Berlinale

BERLINALE 2018: IN THE AISLES DE THOMAS STUBER Y FIGLIA MIA DE LAURA BISPURI

Por Aldo Padilla

La película de Stuber tiene todos los elementos de este tipo de films: un amor instantáneo, un guía espiritual, fantasmas del pasado que vienen a acosar al protagonista y una espiral de autodestrucción frente al fracaso. Pero a pesar de los tópicos que llenan gran porcentaje del film, hay pequeños pero geniales momentos de redención, casi siempre liderados por un excelente protagonista (Franz Rogowski), cuya rutina parece una cura frente a los traumas que enfrenta y que en un ejercicio poco sutil está reflejado por múltiples tatuajes en su cuerpo.

BERLINALE 2018: MUSEO DE ALONSO RUIZPALACIOS

Por Aldo Padilla

Museo busca su accesibilidad al gran público tanto por sus estrellas que se encuentran cómodas y naturales en sus roles, la ligereza de las situaciones, el efecto thriller y algún momento de intensa sensualidad que buscan recuperar la atención en momentos donde la historia parece estancarse.

BERLINALE 2018: GRASS BY HONG SANGSOO

By Aldo Padilla

To grab a thread to hang on to in Hong Sang-Soo’s cinema is not always an easy feat, especially when it’s time to write about the ideas in his new film, since his themes and tools he uses in cinema are well known. The truly complex feat starts in deciphering these subtleties that make the latest film unique, especially now that the filmmaker is going through a particularly prolific stage, with four films a year.

BERLINALE 2018: SEASON OF THE DEVIL BY LAV DIAZ

By Aldo Padilla

Narrating a country’s historical moment requires understanding it as a complex cycle. It’s not enough with the ambience and historical context. It’s important to suggest the entire travelled road to this day and try to incorporate it in the work. The Philippines is going through a complex moment where abuses of the past seem to come back, since the government appears to be outsourcing violence and keeping the population in fear.

BERLINALE 2018: GRASS DE HONG SANGSOO

Por Aldo Padilla

En Grass, el espacio está limitado a un pequeño café y sus alrededores de forma que adquiere un protagonismo parcial, además de definir su personalidad mediante melodías clásicas muy reconocibles, lo cual parece ser un gusto personal que refleja el cineasta coreano, quien se transforma en una especie de DJ que va eligiendo melodías que se van cruzando con la intensidad de diálogos de amantes o parejas frustradas, que van evadiendo los temas centrales por los cuales están allí.

BERLINALE 2018: SEASON OF THE DEVIL DE LAV DIAZ

Por Aldo Padilla

Para contar los abusos del pasado Lav Díaz decide recurrir al lenguaje y a la estructura del musical, para generar nuevas formas de manifestación, a partir de un experimento donde las melodías a capela magnifican el abuso del opresor y dignifican las denuncias del pueblo.

BERLINALE 2018: PREMIERES SOLITUDES AND DIE TOMORROW

By Aldo Padilla

During the last Rotterdam film fest, a certain tendency of “cruelty cinema” located in schools could be found. Five films seen in the Dutch festival are about school adolescents ending their stories in a tragic way, due to different abuses of classmates, professors or social media, all represented as a true hell on earth. Even if part of this may be true, or that this problems are not a particular thing of the present, one struggles to understand the pattern of punishment with the adolescents in those films, either for lack of integration, sexual early awakening, and overall, a common factor in gender violence, since it was women who suffered the greatest abuse.

BERLINALE 2018: PREMIERES SOLITUDES Y DIE TOMORROW

Por Aldo Padilla

Esta vez nos detenemos en dos trabajos presentados en la sección Forum de la Berlinale 2018: Premieres Solitudes de Claire Simon y la tailandesa Die tomorrow de Nawapol Thamrongrattanarit.

BERLINALE 2018: BIXA TRAVESTY DE CLAUDIA PRISCILLA Y KIKO GOIFMAN

Por Aldo Padilla

Bixa travesty es la gran sorpresa del festival, en medio de películas que parecen enfocarse en la ambigüedad humana y la falta de definición, el film se juega claramente por un discurso, sin maniqueísmos, sin concesiones y con rabiosos versos que muestran una gran fortaleza en medio de un Brasil que pasa por uno de sus momentos más complejos en los últimos años, donde el conservadurismo y la corrupción parecen arrasar con todo.

BERLINALE 2018: DOVLATOV BY ALEKSEI GERMAN JR.

By Aldo Padilla

Being a non-recognized artist in one’s time is something that has been dragged as a curse for the most part of many transgressive creators in their times. Many circumstances are fruit of a political or repressive context, but most of the time this is related to the incomprehension of editors, critics and public in general. Sergei Dovlatov is one of those figures that only in the exterior could be really appreciated in the nineties. This and his early death mythicized even more his image.

BERLINALE 2018: CLASSICAL PERIOD, INTERCHANGE AND WILD RELATIVES

By Aldo Padilla

The characters in the films of Ted Fendt are of a surprising simplicity. The simplification he realized in Short Stay of the classic lost character without a path, defined in the streets of Philadelphia, seems to be transposed in his new film Classical Period, where the characters are defined by how much do they know, how many authors can they quote and how many references can they give on every possible topic. Although everything seems like an empty discourse, which could easily be part of a paper or a thesis, since it says nothing in between this long, verbose dialogue that doesn’t seem to end.

BERLINALE 2018: ARCHIVES OF THE MIND’S EYE

By Pamela Cohn

The queuing system at a festival this huge is long and arduous. An investment of an hour or more waiting in line is sometimes necessary. I was one of the first in the pass holder line (no ticket) to see Forum Expanded Program #3, a curation of four experimental films. Part of the cinema spectacle in a case like this is watching many people get up and walk out of a screening they just waited over an hour to get into, to be replaced by people waiting outside who didn’t get in initially but hung out anyway in case a spot might open up.