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    Thursday through Sunday

    Eight is enough for Latin Wave 6: Film festival highlights Latin Americanrenaissance

    David Theis
    Apr 28, 2011 | 6:00 am
    • "Todos Tus Muertos" ("All Your Dead Ones")
    • "Gatos Viejos" ("Old Cats")
    • "Asalto al cine" ("The Cinema Hold Up")

    Latin Wave artistic director Monica Wagenberg is excited to be back in Houston. “I program film festivals all over the world,” she says. “But the festival I enjoy the most is Latin Wave.”

    According to Wagenberg, that’s because most festivals feature dozens, if not hundreds of films, while the MFAH’s sixth annual Latin Wave film festival has been rigorously pared to eight offerings. “The best eight (Latin American films) make it to the festival. It’s quite intimate and intense.”

    She also says that, by the time the visiting filmmakers leave, the festival is a favorite for them as well.

    “To tell the truth, they’re usually not that excited to come to Houston. They’ve usually been traveling around the festival circuit for a long time and they’re a little tired. But they are excited about Houston when they leave,” after seeing not only the festival, but local cultural offerings such as the Menil Collection, which gives the filmmakers a “backstage” tour.

    That’s all very well for the filmmakers, you might say, but what about the films themselves? Is the recent cinematic boom in Latin America an ongoing affair? Definitely, says Wagenberg.

    “We see that some of the strongest films are from first- and second-time filmmakers, which attests to the fact that the Latin American film renaissance is ongoing.” She also says that the Latin American scene is rapidly evolving.

    Until very recently, Argentina was by far the dominant film producer in South America, both in quantity and quality. But while Argentina is still a cinematic power, other countries, principally Colombia and Chile, are catching up. (She says that, probably for reasons of geography, Mexican film is not as appreciated in Latin America as it is here. “People in Latin America are not as aware of the enormity of what’s happening in Mexico.”)

    This reality is reflected in the festival line-up, which features two films each from Colombia and Chile, but only one from Argentina, down from its typical two.

    Asked to pick a theme, or predominant element from this year’s offerings, Wagenberg thinks a minute, then points to the lead performances. “In several of these films, actors who have successful in the national theaters give really strong performances, but they’re willing to work with first- and second-time filmmakers. That’s another way we can see how the prestige of film is increasing.”

    She specifically refers to the performances in Gatos Viejos (Old Cats), by Belgica Castro as an old woman on the verge of senility, and by Catalina Saavedra as her needy, grasping daughter.

    She also singles out Karine Teles’s star turn in Riscado (Craft). “It’s really a film about performance. Teles (who is a leading stage actor in Brazil) is the lead, and she’s also the director’s wife, so he [Gustavo Pizzi] probably created this role for her. She won Best Actress at the Rio Film Festival for her performance.” (Pizzi and Gato Viejos co-director Pedro Peirano will be in attendance.)

    The Colombian films Los Colores de la Montaña (The Colors of the Mountain) and Todos Tus Muertos (All Your Dead Ones) each deal with the lingering effects of that country’s 40-year-long civil war, but they do so in subtle, unexpected ways. Colores looks at war through the eyes of children. “But it’s done with rigor. Los Colores de la Montaña expresses the suffering of the war, but without one scene of violence.”

    And Todos Tus Muertos uses black humor and absurdity to approach its grim subject. “But Todos Tus Muertos turns out to be the most powerful. It really deals with the suffering.” (Todos Tus Muertos director Carlos Moreno will attend.)

    The weakening of family ties is another theme several films touch on. For example, the Mexican Asalto al Cine, by first-time filmmaker Iria Gomez Concheiro, paints a grim picture of teen life in Mexico City’s barrios, and the kids’ problems come as much from their own families as from the streets. (Gomez Concheiro will attend.)

    Argentina is represented by Rompecabezas (Puzzle), about a woman who re-examines her own life as she assembles a jigsaw puzzle of Queen Nefertiti. The Peruvian entry is the touching and spiritual film Octubre (October). The Chilean Post Mortem, which takes place during the 1973 coup, will also screen.

