Un aire de familia. Ley de Cine, recurrencias y aspectos comunes en el cine ecuatoriano del post-indigenismo

Abstract

At the beginning of the 1980s, Ecuadorian cinema experienced a period of intense activity with very political and militant productions made from an indigenist point of view. 26 years later, after the adoption of the country’s first cinema law, it would, instead, lead to a cinema without interest in political matters, markedly hedonistic ¿What do the two moments have in common? That, in both of them, those who dominate the scene are filmmakers from the middle strata, from the Ecuadorian petty bourgeoisie. These authors, mostly men, especially in the first moment, practice in a gregarious way tendencies that mark each generation. The dialogue that appears between the two phases tells us about the social practices that are historically cultivated in a society fractured in its diversity.