This is the third in a series of articles co-presented with Colección Cisneros. The series explores themes in contemporary culture and the overlap between the visual arts and film.
By Erik del Bufalo
One of the most complicated aspects of film, having to do with its very essence, is the achievement of verisimilitude. Venezuelan film, excessively marked by a desire for the obvious, has frequently fallen over the edge into zealotry. Mariana Rondón is one of the few Venezuelan filmmakers making films that are realist, and even films that may denounce, but without attempting to replace reality with images—an operation that Plato attributed to sophists and demagogues. On the contrary, the image achieves its image-reality, while the contingency of human necessities joins the territory of the visual, without extortion or violence.