Central American Designation of Origin
Session 1. Reframing Banana Imagery. Central American Political Cinema from the 1970s and 1980s
Patricia Howell, Dos veces mujer (Two Times a Woman), 1982, film
Image Archive of the Costa Rican Film and Audiovisual Centre from Costa Rica’s Ministry of Culture and Youth
Fertile lands, farmers’ hands, rural faces. This first programme in the series Reframing Banana Imagery understands the foundations of the Central American experience from exploitation, extractivism and displacement, and from the organisation and resistance that emerged as a reaction. The four films within extend from a lyrical documentary on farmers’ solidarity to the playful subversion of the institutional format of the United Fruit Company.
Bananeras (Banana Growers) is a combative portrait of the inhumane conditions of the American banana plantations located in Nicaragua through much of the twentieth century. Costa Rica Banana Republic is a perspicacious satire via an institutional documentary of banana production, spotlighting the extractive nature of this agro-exporting model in the 1970s. Organización Campesina (Farmers’ Organisation) frames rural resistance in Honduras from a direct depiction and lyrical documentary, while Dos veces mujer (Two Times a Woman) dissects the invisibility of the double-shift working day Central American women farmers endure: working in the countryside and working in the home. As a whole, the works here present the earth at once as a wounded body and a space of dignity.
Organised by
Museo Reina Sofía, the Cáder Institute of Central American Art (ICAC) and the Museo Reina Sofía Foundation
Acknowledgements
The Costa Rican Film and Audiovisual Centre (CCCA)
Accessible activity
This activity has two spaces reserved for people with reduced mobility
Agenda
jueves 18 jun 2026 a las 19:00
First Session
— With a presentation by Alonso Aguilar, the programme’s curator
jueves 25 jun 2026 a las 19:00
Second Session
— With a recital of Nicaraguan revolution poetry. Selected by Tito Castillo
PROGRAMME
Ramiro Lacayo-Deshon. Bananeras (Banana Growers)
Nicaragua, 1982, DCP, colour and black and white, sound, original version in Spanish, 13’
Ingo Niehaus. Costa Rica Banana Republic
Costa Rica, 1975, DCP, colour and black and white, sound, original version in Spanish, 16’
Departamento de Cine. Organización Campesina (Farmers’ Organisation)
Honduras, 1978, DCP, colour, original version in Spanish, 22’
Patricia Howell. Dos veces mujer (Two Times a Woman)
Costa Rica, 1982, DCP, colour, sound, original version in Spanish, 42’
Activity within the program...
Reframing Banana Imagery. Central American Political Cinema from the 1970s and 1980s
“Banana republic” is a pejorative term used to describe politically unstable countries that are reliant on an economy with a bedrock of one sole product and dominated by foreign interests and corrupt elites. The concept, which surfaced in the early twentieth century in Central America, refers to the power of US multinationals, such as the United Fruit Company, over governments, natural resources and economic structures from the region. This series, therefore, examines how Central American political cinema from the 1960s and 1970s appropriated this stigma as it reclaimed a unique space in narrations of emancipation and anti-colonisation.
The earliest celluloid recordings of Central America are of “exotic” beauty pageants, odes to the productivity of banana enclaves and the visual propaganda serving dominant military powers. The clichés of the servile day labourer loading up sacks with a smile, the impenetrable otherness of the tropical jungle and the condescendence towards “farmer simplicity” all come from outside images, from the external gaze.
Standing opposite memories fragmented by decades of violence and forgetting, this series sets forth a reencounter with an exceptional time of production in the 1970s and 1980s, when the region’s film-making sought to expand its visual history and became a tool of political and identity-based construction. Along with independent film-makers from inside and outside the region, different organisations, institutions and collectives looked to engage in direct dialogue with the singular nature of their immediate surroundings and with the ardent anti-imperialism sweeping through Central America: the Cinema Department in Honduras; its namesake in Costa Rica; INCINE in Nicaragua; the Experimental Group of University Film-makers in Panama; the Cinematography of Guatemala; and, in El Salvador, the Taller de los Vagos, Cero a la Izquierda and Sistema Radio Venceremos collectives.
