Editing Latin America (section)

===Film===
{{Main|Latin American cinema}}
[[File:Guadalajara international Film Festival.jpg|left|thumb|The [[Guadalajara International Film Festival]] is considered the most prestigious film festival in Latin America.]]{{More citations needed section|date=April 2022}}
Latin American film is both rich and diverse. Historically, the main centers of production have been Mexico, Argentina, Brazil, and Cuba. Latin American film flourished after sound was introduced in cinema, which added a linguistic barrier to the export of Hollywood film south of the border.<ref>Paul A. Schroeder Rodriguez. ''Latin American Cinema: A Comparative History'' (University of California Press; 2016) studies 50 films since the silent era.</ref>
[[File:Alejandro Inarritu Cannes 2017.jpg|right|upright|thumb|In 2015, [[Alejandro González Iñárritu]] became the second Mexican director in a row to win both the [[Academy Award for Best Director]] and the [[Directors Guild of America Award]] for Best Director. He won his second [[Academy Awards|Oscar]] in 2016 for ''[[The Revenant (2015 film)|The Revenant]]''.]]

[[Cinema of Mexico|Mexican cinema]] began in the silent era from 1896 to 1929 and flourished in the [[Golden age of the cinema of Mexico|Golden Era]] of the 1940s. It boasted a huge industry comparable to [[Cinema of the United States|Hollywood]] at the time, with stars such as [[María Félix]], [[Dolores del Río]], and [[Pedro Infante]]. In the 1970s, Mexico was the location for many cult horror and action movies. More recently, films such as ''[[Amores Perros]]'' (2000) and ''[[Y tu mamá también]]'' (2001) enjoyed box office and critical acclaim and propelled [[Alfonso Cuarón]] and [[Alejandro González Iñárritu]] to the front rank of Hollywood directors. Iñárritu in 2010 directed ''[[Biutiful]]'' and [[Birdman (film)|''Birdman'']] (2014), Alfonso Cuarón directed ''[[Harry Potter and the Prisoner of Azkaban (film)|Harry Potter and the Prisoner of Azkaban]]'' in 2004 and ''[[Gravity (2013 film)|Gravity]]'' in 2013. A close friend of both, [[Guillermo del Toro]], a top rank Hollywood director in Hollywood and Spain, directed ''[[Pan's Labyrinth]]'' (2006) and produced ''[[The Orphanage (2007 film)|El Orfanato]]'' (2007). [[Carlos Carrera]] (''[[The Crime of Father Amaro (film)|The Crime of Father Amaro]])'', and screenwriter [[Guillermo Arriaga]] are also some of the best known modern Mexican film makers. ''[[Rudo y Cursi]]'' released in December (2008) in Mexico, was directed by [[Carlos Cuarón]].
[[File:Cristina, elenco y Oscar.jpg|left|thumb|President [[Cristina Fernández]] with the film director [[Juan José Campanella]] and the cast of ''[[The Secret in Their Eyes]]'' (2009) with the [[Academy Award for Best Foreign Language Film|Oscar for Best Foreign Language Film]]]]

[[Cinema of Argentina|Argentine cinema]] has also been prominent since the first half of the 20th century and today averages over 60 full-length titles yearly. The industry suffered during the [[Proceso de Reorganización Nacional|1976–1983 military dictatorship]]; but re-emerged to produce the [[Academy Awards|Academy Award]] winner ''[[The Official Story]]'' in 1985. A wave of imported US films again damaged the industry in the early 1990s, though it soon recovered, thriving even during the [[Argentine economic crisis (1999-2002)|Argentine economic crisis]] around 2001. Many Argentine movies produced during recent years have been internationally acclaimed, including ''[[Nueve reinas]]'' (2000), ''[[Son of the Bride]]'' (2001), ''[[El abrazo partido]]'' (2004), ''[[El otro]]'' (2007), the 2010 Foreign Language [[Academy Awards|Academy Award]] winner ''[[El secreto de sus ojos]]'', ''[[Wild Tales (film)|Wild Tales]]'' (2014) and ''[[Argentina, 1985]]'' (2022).

