Vale mining is finally forced to pay compensation to Minas Gerais state, but the victims of the Brumadinho disaster are not consulted. In Chile, Antofagasta mining faces strike action. From LAB's London Mining Network blog.
These independent Latin American film productions have been carefully selected by Gianna Giordani to showcase the continent's cinematic diversity and artistic mastery.
From 1975-1977 I was the volunteer co-ordinator for the Catholic Institute for International Relations (CIIR) in Honduras and Nicaragua. This was a time when the Sandinistas were building their support in Nicaragua against the Somoza regime and Honduras had just been through the short-lived ‘football war’ with El Salvador.
Enrique Monteverde, a detached ex-dictator, is on trial for genocide. The Monteverde family, in lockdown, slowly loses control. With the help of a new maid, Alma, they must face up to the horrors they’ve continued to deny for decades - by recognising the dead.
Many communities remain unsafe and uncompensated in Brumadinho, Brazil, two years after the worst dam disaster in Latin American history at the Córrego do Feijão iron ore mine in south-eastern Brazil on 25 January, 2018, which left up to 270 people dead.
“I wanted to capture what was happening in Chile and to pay homage to the strength and commitment of the Chilean people. They are taking on neo-liberalism and a militarised state with stones and trumpets. This is a lesson for the rest of the world, we can learn so much from them."
All over the world leaders have celebrated the beginning of vaccination in their countries, some of them taking the first jab themselves. But when the first vaccines were administered in São Paulo on Sunday, Jair Bolsonaro sulked in silence in his palace.
The short film El Silencio del Rio, ‘The Silence of the River’, by Peruvian director Francesca Canepa, won the Grand Jury Award at the Oscar-qualifying Calgary International Film Festival and is currently longlisted in the Best Short Film category for the 2021 Academy Awards. Mathilde Aupetit considers the film’s blurring of dream and reality in order to present an Amazonian perspective, and its representation of the narrative power of nature.