The series comprises three programmes which trace an arc running from territorial bases and farming stories to the call to arms and waning insurgency. The first programme lays the groundwork of the spectres of agrarian exploitation and the forms of resistance that emerged from the rural environment. The second rises up to approach the body as a battlefield, where patriarchal and state violence are explored via dissident expressions in the formal and the political. The third programme culminates in an epic saga which crosses borders and registers to embody experiences of the armed struggle and the promise of revolution.
This filmic undertaking seeks to reactivate buried conversations on how these images engendered forms of organisation and collective desire that still resonate in present-day Central America. Rather than an archive-based archaeology, it seeks an active dialogue, where the grammars of the films move through the lyrical, the visceral, the didactic and the insurgent, and always with the intention of reframing official history from the margins.
Ver programaCentral American Designation of Origin
Thursday, 18 and 25 June 2026 - 7pm
Fertile lands, farmers’ hands, rural faces. This first programme in the series Reframing Banana Imagery understands the foundations of the Central American experience from exploitation, extractivism and displacement, and from the organisation and resistance that emerged as a reaction. The four films within extend from a lyrical documentary on farmers’ solidarity to the playful subversion of the institutional format of the United Fruit Company.
Bananeras (Banana Growers) is a combative portrait of the inhumane conditions of the American banana plantations located in Nicaragua through much of the twentieth century. Costa Rica Banana Republic is a perspicacious satire via an institutional documentary of banana production, spotlighting the extractive nature of this agro-exporting model in the 1970s. Organización Campesina (Farmers’ Organisation) frames rural resistance in Honduras from a direct depiction and lyrical documentary, while Dos veces mujer (Two Times a Woman) dissects the invisibility of the double-shift working day Central American women farmers endure: working in the countryside and working in the home. As a whole, the works here present the earth at once as a wounded body and a space of dignity.
Circling Over Exploited Bodies
Friday, 19 and 26 June 2026 - 7pm
When forms of violence are inflicted on society, film responds from urgency. Images become abstract, sounds fade and the register of dissidence comes from the gut. La zona intertidal (The Intertidal Zone) is an essayistic and poetic approach to the repression of teachers in El Salvador in the 1970s — a teacher studies the biodiversity of the El Salvador coast as a boy finds a body on the same beach. A propósito de la mujer (About Women) interweaves testimonies of misery and rage towards patriarchal structures with fictional scenes of a symbolic procession through a harsh desert.
Both films understand the body as a target of violence and a territory of insurrection, a space where the blood shed by militancy and the patriarchal yoke turn pain into denouncement and existence outside the status quo into an act of political dissidence.
Files of Tropical Revolutions
Sábado 20 y 27 de junio, 2026 - 19:00 H
The Reframing Banana Imagery series concludes with two works that condense the height and twilight of this period in history, epic sagas that cross borders and registers to embody experiences of armed struggle in the region. Cameras mix with firearms, borders between nations blur and patience reaches breaking point. This is where the tipping point lies, where the bloodshed weighs heavy and the murmurings of regional brotherhood are buried in the ground again.
Pan y dignidad (Carta abierta de Nicaragua) [Bread and Dignity (An Open Letter to Nicaragua)] recounts the historical records and process of national reconstruction in Nicaragua via the Sandinista popular uprising. Historias prohibidas de Pulgarcito (Forbidden Tales of Tom Thumb) places the camera at the heart of the El Salvador revolutionary struggle, interspersing testimonies of daily violence with the verses of the poet Roque Dalton.
Both works understand the armed revolution as an open file under construction. The insurgent brotherhood, although dissolved, still resounds in regional history.
Más actividades
Cinema, for the First Time
7 and 14 June 2026 – 12:00 pm
The final session in this Moon Projector season contemplates the feeling around the first experience of cinema — cinema as revelation, magic, fantasy and mystery from the first gaze, from the first contact with the medium, and imagery etched on the retina of childhood. The programme shows Émile Cohl’s landmark Fantasmagorie (1908), the first ever hand-drawn animation, and Ignacio Agüero’s Cien niños esperando un tren (One Hundred Children Waiting for a Train, 1988), a feature-length film on play and the origins of cinema.
