Berlinale

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 BY CLAUDIA PRISCILLA Y KIKO GOIFMAN

By Aldo Padilla

Transsexualism can be seen as a weapon of protest, not against nature but against a society that imposes the basic rules of what a man and a woman are supposed to be. The idea of transsexualism is not to regret being born under certain gender, but to decide on what you want to do with your body, with your image against the world. Transsexualism is one of the most committed political acts, to decide against conventional rules and manifest a position in a radical way.

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.

BERLINALE 2018: DOVLATOV DE ALEKSEI GERMAN JR.

Por Aldo Padilla

Aleksei German Jr. sale de su línea habitual de cine onírico y con fuerte crítica hacia la Rusia actual con un film que explora la figura del poeta. Dovlatov no es un biopic al uso, ya que solo retrata una semana de la vida del escritor. pero esos siete días bastan para entender la frustración e ingenio del poeta, que veía cómo su talento se iba diluyendo en medio de encargos y pedidos de obras que iban en contra de su naturaleza.

BERLINALE 2018: THEATER OF WAR, THE HEIRESSES

Por Aldo Padilla

The history of the Malvinas war is a tale with strange nuances, since it doesn’t carry the same name for Argentinians and English, who call them Falklands. The story that both countries tell is pretty different. Then, how is it possible to represent a conflict trying to avoid a position or doctrine? There’s not a concrete answer to this eternal question. The idea of impartiality is a utopia, and an approximation to a subjective reality is all that is left.

BERLINALE 2018: WILD RELATIVES – PLANTS AND BIRDS AND ROCKS AND THINGS

By Pamela Cohn

Forum and Forum Expanded with its forty-eight year legacy has become its own robust festival residing still pretty much in the shadows of the main program, but with its own imperatives of collecting stories from the periphery. Some colleagues are always sure to tell me how underwhelmed they are by the programming. This year, the exhibition’s theme curated by Arsenal – Institute for Film and Video Art, expertly led by Stefanie Schulte Strathaus, is entitled A Mechanism Capable of Changing Itself, a nod to avant-garde film artist Maya Deren’s idea: “Marxism is the only theory of politics which designed a mechanism capable of changing itself – as in the concept of the withering away of the state.”