Amábilis Cordero featured in his film Miracles of the Divine Shepherdess (1928) the image of the death in very precarious shape of a scrawny, anonymous actor who, wrapped in a sheet and armed with a scythe, walking in sandals rooftops Barquisimeto in what could be considered one of the first and rare surreal visions of Venezuelan film. As we know, our film has preferred rather turn towards the outside; to the marginal, criminal and sociological social fact avoiding exploring spaces of dreams and imagination. In such a witty and imaginative country like Venezuela no longer curious that the film lacks the imagination to accept that truth finds its best support in the fable: that reality always full of poetry.
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Amábilis Cordero featured in his film Miracles of the Divine Shepherdess (1928) the image of the death in very precarious shape of a scrawny, anonymous actor who, wrapped in a sheet and armed with a scythe, walking in sandals rooftops Barquisimeto in what could be considered one of the first and rare surreal visions of Venezuelan film. As we know, our film has preferred rather turn towards the outside; to the marginal, criminal and sociological social fact avoiding exploring spaces of dreams and imagination. In such a witty and imaginative country like Venezuela no longer curious that the film lacks the imagination to accept that truth finds its best support in the fable: that reality always full of poetry.
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