Book contents
- Frontmatter
- Contents
- Plates
- Prologue: Companion to Latin American Film
- Dedication
- Introduction to Latin American Film
- 1 ¡Qué Viva México! (Long Live Mexico, 1931), Directed by Sergei Eisenstein
- 2 Los Olvidados (The Young and the Damned, 1950), Directed by Luis Buñuel
- 3 Dos Tipos de Cuidado (Two Types of Care, 1952), Directed by Ismael Rodríguez
- 4 Orfeu Negro (Black Orpheus, 1959), Directed by Marcel Camus
- 5 Memorias Del Subdesarrollo (Memories of Underdevelopment, 1968), Directed by Tomás Gutiérrez Alea
- 6 Lucía (1968), Directed by Humberto Solás
- 7 El Chacal de Nahueltoro (The Jackal of Nahueltoro, 1969), Directed by Miguel Littín
- 8 Yawar Mallku: La Sangre Del Cóndor (The Blood of the Condor, 1969), Directed by Jorge Sanjinés
- 9 La Batalla de Chile (The Battle of Chile, 1975–1979), Directed by Patricio Guzmán
- 10 La Última Cena (The Last Supper, 1977), Directed by Tomás Gutiérrez Alea
- 11 Pixote: A Lei Do Mais Fraco (Pixote: The Law of the Weakest, 1980), Directed by Héctor Babenco
- 12 El Norte (The North, 1983), Directed by Gregory Nava
- 13 Camila (1984), Directed by María Luisa Bemberg
- 14 La Historia Oficial (The Official Version, 1984), Directed by Luis Puenzo
- 15 Cartas Del Parque (Letters in the Park, 1989), Co-Directed by Tomás Gutiérrez Alea and Gabriel García Márquez
- 16 La Tarea (Homework, 1989), Directed by Jaime Humberto Hermosillo
- 17 Yo, La Peor de Todas (I, the Worst of all, 1990), Directed by María Luisa Bemberg
- 18 La Frontera (The Frontier, 1991), Directed by Ricardo Larraín
- 19 El Viaje (1991) the Voyage, Directed by Fernando Solanas
- 20 Fresa Y Chocolate (Strawberry and Chocolate, 1993), Directed by Tomás Gutiérrez Alea
- 21 Como Agua Para Chocolate (Like Water for Chocolate, 1993), Directed by Alfonso Arau, Based on the Novel of the Same Name by Laura Esquivel
- 22 Central do Brasil (Central Station, 1998), Directed by Walter Salles
- 23 Amores Perros (Love’s a Bitch, 2000), Directed by Alejandro González Iñárritu
- 24 Y Tu Mamá También (and Your Mother Too, 2001), Directed by Alfonso Cuarón
- 25 Cidade de Deus (City of God, 2002), Directed by Fernando Meirelles
- Guide to Further Reading
- Glossary
- Select Bibliography
- Index
19 - El Viaje (1991) the Voyage, Directed by Fernando Solanas
Published online by Cambridge University Press: 05 May 2023
- Frontmatter
- Contents
- Plates
- Prologue: Companion to Latin American Film
- Dedication
- Introduction to Latin American Film
- 1 ¡Qué Viva México! (Long Live Mexico, 1931), Directed by Sergei Eisenstein
- 2 Los Olvidados (The Young and the Damned, 1950), Directed by Luis Buñuel
- 3 Dos Tipos de Cuidado (Two Types of Care, 1952), Directed by Ismael Rodríguez
- 4 Orfeu Negro (Black Orpheus, 1959), Directed by Marcel Camus
- 5 Memorias Del Subdesarrollo (Memories of Underdevelopment, 1968), Directed by Tomás Gutiérrez Alea
- 6 Lucía (1968), Directed by Humberto Solás
- 7 El Chacal de Nahueltoro (The Jackal of Nahueltoro, 1969), Directed by Miguel Littín
- 8 Yawar Mallku: La Sangre Del Cóndor (The Blood of the Condor, 1969), Directed by Jorge Sanjinés
- 9 La Batalla de Chile (The Battle of Chile, 1975–1979), Directed by Patricio Guzmán
- 10 La Última Cena (The Last Supper, 1977), Directed by Tomás Gutiérrez Alea
- 11 Pixote: A Lei Do Mais Fraco (Pixote: The Law of the Weakest, 1980), Directed by Héctor Babenco
- 12 El Norte (The North, 1983), Directed by Gregory Nava
- 13 Camila (1984), Directed by María Luisa Bemberg
- 14 La Historia Oficial (The Official Version, 1984), Directed by Luis Puenzo
- 15 Cartas Del Parque (Letters in the Park, 1989), Co-Directed by Tomás Gutiérrez Alea and Gabriel García Márquez
