{"id":32,"date":"2017-01-01T03:10:41","date_gmt":"2017-01-01T03:10:41","guid":{"rendered":"http:\/\/duplamx.com\/isidore\/wp\/?p=32"},"modified":"2026-02-14T17:02:14","modified_gmt":"2026-02-14T17:02:14","slug":"the_ballad_of_oppenheimer_park","status":"publish","type":"post","link":"https:\/\/isidorebethel.com\/es\/projects\/the_ballad_of_oppenheimer_park\/","title":{"rendered":"La Balada del Oppenheimer Park &#8211; 2016"},"content":{"rendered":"<p><\/p>\n<p style=\"text-align: justify;\"><em>La Balada del Oppenheimer Park<\/em> es una pel\u00edcula sobre el proceso que siguen Harley Prosper, Janet Brown y Bear Raweater (Nativos exiliados de reservaciones canadienses) mientras crean una pel\u00edcula dentro del per\u00edmetro del parque donde se re\u00fanen todos los d\u00edas. Utilizando su vida actual y su larga historia de opresi\u00f3n, su diario ritual de beber juntos se ir\u00e1 transformando en una celebraci\u00f3n desafiante.<\/p>\n<p>&#8211; editada y producida por Isidore Bethel&nbsp;\/\u00a0dirigida y producida por Juan Manuel Sep\u00falveda (M\u00e9xico)&nbsp;\/ producida por Elsa Reyes (M\u00e9xico)<\/p>\n<p style=\"text-align: justify;\">&#8211; 71 minutes,\u00a0Fragua Cine, Zensky Cine, IMCINE (ventas), Sokol Films (distribuici\u00f3n francesa), Torch Films (distribuici\u00f3n estadounidense)<\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/867479355?h=fbb65b88a7&amp;badge=0&amp;autopause=0&amp;player_id=0&amp;app_id=58479\" width=\"640\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: justify;\">&#8211; Best Documentary Nominee at the\u00a0Arieles (Mexican Academy Awards), Grand Prize at\u00a0Riviera Maya Film Festival (Mexico), Best Documentary at\u00a0M\u00e1laga Film Festival (Spain), Grand Prize at\u00a0Zanate Film Festival (Mexico), Special Jury Prize at\u00a0Santiago International Documentary Film Festival (Chile), \u201cImmaterial Heritage\u201d Special Mention from France\u2019s Ministry of Culture at Cin\u00e9ma du R\u00e9el, Special Mention at DocsMX (Mexico City International Film Festival), Cartagena Film Festival (Colombia), Guadalajara Film Festival (Mexico), Valencia International Documentary Film Festival (Spain),\u00a0DOXA Documentary Film Festival (Canada), Vancouver Latin American Film Festival (Canada), \u00c2n\u00fb\u00fb-r\u00fb \u00e2boro &#8211; Festival International du Cin\u00e9ma des Peuples (New Caledonia), Dokufest (Kosovo), Belo Horizonte&#8217;s Documentary and Ethnographic Film Festival, work-in-progress screening at the Flaherty Seminar, among others<\/p>\n<p style=\"text-align: justify;\">&#8211; acquired by the Pompidou Center\u2019s BPI\u00a0(Paris public library), broadcast on e-flux<\/p>\n<p style=\"text-align: justify;\"><strong>PRESS:<\/strong><br \/>\n&#8211; <a href=\"https:\/\/www.hollywoodreporter.com\/movies\/movie-reviews\/ballad-oppenheimer-park-cinema-du-878517\/\"><em>The Hollywood Reporter<\/em><\/a>: <em>The Ballad\u00a0of Oppenheimer Park<\/em> \u201coffers up an intimate group portrait that can be both heartbreaking and hilarious, focusing on a few lost souls banding together against the raw deal handed to their tribes.\u201d<br \/>\n&#8211; <a href=\"https:\/\/www.lemonde.fr\/culture\/article\/2016\/03\/18\/complainte-amerindienne-au-cinema-du-reel_4885341_3246.html\"><em>Le Monde<\/em>\u2019s Jacques Mandelbaum<\/a>: \u201cThe film conjures up the most shocking and poignant images imaginable.\u201d<br \/>\n&#8211; <a href=\"https:\/\/www.jornada.com.mx\/2017\/10\/08\/opinion\/a08a1esp\"><em>La Jornada<\/em><\/a>: The film\u2019s \u201cgambit consists of lucidly and strategically dispelling the humanist discourse towards which most documentary filmmakers tend \u2013 which doesn\u2019t explain anything and naturally doesn\u2019t solve anything either&#8230;Instead, Juan Manuel Sep\u00falveda, much more handily than in his two prior features, underlines the scandal and absurdity of social marginalization and lyrically suggests what, in due time, its devastating aftermath might be.