Jorge Sanjinés’ short film “Revolución” (1963) was one of the first Latin American films, beside the Cuban films, to be screened in Leipzig in 1964. With his documentary feature “Yawar Mallku” (Sangre de Condor), Sanjinés took a step towards a cinema that makes history. Told in flashbacks, the film is based on real events: US American development aid workers secretly sterilise indigenous women. The chief of a Quechua community discovers the crime; the village community takes revenge. He is finally shot down by the police and survives, badly injured. He is taken to town, but the rescue attempt fails: There is no money for a blood transfusion. The film challenges both “Yankee Imperialism” and the Bolivian class society. As a consequence of the initially banned public screening, the so-called Peace Corps had to leave the country. “Yawar Mallku” had its premiere in West Berlin as part of the 1970 Berlinale’s “Week of New Cinema: Latin America”. Thereafter the Friends of the German Cinematheque (today: Arsenal Filminstitut) showned Sanjinés’ film multiple times at the Arsenal Cinema over the years, including under the heading “Birth Control as Genocide” in the context of the First International Women’s Film Seminar in November 1973. It enjoyed the same esteem in the East: One of only three Latin American films found in the “Film-Blätter: Kurzmonographien zu klassischen Filmen" (Film Sheets: Brief Monographs on Classical films) of the GDR’s State Film Archive, “Das Blut des Condors” (The Blood of the Condor) is listed under No. 183.

Florian Wüst

Playing hide and seek, reading out a school essay, taking a driving lesson. These scenes seem casual at first glance, but they turn out to be snapshots of life in exceptional circumstances. Only when the camera pulls back for a long shot does it reveal the refugee homes. The man behind the wheel drives briskly, explaining to the instructor that he obtained his driving license back home long ago. Two girls under a blanket tell each other stories of the time before they fled. What keeps this luminous round of scenes together is the hope of a return to normality.

Anke Leweke