Interval 42. Mati Diop 

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.

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. 

This international encounter centred on the figure of Robert Capa (Budapest, 1913 — Thai Binh, Vietnam, 1954), one of photojournalism’s pre-eminent figures, is held within the framework of the government initiative Spain and Freedom. Fifty Years and in conjunction with a cluster of three locations — the building on number 10 Calle Peironcely, the Plaza del Fotógrafo Robert Capa and the San Carlos Borromeo Parish in Vallecas — declared as a Place of Democratic Memory. 

The emblematic photo Robert Capa took in 1936 of this area of Republican Madrid, featuring anonymous children talking in front of a bullet-riddled building attacked by Nazi-fascist air forces, has, in recent years, become a catalyst for impassioned collective action vindicating memory and denouncing the horrors and brutality of wars, past and present. 

Within this context, representatives from cultural and academic spheres and civil society organisations from Germany, the USA and Spain discuss the legacy of Capa and photojournalism in European democratic memory, exploring in greater depth two citizen initiatives constructed by Europe from its shared memory: #SalvaPeironcely10 (#SavePeironcely10), in Entrevías (Puente de Vallecas), and the Capa Haus Initiative in the Lindenau neighbourhood of Leipzig, both united by the protection and conservation of historical heritage and by the defence of peace. 

The round-table discussion features the participation of Cynthia Young, Juan Miguel Sánchez Vigil, Ulf-Dietrich Brumann and José María Uría Fernández and is moderated by Myriam Soto Lucas. Carmina Gustrán Loscos, the commissioner of Spain and Freedom. Fifty Years, will also join the discussion.

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.