\u201d<br \/>\n&#8211; <a href=\"https:\/\/blogs.mediapart.fr\/edition\/cinemas-damerique-latine-et-plus-encore\/article\/290316\/la-balada-del-oppenheimer-park-de-juan-manuel-sepulveda\"><em>Mediapart<\/em><\/a>: \u201cThe titular ballad is a bitter one for the residents of Oppenheimer Park, and it aptly conveys the mismatch between the identities of those onscreen and the myriad of fantasies that the external world imposes on them&#8230;Always seeking out the right place for the camera, never intruding, Juan Manuel Sep\u00falveda\u2019s filmmaking strives to liberate those whom others\u2019 gazes have imprisoned.\u201d<br \/>\n&#8211; <a href=\"https:\/\/confabulario.eluniversal.com.mx\/juan-manuel-sepulveda-y-la-resistencia-lumpenizada\/\"><em>El Universal<\/em><\/a>: \u201cIt\u2019s a fictional or semi-fictional adventure film that constructs and deconstructs itself as it goes along, reflecting glimmers of an ever-distant, barely discernable, unprecedented, inexpressible, unclassifiable, and always-elusive underclass resistance&#8230;This underclass resistance avoids the pitfalls of poverty porn thanks to its militancy \u2013 abrupt and indefinite, visceral and amorphous, and yet communitarian and vehement in spite of it all.\u201d<br \/>\n&#8211; <a href=\"https:\/\/www.straight.com\/movies\/697726\/doxa-2016-review-ballad-oppenheimer-park\"><em>The Georgia Straight<\/em><\/a>: <em>The Ballad\u00a0of Oppenheimer Park<\/em> \u201ccaptured camaraderie in hard times, dark humour in the face of oppression, and, more than anything else, simple community.\u201d<br \/>\n&#8211; <a href=\"https:\/\/www.citr.ca\/discorder\/june-2016\/the-ballad-of-oppenheimer-park\/\"><em>Discorder Magazine<\/em> (CiTR)<\/a>: \u201cAs Sep\u00falveda\u2019s controversial role in the making of <em>Ballad<\/em> enhances the film\u2019s trope of colonial threat \u2014 threat to honor, threat to freedom and threat to this newly imagined \u2018frontier\u2019 \u2014 the audience is left with a ballad sung in two key tones, complex, but clear.\u201d<br \/>\n&#8211; <a href=\"http:\/\/revistaiconica.com\/la-balada-del-oppenheimer-park\/\"><em>Ic\u00f3nica<\/em><\/a>: \u201cShowing First Peoples\u2019 daily life necessarily involves revealing the flip side of progress and modernity in so-called First World countries like Canada, making explicit the roles of veiled forms of violence and exclusion in these former colonies\u2019 national identity construction. This contradiction, intrinsic to modernity and progress, of which, whether we like it or not, we are a part, is what Juan Manuel Sep\u00falveda invites us to consider \u2013\u00a0not via modern colonialism\u2019s persecution of indigenous peoples but instead via our ways of continuing to develop society.\u201d<br \/>\n&#8211; <a href=\"https:\/\/www.arsenal-berlin.de\/en\/arsenal-cinema\/past-programs\/single\/article\/6660\/2804\/archive\/2017\/june.html\">Arsenal Film Institute<\/a>: \u201c<em>The Ballad\u00a0of Oppenheimer Park<\/em> is a deeply empathetic documentary dedicated to the daily reality of indigenous people&#8230;When the director introduces artefacts from the past \u2013 arrows, wagons, headdresses \u2013 to the setting, it offers them a playful opportunity to celebrate their heritage on their own terms.\u201d<br \/>\n&#8211; <a href=\"http:\/\/correspondenciascine.com\/2017\/10\/la-balada-del-oppenheimer-park-juan-manuel-sepulveda\/\"><em>Correspondencias<\/em><\/a>: \u201c<em>The Ballad\u00a0of Oppenheimer Park<\/em>, via its listening, its patience, and its collaborative premise, unpretentiously deals in more than wounds from an atrocious past. It courageously interferes with unilateral fictions, multiplying and dispersing representational possibilities. Rather than officially documenting, it forges its own history of colonialism.\u201d<br \/>\n&#8211; <a href=\"https:\/\/enfilme.com\/en-cartelera\/la-balada-del-oppenheimer-park\"><em>EnFilme<\/em><\/a>: \u201c<em>The Ballad\u00a0of Oppenheimer Park<\/em> offers a close, sincere, and respectful look at a small section of Vancouver\u2019s Downtown Eastside&#8230;It captures camaraderie in hard times, dark humor in the face of oppression, and, above all, the actions and feelings of this modest community.