Cine Mexico Now brings award-winning contemporary Mexican cinema to the heart of Detroit. Curated from the world’s top film festivals, Cine Mexico Now includes films that bring to life a rich portrait of the Mexican experience. The series takes place September 23 - October 28 exclusively at Cinema Detroit with the support of Mexican Consulate in Detroit.

Detroit: Sept. 23 - Oct. 28 at Cinema Detroit.

Gems from Almodóvar’s middle period - some say his finest. The series includes Tie Me Up! Tie Me Down! (¡Átame!), Kika, Dark Habits (Entre tinieblas), High Heels (Tacones lejanos), and The Flower of My Secret.

Coral Gables: Sept. 14 - 20 at Gables Art Cinema.

Cinemateca's sixth biennial celebration of Latino, Latin American, and Spanish is devoted to work by women directors. Over five Tuesdays, screenings will begin at 7 pm, followed by post-show charlas (“discussions”) led by OLLAS faculty and special guests. Prior to show time, attendees will have the opportunity to sample food with connections to the films’ respective countries of origin. The series launches Aug 28 with Zama, the latest film from international cinema star Lucrecia Martel. The series also includes two Forever Young family-friendly films.

Omaha: Aug. 28 - Sept. 25 at Film Streams.

The series surveys ten classics made over the course of 25 years, and feature not only his famous ensemble, fondly referred to as chicos y chicas Almodóvar, but also actors like Antonio Banderas, Penélope Cruz and Javier Bardem who went on to international stardom.

Coral Gables: July 27 - August 9 at Coral Gables Art Cinema.

Joaquim Pedro de Andrade is one of the most important figures of Brazil’s Cinema Novo period and his film Macunaima (Jungle Freaks) helped to set the tone for this style of film that, much like its musical analogue, Tropicalia, gave the psychedelic and countercultural movements that were then sweeping the world a uniquely Brazilian beat. This Thursday night series includes Macunaima (1969), Os Inconfidentes (1972), Guerra Conjugal (1974), and O Homem do Pau Brasil (1982).

Austin: Thursdays in June. Details here.

Celebrated Argentine author and filmmaker Edgardo Cozarinsky made his North American cinematic debut with Dot Dot Dot (1971) in the very first New Directors/New Films festival, in 1972. Cozarinsky returns to MoMA with a Carte Blanche selection that juxtaposes classic and contemporary Argentine cinema in fresh and provocative ways. For example, a 1930s musical drama paired with a subversive theater improvisation from the late 1960s, or a 1950s noir about a child murderer paired with a recent coming-of-age drama about a different form of child abuse.  Cozarinsky will introduce many of the programs, together with the scholar and archivist Fernando Martín Peña.

New York: June 6 - 24 at MoMA.

The early erotic and surreal films of Spanish director Vicente Aranda are on offer this month at Spectacle Theater, including Fata/Morgana (1966), Las Crueles (1969), and Último deseo (1976).

New York: June 4 - 28 at Spectacle Theater.

To coincide with the U.S. release of her long-anticipated fourth feature, Zama, the Film Society revisits the work of Lucrecia Martel, whose small but rich body of work has gained worldwide recognition since her debut feature, La Ciénaga, in 2001.

New York: April 10 & 11 at Lincoln Center.

In keeping with their presentations of clásicos tropicales góticos by Luis Ospina and Ivan Cardoso, Spectacle is exhibiting two Eighties rarities by living legend Jairo Pinilla, the so-called “Ed Wood of Colombia”. Also reigning from Cali (Ospina’s hometown, as well as the late Carlos Mayolo’s), Pinilla pioneered a form of acerbic camp cinema in constant struggle with Fono Cine, the government agency providing funding for some of his movies. While the films are well known among cineaste circles of Colombia, little is published in English about Jairo Pinilla. Series includes El triangulo de oro (1984) and Extraña Regresión (1985).

New York: April 6 - 27 at Spectacle Theater.

A Thursday series of films at the Mexican Consulate in Los Angeles. Comedies, dramas, and a biopic are in the series, which includes: Arrancame La Vida, Bala Morbida, Acorazado, Dias de Gracia, Casese Quien Pueda, Gloria, La Delgada Linea Amarilla, and La Vida Inmoral de la Parja Ideal.

Los Angeles: April 5 - May 24. Full lineup and details here. Screenings are free and followed by Q&A.

They come in all shapes and sizes. They are fearless and fly under the radar. They address a reality that’s either glossed over or spoken of in hushed tones. Armed with little more than their immense talent - and an overriding sense of humor - Cuban independent filmmakers have been carving out a significant niche for themselves. CGAC is delighted to pay tribute to these largely unsung movie heroes with a 9-program, 25-film salute.Forbidden Fruit: Cuban Independent Film in the 21st Century was programmed in collaboration with Alejandro Ríos, and with the enthusiastic participation of all filmmakers involved - in and out of Cuba.

Miami: March 23 - 29 at Coral Gables Art Cinema.

Elena, a young Brazilian woman, travels to New York with the same dream as her mother, to become a movie actress. She leaves behind her childhood spent in hiding during the years of the military dictatorship. She also leaves Petra, her seven year old sister. Two decades later, Petra also becomes an actress and goes to New York in search of Elena. She only has a few clues about her: home movies, newspaper clippings, a diary and letters. At any moment Petra hopes to find Elena walking in the streets in a silk blouse. Gradually, the features of the two sisters are confused; we no longer know one from the other. When Petra finally finds Elena in an unexpected place, she has to learn to let her go.

Austin: March 21 & 25 as part of CineNoche.

The path-breaking Chicano filmmakers who emerged in the 1970s and 80s represented onscreen, for the first time, a community hitherto ignored—or misrepresented—by mainstream media. Defying the odds, these directors created a counter-cinema that spoke to the unique experiences of Chicano life. Their films are chronicles both of struggle—against racism, economic exploitation, police abuse—and of a vibrant culture's history and traditions.

