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does not, however, ultimately resist the desire to re-fix meaning through the reification of woman. The film centres on the Castañeda family, who are brickmakers ( chir caleros ) suffering extreme poverty and horrific labour conditions in an ‘urban latifundium’ 4 of Bogotá. Anthropologically oriented, it combines still photography of the workers and haunting periods of silence, a God-like narrator and
government control over the industry. By avoiding the old traditional stories depicting love affairs or entertainment-oriented themes in conventional manners, they provide a fresh look into the fundamental preoccupations of average Koreans, such as the labour conditions, democratisation movements, political corruption and various kinds of contradictions latent in their everyday life. They also reinterpret the socio