DIRECTOR: Tito Catacora, Óscar Catacora
STARRING: Luz Diana Mamami, Cecilio Quispe Ch.
RUNNING TIME: 1 hr 44 minutes
LANGUAGE: Aymara
The communal justice system accuses Don Evaristo, 80 years old, of the murder of his granddaughter Yana-Wara, 13 years old. During the hearing, everyone learns the tragic story of this young girl.
***
Óscar Catacora made history in 2018 with Eternity - the first film in the Aymara language and Peru’s Oscar submission for that year. The filmmaker passed away in the early production stages of his second Aymara-language feature Yana-Wara, with his uncle Tito taking the helm to carry on with the shoot. Yana-Wara was written and co-directed by Óscar along with Tito Catacora. It is the posthumous work of Óscar Catacora, following his death on November 26, 2021. The film made its world-wide debut at the Lima Film Festival in 2023, followed by the Málaga Film Festival in March 2024. The film managed to capture the attention of both the public and critics at said festival and at the APRECI Awards. The film addresses deep themes, such as the Aymara worldview and the denunciation of social problems, such as machismo and sexual violence.
The Ministry of Culture announced that the Peruvian film Yana-Wara will seek a nomination in the Best International Feature Film category at the Oscars.
It is produced by Cine Aymara Studios with a cast made up entirely of non-professional actors.
Yana-Wara is a mystery drama and it was filmed in the Puno Region in Peru.
To check out all previous submissions for Peru, click HERE.
STARRING: Luz Diana Mamami, Cecilio Quispe Ch.
RUNNING TIME: 1 hr 44 minutes
LANGUAGE: Aymara
The communal justice system accuses Don Evaristo, 80 years old, of the murder of his granddaughter Yana-Wara, 13 years old. During the hearing, everyone learns the tragic story of this young girl.
***
Óscar Catacora made history in 2018 with Eternity - the first film in the Aymara language and Peru’s Oscar submission for that year. The filmmaker passed away in the early production stages of his second Aymara-language feature Yana-Wara, with his uncle Tito taking the helm to carry on with the shoot. Yana-Wara was written and co-directed by Óscar along with Tito Catacora. It is the posthumous work of Óscar Catacora, following his death on November 26, 2021. The film made its world-wide debut at the Lima Film Festival in 2023, followed by the Málaga Film Festival in March 2024. The film managed to capture the attention of both the public and critics at said festival and at the APRECI Awards. The film addresses deep themes, such as the Aymara worldview and the denunciation of social problems, such as machismo and sexual violence.
The Ministry of Culture announced that the Peruvian film Yana-Wara will seek a nomination in the Best International Feature Film category at the Oscars.
It is produced by Cine Aymara Studios with a cast made up entirely of non-professional actors.
Yana-Wara is a mystery drama and it was filmed in the Puno Region in Peru.
To check out all previous submissions for Peru, click HERE.
FILM REVIEW:
(This review contains spoilers.)
“You want to play with me?”
Yana-Wara, directed by Óscar and Tito Catacora, is a powerful and heart-wrenching drama that explores the intersection of tradition, gender violence, and supernatural beliefs in an isolated Andean community. The film opens with an elderly man, Don Evaristo, standing trial for the murder of his granddaughter, Yana-Wara. Through a series of flashbacks, Don Evaristo recounts the events that led to the tragic death of the 13-year-old girl, who had suffered sexual abuse and was believed to be possessed by evil spirits. The film masterfully weaves together themes of real-world violence and spiritual oppression, creating a poignant portrait of a society where women are denied agency over their bodies and lives.
The central conflict of the film revolves around the deeply ingrained patriarchy in the village, where the lives of women like Yana-Wara are controlled by men, often under the guise of protecting tradition or maintaining spiritual purity. Yana-Wara's fate is sealed after she is raped by a local teacher, an event that strips her of her humanity in the eyes of the community. She becomes the target of spiritual rituals meant to "cleanse" her, but these acts of so-called purification are just another form of violence. The film's slow-burning narrative exposes the brutal reality of these societal norms, showing how both real and supernatural forces conspire to destroy Yana-Wara’s life.
