Showing posts with label movies. Show all posts
Showing posts with label movies. Show all posts

Tuesday, September 12, 2023

Geopolitical Monitor: "The Geopolitical and Security Impacts of Seabed Mining"

 

"The Geopolitical and Security Impacts of Seabed Mining"

Wilder Alejandro Sanchez

Situation Report

Geopolitical Monitor

12 September, 2023

Originally published: https://www.geopoliticalmonitor.com/the-geopolitical-and-security-impacts-of-seabed-mining/

 The summer blockbuster movie, The Meg 2: The Trench, focuses on prehistoric sharks, among other sea creatures, battling against Jonas, portrayed by Jason Statham, and his friends. A side plot of the movie concerns a particularly topical issue in the real world: seabed mining.

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Thursday, September 24, 2020

Geopolitical Monitor: The Mulan Scandal and China’s Central Asia Problem

"The Mulan Scandal and China’s Central Asia Problem"

Wilder Alejandro Sanchez

Opinion

Geopolitical Monitor

24 September, 2020

Originally published: https://www.geopoliticalmonitor.com/the-mulan-scandal-and-chinas-central-asia-problem/

The scandal surrounding the remake of the Disney movie Mulan has again drawn international attention to the egregious human rights violations of Uyghurs and other minorities living in Xinjiang (also known as East Turkestan) in the People’s Republic of China. 

The Mulan controversy

Principal photography of Mulan took place in 2018 in New Zealand, as well as several locations in China. In the credits of the film, “Disney offers ‘special thanks’ to eight government entities in Xinjiang, including the public security bureau in Turpan, a city in eastern Xinjiang where several re-education camps have been documented.” When these names were noticed by moviegoers, the situation went viral and subsequently attracted international media attention. Online condemnation followed, including calls to boycott the film.

The situation in Xinjiang has been widely reported, as Beijing jailed tens of thousands of Uighurs, accusing them of inciting violence and terrorism. International human rights organizations have stated that this strategy amounts to cultural genocide, as Uyghurs in said camps are tortured and subjected to brainwashing to erase their identity. Government documents leaked in 2019 explain in detail some of Beijing’s methods and procedures in the camps. Some norms include: “increase discipline and punishment of behavioral violations,” and “make remedial Mandarin studies the top priority.”

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Sunday, August 30, 2015

E-IR: Review – The Man From U.N.C.L.E.



"The Man From U.N.C.L.E."
W. Alejandro Sanchez
E-International Relations
August 28, 2015
Originally published: http://www.e-ir.info/2015/08/28/review-the-man-from-u-n-c-l-e/



