[Stephanie█s voice] As a youngster, I was always a hopeless romantic.

Perhaps that's why I'm a traveler too.

There's something about the search.

Holding on to an ideal while always seeking that perfect fit.

As I travel, I'm forever searching for that place that will just understand me better than I understand myself.

Feel like home.

A sense of belonging.

Something about Bolivia brought out the hopeless romantic in me.

It's a complex place that one may never fully understand.

Just like a complicated lover that's impossible to resist.

Bolivia has its own secrets dating back millennia, yet embraces you like never before.

♪ “Steadee█s Groove” ♪ Hi, I'm Stephanie.

I'm a 33-year-old American filmmaker, and a complete cinema nerd.

I love the oldies, the goodies, The New Waves, or Golden Age, you name it, I█m in.

On my 33rd birthday, I decided to travel the world to meet and document other filmmakers my age.

Travel with me to over 33 countries to meet the storytellers who are dynamically challenging the status quo of the world today.

Together, we will watch their films, hear their stories, engage with their cultures, and perhaps learn a little bit about life, love, cinema, history, and me!

[in Spanish] Located in the central Andes Mountains, bordered by Chile, Peru, Paraguay, and Brazil, Bolivia is a landlocked nation, having begrudgingly lost their coast to Chile in the late 1800s.

What land remains, however, is stunning, from the tropical eastern lowlands, to the western high plateau, there are jungles, snowcapped mountains, open cattle ranges, salt flats, and some of the most unique cities in the world.

Bolivia is known to have the world's highest everything: highest Capital city, highest international airport, highest golf course.

“Everything except for salaries, joked our guide, Gonzalo.

Bolivia is one of the most biodiverse countries on the planet, and new species are still being discovered.

Climates can change from extreme cold to extreme heat to very wet in a matter of hours or miles.

It has the world's largest deposits of lithium and plenty of natural gas and minerals.

And in Bolivia's tenuous political history, the country has had over 100 revolutions.

With a population of just over 11 million, the country is said to have the largest indigenous population in South America, with the majority descended from the Quechua and Aymara peoples.

Though there are many other indigenous groups spread across the land, speaking at least 37 different languages.

The landscapes, the peoples, the films: there's so much to explore.

[in Spanish] [Stephanie] Alejandro Loayza Grisi is a filmmaker from La Paz.

Born in 1985, who had the good fortune to grow up between La Paz in the Highlands and Santa Cruz in the Lowlands, giving him a distinct look at his homeland, solidifying his love for the diversity of his country.

His father, Marcos Loayza, is a famous film director, and his lovely mother, Ana María ran a successful tour company.

Alejandro studied Social Communication at university in La Paz, and then continued his education in Córdoba, Argentina, specializing in Advertising.

When I first met Alejandro, he was living in Madrid, Spain, finishing up his master's degree in Media And Television.

Alejandro works alongside his father, Marcos, and his brother, Santiago, in their family run production company, Alma Films.

In 2022, Alejandro premiered his debut feature film “Utama,” at Sundance, where he won the Grand Jury Prize for World Cinema, and it has since played all over the world, gathering many awards and nominations along the way.

Bolivia selected “Utama” as their submission to the 2023 Academy Awards.

For a guy riding a big success, I found Alejandro to be extremely humble, gracious, kind and considerate, and he welcomed me with open arms as if I was a member of his family, or part of his treasured film crew.

So it's my understanding that you didn't necessarily plan to become a filmmaker.

Can you talk about how that happened?

[in Spanish] [Stephanie] The 1990s saw a rise in independent filmmaking by the likes of Juan Carlos Valdivia, and Alejandro's father, Marcos Loayza.

Born in La Paz in 1959, Marcos studied Architecture at school and later attended Film School in Cuba.

He is most known for his movie, “A Matter Of Faith,” a road movie, which has become a classic of Bolivian cinema.

Films since then include, “Ever Changing Waters,” “The Heart of Jesus,” and more recently, “Averno,” which is almost like a Bolivian “After Hours” meets Dante's “Inferno.” And Alejandro was its Assistant Director.

[in Spanish] [Stephanie] What was it like having a father as a filmmaker when you were growing up?

[in Spanish] [Stephanie] Alejandro█s attachment to his family, is especially endearing to me.

When he speaks of Marcos, his filmmaker father, I can feel the fondness and reverence Alejandro has for him.

With a hint of inspiration to strive for excellence.

Deep down, I can relate to this closeness to a father.

I too looked up to and revered my dad, who has since passed away.

I see my experiences with “Cinema Nomad” as a journey to continue a pathway my father helped paved for me: to always be curious, creative, loyal, and seek my own truths.

How have you seen the cinema evolve over the years, if at all from when you first started making films, to today?