Popular favorites such as La Bamba and Selena will be shown along lesser-known gems including Please Don't Bury Me Alive!,  The Devil Never Sleeps,  and shorts programs.

New York: March 16 - 22 at BAM.

This exhibition aims to review more than half a century of censorship in Cuban cinema, which can be traced to a kind of foundational moment: Orlando Jiménez Leal and Sabá Cabrera Infante’s PM (1961). This short film’s censorship by the Institute of Cuban Film was among the first delimitations of cultural policy under the nascent socialist regime led by Fidel Castro. In the ensuing decades censorship by the Instituto Cubano de Arte e Industria Cinematográficos (Cuban Institute of Cinematographic Art and Industry), or ICAIC, was usually “aired out” within the institution. But in the new century, with the emergence of cinema that was independent from institutions and the editorial criteria of the state, the list of censored or repressed works increased rapidly. Manuel Zayas’s Odd People Out (2004) complements the investigation begun by Improper Conduct from a documentary angle, while Carlos Lechuga’s Santa & Andrés (2016) does the same through fiction. The latter film was the subject of a public state veto, a rarity among recent productions. Also featured in this series, Eliécer Jiménez’s Persona (2014), Miguel Coyula’s Nadie (Nobody) (2016), Juan Carlos Cremata’s Crematorio (Crematorium) (2013), Ricardo Figueredo and Anthony Bubaire’s Despertar (Awakening) (2011), and Marcelo Martin’s El tren de la linea norte (The Train on the Northern Railway) (2015) represent just some of the films—mostly documentaries—that have been subject to state vetoes and suffered from political suppression in the last decade.

New York: March 9 - 11 at MoMA.

The son of a Kickapoo Indian and a revolutionary general, Emilio Fernández—known to generations of Mexican filmgoers as “El Indio”—was the most celebrated filmmaker to emerge from the Golden Age of Mexican cinema. Influenced equally by Hollywood narrative and Soviet montage techniques, Fernández brought an image of an eternal, elemental Mexico to the international festival circuit of the 1940s and ’50s, winning awards in Cannes (María Candelaria), Venice (La perla), and Karolvy Vary (Río Escondido). With a creative team that regularly included cinematographer Gabriel Figueroa, writer Mauricio Magdaleno, and stars such as Dolores del Río, Pedro Armendáriz, María Félix, Arturo de Córdova, and Ninón Sevilla, Fernández created an authentic Latino voice that continues to enchant and amaze, now returned to its full force and timbre in magnificent new restorations from the Mexican archives.

New York: March 1 - 13 at MoMA.

Almost 42 years have passed since a military coup in Chile deposed the democratically elected government of President Salvador Allende. The death of Allende and the years of military dictatorship that followed have left deep scars in both the country and in Allende’s immediate family. In BEYOND MY GRANDFATHER ALLENDE, his granddaughter Marcia Tambutti Allende goes in search of Salvador Allende the man. The filmmaker’s aged grandmother slowly starts to talk more about Allende, her marriage and her role as the president’s wife. Other members of the family, many of whom never knew Allende personally, also start to talk and as a result we get to know the kind of man her grandfather was. 

Austin: Feb. 21 & 25 at Violet Crown Cinema.

Arguably Chile’s most internationally renowned and prolific filmmaker, Raúl Ruiz completed over one hundred films in numerous national cinemas. His mind-bending works are obsessed with questions of theology, philosophy, psychoanalysis, literature, and visual expression; wildly experimental and slyly humorous; surrealist, magical realist, gothic, and neo-Baroque. This is the second part of an ongoing retrospective devoted to Ruiz, including a weeklong revival run of a new digital restoration of one of his most beloved films, Time Regained (1999).

New York: Feb. 9 - 18 at Film Society of Lincoln Center.

In the early 1980s, Diego Echeverria took a 16mm camera into the streets of South Williamsburg, then a primarily Puerto Rican neighborhood known as one of the city’s poorest, most crime-ridden areas. What the filmmaker captures is a thriving street culture in which music, breakdancing, and graffiti abound. This lost-and-found time capsule is an essential record of pre-gentrification Brooklyn and a testament to a community’s resilience.

New York: Feb. 21 at BAM. 
Seattle: Feb. 8 at SIFF Film Center.

Catalan architect Antonio Gaudí (1852-1926) designed some of the world’s most astonishing buildings, interiors, and parks; Japanese director Hiroshi Teshigahara constructed some of the most aesthetically audacious films ever made. Here their artistry melds in a unique, enthralling cinematic experience. Less a documentary than a visual poem, Teshigahara’s ANTONIO GAUDÍ takes viewers on a tour of Gaudí’s truly spectacular architecture, including his massive, still-unfinished masterpiece, the Sagrada Familia cathedral in Barcelona. With camera work as bold and sensual as the curves of his subject’s organic structures, Teshigahara immortalizes Gaudí on film.

New York: Feb. 4, 9 & 19 at Anthology Film Archives.

Stylistic and structural experiment abounds in this 1934 example of Mexican Gothic, a horror film set in a monastery where two brothers, caught up in an exorcism, relate conflicting versions of the erotic scandal in their past. 

New York: Jan. 23 & 31 at MoMA.

Since the late 1950s, Mexico has produced its own rich and distinctive strain of horror cinema, combining supernatural tales of witches and vampires with regional folklore, head-spinning surrealism, and heaps of creepy Gothic atmosphere. Brimming with cinematic invention, these high water marks of the genre are among the wildest, freakiest, and most unique horror movies ever made.

New York: Oct. 27 - Nov. 2 at BAM.