     Latin Wave 6 takes place at the Museum of Fine Arts, Houston Thursday-Sunday. For a full schedule, click here. Opening night party, Thursday 9:30 p.m. at the MFAH Audrey Jones Beck Building.

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    Movie Review

    New Superman movie forges into the future while honoring the past

    Alex Bentley
    Jul 11, 2025 | 3:30 pm
    David Corenswet in Superman
    Photo by Jessica Miglio
    David Corenswet in Superman.

    When the character of Superman was invented in 1938, it was perhaps easier to see the world in good and bad terms. Fascism was already on the rise in Germany under Adolf Hitler, and the idea of an all-powerful superhero who stood up for people in need was a welcome one. In the nearly 90 years since, though, the world and the character have undergone multiple evolutions, and the thought of someone who is purely good is often met with cynicism or worse.

    The new Superman, written and directed by James Gunn, puts the superhero (or metahuman, as the film calls him and similar creatures) squarely in the midst of the modern world, with geopolitical conflicts, mega-corporations, and social media all combining to make the altruism of Superman/Clark Kent (David Corenswet) questionable. That skepticism even extends to his coworker/girlfriend Lois Lane (Rachel Brosnahan), whose knowledge of his exploits puts her in a tricky position personally and professionally.

    Lex Luthor (Nicholas Hoult) is out to dominate the world and take down Superman, with his eponymous corporation and vast group of underlings dedicated to doing both. Superman is generally a one-man fighting crew, but he’s occasionally aided by a group calling themselves the Justice Gang, comprised of heroes many have never heard of like Guy Gardner (Nathan Fillion), a version of Green Lantern; Hawkgirl (Isabela Merced), a flying metahuman; and Mr. Terrific (Edi Gathegi), who knows all kinds of technology.

    One of the best things about this new version of Superman is that it mostly dispenses with introductions, putting the audience in a world where Superman is already a well-known quantity who’s adored by many and hated by some. Gunn has used his new position as co-CEO of DC Studios to honor the past of the hero and take him into the future. With the 1978 John Williams theme song echoing throughout and Corenswet giving off Christopher Reeve vibes, it’s clear Gunn wants audiences to feel nostalgia while still getting something new.

    He also appears to want viewers to fight against the negativity that the modern world can bring. The plot involves manipulation of the public, usually at the hands of Luthor, through bombastic talk shows, political theater, and social media, the latter of which — in a great joke — comes to involve hundreds of typing monkeys. The film could be read as a rebuttal of many real-world ills as, despite Luthor’s machinations, many choose to continue to believe in the goodness of Superman.

    There is a lot going on in the film, but somehow it never comes off as overly complicated. Superman’s relationship with Lois Lane and Luthor’s attempts at taking him down are given the most prominence, with everything else supporting those two main things. The Justice Gang is a fun addition, with Mr. Terrific becoming the breakout hero of the group. The addition of the (CGI) dog Krypto provides levity, poignant moments, and unexpectedly great action scenes. The only part that gets somewhat short shrift is the crew of The Daily Planet, with everyone besides Lois and Jimmy Olsen (Skyler Gisondo) getting little more than face time.

    Being the new Superman is a lot to live up to, but Corenswet is completely up to the job. He, like Reeve, plays the character as someone who is earnest but not naive, a quality that comes through even when he’s in the middle of fight scenes. Brosnahan is also fantastic, providing a nice balance to the relationship while also proving the character’s own worth. Hoult makes for a great new version of Luthor, and Gathegi nearly makes the case that Mr. Terrific should get a starring film of his own.

    Just as he did with the Guardians of the Galaxy trilogy, Gunn has shown that success can be found through making characters people want to see. Not everyone in this Superman will be familiar to viewers, but in the end a group of people working together toward a goal that serves the common good is one worth watching and cheering for.

    ---

    Superman is now playing in theaters.

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