The Man From U.N.C.L.E.
Director: Guy Ritchie
Year of Release: 2015
The Man From U.N.C.L.E., released in August, has so far received mostly positive reviews and has performed well in the box office. While this action-comedy-spy film will not break any attendance records, it could be the start of a new espionage franchise. The Man from U.N.C.L.E. is an entertaining production, but there are aspects regarding intelligence operations in the film that, from the perspective of international relations experts, should be discussed.
The Plot
A basic summary of the plot is necessary to properly assess the movie’s qualities and shortcomings from an international relations standpoint. [1] (Warning, this will contain plot spoilers).
The movie centers around two intelligence operatives, an American CIA agent, Napoleon Solo (played by Henry Cavill) and a Soviet KGB agent Illya Kuryakin (played by Armie Hammer).  The year is 1963, and the two agents are ordered to work together to locate a missing scientist suspected of working for an Italian corporation whose owners have ties with the Nazis. To make matters worse, the Italians are trying to develop a nuclear bomb. Solo and Kuryakin’s are charged with stopping the would-be terrorists with the help of Gabby Teller (played by Alicia Vikander), who is a relative of the aforementioned scientist.
Ultimately, the trio saves the day and foils the villain’s plan. Thanks to their successful mission, Solo, Kuryakin, and Gebber are told in the closing scene that they will now work for a new multinational intelligence agency led by a British agent: the United Network Command for Law Enforcement (U.N.C.L.E.).
An Underutilized Female Lead
Perhaps the biggest problem with The Man From U.N.C.L.E. is the underutilization of the female lead, Gabby Teller. Apart from an exciting car-chase at the beginning of the movie and a couple of amusing jests, Teller does not play an important role in stopping the Nazi sympathizers. This marginalization is even more troubling when it is revealed that she is actually an agent for the British intelligence agency MI5, unbeknownst to the CIA and KGB.
The writers arguably did not give Teller a big role because the focus  was on Solo and Kuryakin; after all, they are the main characters of the film.
With that said, real-life female intelligence agents and informants have played an important part in intelligence agencies and operations throughout 20th century global conflicts. We cannot provide a comprehensive list of all female operatives, but one prominent name is Ethel Rosenberg, who, along with her husband, was executed in 1953 by the United States for providing Moscow with information on the atomic bomb. A more recent case is Anna Chapman (born Anna Kushchyenko), a Russian who migrated to the United States for espionage but was arrested, along with members of a spy ring, by U.S. authorities in 2010. She was returned to Russia as part of a prisoner swap. (For a complete list of female spies during World War I and World War II, click here). Teller does some undercover work, however it does not appear critical to the film’s plot; at least not as critical as that done by real-life female spies.
Aside from giving her greater importance in the espionage plot, the film’s producers could have allowed Teller to be more physically active (to add to the car chase scene and one quasi-fight with Kuryakin), considering that Cold War era spies would have been inspired by the heroines of World War II; known for their courage in the field. One major example is the New Zealander Nancy Grace Augusta Wake, AKA “The White Mouse,” who worked in occupied France for the Allies and at one point killed an SS Sentry with her bare hands.
Should The Man From U.N.C.L.E. get a sequel, Teller will hopefully play a larger and more pivotal role in future U.N.C.L.E. operations. This adjustment would be a respectful homage to the female operatives who risked their lives for their countries and governments, regardless of which side of the iron curtain they were on.
Joint Intelligence Operations
Another important feature in The Man From U.N.C.L.E. are intelligence services actively working with each other. The events in the movie take place in 1963, at the height of the Cold War after the Cuban Missile Crisis of 1962. It would have been bizarre for the CIA and KGB to choose to collaborate, but the underlying idea is that the evil Nazi organization’s ambition to obtain a nuclear bomb is a threat that temporarily supersedes tensions between Washington and Moscow. In other words, the saying “the enemy of my enemy is my friend” is the reason Solo and Kuryakin find themselves working together.
