Venezuelan cinema is experiencing a moment of recognition, particularly within the genre of folk horror, as evidenced by the recent success of Ángel Suárez Guevara’s debut feature, “La Orilla.” The film garnered the award for Best Venezuelan Feature Film at the VII El Grito Film Festival in and simultaneously received an honorable mention at the INSÓLITO: 8th International Fantastic Film Festival in Lima, Peru.
“La Orilla,” meaning “The Shore” in English, is a Margariteño production – originating from the island of Margarita, Nueva Esparta state – and is described as a folk horror film rooted in local myths and legends. The narrative centers on the Martínez family, who find their lives disrupted by a series of strange occurrences. Suárez Guevara, a graduate of the Colegio Pablo Romero Millán on Margarita Island, crafted a film that taps into the anxieties and superstitions inherent in regional folklore.
The win at El Grito, a festival dedicated to fantastic, horror, suspense, and science fiction cinema, is particularly significant. The festival, now in its seventh year, has become a key platform for showcasing Venezuelan genre films. Suárez Guevara expressed his gratitude, noting that San Cristóbal, the festival’s location, felt like “home” to the production team. He also highlighted the importance of festivals like El Grito in providing visibility for Venezuelan cinema.
“For us, It’s also important to be able to see the new proposals of Venezuelan cinema. In addition to La Orilla, there are also other films that will resonate from the big screen,” Suárez Guevara stated, as reported by Reporte Confidencial. “Thanks to the El Grito festival and its organizing team for disseminating and creating spaces like these that are necessary for our cinema to be seen and known.”
The success of “La Orilla” arrives at a time when Venezuelan cinema is navigating economic challenges and seeking greater international recognition. While the industry has a history dating back to 1896, with the first national films screened in 1897, production rates fluctuated considerably throughout the 20th century. The 1970s and 80s saw the rise of socially engaged cinema, and more recently, Venezuelan filmmakers have gained attention at international festivals, particularly with LGBT-related narratives as part of the “Latin American New Maricón Cinema” wave.
According to data from 2013, Venezuela had 481 screens, with a per capita rate of 1.8 screens per 100,000 people. The main distributors at that time included Cinematográfica Blancica, The Walt Disney Company Venezuela, and Cines Unidos. In 2013, a total of 21 feature films were produced, with 18 being fictional and 3 being animated or documentaries. National films accounted for 8.1% of total admissions (2,429,560 out of 30,069,381) and 7.3% of the gross box office revenue (VEF 104 million out of VEF 1.42 billion).
The rise of folk horror, as exemplified by “La Orilla,” represents a new direction for Venezuelan cinema, drawing on the country’s rich cultural heritage and exploring themes of fear and superstition. This subgenre focuses on the anxieties stemming from folklore, rituals, and popular legends. The film’s success suggests a growing appetite for locally-rooted horror stories that resonate with audiences both domestically and internationally.
While the broader Venezuelan film industry continues to face hurdles, the recognition garnered by “La Orilla” provides a boost and highlights the potential for unique and compelling storytelling within the country. The film’s dual awards – in Venezuela and Peru – signal a growing regional interest in Venezuelan genre cinema and the talent of filmmakers like Ángel Suárez Guevara.
The broader landscape of Venezuelan cinema includes notable filmmakers such as Román Chalbaud, Margot Benacerraf, Fina Torres, Clemente de la Cerda, Mariana Rondón, and Lorenzo Vigas, each contributing to the evolution of the national cinematic voice. “La Orilla” adds another layer to this legacy, demonstrating a willingness to explore new genres and engage with the country’s cultural roots.
Elsewhere, Brazilian filmmaker Karim Aïnouz is currently in Brazil shooting his erotic thriller, “Motel Destino,” following his English-language drama “Firebrand” starring Alicia Vikander. Aïnouz is also known for his films “Futuro Beach” and “The Invisible Life of Euridice Gusmão.” His latest project, “Rosebush Pruning,” premiered at the Berlin Film Festival in , and is described as a twisted, star-studded family satire exploring themes of patriarchy.
