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The Plantation of Passions, Pilfering and Poison. Machete is directed by Kurt Neumann and Neumann co-wrote the screenplay with Carroll Young. It stars Mari Blanchard, Albert Dekker, Carlos Rivas, Lee Van Cleef, Ruth Cains and Juano Hernandez. Music is by Paul Sawtell and Bert Shefter and cinematography is by Karl Struss. Set at and filmed in Aguirre, Puerto Rico, Machete is a sort of jungle noir mixed with melodramatic oddities. Plot essentially has Blanchard sticking her chest out and marrying Dekker's plantation owner purely for financial security. Upon arriving at said plantation, she quickly gets the hots for Hernandez's hard working and honest Bernardo, which puts everybody's nose out of joint, not least the scheming Miguel (Cleef). Who promptly sets about spreading the poison to feather his own nefarious laden nest. Blanchard gives her all for the femme fatale role, but everyone else is either subdued or bogged down by the silly scripting. This in turn produces some very uneven performances by the rest of the cast, which in Dekker's case is unusual. Struss' night time photography is a plus, though there's nothing particularly striking or any atmosphere enhancement going on. The fight choreography is also very poor, rendering the machete symbolism weaker than I'm sure the makers intended. As a Dekker fan I'm just pleased to have been able to see it and strike it off my "to see" list, while Blanchard's exuberant efforts always keeps it watchable. But it's a hard one to recommend with any sort of confidence. 5/10
The story of a widow who owns a coffee hacienda, focusing on the dynamics between her son and the man who romances her.
The defense and the prosecution have rested and the jury is filing into the jury room to decide if a young Spanish-American is guilty or innocent of murdering his father. What begins as an open and shut case soon becomes a mini-drama of each of the jurors' prejudices and preconceptions about the trial, the accused, and each other.
A generational conflict is reflected in the old-fashioned ideas of the landowner, who imposes himself as a dominant figure in the political activity of the rural communities of Puerto Rico.
Three stories ("Lo mismo de otra manera", "Félix", and "Te tengo una sorpresa") that delve deeply into issues such as human solidarity, infidelity, and social conflicts in contemporary Puerto Rico.
“400 pétalos” (400 petals) tells the story of René and Sun, two opposites that love each other... Until René gives Sun a magical Marigold. A petal from the magical flower falls every time the couple fights. Amidst such countdown, René’s anxiety grows. He wonders if, when the Marigold runs out of petals, the relationship will meet its end.
A Puerto-Rican ex-con, just released from prison, pledges to stay away from drugs and violence despite the pressure around him, and lead a better life outside NYC.
Tired of the noise and madness of New York and the crushing conventions of late Eisenhower-era America, itinerant journalist Paul Kemp travels to the pristine island of Puerto Rico to write for a local San Juan newspaper run by the downtrodden editor Lotterman. Adopting the rum-soaked lifestyle of the late ‘50s version of Hemingway’s 'The Lost Generation', Paul soon becomes entangled with a very attractive American woman and her fiancée, a businessman involved in shady property development deals. It is within this world that Kemp ultimately discovers his true voice as a writer and integrity as a man.
Adaptation from Enrique A. Laguerre's novel "La llamarada". It depicts the struggles of Puerto Rican peons in the sugar cane fields during the 1930's.
The adventures of three Puerto Rican brothers scraping by while contending with the ghost of their dead father. The three brothers are tasked with refurbishing the house of Miss Malloy, but undercurrents of the past keep resurfacing.
Carmen accompanies a group of women who must travel from the island of Vieques to San Juan, capital of Puerto Rico, in order to perform breast biopsies. The long journey is by water and road. Amid many fears and vicissitudes, Carmen confirms once again the need for appropriate medical services for both women and for the rest of the Vieques population.
Teenager Carmín lives in a mountainous village in the center of Puerto Rico with her tough and conservative grandmother. Her mother left for the US without her. The arrival of her father, after long years in prison, eases Carmín’s profound sadness. The relationship with him, however, brings its own ambiguousness and complexities and as Carmín moves into womanhood this causes great confusion, mostly for her.