The idea of allies fighting against a common threat is, of course, nothing new. However, the idea of Washington and Moscow jointly countering a major threat in 1963 demands further analysis. One can certainly point to World War II, when the Allies and Russia united against the Nazi threat. Moreover, after the 9/11 attacks and the rise of Al Qaeda there was an (unfortunately brief) era of cooperation again between Washington and Moscow. For example, “on July 6, 2009, Moscow and Washington signed theMilitary Transit Agreement on regular transit of US military equipment and personnel to Afghanistan over Russian territory.” Finally, even though Cold War-era tensions have started to resurface, especially because of to Russia’s role in the conflict in Ukraine, Washington and Moscow have recently tried to promote intelligence sharing to jointly confront the Islamic State.
Around the world there have also been initiatives to combat common security threats between one-time foes. For example, there have been instances of collaboration between the Israeli Defense Forces and the Egyptian military to counter al-Qaeda-affiliated terrorist groups; between the Israeli and Lebanesenavies in the Mediterranean; between the Pakistani and Afghan intelligence services to combat terrorism, and between Peru and Chile against money laundering and terrorism. In other words, there are precedents that indicate that the Hollywood imagined CIA-KGB partnership could have occurred.
Numerous analysts have discussed the necessity to share intelligence information, particularly to combat non-traditional global threats with “an international approach,” because it will bring different perspectives and help create more common vocabularies and decrease misunderstandings.[2] Some scholars also stress, “if you do not share information, you can have only marginal success in fighting global terrorism. On the other hand, by sharing information, you can also get burned … there is an unwritten rule, which is called ‘trust.’”[3]
The Man from U.N.C.L.E. portrays the necessity for two enemy states to put aside their differences in order to fight a different kind of threat: a non-state actor that wishes to obtain a weapon of mass destruction. That does not mean that Solo or Kuryakin fully trust each other, though, which is illustrated in a memorable scene where they throw the transmitters/recording devices at each other that they had placed in each other’s hotel rooms. Similarly, MI5 does not inform the CIA and KGB until late in the operation that Teller, who everyone thought was a civilian, is actually an undercover agent working for the British. In that sense, the movie is accurate, as even close allies will likely want to retain some intelligence information, even from their most trusted partners.
The U.N.C.L.E. Utopia?
One final aspect worth discussing occurs at the end of The Man From U.N.C.L.E. After the world is saved, a MI5 agent announces the creation of a multinational agency, U.N.C.L.E. The MI5 agent will be its director, and it will have the CIA’s Solo, KGB’s Kuryakin, and M15’s Teller as its agents. Presumably, Solo and Kuryakin’s respective bosses have approved this initiative. U.N.C.L.E’s objective is not specified in the film, though it can be assumed that it will deal with global security threats. (In the 1960s TV show, U.N.C.L.E.’s main adversary was another fictitious organization, called T.H.R.U.S.H.).
The idea of a multinational agency that will carry out security operations throughout the world has existed since World War II at various levels. For example, we have the United Nations (UN), which carries out peacekeeping (or sometimes peace-enforcing) operations in conflict zones around the world. Moreover, organizations like the North Atlantic Treaty Organization (NATO) and the European Union (EU) have long discussed the idea of creating a standing army made up of their members. The closest the EU has come to achieving this goal is the creation of a Rapid Reaction Force. As for law enforcement, the International Criminal Police Commission, most commonly known as INTERPOL, was created in 1923 to promote police cooperation among its member states. There are also regional law enforcement initiatives, namely the European Police Office (EUROPOL) and the Latin American & Caribbean Community of Police Intelligence (CLACIP).
