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The other film has everything and nothing to do with Latin America.
The 1966 movie , directed by Gillo Pontecorvo, takes place in North Africa and depicts the Algerian War against French colonial rule.
One of the reasons we struggled so hard to limit the scope of this issue was to ensure that we could keep publishing this academic year, business as usual.
Indeed, this entire issue of —not just the personal blurbs about film—has been an exercise in limitation.
So in a sense this issue of Re Vista represents not a retrospective nor a conclusion, but the beginning of a dialogue.
By Brad Epps Recent film trends in Latin America and beyond cannot be understood without examining new technologies and their impact on new narrative forms.
A bastion for politically charged counter-cinema in the 1960s and 1970s, Latin American filmmaking entered a long transitional period during the 1980s that abruptly ended with the emergence in the 1990s of young and frequently iconoclastic directors such as Alfonso Cuarón, Lucrecia Martel, Walter Salles, Guillermo del Toro and Pablo Trapero.
This new generation of incredibly talented directors has redefined what Latin American cinema means today through a body of work that offers one of the more exciting topics in recent Film Studies, as testified to by the fascinating scholarship and criticism offered in this special film issue of Re Vista on which I am pleased and honored to have served as a special editorial advisor, along with Brad Epps.