Valery Ushakov’s endlessly fascinating “While the Rain was Falling” is a philosophical parable, narrated by the language of the body and music. It is a journey into our childhood, into our past, into the world of ghosts. The protagonist, Aureliano, notices one fine day that the world around him has turned upside down. To understand what is happening, he turns to a series of boxes that store memories of his past. Opening them one by one, he embarks on a journey through his life, his loves, his losses, his childhood and his regrets, in search of the one primary memory for which he has lived.

说实话这书我就没怎么看懂，电影比书倒是好理解一些，可加了不少巴利个人的风格在内，他本人就是拉美新电影运动的创始者，在这片里还亲自出演主角，影片最让我喜欢的是原声的确做得很不错，得到威尼斯配乐金奖名副其实。4/5
An elderly man with wings is blown off course during a tropical storm in this symbolic fantasy. The Old Man (Fernando Birri) lands near a Caribbean island where a poor family gives him shelter in a chicken coop. Father Gonzaga (Luis Alberto Ramirez) is the skeptical priest who rushes to damn the creature. Soon the Old Man is the subject of curiosity seekers as Elisinda (Daisy Granados) and Pelayo (Asdrubal Melendez) start charging admission. A traveling carnival of human oddities camps near the Old Man as people flock to see the show. The Old Man is reduced to being an unwanted pet, and after six years, he mends his wings and flies away. Nudity, simulated sex with a spider woman, and the ugliness of human exploitation definitely put this fantasy in a category not for children. ~ Dan Pavlides, All Movie Guide
What would you do if you found a sick, decrepit angel in your backyard? "A Very Old Man With Enormous Wings" comments on faith and doubt as it explores the arrival of a winged old man who washes ashore into the lives of Pelayo and Elisenda. They put him first into a chicken coop(because of his wings), then on display and charge admission for the townspeople to see him. A doubting priest provides comic relief and pokes fun at the not easily convinced Catholic Church. The soundtrack is excellent. All fans of Garcia Marquez must not go another minute without seeing this movie.

During the 1950s Gabriel García Márquez and Enrique Grau attempted to restart the industry. In 1954 both artists, a writer and a painter respectively created a surrealistic short film "La langosta azul" (The Blue Lobster). Garcia Marquez continued in the industry as a scriptwriter while Grau continued painting.
A very important movie in Colombian film history. Cepeda Samudio plays havoc with time and classic narration. We can speak barely of argument as we know it usually. We can say either it is surrealistic... With no sound "the blue lobster" (la langosta azul) remains as a rare, unique, work of (film)art. Space and time: A town at the coast, frozen in time. Nothing apparently ever happens there and it seems it will never do. Characters: An American, the hotel man, the girl, the cat, the lobster, the wizard and the little boy. As a low budget film (rare for 1954 in Colombia)we can speak proudly of an authentic conception of what a big film industry is and what is not because of local conditions and our respect for local traditions.

