Festival:
The 16th annual EDOC – Encuentros del Otro Cine
Dates:
May 10-21
About:
More than 60 new features screen at Ecuador’s largest nonfiction festival in both Quito and Guayaquil.
The festival’s programming is organized into several thematic sections, including national cinema focused How You See Us, How We See You, with such titles as: Javier Andrade’s 52 SECONDS, a meditation on the aftermath of a destructive Ecuadorian earthquake; Jorge Juan Anhalzer and Isabel Dávalos’ LLANGANATI (pictured), about a search for an ancient Incan treasure; Miguel Garzón’s TAYOS, which revisits a 1976 expedition to explore an Amazonian rainforest cave; Amaia Merino and Fernanda Sosa’s LAND OF WOMEN: RURAL WOMEN’S LIFE STORIES; and Xiana Yago’s WOMEN DECIDE, which explores teenage pregnancy and secret abortions in the country.
Arts and culture are spotlighted in Ways Together, Separate Roads, which includes Álvaro Torrelli and Beatriz Osorno’s SINCE YOU DANCE, about long-term professional dancing partners; and in The Power of Art, which features Alejandra Aguirre Ordóñez’s OFF STAGE (pictured), a profile of a contemporary dance company in Cuba; Julio Fernández Talamantes’ BRONZE MEXICANS, about a prison program focusing on rap; and Claudia Varejão’s IN THE DARKNESS OF THE CINEMA I TAKE OFF MY SHOES, on the 40th anniversary of the National Ballet of Portugal.
Other sections include Family Affairs, which offers Eduardo Crespo’s CRESPO (THE CONTINUITY OF MEMORY) (pictured), a road movie about a son and an absent father; and Mariana Manuela Bellone and Juan Manuel Varela’s A TIGER ON THE TABLE, a portrait of a taxidermist and his family; A Great Weight in Small Shoulders, with Melissa Liebenthal’s LAS LINDAS, in which the filmmaker interrogates female beauty through the experiences of her friends; and Diego Marcone’s RAÍDOS, about the dead-end jobs of Argentine yerbe mate harvesters; and Political Memory, with Facundo Beraudi’s THE MEMORY OF BONES, on the work of Argentine forensic anthropologists to identify victims of forced disappearances; and Andrés Lübbert’s THE COLOR OF THE CHAMELEON, about the filmmaker’s father, a secret service agent under Pinochet; and Panorama, which offers Florence Jaugey’s SUNFLOWERS FROM NICARAGUA, which follows sex workers who have been legally deputized to resolve disputes within their profession.
what (not) to doc 