Jorge Jacko

Mayami Nuestro goes beyond the slogan "tá barato, dame dos" (“it’s cheap, give me two”) to force a rethinking of Venezuela’s relationship with oil and national identity. Produced at the height of the oil boom, this 34-minute documentary examines Venezuelan lifestyles in the 1970s and early 1980s, questioning the consumerist fantasies fueled by petro-wealth. Through interviews with merchants, bankers, U.S. academics, and the testimonies of Venezuelans themselves, the film maps the era’s version of the “American Dream” as lived—and projected—abroad. Winner of national and international awards and directed by Carlos Oteyza, Mayami nuestro offers a sharp, historically grounded critique and an open invitation for new generations to reflect on the legacy of oil and its cultural consequences.

Fulgencio Martinez wants a car to give a good image to the president of the company where he works and thus get a promotion. Carmina, his wife, suffers from a fatal illness and the only way to flatter her life is with an operation. Martinez tries to kill her so as not to spend the money from his savings on the clinic and buy the car. In the end, after a dream that makes him feel the loss of his wife, he abandons his plans.

María Eugenia Alonso, almost a woman, still an adolescent, returns from Europe to impose the light of her reason on that of her old house, a temple of boredom, where, as in the ancient and moist churches, the old smell of traditions and race floats.

Fidel, a deaf mugger, sees the possibility of a new life after he start attending to a school for the deaf. However his chances are getting shorter as the a police officer is after his trail.

The obsession of The Mother for The Negro causes her sick relationship with The Daughter. Mother and daughter perform a daily routine of rites to conjure The Negro's soul. It pushes them into the dolorous tragedy which will consume them.