The place that the cinematography of Ibero-American countries has given to women is subverting the order of visual representation that privileged, from the tradition of Hollywood cinema, the stereotype of young, white women belonging to wealthy social classes. Sample of them are films like The heiresses (Paraguay, 2018) by Marcelo Martinessi, and Summer birds (Colombia, Denmark, Mexico, 2018) by Ciro Guerra and Cristina Gallego; both recently awarded in the fifth edition of the Phoenix Awards in the categories of best direction and best fiction feature film.
The range of female characters that star in films made in the continent leaves behind the stigmas of the genre around everyday life. It is increasingly common to find films whose narrative places women as independent beings, with a non-fragile character and owners of their time and space. In the documentary section has also emerged this thread between feature films whose directors and directors are part of a transition between generations that gives new readings to the concepts of family and sexual identity, to name a few.
Such is the case of Amazon (Colombia 2016), documentary directed by Clare Weiskopf and Nicolás Van Hemelryck that questions the archetype of the Latin American mother to mark a point of reconciliation between the director, who is also the protagonist of the story, and Val, the woman who brought him to the world .
Of English origin and with precepts of freedom and filiar love advanced to his time, Val builds from the hand of his companion a nomadic family that decides to settle in Colombia. Product of that relationship, Clare grows up to 11 years in the womb but before the tireless traveling spirit of his mother stops seeing him for a long time. The reunion between both is marked by the death of Clare's sister and also by the imminent motherhood of the director.
However, the main conflict of the documentary is the impossibility of Clare to take root before the arrival of his firstborn and the ghosts about his family life. It is so that animated by Nicolás will decide to finish this film. Curing the wounds of the past and trying to define motherhood on its own terms are the motives to which the director sticks her work while exploring the limits between responsibility and freedom, the power of love and the meaning of family.
To close the functions of the Phoenix Week in FilminLatino, Amazona debuts on the world cinema platform and is permanently incorporated into its catalog.