As for multinational intelligence operations, these are (unsurprisingly) more difficult to identify, but we know of the existence of a few; for example, there is the Intelligence Directorate of the European Union’s Military Staff (INTDIV) and the Join European Union Situation Center (SITCEN). Meanwhile, NATO has an intelligence division under its International Military Staff. It would not be inconceivable that other blocs of close allies may develop an intelligence branch. One possible example could be the Shanghai Cooperation Organization, which has Russia and China as its two leaders and has been promoting security among its members to combat terrorism in Central Asia. This agency even has a security branch called the Regional Anti-Terrorist Structure of SCO (RATS SCO). Nevertheless, there is too much distrust and too many competing interests between Moscow and Beijing for such an initiative to fully develop á la SITCEN or NATO. With that said, as with the CIA, MI5 and KGB in The Man From U.N.C.L.E., sufficient common external threats could bring two or more competitors together.
As for multinational intelligence agencies openly working with each other and carrying out operations, one well-known example is the controversial “Alliance Base,” a Paris-based organization that brought together countries like the United States, France, the United Kingdom, and other close allies.[4] The objective of the agency was to crack down on Islamic extremist elements.
The aforementioned examples demonstrate that multinational intelligence agencies like the fictitious U.N.C.L.E. can exist because they have in the past. Nevertheless, a major global security threat would be necessary to bring foes together to cooperate at the intelligence level, as this would mean discussing information (and sources of information) that agencies would probably prefer to not disclose (i.e. MI5 not informing the other agencies about Teller’s true identity). Moreover, the idea of intelligence supranationalism, or, to put it in U.N.C.L.E.’s terms, that a CIA agent will take orders from an MI5 officer (seemingly without having to consult his/her superiors at Langley first), is a concept that needs to be further researched. But given the covert nature of intelligence work by default, finding concrete examples to argue or not whether an U.N.C.L.E.-type organization can exist today would require significantly more information than is publicly available.
The U.N.C.L.E. Should Return
There has been no word yet whether The Man From U.N.C.L.E. will have a sequel, though one would provide, as one critic argued, the “zany fun, the unashamedly silly dialogue, the dryly delivered non-sequiturs, and the old fashioned sight-gag humor” featured in the first movie. From a cinema-goer’s perspective, it would be a welcome development to have an espionage franchise that does take itself seriously, á la James Bond, Jason Bourne and Mission Impossible (for the record, I am a fan of these series as well).
Moreover, at the scholarly level, it would be interesting to see more movies that take place throughout the Cold War, in order to analyze their plausibility in comparison to real events. For example, The Man From U.N.C.L.E. properly approaches the challenges of intelligence cooperation between two or more agencies in order to combat a common foe. There certainly have been many cases of this collaboration, including real-world rival governments that have put aside some of their differences as they recognize that, in order to fight a non-state threat, cooperation is key. On the other hand, the movie underutilizes some of its main characters, particularly the female lead; hopefully future adventures allow the Gabby Teller character to develop so she can properly portray the valuable role female intelligence officers played during World War II and the Cold War. As for whether a multinational intelligence and surveillance agency like U.N.C.L.E. could exist, there are modern-day examples, but these have been successful due to the close governmental relationship among its members, something that was lacking in the 1960s between Washington and Moscow.
Overall, The Man From U.N.C.L.E. is an enjoyable movie for moviegoers in general; while for IR scholars, it will provide a fun opportunity to observe how many mistakes, or accuracies, the film depicts with regards to the real Cold War.

