Nadie es Inocente and San Frenesí: Two Films by Sarah Minter
Sarah Minter, a pioneer of Mexican experimental film, used a feminist lens and her avant-garde theater experience to challenge film form and narrative. The underground classic Nadie es Inocente captures a marginalized community of young punks in a poor section of Mexico City. San Frenesí, made in collaboration with Gregorio Rocha, focuses on Mina, a young woman from Mexico City who embarks on a liberating road trip to explore her desires. (Dir. Sarah Minter, 1986, 57 min.; 1983, 34 min.)
Nadie es inocente y San Frenesí: Dos películas de Sarah Minter
Martes 17 de octubre a las 7:30 p.m.
Sarah Minter, una pionera del cine experimental mexicano, aplica una lente feminista y su experiencia de teatro de vanguardia para desafiar la forma y la narrativa cinematográficas. El clásico underground Nadie es inocente capta una comunidad marginal de jóvenes punk en una zona pobre de la ciudad de México. San Frenesí, realizada en colaboración con Gregorio Rocha, se concentra en Mina, una joven de la ciudad de México que emprende un viaje liberador por carretera para explorar sus deseos. (Dir. Sarah Minter, 1986, 57 min.; 1983, 34 min.)
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Radical Women: Latin American Art, 1960-1985 is organized by the Hammer Museum, Los Angeles, as part of Pacific Standard Time: LA/LA, an initiative of the Getty with arts institutions across Southern California. The exhibition is guest curated by Cecilia Fajardo-Hill, Andrea Giunta with Marcela Guerrero former curatorial fellow, in collaboration with Connie Butler, chief curator, Hammer Museum.
Radical Women: Latin American Art, 1960–1985 is made possible through lead grants from the Getty Foundation.
Major funding is provided by the Diane and Bruce Halle Foundation and Eugenio López Alonso. Generous support is provided by the Vera R. Campbell Foundation, Marcy Carsey, Betty and Brack Duker, Susan Bay Nimoy, and Visionary Women.
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