The film “El Rey”, directed by Antonio Dorado, illustrates the beginning of narco-trafficking in the eyes of Colombia. The story follows a man named Pedro Rey, a bar owner, in Colombia during the 1960’s where he meets Harry, an American who works for the Peace Corps, who introduces him to the illicit business of drugs. Together they create a lucrative network where they begin the market of drugs in the United States. Despite the fortune and ascent on his social status as being a drug lord, Rey still desires more power. He reaches the point where he demonstrates double standards such as killing his partner, putting his life on the line and damaging his relationship with wife, Blanca Rey. The message the story talks about the heavy role the United States plays in the origin of the mafia of drugs and how the initial utopias for Colombia were lost due to the growing corruption of narco-trafficking.
One of the principal figures in the film is Harry, the American, who represents the antagonist role of the United States during the beginnings of
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Pedro Rey at the beginning is a man who wants to move forward with his career when he meets Blanca and begins the illicit business. He develops a committed relationship with her and live the rest of his life together until his death, but the profound damage made by the business remains with her and is not in her control anymore. “Se suma el impacto en la población civil nacional a raíz del terror sembrado por los narcotraficantes con su serie de acciones violentas con bombas, atentados y asesinatos para desestabilizar al gobierno y difundir el miedo.” (Ospina 22) In scene of the film, Pedro publicly humiliates Blanca by dragging her out the discotheque for throwing water at Pollo despite him publicly flirting with another woman. He then kills Pollo to spread fear and
Numerous screenwriters and directors have often dealt in their films with the theme of borders, whether literal and officially recognised, like military ranks or state frontiers, or abstract and metaphorical, like those of morality, justice, race, and gender, along with several others. As a consequence, as John Gibbs points out, one could assemble these movies, especially those taking place on the confines between Mexico and United States, under the label of ‘border films’ (2002: 27); thus contextualising them in a very specific tradition, which includes pictures such as Touch of Evil (Orson Welles 1958) or The Three Burials of Melquiades Estrada (Tommy Lee Jones 2005). Accordingly, another notable movie belonging to the ‘border film tradition’ is Lone Star: an acclaimed 1996 hybrid of western and mystery film conventions, directed and written by independent filmmaker John Sayles. The picture recounts the story of a murder investigation, which leads the main character, Sheriff Sam
Moreno's character started the play by speaking Spanish, but every other character in the play spoke English. This created reinforced the themes of cultural division and knowing one's family ancestry and heritage. The language barrier that Moreno's character presented at the beginning of the play added depth not only to his character but to all of the others in the scene. It showed that his character was different from everyone else but more appreciative of where he was from. He left Mexico to come to America so that he could have a better life, but he didn't want to leave his old life behind.
Introduction Written and published in 2008 by Paul Gootenberg, History professor and Latin American studies at University of New York at Stony Brook, “Andean Cocaine: The Making of a Global drug” retraces the pivotal stages of the illicit cocaine trafficking, starting from the boundless coca fields in Latin America to the chemistry laboratories in Europe up until the streets of U.S. cities. The aim of this book review is to provide the reader with a short but detailed insight of what is the main content of the book, by paying particular attention to its structure, objectivity and style. Scope & Organisation Adopting a meticulous chronological approach, Gootenberg describes the infamous and complex untold history of cocaine, analysing and
Trujillo had no respect for women, to him, and many other male characters in the novel, women were sex symbols. This type of behavior shows in how the narrator views women also in Oscar and his one sided relationships, INSERT QOUTE about YUNIER AND EXPLAINATION It is arguable that cultural lens is more relative in the book than that of the feminist lens. This perspective makes sense because in the book the dominican culture is very significant. The story of Oscar, the character whom the novel is about, is told through the voice of Yunior, the narrator.
Guillermoprieto spent a year around the favelas, with that she was able to observe and hear stories that contradict what many imagine how drug lords (the malandros) interact within the community. Organized crime began in the favelas in 1889, with a lottery called the animal game. The game started with Baron Joao Batista, he used animals as symbols, similar to the game of bingo, he used the funds he received from the lottery to raise money for his zoo. After his death and the collapse of the zoo, the game lived on, “under the control of an emerging elite among the malandros” (Guillermoprieto, pg. 76). Once the government declared the animal game illegal, it was natural for these elite malandros to use this “underground” structured society as a means of prostitution rings, drug smuggling, gun dealing, and selling stolen goods.