Notes
[1] There was a television show of the same name that aired in the 1960s. Parallels, or lack thereof, between the show and the movie will not be discussed in this review.
[2] Janine McGruddy. “Multilateral Intelligence Collaboration and International Oversight.” Journal of Strategic Security. Volume 6 / No. 5. Fall 2013: Supplement: Ninth Annual IAFEI Conference: Expanding the Frontiers of Intelligence Education. Article 24. P. 215.
[3] Katarina Zivanovic. “International Cooperation of Intelligence Agencies against Transnational Terrorist Targets.”  Consortium Quarterly Journal. Winter 2008. P. 139 http://www.isn.ethz.ch/Digital-Library/Publications/Detail/?id=96983
[4] Dana Priest, “Help From France Key In Covert Operations,” The Washington Post, July 3, 2005.http://www.washingtonpost.com/wp-dyn/content/article/2005/07/02/AR2005070201361.html

Sunday, January 4, 2015

VOXXI: 2014: A good year for Latin America’s film industry?

"2014: A Good Year for Latin America's Film Industry?"
W. Alejandro Sanchez
VOXXIOpinion
January 4, 2015

Originally published: https://voxxi.com/2015/01/good-year-latin-americas-film-industry/

Latin America’s film industry had an interesting 12 months, with both hits and misses. No film company in the region can spend anywhere close to one of Hollywood’s summer blockbusters, but there were several new Latin American films this year with promising successes.
While Latin American films sporadically make a big splash in the U.S. market (The Motorcycle Diaries is a rare example), that does not mean that they cannot be highly profitable at home.
2014 productions
The departing year will end with some important milestones regarding Latin American films. Case in point is the Venezuelan mega-production about the South American hero Simon Bolivar. ‘The Liberator’ was very well received in Venezuela, it was also released in the U.S. and has made the short list for Best Foreign Language Film for the 2015 Oscars.
Meanwhile Cuba made headlines by producing ‘Meñique,’ its first animated 3D film. The movie was produced with help from a Spanish production company and did well for a kids-oriented film. (The Cuban songwriter Silvio Rodríguez wrote four original songs for the film).
As for Peruvian films, the most successful domestic production was ‘A Los 40,’ a comedy which revolves around a high school reunion. The second highest grossest film “hecho en Peru” was a suspense thriller entitled ‘Secreto Matusita.’
Additionally, the highlight of the Mexican film industry this year was ‘La Dictadura Perfecta,’ a controversial political satire of current President Enrique Peña Nieto’s administration. The film opened on Friday, October 16, with a strong 1.7 million tickets sold on its debut. Nevertheless, there was one disappointment: ‘La Hija de Moctezuma,’ a comedy starring the renowned actress Maria Elena Velasco (aka La India Maria), which did not perform well upon its domestic release.
It is important to stress that Latin American countries are producing more films than ever before. For example, while it did not have any major domestic blockbusters, Colombia produced 28 films this year. According to the country’s Ministry of Culture, since 2010, Colombia has screened a total of 96 domestically-made films and 2014 set a record regarding how many movies were produced.
What do consumers want?
Certainly, apart from counting how many movies were made, it is important to know how many people went to see domestically-made movies.
Around 3.8 million tickets were sold for all Peruvian films screened this year, and ‘A Los 40,’ took the lion’s share with some 1.7 million viewers. In second place came ‘Secreto Matusita,’ with around 510 thousand. This would be a poor attendance record for a Hollywood production but they are fairly high for the Andean nation. In fact, ‘A Los 40’ is now the second highest grossing Peruvian film ever.
Nevertheless, in spite of a successful couple of movies, attendance has actually decreased: 4 million people saw Peruvian films in the past year, in comparison to only 3.8 million in 2014. A similar situation is occurring in Mexico: between January and October of this year, some 202 million tickets were sold for 516 movies, both domestic and foreign. This a drastic decrease to the 257 million tickets sold during the same period last year for when even fewer movies, 475, had been screened.
The question then becomes how will Latin American film producers, directors and script writers adapt to make their movies more competitive in the local market. One option is to make them more “Hollywood-esque:” with a focus on action, special effects, cheap jokes and simple plots instead of substance. It comes as no surprise, thus, that sequels are already being produced for ‘Asu Mare,’ the highest grossing Peruvian film ever, as well as ‘Cementerio General,’ a Peruvian successful horror film. Both movies came out in 2013 and while commercially successful, they did not have particularly intriguing plots.
Moreover, it is true that Latin American film industries are attempting to attract Hollywood productions to their countries. This would help local actors, directors and technicians learn from their more experienced American counterparts, and would also be a major boost to the local economy. One example of this is Colombia, which passed a law in 2012 that provides financial incentives to foreign directors if they film in that country.
Nevertheless, a concern regarding these initiatives is that future Latin American films will resemble Hollywood films and loose some of the Latin American style of directing, plots and themes.
It is unlikely that this will happen, at least not in the near future, as domestic films are still well received by the general Latin American population, though obviously not in the numbers that local film industries would like. Mexican actress Monica Huerta, who starred in 2014’s ‘El Crimen del Cacaro Gumaro,’ argues that “Mexican [film] productions are exciting and give diversity to the [film industry.]

Hopefully in 2015 more audiences will choose to watch domestically made films throughout the region instead of endless Hollywood sequels.

Sunday, August 10, 2014

VOXXI: ‘The Liberator,’ film about Simon Bolivar to open in the US

"‘The Liberator,’ film about Simon Bolivar to open in the US"
W. Alejandro Sanchez
VOXXI
August 8, 2014
Originally published:http://voxxi.com/2014/08/08/the-liberator-film-simon-bolivar/


