Directing
Julio Neri
Caracas, Venezuela
Julio Neri (Caracas, Venezuela) is a Venezuelan filmmaker, producer, and cultural promoter, best known for his key role in developing the Super-8 movement in Latin America during the 1970s. He was the founder and director of the International Festival of New Super-8 Cinema in Caracas, one of the most influential events in Venezuelan experimental film, which connected emerging filmmakers with avant-garde circuits around the world. Among his most notable works is Electofrenia (1979), a Super-8 documentary that offers a sharp and ironic portrayal of Venezuela’s 1978 presidential campaign. Premiered commercially in 1979, the film became a landmark of independent political cinema in the country for its direct and satirical look at the media and social climate of the time. Neri also directed films such as Armada (1977), Érase una vez en Venezuela (1978), and El hacedor de milagros (1982), and later worked on coproduction and digital distribution initiatives. He has served as president of Cinemania Network and has promoted the diffusion of Latin American cinema through new audiovisual platforms. His career bridges filmmaking, cultural management, and teaching, leaving a lasting mark on Venezuela’s independent and experimental film history.
Acting credits
NRDocumentary in four parts on Latin American cinema. Third episode: from the 1960s, France and Europe showed a real enthusiasm for Latin American cinema, but the latter remained hampered by numerous economic and political obstacles.
Claves, 3: Small mother country, great mother country
1984
NRAutorretrato is the mirror the filmmaker uses to look at himself, and through it, at his reality, using the cinematic collage.
Autorretrato
1976
7.0In Secretaries Day, either you get laid or you get paid.
Cóctel de Camarones. En el Día de la Secretaria
1984
Behind the camera
7.0The journey of a Brazilian healer through Brazil, Panama, and Venezuela, and his various activities that blend fakirism, Christianity, and macumba, forming a noisy collective ceremony.
Miracle Maker
1982
7.0The journey of a Brazilian healer through Brazil, Panama, and Venezuela, and his various activities that blend fakirism, Christianity, and macumba, forming a noisy collective ceremony.
Miracle Maker
1982
7.0Electofrenia (1978), Neri's third political film, requires a critical distance in order to consider the reasons why Venezuelans choose their presidential candidate in the 1978 election. Electofrenia, signifying the chaos of the elections, proposes that many Venezuelans select the candidate who benefits them personally rather than the one who is good for the country at large. Not without irony, the film brings up Venezuela's two decades of peaceful democratic government. If people choose what is good for them, can we call it a democracy?
Electofrenia
1978
7.0Electofrenia (1978), Neri's third political film, requires a critical distance in order to consider the reasons why Venezuelans choose their presidential candidate in the 1978 election. Electofrenia, signifying the chaos of the elections, proposes that many Venezuelans select the candidate who benefits them personally rather than the one who is good for the country at large. Not without irony, the film brings up Venezuela's two decades of peaceful democratic government. If people choose what is good for them, can we call it a democracy?
Electofrenia
1978
NRArmada (1977), Julio Neri's first political film, was made at a time in which several Latin American countries –most importantly Argentina and Chile— had seen a turn towards military dictatorships. Neri questions authoritarian regimes through the narrative of a devoted but free-loving daughter, Armada, and her military father. Armada's line of argument departs from the militant films made by New Latin American Cinema directors in the 1960’s. Rather than openly opposing the violent and repressive regimes (represented by the father), Armada establishes a complex relationship in which the daughter is divided between the love towards her father and the love towards her freedom. However, Armada's death at the hands of her violent father clearly condemns the use of violence and is thus a call to action against repressive regimes. As many Super 8 films of the 1970’s and 1980’s, Armada has a synchronized sound track rather than diegetic sound.
Armada
1977
NRArmada (1977), Julio Neri's first political film, was made at a time in which several Latin American countries –most importantly Argentina and Chile— had seen a turn towards military dictatorships. Neri questions authoritarian regimes through the narrative of a devoted but free-loving daughter, Armada, and her military father. Armada's line of argument departs from the militant films made by New Latin American Cinema directors in the 1960’s. Rather than openly opposing the violent and repressive regimes (represented by the father), Armada establishes a complex relationship in which the daughter is divided between the love towards her father and the love towards her freedom. However, Armada's death at the hands of her violent father clearly condemns the use of violence and is thus a call to action against repressive regimes. As many Super 8 films of the 1970’s and 1980’s, Armada has a synchronized sound track rather than diegetic sound.
Armada
1977
10.0Film by Julio Neri.
Érase una vez en Venezuela
1977
10.0Film by Julio Neri.
Érase una vez en Venezuela
1977
NRAutorretrato is the mirror the filmmaker uses to look at himself, and through it, at his reality, using the cinematic collage.
Autorretrato
1976
NRAutorretrato is the mirror the filmmaker uses to look at himself, and through it, at his reality, using the cinematic collage.
Autorretrato
1976
NRConditioning, claustrophobia, and mechanization lead a city dweller to a progressive mental imbalance, culminating in self-destructive masochism.
Neurópolis
1976
NRConditioning, claustrophobia, and mechanization lead a city dweller to a progressive mental imbalance, culminating in self-destructive masochism.
Neurópolis
1976