[in Spanish] [Stephanie] Officially, The City of Our Lady of Peace, La Paz was founded in 1548 by Captain Alonzo de Mendoza at present day Laja.

The city was founded mostly because of gold, the plus being that it was on the trade route between Lima and Potosi, where the silver was.

The Spanish conquistadors took over the gold mines, and Mendoza became the first mayor.

With the population just shy of 2 million, and an elevation reaching 12,000 feet, I found La Paz to be one of the most unique cities I've ever been to, and I absolutely loved it.

Especially unique is the fact that La Paz lies in a giant crater, or a “big bowl,” as some locals described it to me.

The mountains are gorgeous, and I love the system of cable cars used for transportation, The Teleférico.

I spent a couple of days on the mythical Lake Titicaca.

It's from here the Incas believe they originated from.

And it's from here, where Alejandro wrote the screenplay for his hit feature film “Utama.

I took a day trip to Tiwanaku, an ancient city named after the Tiwanaku people.

Little is known about this pre Incan civilization, though we know they constructed some pretty impressive structures, including giant monoliths.

Alejandro's feature film debut, “Utama,” is a visual feast for the eyes.

It's the characters and settings that really brings this film alive.

An elderly Quechua couple insist on staying in their homes in the Bolivian Highlands, despite the lack of water caused by a severe drought, which has killed off most of their crops.

“Utama” was produced by the Loayza family's production company, Alma Films.

[in Spanish] ♪ “Laberinto” by Efecto Mandarina ♪ [Alejandro, in Spanish] ♪ “Cadáver Exquisito” by Vero Pérez ♪ ♪ “Song Of The Condor” by Harry Musselwhite ♪ [Stephanie] Can you talk a little bit about what it's like to work together?

Is it fun, challenging, difficult?

[Loayza█s chuckle] You want to kill each other from day to day?

[in Spanish] [in Spanish] [in Spanish] [in Spanish] [Stephanie] There is a so-called New Wave of Bolivian filmmakers, which I can confidently say that Alejandro is a part of.

Bolivian films are starting to get more international recognition, and some successes include “The Great Movement,” “The Visitor,” and “I Miss You,” which became Bolivia's Oscar submission the year before “Utama.” I had the pleasure to meet Alejandro's good friend and fellow film director, Juan Pablo Richter, in Santa Cruz de la Sierra.

Juan Pablo is another leading filmmaker in the Bolivian New Wave, known for “The River,” and “98 Seconds Without Shadow.” [Juan Pablo, in Spanish] What is the true nature of pain?

What is the true nature behind a decision?

How you deal with with your wife, with your son, with your father, with your mother.

Because in the end we are all trying to survive.

Do you see cinema or even filmmaking as part of your personal identity?

Absolutely.

[in Spanish] [Stephanie] I had the ultimate pleasure of traveling with Alejandro and his team to Santiago de Chuvica, a small Quechuan village for the local premiere of “Utama,” the title of which is a Quechuan word for “home.” To reach Chuvica, We traveled for 12 hours crossing over the world's largest salt flats, Uyuni, one of the places within Bolivia that most inspires Alejandro.

In Chuvica, cultivating quinoa, and llama farming are two of the main occupations.

There's barely any water left, a reality which factors into the plot of “Utama,” and this makes farming nearly impossible.

“Utama” is set in Chuvica, and he filmed there for 28 days.

For Alejandro, this was an incredibly important screening.

He wanted to ensure he did right by the people, who both inspired the film, and participated so fully in the making of it.

It was special for me to attend this community event, and it reaffirmed my ever growing belief in the power and significance of cinema and storytelling.

Preceding the screening was a traditional ceremony.

A llama was processed in, followed by Quechua dancers and musicians, and a pair of spiritual leaders who blessed the pot of chicha, or fermented maize, and doused the llama in drunken spirits to bless the screening.

As the film ended to shouts of “¡Viva Santiago de Chuvica!” “¡Viva la cinema!” Curious locals approached me warmly and shared with me their enthusiastic reactions to the film.

Many of the audience members that evening never have seen a film in a cinema before, and most have never seen themselves represented on screen.

I could sense the pride in this, the feeling of having been seen, heard and understood.

And this, I believe, is universal.

“Utama” is further proof that this is possible.

[film clip in Quechua] [Stephanie] Talk about the choice behind casting nonprofessional actors, real life people from the community.

[Alejandro, in Spanish] [Stephanie] When I met them briefly, I had asked, if they had learned anything about their own lives by acting in your film.

But I'm wondering if it was the reverse?

Did you learn anything from them, from spending so much time with them in their village, living their lifestyle?

[in Spanish] And elaborate for me on why it's so important for you that it have a strong life within Bolivia.

