The African-American pueblos lean deeply into their spirit, the black women are secondary human beings, they are attacked by racists and sexists, their employer has to dedicate themselves not only to the direction and production, but also to the narration… and so on el cine se I have evolved into a form of inclusion in the countries of Central America and the Caribbean, generally for various reasons such as polarization.

As I made comments at the beginning of the panels of the second season of the eighth year and reflected on audiovisual media in the regional context, there were a number of fundamental event themes of the New Latinoamericano Cinema Festival, which in this edition revolved around priority issues for the industry, more Allá , para la gente.

Between them and the imaginary hegemonics they walked into the afrodescendientes pueblos; audiovisual heritage and historical memory; the retos of the distribution of independent films in the region; the evolution of Latin American and Caribbean films marking 45 years of the festival; and new production and distribution models, as well as formation, among others.

Organized and supported by the Festival, the Instituto de Información y Comunicación Social, the Fundación del Nuevo Cine Latinoamericano and the Instituto Cubano del Arte e Industria Cinematográficos, the recurring space has been created and created by national and international experts for seventy years and “an Ambito The Exchange of experiences, reflections and critical thoughts to say goodbye, together with the great expectations that arise in the present of cinema and the regional interfere with audiovisual media.

On this line, the board on heritage, preservation and memory of audiovisual media in this geographical geographical area was demonstrated as the way of filming, costumes and traditions of a particular authority, or the reflection of some subjects did not allow to preserve these legacies alone , without anyone having contributed que se le dé bravery, a que se sepa que existen.

For the experts Ilona Murcia and Daniel Rincón from Colombia, the film is a cultural identity and education vehicle; I allowed myself to live in a multicultural nation like Suya, and I got to know different Afro communities and get to know the deep heritage of the Pueblos.

It is explained that the Afro-Colombians, Negroes, racists and Palestinians in Seal XXI transformed their cinematography into the protagonists (torn and separated from cameras).

Colombian filmmaker Teresa Saldarriaga had her filmmaking experience in San Basilio de Palenque, “an African community in Colombia before time.”

At that moment it was that I could no longer read the language because the professors had recently lost a Spanish. Before this other colonization, since it was not particularly important to you, the film recovered and expressed its identity and all its manifestations, including rituals, rituals and communal practice.

“I adopted the documentary form due to a process explained to the director. I believe that you were a craftsman. I felt happiness for this language, which was a vehicle lost in thought, and the mistress was hers and she was happy to use it.

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