Marie-Eve Monette


New Argentine Cinema represented the increasing crisis in Argentina from the early 1990s to the mid-2000s, and has been defined as an attempt to chart the production of new cartographies of Argentinean socioeconomic citizenship. Adrián Caetano’s Bolivia (2001), as it explored the disruption of trajectories of labor and consumption in the suburbs of the Argentinean capital of Buenos Aires, emerged as one of the most successful films of this new wave. More importantly, its introduction of an immigrant protagonist made it the first film of this cinematic trend to reflect on the translocal nature of the crisis. This essay argues that Bolivia engages in what Mignolo would call epistemic disobedience–a shift in the geography of reasoning, in this case from Argentina to Bolivia–in its interpretation of the crisis. In doing so, the film requires that Bolivia’s peripheral position in and rejection of the neocoloniality of the capitalist world-system be considered when interpreting the Argentinean economic crisis. Through this epistemic disobedience, not only does the film attempt to de-nationalize experiences of labor and consumption during the neoliberal crisis; it also points to the regional reconfigurations of capitalism that developed in South America from the mid-1990s onwards.


New Argentine Cinema, argentina, bolivia, adrian caetano , citizenship, geography, epistemic disobedience, neocolonia capitalism, south america

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