Yana-Wara is striking. Filmed in a stark black-and-white 4:3 format, the cinematography emphasizes the remote and unforgiving beauty of the Andean landscape. Each frame feels meticulously composed, with the towering mountains and vast plains acting as silent witnesses to the unfolding tragedy. The film’s aesthetic choices give it a timeless quality, suggesting that the issues it portrays, gender violence, superstition, and social control, are not confined to any one time or place. The use of the supernatural is particularly effective; the blending of spiritual rituals with the harsh reality of Yana-Wara's life creates an unsettling atmosphere, making it difficult to separate myth from reality.
The performances in Yana-Wara are exceptional. Cecilio Quispe delivers a deeply affecting portrayal of Don Evaristo, a man caught between his love for his granddaughter and the oppressive weight of tradition. Quispe’s performance is understated yet powerful, conveying the internal struggle of a man who is both a victim and a perpetrator of the community’s rigid social norms. Luz Diana Mamani, as the titular Yana-Wara, gives a heartbreaking performance as a young girl whose spirit is slowly crushed by the forces around her. Her quiet suffering and resilience in the face of insurmountable odds make her story all the more devastating.
Yana-Wara is a profoundly moving and disturbing film that sheds light on the plight of women in isolated communities ruled by superstition and patriarchy. The film’s stark visuals, powerful performances, and unflinching depiction of gender violence make it one of the most important films of the year. It is both a critique of the oppressive systems that dehumanize women and a reflection on the universality of suffering in the face of societal injustice. Yana-Wara is a testament to the skill of the Catacora brothers and a poignant reminder of the need for empathy and change in the face of cultural and societal challenges.
(This review contains spoilers.)
“You want to play with me?”
Yana-Wara, directed by Óscar and Tito Catacora, is a powerful and heart-wrenching drama that explores the intersection of tradition, gender violence, and supernatural beliefs in an isolated Andean community. The film opens with an elderly man, Don Evaristo, standing trial for the murder of his granddaughter, Yana-Wara. Through a series of flashbacks, Don Evaristo recounts the events that led to the tragic death of the 13-year-old girl, who had suffered sexual abuse and was believed to be possessed by evil spirits. The film masterfully weaves together themes of real-world violence and spiritual oppression, creating a poignant portrait of a society where women are denied agency over their bodies and lives.
The central conflict of the film revolves around the deeply ingrained patriarchy in the village, where the lives of women like Yana-Wara are controlled by men, often under the guise of protecting tradition or maintaining spiritual purity. Yana-Wara's fate is sealed after she is raped by a local teacher, an event that strips her of her humanity in the eyes of the community. She becomes the target of spiritual rituals meant to "cleanse" her, but these acts of so-called purification are just another form of violence. The film's slow-burning narrative exposes the brutal reality of these societal norms, showing how both real and supernatural forces conspire to destroy Yana-Wara’s life.
Yana-Wara is striking. Filmed in a stark black-and-white 4:3 format, the cinematography emphasizes the remote and unforgiving beauty of the Andean landscape. Each frame feels meticulously composed, with the towering mountains and vast plains acting as silent witnesses to the unfolding tragedy. The film’s aesthetic choices give it a timeless quality, suggesting that the issues it portrays, gender violence, superstition, and social control, are not confined to any one time or place. The use of the supernatural is particularly effective; the blending of spiritual rituals with the harsh reality of Yana-Wara's life creates an unsettling atmosphere, making it difficult to separate myth from reality.
The performances in Yana-Wara are exceptional. Cecilio Quispe delivers a deeply affecting portrayal of Don Evaristo, a man caught between his love for his granddaughter and the oppressive weight of tradition. Quispe’s performance is understated yet powerful, conveying the internal struggle of a man who is both a victim and a perpetrator of the community’s rigid social norms. Luz Diana Mamani, as the titular Yana-Wara, gives a heartbreaking performance as a young girl whose spirit is slowly crushed by the forces around her. Her quiet suffering and resilience in the face of insurmountable odds make her story all the more devastating.
Yana-Wara is a profoundly moving and disturbing film that sheds light on the plight of women in isolated communities ruled by superstition and patriarchy. The film’s stark visuals, powerful performances, and unflinching depiction of gender violence make it one of the most important films of the year. It is both a critique of the oppressive systems that dehumanize women and a reflection on the universality of suffering in the face of societal injustice. Yana-Wara is a testament to the skill of the Catacora brothers and a poignant reminder of the need for empathy and change in the face of cultural and societal challenges.