[[Cinema of Brazil|In Brazil]], the ''[[Cinema Novo]]'' movement created a particular way of making movies with critical and intellectual screenplays, clearer photography related to the light of the outdoors in a tropical landscape, and a political message. The modern Brazilian film industry has become more profitable inside the country, and some of its productions have received prizes and recognition in Europe and the United States, with movies such as ''[[Central do Brasil (film)|Central do Brasil]]'' (1999), ''[[City of God (2002 film)|Cidade de Deus]]'' (2002) and ''[[Tropa de Elite]]'' (2007).

[[File:Elenco de Una Mujer Fantástica Premios Fénix 2017.jpg|thumb|Cast of [[A Fantastic Woman]] on the red carpet at the [[Teatro de la Ciudad]] (City Theatre).  It was selected as the Chilean entry for the [[Academy Award for Best Foreign Language Film|Best Foreign Language Film]] where it won in the [[90th Academy Awards]].<ref name="Premios Óscar Latinos">{{cite web|url=https://premiososcarlatinos.wordpress.com/2017/09/12/los-latinos-al-oscar-2018-chile/|title=Los latinos al Óscar 2018: Chile|author=Bacherbas|work=Premios Óscar Latinos|date=September 11, 2017|access-date=September 11, 2017}}</ref>]]
[[Cinema of Puerto Rico|Puerto Rican cinema]] has produced some notable films, such as ''[[Una Aventura Llamada Menudo]]'', ''[[Los Diaz de Doris]]'' and ''[[Casi Casi]]''. An influx of Hollywood films affected the local film industry in Puerto Rico during the 1980s and 1990s, but several Puerto Rican films have been produced since and it has been recovering.

[[Cinema of Cuba|Cuban cinema]] has enjoyed much official support since the [[Cuban revolution]] and important film-makers include [[Tomás Gutiérrez Alea]].

[[Venezuelan television]] has also had a great impact in Latin America, is said that whilst "Venezuelan cinema began sporadically in the 1950s[, it] only emerged as a national-cultural movement in the mid-1970s" when it gained state support and auteurs could produce work. International co-productions with Latin America and Spain continued into this era and beyond, and Venezuelan films of this time were counted among the works of New Latin American Cinema. This period is known as Venezuela's Golden Age of cinema, having massive popularity even though it was a time of much social and political upheaval.

One of the most famous Venezuelan films, even to date, is the 1976 film [[Soy un delincuente]] by [[Clemente de la Cerda]], which won the [[Special Jury Prize (Locarno International Film Festival)|Special Jury Prize]] at the 1977 [[Locarno International Film Festival]]. Soy un delincuente was one of nine films for which the state gave substantial funding to produce, made in the year after the Venezuelan state began giving financial support to cinema in 1975. The support likely came from increased oil wealth in the early 1970s, and the subsequent 1973 credit incentive policy. At the time of its production the film was the most popular film in the country, and took a decade to be usurped from this position, even though it was only one in a string of films designed to tell [[Social realism|social realist]] stories of struggle in the 1950s and '60s. Equally famous is the 1977 film [[El Pez que Fuma]] ([[Román Chalbaud]]). In 1981 FONCINE (the Venezuelan Film Fund) was founded, and this year it provided even more funding to produce seventeen feature films. A few years later in 1983 with [[Viernes Negro]], oil prices dropped and Venezuela entered a depression which prevented such extravagant funding, but film production continued; more transnational productions occurred, many more with Spain due to Latin America's poor economic fortune in general, and there was some in new cinema, as well: [[Fina Torres]]' 1985 [[Oriana (film)|Oriana]] won the [[Caméra d'Or]] Prize at the [[1985 Cannes Film Festival]] as the best first feature. Film production peaked in 1984–5,<sup>:37</sup> with 1986 considered Venezuelan cinema's most successful year by the state, thanks to over 4 million admissions to national films, according to [[Venezuelanalysis]]. The Venezuelan capital of Caracas hosted the Ibero-American Forum on Cinematography Integration in 1989, from which the pan-continental IBERMEDIA was formed; a union which provides regional funding.