LOVE'S A BITCH México, Alejandro González Iñárritu, 2000

Director: Alejandro González Iñárritu Marco Pérez . . . Ramiro Rodrigo Murray . . . Gustavo Original Title: Amores perros Humberto Busto. . .Jorge Length: 153 minutes Gerardo Campbell . . . Mauricio Sound: Dolby Rosa María Bianchi . . . Tía Luisa Country: México Adriana Barraza . . . Madre de Octavio Producer: Alejandro González Iñárritu José Sefani . . . Leonardo Language: Spanish Script: Gullermo Arriaga Color: color Photography: Rodrigo Prieto Cast: Emilio Echevarría . . . El Chivo Editing: Luis Carballar, Alejandro González Iñárritu & Gael García Bernal . . . Octavio Fernando Pérez Unda Goya Toledo . . . Valeria Music: Gustavo Santaolla & Antonio Vega Álvaro Guerrero . . . Daniel Executive Producer: Guillermo Arriaga Vanessa Bauche . . . Susana Producing company: Altavista Films, Zeta Films Jorge Salina . . . Luis

Questions of analysis: 1. What is this movie about? 2. What is the relationship between its original title and the film? 3. How does the opening scene sets the tone for the rest of the story? 4. Whose story is it? 5. Whose point of view is the film told from? 6. Elaborate about the film's chronology. 7. What cinematic techniques stand out (photography, mise en scène, editing, sound, movement, etc.)? 8. How does the film use sound to balance or counter balance the visual component? 9. What social or cultural values does the movie present? 10. What is the coherent message? Or Why the director made the film? 11. Is the director primarily a leftist, centrist, or rightist? Justify your answer. 12. What cultural values the film embodies? 13. How does the film close the story? Would you change it? Does it provide closure to the audience? 14. Is the story more important than the techniques used to tell it? Expand your answer. Madeinusa Perú, , 2006

Director: Claudia Llosa Length: 100 min Original Title: madeinusa Sound: Dólby Country: Perú Producer: Claudia Llosa Language Español Cast: Magaly Solier ...Madeinusa Color:Color Yiliana Chong ...Chale Script: Claudia Lllosa Carlos J. de la Torre ...Salvador Photograpy: Raúl Pérez Ureta Juan Ubaldo Huamán ...Cayo Editing: Ernest Blasi

Questions of analysis:

1. What is this movie about? 2. Explain the role that religion plays in the film. 3. How does the narrative embody mythical concepts or universal human traits? 4. How does the film present sexual desire, religion and morality? 5. Whose gaze leads the telling of the story? 6. What spaces does the film use to develop the story? 7. Whose story is it? 8. What does the movie say about the social context and period that it was made in? 9. What is the meaning of the first scene? 10. Comment on the cinematographic achievements of the film. 11. Elaborate about the mise en scène and its relationship with the message (or the theme). What is the relationship between form and content? 12. What is the film social and political commentary? 13. What is the director's ideology? 14. What is the basic conflict? Are there metaphors of such conflict? 15. How does the final scene close the story? Elaborate on your answer. 16. What is the film's purpose? IN THIS TRICKY LIFE (URUGUAY, . CUBA, , , BEATRIZ FLORES SILVA, 2001)

Cast: Mariana Santángelo .... Elisa Length: 100 minutes Silvestre .... Plácido el Cara Sound: Stereo José Linuesa .... Marcelo (as Josep Linuesa) Country: Uruguay / Argentina / Cuba / Spain / Belgium Andrea Fantoni .... Lulú Language: Spanish Rodrigo Speranza .... Marcos Color:Color Agustín Abreu .... Nicolás Sound: Stereo Fermi Herrero .... El Gigante Script: Beatriz Flores Silva & János Kovácsi Augusto Mazzarelli .... Garcia Photography: Francisco Gózon Graciela Gelos .... Teresa Editing: Marie-Hélène Dozo & Daniel Márquez Graciela Escuder .... Doña Sera Costumes: Solange Guillemette Music: Carlos Da Silveira Original Title: En la puta vida Producer: Avalon Productions S.L, BFS Productions, Bavaria Film, Director: Beatriz Flores Silva ICAIC, Saga Film & Vía Digital