\u201d<br \/>\n&#8211; <a href=\"https:\/\/gatopardo.com\/arte-y-cultura\/oppenheimer-y-tenamaztle\/\"><em>Gatopardo<\/em><\/a>: \u201cInstead of depicting a story of persecution and violence, Sep\u00falveda portrays a group of indigenous people who have left reservations and who now drink, play cards, and chat in the middle of a city \u2013 via formal means that comfort and even entertain them.\u201d<br \/>\n&#8211; <a href=\"https:\/\/www.laopiniondemalaga.es\/festival-cine-malaga\/2017\/03\/25\/mexicano-rodando-pelicula-indios-canadienses-28189218.html\"><em>La Opini\u00f3n de M\u00e1laga<\/em><\/a>: \u201cThe narrative\u2019s originality comes from its attempt to fictionalize without avoiding the extremes of reality.\u201d<br \/>\n&#8211; <a href=\"http:\/\/www.cinestel.com\/critica-la-balada-del-oppenheimer-park-juan-manuel-sepulveda\/\"><em>cinestel<\/em><\/a>: \u201cWe have to wonder if what we\u2019re seeing is an authentic document or instead a reflection of a desire for representation, for the delivery of a message&#8230;In any event, <em>The Ballad\u00a0of Oppenheimer Park<\/em>\u2019s food for thought is brilliant.\u201d<br \/>\n&#8211; <a href=\"https:\/\/linnemagazine.com\/2017\/10\/08\/la-balada-cruda-y-lenta-del-oppenheimer-park\/\"><em>Linne<\/em><\/a>: \u201cIt\u2019s a filmic exercise that avoids explicit mention of the social issues viewers might otherwise seek. Instead, audiences must consider the situations that unfold according to the order and cuts that structure the film.\u201d<br \/>\n&#8211; <a href=\"http:\/\/cineramaplus.com.ar\/ineditas-la-balada-del-oppenheimer-park-2016\/\"><em>CineramaPlus+<\/em><\/a>: \u201cIn this documentary journey&#8230;we see [the protagonists] inhabit this non-place, filling, occupying, and overwhelming it and as such developing a way of life&#8230;As the their universe unfolds, being there involves making the place their own.\u201d<br \/>\n&#8211; <a href=\"https:\/\/www.proceso.com.mx\/cultura\/2016\/11\/28\/la-balada-del-oppenheimer-park-gana-festival-zanate-de-cine-documental-mexicano-174544.html\">Zanate Film Festival jury statement in <em>El Proceso<\/em><\/a>: \u201cVia a clear and contemplative study of space, the director represents the realities of communities experiencing systemic violence on a daily basis and facing ancestral tensions between oppression and resistance. It\u2019s an intimate and raw portrait of the future that it seems we will have to endure.\u201d<\/p>\n<p><\/p>","protected":false},"excerpt":{"rendered":"<p>La Balada del Oppenheimer Park es una pel\u00edcula sobre el proceso que siguen Harley Prosper, Janet Brown y Bear Raweater (Nativos exiliados de reservaciones canadienses) mientras crean una pel\u00edcula dentro del per\u00edmetro del parque donde se re\u00fanen todos los d\u00edas. Utilizando su vida actual y su larga historia de opresi\u00f3n, su diario ritual de beber [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":76,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4,1,5],"tags":[6],"class_list":["post-32","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-editor","category-projects","category-producer","tag-feature"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/isidorebethel.com\/es\/wp-json\/wp\/v2\/posts\/32","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/isidorebethel.com\/es\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/isidorebethel.com\/es\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/isidorebethel.com\/es\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/isidorebethel.com\/es\/wp-json\/wp\/v2\/comments?post=32"}],"version-history":[{"count":105,"href":"https:\/\/isidorebethel.com\/es\/wp-json\/wp\/v2\/posts\/32\/revisions"}],"predecessor-version":[{"id":3636,"href":"https:\/\/isidorebethel.com\/es\/wp-json\/wp\/v2\/posts\/32\/revisions\/3636"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/isidorebethel.com\/es\/wp-json\/wp\/v2\/media\/76"}],"wp:attachment":[{"href":"https:\/\/isidorebethel.com\/es\/wp-json\/wp\/v2\/media?parent=32"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/isidorebethel.com\/es\/wp-json\/wp\/v2\/categories?post=32"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/isidorebethel.com\/es\/wp-json\/wp\/v2\/tags?post=32"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}