诺贝尔文学奖得主Gabriel Garcia Marquez的爱情文学改编。

诺贝尔文学奖得主Gabriel Garcia Marquez的爱情文学改编

诺贝尔文学奖得主Gabriel Garcia Marquez的爱情文学改编

Luis Alcoriza is best known for his script collaborations with fellow Spaniard Luis Bunuel, having worked on some of Bunuel's more intriguing Mexican films. But in his later life, Alcoriza emerged as one of the leading scenarists of modern Mexican cinema. After 1962 he scripted a number of important films (most of which he directed himself), which are his own peculiar blend of raucous entertainment and pointed social criticism. His unit of analysis is the group which, especially in his post-Bunuel period, he uses to symbolize Mexican society. This is a motif that is discernible in his Bunuel films as early as Los olvidados (the gang of street kids in Mexico City). Similarly, there are the bourgeois guests in El ángel exterminador, mysteriously trapped in their host's drawing-room, the disparate band of refugees lost in the jungle in La Mort en ce jardin, and the political prisoners, bureaucrats, politicians, and hangers-on in the fictional South American dictatorship of La Fièvre monte à El Pao.
But whereas Bunuel's aims were existential, surrealist, and absurdist, Alcoriza's were satirical. Bunuel's films were bleak, detached commentaries on the human animal as he observed it, their undeniably dark side due to the fact that Bunuel's vision did not encompass redemption. Alcoriza's view was more hopeful. His scripts poke fun at human nature (particularly as it expresses itself in the Mexican national character), but like all true satirists, he criticizes in the hope of improving humanity. In Alcoriza's cinematic universe redemption is a goal worth striving for—is the only goal worth striving for. Asked why he chose to write and direct Tarahumara, his semidocumentary film about an isolated Mexican Indian tribe scratching out its meager existence in a remote region of Chihuahua, Alcoriza said: "I am not in agreement with the world in which I have to live, because I do not like our society. Today we try to reach other worlds, the moon, Mars . . . and the most elementary problems—hunger, justice, [human] dignity—have yet to be resolved." But Alcoriza believed this situation could be changed. Accordingly, his body of work reflects healthy indignation rather than Bunuel's typically distressing resignation.
Two of his more illustrious scripts (both for films he directed) are Presagio, coscripted by Gabriel García Márquez, about a village whose inhabitants come to believe that they are living under an evil spell, and Mecánica nacional, the story of a group of automobile racing fans, on their way to see the conclusion of an Acapulco-to-Mexico City auto race, who are thrown together for a day and a long night due to a traffic jam. In these and other Alcoriza films (Tlayucan, Tiburoneros, El oficio más antiguo, Las fuerza vivas) he fills an expansive canvas with a large cast of characters and succeeds in creating a Rabelaisian cross-section of Mexican society.

男主自幼被父亲带到大城市，从不知道自己的母亲是谁，长大后当上了墨西哥某市市长回到父亲曾经工作的地方治理灾情，无意中认识的一个美熟妇并爱上了她，谁知这位妇人竟是自己的亲生母亲……

A man's seven-year-old daughter dies and his grief is overwhelming. After twelve years he finds the body perfectly preserved and his neighbors consider it a miracle and support him in his efforts to fight Church bureaucracy, all the way to Rome.

A magic adventure for children and adults. Because magic and enchantment do not have age. Rafael is a seven year old child madly in love with Martha Cecilia. He wants to see her up close without being noticed by her and takes off into the adventure of becoming invisible. Holding a scapular of the Virgin of Carmen, he followed the instructions of a brochure of magic to put his temerity to the test. After a few trials on the streets of the small town, he discovers that he indeed is invisible to people, but specially to Martha Cecilia. That's how the beautiful story begins in a small town in the '50s.
Lisandro Duque Naranjo is a prestigious Colombian director and screenwriter whose work can be seen in the following feature films: El escarabajo (The Scarab) (1984), Visa USA (1986), Milagro en Roma (Miracle in Rome, cowritten with Gabriel García Márquez) (1989), and Los ninos invisibles (The Invisible Children) (2001). He is currently a lecturer in the master's program in creative writing at the National University and is a columnist for the El Espectador newspaper, a weekly published on Sunday, for which he obtained the Simón Bolívar award for the best opinion columnist in 2001.

A man comes home after serving 18 years in jail for murder in this routine western. Although the man killed in self defense, rumors in town circulated that he murdered the victim in cold blood. The ex-con wants to get his life together, but the two sons of the slain man are gunning for the man who killed their father.
Arturo Ripstein (born on December 13, 1943 in Mexico City) is a Mexican film director. Ripstein got his break into movies working as an uncredited assistant director for Luis Bunuel. In 1965, he directed his first feature, "Tiempo De Morir". Written by Carlos Fuentes and Gabriel García Márquez, it began a tradition of making independent films written by high-profile Latin-American authors. In 1997, Ripstein won the Mexican National Prize for the Arts, the second filmmaker after Bunuel to do so.

Every Friday, the Colonel puts on his only suit and goes to the dock to await a letter announcing the arrival of his pension. But the townsfolk all know that this pension will never come. His wife also knows it, and even he knows it. But he is still waiting, living with the pain of the death of his son.

While Erendira, a beautiful teenage girl, has a surreal mystical vision, her grandmother's house catches on fire and burns to the ground. Her grandmother holds Erendira responsible and, in order to extract restitution from the girl, forces her into prostitution. Erendira's surreal mystical experiences continue while her grandmother grows rich from exploiting her.

This suspenseful Italian crime drama is set in a Colombian river town and chronicles the series of events that led up to murder. Based on a novel by distinguished author Gabriel Garcia Marquez, the tale begins in the present as a middle-aged doctor returns to the village after a twenty-year absence to investigate the murder that occurred just before he left.

2007 film directed by Mike Newell

1984 film by Shūji Terayama