New configurations for Peruvian cinema: The rising star of Claudia Llosa

After a decade-long hiatus during which the existence of a home-grown cinema in Peru had been threatened by a lack of government and public support, a new generation of directors broke onto the scene in the twenty-first century with a distinctive approach to both the production and circulation of their films, as well as to their relationship with the ‘national’, in terms of policy, funding and audience engagement. This study takes one of those directors, Claudia Llosa, as the main case study, and considers the development of her profile as an internationally recognized Peruvian film-maker whose award-winning debut works (Madeinusa, 2006 and La Teta Asustada/Milk of Sorrow, 2009) sparked controversy and critical debate for their challenging portrayals of the Quechua culture of Peru. This article examines her successes on the international festival and commercial exhibition circuits, considers some of the scholarly and critical responses to her work, and asks what impact Llosa has had on the development of cinema in Peru through her engagement with the transnational.