Manuel Betancourt There’s a symphonic rhythm to the aptly-titled Bolivian film “The Great Movement” (“El Gran Movimiento”).
Kiro Russo’s portrait of La Paz is driven more by sensory cues than by any steady sense of narrative. Ostensibly following a trio of miners who arrive at the sprawling, Andean capital city with the hopes of getting jobs, “The Great Movement” emerges instead as a dissection of this highest of Latin American urban jungles.What first greets viewers of Russo’s film is the city as sounds.
Images of buildings and traffic jams may slowly take up the screen but what immediately envelopes audiences is La Paz’s soundscape.
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