This essay is an overview of the thematic and stylistic tendencies in Peruvian cinema starting with the work of Armando Robles Godoy. It also focuses on the effect of the Law 19327 of 1973 , which was responsible for the formation of a group of influential filmmakers led by Francisco Lombardi. At the beginning of the 21st century, female directors like Claudia Llosa and Rosario Garcia Montero achieved recognition for their cinematic visions of a traumatic Peruvian past. The Vega brothers and Gianfranco Quatrinni also contribute with their styles to an existential sntdy of the Peruvian identity. From the provinces Omar Forero and other filmmakers bring their personal visions to their milieu with works that emphasize Andean and other themes. Peruvian cinema, while not plentiful, is very diverse, gaining in international acclaim, and changing rapidly. Rather than review all the formats that make up the legacy of Peruvian cinema, the focus here will be on the dominant format of cinema consumption: the full-length fictional film.
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