Dominican Films With Great Versatility

Since that daring of Francisco Arturo Palau made in 1923 with “The legend of Our Lady of Altagracia”, we can affirm that the interest of the Dominican to fix a cinematographic structure is not new.

Although many have been the obstacles and headwinds that various Creole filmmakers circumvented to realize that celluloid dream full of hope and courage, it has been possible to build a cinema that, with its own shortcomings, has tried to reflect the collective imaginary of the Dominican Republic with its virtues and defects. You can have the on demand reviews of the Dominican Films now in its Best Shape.

A Novelty

Several years ago, watching a Dominican film was a great novelty for the consenting Dominican public, regardless of its artistic value, where only one or two films were released each year, when production and conditions allowed.

Present Day

Today, and after the promulgation of Law 108-10 on the Film Industry Incentive Law in the Dominican Republic on November 18, 2010, but applied since 2011, it is that the Dominican film production has reached figures of up to 20 films per year.

  • This unusual impulse is that it has conferred a level of production without comparison where every year efforts are made to conquer more local audiences.
  • Dominican cinema is neither good nor bad, it is simply a cinema that is building itself. It rides through a logical and normal process similar to those exhausted by all the other countries that today exhibit competitive and mature cinematography.
  • However, we have our reference films such as the drama “Un pasaje de Ida” (Agliberto Meléndez, 1988); the sympathetic “Nueba Yol, Balbuena finally arrived” (Ángel Muñiz, 1995); the attractive “The vicious circle” (Nelson Peña, 1998); the complainant “Perico ripiao” (Ángel Muñiz, 2003); the hilarious “Sanky Panky” (José Enrique Pintor, 2007) and the artistic “Sand Dollars” (Laura Guzmán and Israel Cárdenas, 2014).

It will have to give it the just and necessary time to reach the levels that we all want, but with the continuous training of the professionals involved in the audiovisual work in the country and in the preparation of a new generation of filmmakers who will achieve profound changes in the trajectory and improvement of local cinema.

Also with a constant and well-defined production of films that increasingly conquer the Dominican public and that these productions have the appropriate level of quality to be received, in pure competition, along with other international productions.

Conclusion

We often forget that cinema and audiovisuals make up mentalities, attitudes, aptitudes, positions, states of mind that, then, in unison, establish more generic trends. Indeed, criticism may be a marginal area, and even a very unfriendly discipline in itself – here it is inevitable to bring up that phrase by François Truffaut in which he affirmed that no child would say that when he grew up he would want to be a film critic -; but it is that, in an increasingly audiovisual world, and in which so many interests lie and settle, today more than ever it is essential to have a look “to be outraged at the falsehood and the hoax, against the aesthetic imposture and in the face of false appearances, against the servitudes or impositions of the market and against the condescending assignments of those who fold in a way more or less disguised to the demands of the former ”.

 

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