[in Spanish] Can you tell me a little bit about your thoughts on Alejandro as a director and also his film “Utama?” He has this, abundancy of humanity.

And of course, I'm not objective, but I don't want to be objective because he's one of my best friends.

And I remember when, he told me about “Utama.” I do believe that the... climate change issue in the film is very strong.

It's one of the foundations of this film.

[in Spanish] [Juan Pablo] I believe Alejandro is going to be the biggest Bolivian filmmaker ever.

And I'm so very happy to say that.

And I can put money on this.

I█ll go to Vegas, and I█ll put $100 on Alejandro█s career!

For sure, because he's great.

The early pioneers of Bolivian cinema include cameraman J. Goytisolo Luis Castillo, and Luis Brazoberry.

Filmmaker Luis Castillo worked with anthropologist, Arturo Posnansky.

Together they created Condor Mayku Films, which produced “The Glory Of The Race” in 1926.

Posnansky had an interest in studying the culture of the Tiwanaku, and found filmmaking as a good way to showcase his findings.

“Aymara Heart” is considered the first scripted feature film, and “Wara Wara,” Bolivia's sole surviving silent film, diercted by José María Velasco, tells the story of an indigenous Aymara community that's massacred by Spanish conquistadors, forcing the few survivors to flee.

After being rescued, the young Princess Wara falls in love with the Conquistador and their inter-ethnic romance ensues.

For the decades to follow, Bolivian cinema was intertwined with the political consciousness of its filmmakers, and focus especially on showing the economic hardships within Bolivia's indigenous communities.

[Stephanie] In 1952, the April Revolution occurred as a result of a military coup, which provoked a revolt by the miners who defeated the military with Víctor Paz Estenssoro taking over.

The miners victory culminated with the nationalization of the mines, major agrarian reform, and voting rights for all citizens.

The ‘50s and █60s were milestone years in the history of Bolivian cinema.

This was a time in Bolivian history where the country was culturally celebrating its pre-Hispanic roots.

Influential filmmakers emerged, including Waldo Cerruto, Jorge Ruiz, Jorge Sanjinés, and Augusto Roca.

There's a film in the vaults of Bolivian cinema, “The Courage Of The People,” made by one of the most important filmmakers in Bolivian history: Joge Sanjinés.

Born in 1936, Sanjinés is credited by some for starring the Latin American New Wave of the 1960s and 70s.

His films are based on realism and social issues, forming a concept of “militant filmmaking.” “The Courage Of The People” delves into the indigenous mining communities.

The inhabitants are ancestors of those who were forced into the mita system, or forced labor, and are still working the mines and being exploited by the powers that be.

“The Courage Of The People” documents a cycle of government-approved massacres of the miners that occurred from 1942 through 1967.

It's startling.

After watching a plethora of films from Bolivia, many of which center around the life of miners, I realized you cannot know Bolivia without understanding at least some part of its mining history.

Much of that history, past and present, can be felt in Potosi.

The Spanish settled in Potosi in 1545, shortly after the discovery of silver in the Cerro Rico.

“Cerro Rico” translates to “rich hill.” Though it became known as “the mountain that eats men.” During the height of the Spanish Empire, Potosi became one of the largest and wealthiest cities in the world.

Though when the silver dried up, and the Spanish Empire discarded its ambitions, it became one of the poorest cities in the world.

In Potosi, after admiring the old colonial architecture of this historic city, I visited an active mine.

While climbing through the dark, narrow, smelly, dusty mineshaft, I thought about how easy it is to marvel at colonial architecture and feel a sense of grandeur in these old world cities.

These preserved colonial towns draw in tourist dollars while playing off a nostalgia for a silver-lined past; a past which was often paid for by silver extraction through population, exterminating slave labor.

When you're down in these mines, you realize, there█s nothing charming about colonialism.

[Stephanie] What is your biggest wish or hope for the future of Bolivia?

For future generations here?

[in Spanish] [Stephanie] What is the significance to you to 33, and to being a filmmaker here in Bolivia in your 30s?

[in Spanish] Do you guys have time for fun?

I mean, filmmaking is fun, sí, pero... [Everyone laughs.]

[in Spanish.]

[Stephanie] Exploring the history of cinema in Bolivia can feel like going down a dark vortex of political drama.

Fascinating as it is, I see that is not what's most important.

I leave with a full heart.

Incredibly compelled by Alejandro and his welcoming family.

And heartwarmed by the welcome I received all across Bolivia; from the Quechua in Chuvica, to the Aymara in Titicaca, to the people of La Paz and Santa Cruz; I still have hope for this world.

To learn more about the Cinema Nomad filmmakers, and dive deeper into the exciting world of global cinema, visit our website: CinemaNomad.TV