“The Liberator,” which premiered in Venezuela on Thursday, July 24, will open in the U.S. on August 22.
The movie narrates the life of Simon Bolivar, one of South America’s most important heroes during the 19th century independence wars against the Spanish Empire. While “The Liberator” probably will not make $1 billion USD at the box-office like ‘Transformers 4,’ the movie’s production value is a major accomplishment.
Production
The budget for producing ‘The Liberator’ was an approximate $50 million USD, more than a significant amount for any Latin American production company. It is important to stress that it did not receive funds from the Venezuelan government. The film is a co-production of Venezuela’s Producciones Insurgentes and Spain’s San Mateo Films.
‘The Liberator’ stars the Venezuelan actor Edgar Ramirez as Simon Bolivar and was directed by the renowned Venezuelan director, Alberto Arvelo. It was filmed in various Venezuelan and Spanish cities like Caracas and Segovia, respectively. The tagline of the film’s English poster is the provocative question “What kind of Man would Defy an Empire?”
According to reports, ‘The Liberator’ has already been a big hit, some 90 thousand people saw the film in its first weekend out in Venezuela. Meanwhile, Ramirez has received positive reviews for his portrayal of the South American hero. Nevertheless, some movie critics stress that the film summarizes Bolivar’s 47-year lifespan in two hours skims over important events.
History and Modern Politics
In spite of its success, ‘The Liberator’ has caused controversy. Ramirez has remarked how Bolivar’s image and legacy “has been utilized by the Latin American right and left for several years.” He added that the late-Hugo Chavez of Venezuela was “obsessed’ with Bolivar. While actors usually try to stay away from politics when promoting a film, Ramirez has been outspoken about his beliefs.
A fellow actor, Roque Valero, in turn critiqued Ramirez’s remarks. He tweeted that “Chavez did not speak about Bolivar obsessively, he simply taught us to be Bolivarians and that cannot be matched with special effects.”
The Venezuelan media speculates that Valero may be jealous. He recently starred as Bolivar in a government-supported movie entitled ‘Bolivar el hombre de las dificultades,’ whose success paled in comparison to ‘The Liberator.’
Artistic differences aside, the Venezuelan government has welcomed “The Liberator,” with PresidentNicolas Maduro already a fan.
He argued that Ramirez’s portrayal of Bolivar “is the most pro-Chavista Bolivar that we have seen […] Edgar Ramirez turned [Bolivar] into a human being of flesh and bone, into our liberator.” President Maduro also praised the other ‘Bolivar’ film, which Valero starred, but it seems like the Venezuelan leader preferred the recently-released adaptation.
Conspiracies and Artistic Licenses
As for the aforementioned references to the late Chavez, he was a well-known fan of Bolivar. In 2010 he took the very controversial decision of exhuming Bolivar’s body to determine how he died in 1830.
It is generally accepted that Bolivar died of tuberculosis. However, some people, including the late Venezuelan leader, believe that he was murdered. Ultimately, a 2012 report by the doctors who examined Bolivar’s remains determined that he had died of chronic breathing problems, not tuberculosis (nor was he murdered).
The movie’s ending has also been critiqued. Instead of Bolivar dying due to sickness (either tuberculosis or breathing problems), he is murdered by a group of conspirators. The screenwriter, Timothy Sexton, argues that “when you make a historical movie you have to take certain [artistic] licenses, but you have to remain faithful to [actual] events.”
The film may just be a film, but even commercial productions have to be placed in the proper context.
Theoretically Caracas did not have influence on the script or how Bolivar was portrayed because it did not fund film. But is the film ending a sign of Caracas’ influence or simply a decision by the producers? Moreover, should movies be allowed to change important events, i.e. how an international hero died, in order to add dramatic shock value?
A U.S. Hit?
‘The Liberator’ is already a hit in Venezuela and its momentum will likely translate into a good reception across Latin America. It will be important to see how the film performs when it is released in the U.S. in late August.
A recent study highlights how fewer Hispanics actors and actresses have major roles in Hollywood movies, but that does not mean that Latin American movies cannot do well in the U.S. market (i.e. ‘Motorcycle Diaries’ in 2004). We could see such a development with ‘The Liberator.’

