with <\/span>A MELHOR M\u00c3E DO MUNDO (The Best mother in the world).<\/b><\/p>\n

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Albertina Carri<\/strong> is one of the most innovative and transgressive voices in contemporary Argentine cinema. Born in Buenos Aires in 1973, she has established herself as a filmmaker, screenwriter, and artist whose work explores themes of memory, identity, sexuality, and the limits of representation. Her films blend fiction, documentary, and experimental techniques, challenging conventional storytelling and cinematic norms.<\/p>\n

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One of Carri\u2019s most acclaimed works is LOS RUBIOS<\/strong> (2003), a hybrid film that defies traditional documentary structure. The film investigates the disappearance of her parents during Argentina\u2019s military dictatorship, yet it resists offering a singular truth. Through reenactments, interviews, and meta-cinematic elements, Carri questions the reliability of memory and historical narratives. By using an actress to play herself and incorporating animated sequences, she highlights the constructed nature of both personal and collective history. Carri has also delved into genres like film noir and erotic cinema, as seen in G\u00c9MINIS<\/strong> (2005), which tells the story of incestuous love within an upper-class Argentine family. The film\u2019s cold, controlled aesthetic and its refusal to pass moral judgment make it a bold and unsettling work that critiques bourgeois hypocrisy and repression.<\/p>\n

Her later films continue to push boundaries. LA RABIA<\/strong> (2008) is a raw and visceral exploration of sexuality, violence, and communication, set in the Argentine countryside. Employing minimal dialogue and striking visual storytelling, the film portrays the emotional turbulence of its characters in an almost primal way. Meanwhile, CUATREROS<\/strong> (2016) revisits themes from LOS RUBIOS, but expands its focus to political violence and the ways in which revolutionary movements are remembered and represented in contemporary Argentina.<\/p>\n

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Beyond filmmaking, Carri has been an advocate for LGBTQ+ rights and gender equality in the arts. As a co-founder of Asterisco, Buenos Aires\u2019 LGBTQ+ film festival, she has worked to create spaces for diverse and underrepresented voices in cinema.<\/span><\/p>\n

Through her fearless and unconventional approach, Albertina Carri continues to redefine Argentine cinema. Her work is a powerful interrogation of history, identity, and the ways in which we construct and deconstruct reality through film.<\/span><\/p>\n

Her latest film \u00a1CAIGAN LAS ROSAS BLANCAS! <\/b>(featured image) premiered at Rotterdam Film Festival this year.<\/span><\/p>\n\n\n\n

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Anna Muylaert<\/b> is one of Brazil\u2019s most influential contemporary filmmakers, known for her insightful explorations of social dynamics, gender roles, and class divides. Born in S\u00e3o Paulo in 1964, Muylaert has built a career as a director, screenwriter, and producer, gaining international recognition for her sharp storytelling and deeply human characters.<\/span><\/p>\n

Muylaert\u2019s breakout film, THE SECOND MOTHER<\/strong> (Que Horas Ela Volta?, 2015), brought her global acclaim. Starring Regina Cas\u00e9, the film examines the fraught relationship between a live-in housemaid and the wealthy family she serves. It delves into Brazil\u2019s rigid class structure and the emotional sacrifices made by domestic workers, particularly those who leave their own children behind to care for others. The film won awards at Sundance and the Berlinale, cementing Muylaert\u2019s reputation as a masterful storyteller.<\/span><\/p>\n

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In 2016, VLAFF held a complete retrospective and hosted Anna Muylaert. Her film <\/span>DON\u2019T CALL ME SON (M\u00e3e S\u00f3 H\u00e1 Uma) <\/b>was the<\/span> closing film that year. The film tackles themes of identity and belonging, following a teenager who discovers he was stolen from his biological family as a baby and is forced to confront a new reality. Through this intimate and deeply personal story, Muylaert explores gender fluidity and societal expectations, challenging traditional notions of family and identity.<\/span><\/p>\n

Muylaert\u2019s earlier works, including <\/span>DURVAL DISCOS<\/b> (2002) and <\/span>\u00c9 PROIBIDO FUMAR<\/b> (2009), also display her signature style\u2014blending humor with social critique. <\/span>DURVAL DISCOS<\/b>, her directorial debut, tells the story of a record store owner whose quiet life is disrupted by an unexpected turn of events. <\/span>\u00c9 PROIBIDO FUMAR <\/b>follows a woman whose obsessive tendencies complicate her relationships, highlighting themes of solitude and self-delusion.<\/span><\/p>\n

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Beyond directing, Muylaert has contributed to Brazilian cinema as a screenwriter, collaborating on films like THE YEAR MY PARENTS WENT ON VACATION<\/strong> (2006). Her work consistently gives voice to marginalized perspectives, particularly focusing on women\u2019s experiences in Brazilian society.<\/p>\n\n\n\n

With her keen eye for human relationships and social critique, Anna Muylaert continues to shape contemporary Brazilian cinema, bringing its complexities to a global audience. Her newest film A MELHOR M\u00c3E DO MUNDO (The Best mother in the world) <\/strong>premiered <\/strong>this year at the Berlin Film Festival. <\/p>\n\n\n\n

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Two female Latin directors, filmmakers behind some of the most groundbreaking cinema in Latin America, are releasing films this year that deserve attention: Albertina Carri (Argentina) with \u00a1CAIGAN LAS ROSAS […]<\/p>\n","protected":false},"author":2,"featured_media":29455,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[78],"tags":[],"class_list":["post-29389","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-vlaffblog"],"acf":[],"_links":{"self":[{"href":"https:\/\/vlaff.org\/es\/wp-json\/wp\/v2\/posts\/29389","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/vlaff.org\/es\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/vlaff.org\/es\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/vlaff.org\/es\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/vlaff.org\/es\/wp-json\/wp\/v2\/comments?post=29389"}],"version-history":[{"count":3,"href":"https:\/\/vlaff.org\/es\/wp-json\/wp\/v2\/posts\/29389\/revisions"}],"predecessor-version":[{"id":32552,"href":"https:\/\/vlaff.org\/es\/wp-json\/wp\/v2\/posts\/29389\/revisions\/32552"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/vlaff.org\/es\/wp-json\/wp\/v2\/media\/29455"}],"wp:attachment":[{"href":"https:\/\/vlaff.org\/es\/wp-json\/wp\/v2\/media?parent=29389"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/vlaff.org\/es\/wp-json\/wp\/v2\/categories?post=29389"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/vlaff.org\/es\/wp-json\/wp\/v2\/tags?post=29389"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}