It provides a role in character development shown predominantly in Patrias character. It shows the extent of Trujillo’s actions against the Dominican people by showing Patrias desperateness for her son. These examples depicted in the book show how the theme of religion has an impact on In the Time of the
Life in Mexico can be very harsh, many people outside of Mexico believe life in the country isn’t as bad as it seems. Over the years the country has changed but still face many problems. The Mexican drug war is still a highly supplied conflict between the Mexican army and drug cartels in Mexico. The country has been one of the main suppliers of illegal drugs that causes discrimination, drug trafficking and many deaths yearly. The question is, how has life in Mexico changed before and after the war on drugs?
It is through her point of view where we notice how easily drugs are available to her and how susceptible teenagers are to addiction. Finally, a unique and different perspective is shown through Javier Rodriquez played by Benicio Del Toro. Depicted as a “good cop” in Mexico, Javier is actively fighting against criminals, drug traffickers/smugglers and the reality of corruption in the Mexican military. Between the 3 we view the film at the political level of the drug war, the social level, and law enforcement level, respectively. Soderbergh uses different colors to distinguish between the several storylines.
The setting allows the reader to understand how people without honour are seen as outcasts of the society and the existence of a woman’s virginity is seen as a measure of her honour, as well as a precious commodity, which can purchase the family’s social advancement, through a marriage of convenience. Ángela states that Santiago deflowered her, but since “…she looked for it in the shadows…”, even though “She only took the time necessary to say the name.” we question this piece of information and its reliability, due to it being precise but also vague at the same time. Due to their sister stating this, Pablo and Pedro Vicario are ordered to reinstate their “…sister’s lost honour…”, ironically by their mother, to meet the expectations of the community and it is up to them to spiritually retrieve their sister’s virginity by killing Santiago. This means the brothers cannot back down from “…the horrible duty that’s fallen on them…” as “…there’s no way out of this…”.
Alvarez and her family have a lot of trauma considering there lives in the dominican republic and living under the dictator,through it all alvarez's parents raised a daughter who would share their story in a fashionable matter that told the story how it was.
Pedro was the seventh child besides all of his thirteen siblings. Benilda was physically abused by a sex worker and clients. He was kicked out of the house by his mom after having sexual intercourse with his younger sister. Lopes then ran away from this and went to Bogota. He became homeless along with many other young children, they were known as the “ gaminies”.
In the wildly popular Mexican film, Los olvidados (1950), Spanish director Luis Buñuel exposes the harsh realities of life in Mexico during the 1950’s. Luis Buñuel’s work on Los olvidados portrays a societal loss for all hope due to crime and violence as an infinitely vicious cycle, coupled with addressing the lack of reform for dilapidated living conditions throughout Mexico. In Los olvidados, Buñuel follows Pedro (Alfonso Mejía) a neglected bastard, and El Jaibo (Roberto Cobo) the leader of a gang of homeless children loitering in vacant lots. For Pedro, and the rest of the cast, a series of unfortunate outcomes have been strung together though common ignorance and a lack of self-control. Luis Buñuel’s use of focal length, editing, and dialogue
A Review of the Movie – TRAFFIC (2000) This film gives us an inside look at America 's war on drugs. It was told through the depiction of four separate stories that are connected in some way or another. The film begins in Mexico, where police officer Javier Rodriguez Rodriguez and his partner Manolo stop a drug transport and arrest the drivers. However, their arrest is interrupted by General Salazar, a high-ranking Mexican
THE FATHER, THE SON, AND LA CHINGADA: THE TRINITY OF THE CONQUEST ‘Lo Mexicano’ is a phrase-turned-concept in 20th century Mexican philosophy. The term literally translates to “the Mexican,” however, it is also used to superficially describe the identity of the Mexican individual. The notion came about after the revolution; the phrase was meant to emphasize and unite Mexico as an independent people. Today, the phrase is understood as an all encompassing term for “mexicanness,” or that which makes someone a true mexican.
Juan Rulfo’s novel Pedro Páramo revolves around the life of Pedro Páramo. Juan Preciado goes to Comala to fulfill his mother’s dying wish by finding his father Pedro Páramo . When he arrives in Comala he does not find Comala as the lush, lively town town his mother talked of but a desolate town filled with ghosts. The ghosts tell him the story of Pedro Páramo life and of Comala’s past. The character of Pedro Páramo reveals that corruption is contagious.