Thursday, July 31, 2014

Blouin Beat: World - ‘Paradise Lost:’ Benicio del Toro plays Pablo Escobar


"'Paradise Lost:' Benicio del Toro plays Pablo Escobar"
W. Alejandro Sanchez
Blouin Beat: World
July 30, 2014
Originally published: http://blogs.blouinnews.com/blouinbeatworld/2014/07/30/paradise-lost-benicio-del-toro-plays-pablo-escobar/


The renowned actor Benicio del Toro will become the infamous Colombian drug lord Pablo Escobar in the upcoming movie ‘Paradise Lost,’ written and directed by Andrea di Stefano. To what extent del Toro will play a convincing Escobar remains to be seen. At the very least, ‘Paradise Lost’ is yet another recent production portraying the Colombian drug trafficker. Over two decades after Escobar’s death, his life remains captivating to the masses.
Taping began in March 2013 and, after much waiting, a teaser trailer was released online in mid-July. The film will premiere in October in Spain and be released the following month in France.
The plot of di Stefano’s newest movie does not focus on Escobar himself, though he is obviously a prominent character. The film largely centers on a young American who travels to Colombia and falls in love with a young Colombian woman, whose uncle turns out to be Escobar. From the short teaser, del Toro seems to be portraying Escobar as a ruthless drug lord without much of a humane side.
As previously mentioned, this is not the first time that Escobar’s life has been adapted to either a movie or a TV series. In 2012, Caracol TV, a Colombian television station, produced a soap opera entitled ‘Pablo Escobar: El Patron del Mal’ (‘Pablo Escobar: The Drug Lord’).
Additionally, the drug lord’s son, Sebastian Marroquin (he changed his name after his father’s demise), is also profiting from his father’s legacy. Marroquin’s clothing line, Poder Poder, produces clothes that prominently display Escobar’s image, like t-shirts with Escobar’s birth certificate or his arrest warrant.
Other projects that discuss Escobar’s life include the 2009 documentary ‘Pecados de mi Padre’ (‘Sins of my Father’), which includes interviews with his son Sebastian, and Escobar’s widow Maria Isabel Santos. Escobar’s life and death was also reviewed in the 2001 book Killing Pablo: The Hunt for the World’s Greatest Outlaw, an in-depth analytical biography of the Colombian criminal by the renowned author Mark Bowden. In his book, Bowden discuses Escobar’s life, from his childhood to how he became the leader of the infamous Medellin Cartel in the late 1970s and 1980s.
Escobar finally met his end during a raid on one of his safe houses by the Colombian police in 1993. Nevertheless, it is worth noting that there are theories that the U.S., which at the time provided Colombian security agencies with financial and technical aid to crack down on drug trafficking and stop Escobar, may have been behind the Colombian’s death. (Moreover, a new book by Diego Murillo, an imprisoned Colombian drug lord, claims that his brother shot Escobar)
In a 2012 report entitled “Violent Threads: From Routine Murder to High Fashion” for the Council on Hemispheric Affairs I discussed Poder Poder’s potential ramifications on how Escobar is remembered today. In the aforementioned report I point to how new generations of Colombians are presently growing up without having suffered through years of “Escobar-authored terrorism.” They have not had to read daily news reports about the assassinations of politicians, police officers and journalists that occurred as a result of his orders. With that said, I would be remiss not to acknowledge the initiatives that the drug lord carried out in his native Antioquia (a northern department in Colombia) to help the local population, like building football fields and electric towers.
Producing a film or TV series about a real-life individual is always tricky, particularly a criminal as controversial as Pablo Escobar. We still have to wait a few months to see how Benicio del Toro portrays the deceased drug lord in ‘Paradise Lost.’ While some of the characters of this movie are fictional, Escobar was a very real individual and his legacy will continue to have a profound effect on Colombia for years to come.

Friday, July 25, 2014

VOXXI: ‘Meñique’ is Cuba’s first 3D animated film


"‘Meñique’ is Cuba’s first 3D animated film"
W. Alejandro Sanchez
VOXXI
July 25, 2014
Originally published: http://voxxi.com/2014/07/25/menique-cuba-3d-film/