- 16 La Tarea (Homework, 1989), Directed by Jaime Humberto Hermosillo
- 17 Yo, La Peor de Todas (I, the Worst of all, 1990), Directed by María Luisa Bemberg
- 18 La Frontera (The Frontier, 1991), Directed by Ricardo Larraín
- 19 El Viaje (1991) the Voyage, Directed by Fernando Solanas
- 20 Fresa Y Chocolate (Strawberry and Chocolate, 1993), Directed by Tomás Gutiérrez Alea
- 21 Como Agua Para Chocolate (Like Water for Chocolate, 1993), Directed by Alfonso Arau, Based on the Novel of the Same Name by Laura Esquivel
- 22 Central do Brasil (Central Station, 1998), Directed by Walter Salles
- 23 Amores Perros (Love’s a Bitch, 2000), Directed by Alejandro González Iñárritu
- 24 Y Tu Mamá También (and Your Mother Too, 2001), Directed by Alfonso Cuarón
- 25 Cidade de Deus (City of God, 2002), Directed by Fernando Meirelles
- Guide to Further Reading
- Glossary
- Select Bibliography
- Index
Summary
Cast
Martín, played by Walter Quiróz
Vidala (mysterious silent girl), played by Soledad Alfaro
Celador Salas, played by Ricardo Bartis
Violeta (girlfriend in Ushuai), played by Cristian Becerra
Wayta (Peruvian girlfriend), played by Liliana Flores
Helena (Martín’s mother), played by Dominique Sanda
Nicolás (Martín’s father), played by Marc Berman
Paizinho, played by Chiquinho Brandao
Tito the Hopegiver, played by Carlos Carella
Américo inconcluso, played by Kike Mendive
Martín’s musician friend, played by Fito Páez
Crew
Director: Fernando Solanas
Producers: Envar El Kadri, Fernando Solanas
Executive Producers: Assunção Hernandes, Djamila Olivesi, Luis Figueroa, Grazi Rade
Screenplay: Fernando Solanas
Cinematography: Félix Monti
Sound: Aníbal Libenson
Art Director: Fernando Solanas
Editors: Alberto Borella, Jacqueline Meppiel
Music: Egberto Gismonti, Astor Piazzolis, Fernando Solanas
Assistant Director: Horacio Guisado
Produced by: Cinesur (Argentina) and Les Films du Sud (France), in association with Films A 2 (France), Televisión Española (Spain), TVE S.A. (Spain), Channel Four (UK), Instituto Mexicano de Cine, IMCINE (Mexico), Ministère de la Culture et des Grands Travaux (France)
Award
Grand Prix Technique de la Commission Supérieure Technique, International Film Festival, Cannes, 1992
Plot
In the establishing scenes of the film, a 17-year-old Argentine boy, Martín, sees a number of buildings crash to the ground on what looks like a lake of ice. Set in Ushuia, in Tierra del Fuego, at the southern tip of Argentina, we witness the daily routine of a school – a Colegio Nacional Modelo – but it soon becomes clear this is no ordinary school: it starts snowing indoors, enormous framed paintings pictures of Argentina’s famous statesmen of the past – Sarmiento, etc. – keep crashing to the floor, and – to cap it all – the horse from San Martín’s statue is stolen. We cut to a depiction of Martín’s home life; we learn that his father left when he was young – leaving him a book of advice and also a cartoon strip based on his travels. It is clear that Martín does not get on at all with his step-father. He goes to see his girlfriend. The world – amazingly – starts tipping backwards and forwards like a boat. The musician leaves to go to Buenos Aires. The school brings a new statue of San Martín on his horse but it flies away. Martín has a fight with his step-father, then finds that his girlfriend has been forced to have an abortion. He decides to leave in search of his father. He takes his bicycle on his travels, first passing by the Magellan Straits, then visiting Patagonia.
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- Information
- A Companion to Latin American Film , pp. 154 - 161Publisher: Boydell & BrewerPrint publication year: 2004