Questions of analysis: 1. Compare Montevideo to Barcelona. How does the director present each one of the cities? Are they alike? Are they different? How? 2. Explain how the opening scene sets the mood for the rest of the movie. 3. What is the film’s position on prostitution? 4. Comment on recurring mise en scéne settings and how do they help to set the film’s mood. 5. What is the relationship between sound and image? Give specific examples. 6. Are there camera movements (long shots, high angles, close-ups, fade-in, fade-out, special effects and so forth) that aid the directors emphasize the film’s main message? 7. How are the actors treated by the director—as camera material or as artistic collaborators? 8. How manipulative is the editing? 9. Is music used to underline speech or is it employed only for action scenes? Or not at all? 10. How is language used? Is the dialogue spare and functional? 11. How are the characters developed? Do they evolve (or don’t) throughout the film? 12. Elaborate on the costumes and props wore by the characters. 13. Whose focalization does the director use to present the story? 14. Explain the movie social context. What does the audience need to know to better appreciate the film? 15. What cultural or social-political values does the movie propose, present or emphasize? 16. How are the gender roles defined? 17. What is the movie's final scene? What impression attempts to leave in the audience? FOOTBALL STORIES , Andrés Wood, 2009

Director: Andrés Wood story (segment "Pasion de multitudes") Original Music by Miguel Miranda Original title: Historias de fútbol José Miguel Tobar Writing: Cinematography by Igor Jadue-Lillo René Arcos Film Editing by Andrea Chignoli story (segment "Pasión de multitudes") Mario Benedetti Country: Chile story "Puntero Izquerdo" (segment "No le crea") Language: Spanish Raúl Pérez Torres Runtime: 87 min story "Cuando me gustaba el fútbol" (segment "Último gol Sound Mix: Dolby Digital gana") Color: Color Andrés Wood

Questions of analysis:

1. What is this movie about? 2. How does he film stitch the three stories together? Does the film seem like one whole unit or does it seem like three stories linked only by a theme (soccer)? 3. Whose story is it? 4. What is the meaning of the first scene? 5. Comment on the cinematographic achievements of the film. 6. List your favorite scenes. Explain your selection. 7. What kind of sets are used and why? 8. Choose your favorite segment. Defend your answer. 9. What is the film social and political commentary? 10. What assumptions does the film make? 11. What is the director's ideology? 12. What is the basics conflict? Are there metaphors of such conflict? 13. Whose point of view does the film present? 14. How does the final scene close the story? Elaborate on your answer. 15. How does the film deal with issues of national identity? 16. What is the film's purpose? THE YEAR THAT MY PARENTS WERE ON VACATION Brasil, Cao Hamburger, 2006

Director: Cao Hamburger Length: 104 minutes Country: Brazil Original Title: O Ano em que Meus Pais Saíram de Ferias Producer: Cão Hamburger Language: Portuguese and yiddish Cast: Michel Joelsas ... Mauro Color: Color Germano Haiut ... Shlomo Sound: Dolby Paulo Autran ... Mótel, Mauro's grandfather Script: Adriana Falcão, Claudio Galperin, Cao Hamburger, Bráulio Simone Spoladore ... Miriam, Mauro's mother Mantovani, Anna Muylaert Eduardo Moreira ... Daniel, Mauro's father Photography: Adriano Goldman Caio Blat ... Ítalo Editing: Daniel Rezende Daniela Piepszyk ... Hanna Music: Beto Villares Liliana Castro ... Irene Rodrigo dos Santos ... Edgar

Questions of analysis: 1. What is this movie about? 2. What is the historical referent? 3. Whose story is it? 4. How does the opening scene sets the tone for the rest of the story? 5. Whose point of view is the film told from? 6. Is there a voice-over narrator? What kind of rapport does the narrator establish with us? 7. Elaborate about the film's chronology. 8. What cinematic techniques stand out (photography, mise en scène, editing, sound, movement, etc.)? 9. What role does soccer play in the film? 10. What role—if any—does religion play? Are there any ethnic values present? 11. Can we label The Year my Parents Went on Vacation as a Jewish film? 12. What is the coherent message? Or Why the director made the film? 13. How is “History” used in the film (I refer to the interpretation of historical events as presented by the director) 14. Is the director primarily a leftist, centrist, or rightist? 15. What cultural values, such as nationalism, are embodied in the film? 16. How does the film close the story? Would you change it? Does it provide closure to the audience?