“Meñique” , Cuba’s first 3D animated film, was released in Cuban cinemas this month; the Cuban media has hyped the film, which is expected to be a hit with the Cuban population, particularly younger viewers.
Leaving aside potential earnings both domestically and abroad of “Meñique”, the fact that embargo-crippled Cuba is now producing 3D animated films is a milestone achievement.
A 3D movie
“Meñique”(“Pinkie”) is inspired by Edouard de Labouyale’s famous work “Tom Thumb,” which was also adapted by the famous Cuban writer José Martí for his children’s magazine La Edad de Oro (The Golden Age). The plot of this children’s movie is fairly simple: A young peasant wants to help his family emerge from poverty, and while attempting to do so, he falls in love with the king’s daughter.
The film debuted on July 20, Children’s Day in Cuba, in cinemas across the island.
“Meñique” was directed and written by the Cuban Ernesto Padrón (brother of Juan Padrón, who directed the Cuban animated film “Vampires in Havana” in 1985). The soundtrack was composed by the Cuban songwriter Silvio Rodríguez, who also wrote four original songs for the film.
Meñique is a co-production between the Cuban arts institute Estudios de Animación del Instituto Cubano del Arte e Industria Cinematográficos and the Galician company Ficción Producciones. The film reportedly required six years to complete, and over 200 artists and designers (including 34 from Spain) took part in the project. Other organizations involved in the film included the Cuban Universidad de Ciencias Informaticas and the Venezuelan Fundación Villa del Cine. The budget of “Meñique” was roughly four million dollars USD. As a point of comparison, the 2013 hit “Frozen” had a budget of $150 million USD.
Cuban Vice-President Miguel Díaz-Canel attended “the premiere of “Meñique” in Havana, declaring, “I am very proud that we have made this film.”
While this is a predictable compliment, it’s important to keep in mind that Díaz-Canel is viewed as the next president of Cuba, as Raul Castro has tipped him as his successor. If he does indeed come to power, the current vice-president may choose to further support Cuban cinema initiatives.
“Meñique” has already been showcased in international events, most notably at Animazine, a film festival in Malaga, Spain. It has also been commercialized in Spain, France, Germany and South Korea.
Latin America’s film industry
Plenty of lists are available online regarding the most famous Latin American films, so we will not delve into them (for examples, check out Forbes’15 Highest-Grossing Mexican films or a Top 25 list of Latin American movies).
Suffice to say, the region has had several internationally successful films over the decades. Among these are Brazil’s “City of God,” Mexico’s “Amores Perros,” Mexico’s “Y Tu Mamá También” and Brazil’s “Pixote”. In 2009, the Argentine film “El Secreto de Tus Ojos” won an Oscar for Best Foreign Film, while the Peruvian film “The Sorrow Teat” was also nominated. Cuba also produced the 2011 hit film “Juan of the Dead,” a zombie terror-comedy.
While Latin American films can be successful, they have also received harsh reviews. Namely, some movies have been critiqued for having been made for mainstream mass audiences.
Case in point is the 2014 Peruvian comedy “A Los 40,” which has become the second highest grossing Peruvian film ever. After only eight days, it attracted around 750,000 viewers. Nevertheless, Ivan Thays (a Peruvian writer and TV host) argued that the film’s producer, Miguel Valladares, cannot say that “A Los 40” is a “patriotic film” simply because it was made in Peru and has been successful, as the final product was of low quality. Thays also stated that the film’s success was due to marketing and the casting of popular actors instead of the quality of the movie itself.
As for the recognition of Latin American films in the near future, sadly only one film, “Wild Tales,” will be showcased at the upcoming Toronto Film Festival 2014. The film is an Argentine-Spanish co-production, produced by the famous director Pedro Almodóvar. However, Latin Post highlights that the showcasing of “Wild Tales” in Toronto “is not a world premiere, as the film already screened at the Cannes Film Festival where it received rave reviews.” In other words, no other Latin American film will enjoy a Toronto “bump” to increase its popularity.
It is positive that Latin America’s film industry continues to produce hits that do well not only domestically but also internationally. The Cuban 3D animated film “Meñique” will hopefully be another example of this ongoing momentum.
Latin American films cannot compete with their American counterparts in terms of budget and special effects, but strong and appealing plots, good acting, captivating soundtracks and overall pleasing aesthetics often make these films memorable and financially successful.