Fantasmagorie (1908)by Émile Cohl (Paris, 1857– Villejuif, 1938) is the first expression in the history of animated drawing. Émile Cohl was an illustrator who belonged to the Parisian art group Arts incohérents (1882–1895), who was bestowed with an absurdist and pre-Surrealist talent. Whereas the Lumière brothers were able get audiences out of their seats as they witnessed a train moving towards them in 1895, Fantasmagorie is a supernatural experience, akin to an apparition yet also innocuous and entertaining — the inanimate comes to life out of nothing and figures seemingly move with little sense. From the outset, animation was related to caricature, fabulation and the comical, a sweet spot for the dreams of the youngest audience.
From the discovery of new imagery arising from the animated line to knowledge of the world through a screen, Cien niños esperando un tren (1988), by Chilean director Ignacio Agüero (Santiago, 1952), narrates a group of young people’s discovery of cinema in a workshop on the origins of the medium in a poverty-stricken town on the outskirts of Santiago de Chile. Play, fun and learning combine with a fascination with images, as viewing Émile Cohl’s Fantasmagorie (1908) in the workshop becomes an act of freedom.
Elisa González and Leah Pattem. Soy Tribulete 7
13 JUN 2026
Framed inside this year’s Neighbourhood Picnic is the screening, in the Museo’s Cinema, of a film related to the life and protests of the Lavapiés neighbourhood, addressing issues of gentrification and the right to housing: Soy Tribulete 7 (I Am Tribulete 7, 2026), directed by Elisa González and Leah Pattem.
As the Spanish housing crisis takes hold in Lavapiés, this story begins in February 2024, when the residents of Calle Tribulete, 7, a block of apartments on a street in this Madrid barrio, receive a letter informing them that their building has been sold to a vulture fund. The news spreads quickly around the neighbourhood and, when it comes to the attention of González and Pattem, they grab their cameras and head straight for the building, where they encounter one hundred or so residents still in shock. The film Soy Tribulete 7 flows into the building and the daily lives of a community united, whose looming eviction occasions the fight of their lives. Ultimately, a path of resistance that will turn the community into a symbol of struggle for the right to housing.
Both film-makers worked closely with a group of tenants — Cris, Nani, Blanca, José, María Jesús and Antonia — to tell the story of how the building became the most creative stage of resistance ever witnessed in the area. The work presents the daily life of these residents in Madrid’s now-iconic “building fighting eviction”, depicting their collective struggle and the violent disruption to their lives. Through personal interviews, observational footage, archive material, music and a narration by eighty-year-old actress Ana Martín García, the film casts light on the human stories behind a community struggle.
The Neighbourhood Picnic is an annual gathering of festivities organised by Museo Situado, a network made up of associations, activists and residents from Lavapiés, a racially diverse, working-class neighbourhood where the Museo Reina Sofía is located.
Exile and Alienation
Saturday 30 May and 6 Jun, 2026 - 18:00 H
In the years of the Popular Unity Government in Chile, three young film-makers, Marilú Mallet, Valeria Sarmiento and Angelina Vázquez, went to the offices of Chile Films to present a film project. This session screens three films which convey the three directors’ experience of exile. In Dos años en Finlandia (Two Years in Finland), Angelina Vázquez depicts the social and working conditions of Chileans exiled in the Nordic country. The fictional work Lentement, directed by Marilú Mallet, follows a young Chilean exile around spaces of Montreal blighted by nostalgia and political rage. In Huellas (Fingerprints), Valeria Sarmiento returns to Chile to explore the memory of violence inflicted by Pinochet’s military dictatorship. The session culminates in a talk with the three directors, gathered here for the first time.
From North to South and South to North
Sunday 31 May and Friday 5 June, 2026
In a kind of road movie, Marilú Mallet travels across her native Chile after forty years of exile. The journey is an exploration of the dynamism of national identity, leading the film-maker to return to questions previously explored in her filmography and to search for new forms of filming the encounter between body and landscape.
Dear Americas
Friday 29 May and 5 June, 2026
In these films, Marilú Mallet travels to Solentiname, in Nicaragua, and Andahuaylillas, in Peru, to paint a portrait of communities which resist the severity of forced industrialisation. In Solentiname, the focus is on the poet and priest Ernesto Cardenal’s founding of a Christian, poetic and revolutionary utopia, while in Andahuaylillas, a town close to Cuzco, Mallet explores the multiple layers of Andean culture.