Miejsca nieoswojone : krajobrazy Peru w filmach Claudii Llosy

Abstract

Landscapes in films directed by Claudia Llosa come to signify strangeness and isolation. In her debut Madeinusa (2006) the Peruvian filmmaker depicts a secluded village in the Andes, whose name Manayaycuna means a place one must not enter, which indeed proves to be quite accurate for an accidental stranger arriving from Lima. The clash of cultures theme returns in The Milk of Sorrow (2009), which in turn is set in unfriendly landscape of the capital’s suburbia, where migrants try to start their lives anew by leaving behind the traumatic memories of armed conflict taking place in their home villages. Other districts of Lima, which are equally strange and unwelcoming, serve as a setting for Lllosa’s short film entitled Loxoro (2011), telling a story of a desperate search for a missing daughter. The claustrophobic confinement of urban mazes and forbidden villages, however, is counterpointed in Llosa’s films by the hope‐ inducing open spaces of mountain ranges and ocean waters.