I’m going to kick off my (hopefully regular) Wednesday series on women filmmakers with the one to whom I’ve most recently been introduced, courtesy of the streaming platform Mubi, whose canny programming has brought my attention to a number of directors I’d never previously encountered. Latin American cinema, in particular right now, seems to be booming with talented women directors, and in that regard one may look to the career of Argentinian director Lucrecia Martel, who came to prominence at the turn of the millennium with La Ciénaga (2001), and about whom I shall undoubtedly write in coming months. She is hardly the first woman to direct films in the Latin American world, but she is among the most rigorous and visually precise of all active filmmakers in the region, and one of the foremost (and most championed) auteurs in the world, I would say. In her wake there has been no shortage of excellent films by women working in the cinemas of Mexico, Chile, Venezuela, Brazil and Peru, amongst others.
Lina Rodriguez was born in Bogotá, Colombia, though she left after school to pursue further education in the UK and then in Canada, where she has lived for several decades, meaning she is perhaps as much a Canadian filmmaker as a Colombian one (and I gather from interviews that her next feature may be set in Canada). However, for her first two feature films, she has drawn on her life in Colombia, and it’s notable that her mother (Clara Monroy) has appeared in both her films, suggesting a semi-autobiographical patina to the events depicted within them.