Cinéma du Réel

CINÉMA DU RÉEL 2017: MARTIRIO BY VINCENT CARELLI, ERNESTO DE CARVALHO AND TATIANA ALMEIDA

By Aldo Padilla

The shot opening the film is a recording where Vincent Carrelli struggles to understand the hybrid dialect used by the indigenous people, which is an excellent resource understood as a way of starting a path. Almost at the end, the same shot is repeated, but now with a proper translation, which indicates that through the recording process an evolution has been reached, a connection with the indigenous people which doesn’t feel alien anymore.

CINÉMA DU RÉEL 2017: EJERCICIOS DE MEMORIA DE PAZ ENCINA

Por Morella Moret

Ejercicios de Memoria de Paz Encina nos remite a los recuerdos melancólicos de los hijos de Agustín Goiburú, un importante opositor político del régimen paraguayo de Alfredo Stroessner. Con 35 años al poder, Stroessner cumplía un régimen de terrorismo estatal en donde se encarcelaron, desaparecieron o se torturaron a más de 128 mil personas.

CINÉMA DU RÉEL 2017: LUZ OBSCURA BY SUSANA DE SOUSA DIAS

By Ivonne Sheen

Susana de Sousa’s Luz Obscura (Obscure Light) is a sensitive essay about memory and time through the juxtaposition of images (archive photos) from the political dissidents and audios of their children’s memories. These testimonies of former Portuguese communists’ children that were imprisoned by the PIDE (Portuguese police) during the years of the Antonio de Oliveira’s regime are now voices of aching adults whose memories we listen to.

CINÉMA DU REÉL 2017: EJERCICIOS DE MEMORIA BY PAZ ENCINA

By Morella Moret
Ejercicios de Memoria tells us from a particular case, the story of many families during the Paraguayan dictatorship: the thousands of missing people that haven’t yet been found and the many death ones without a name. Finally, it doesn’t only narrate the story of a country but of many similar regimes whose memories have been forgotten.

CINÉMA DU RÉEL 2017: EL CINE DE ING K

Por Nicole Brenez

Abandonar sus estudios en artes plásticas para socorrer a los refugiados de la frontera camboyana: una acción como tal resume la actitud de la periodista, escritora y cineasta Ing Kanjanavanit – renunciar a la academia porque hay más urgencias por socorrer, su próxima acción. Así es como el arte se conecta directamente con la violencia de lo real y se halla reconfigurada en ello (…)

CINÉMA DU RÉEL 2017: THE FILMS OF ING K

By Nicole Brenez
That’s how art connects directly with the violence of reality and finds itself reconfigured in it, as it is accredited in the work of Ing K, completely consecrated to the political, social, religious, economic and ecological problems of her country, Thailand, or, as she calls it “Siam”, according to its anti-fascist name.

CINÉMA DU RÉEL 2017: LES ÎLES RÉSONNANTES (RESONANT ISLANDS) BY JURUNA MALLON

By Ivonne Sheen
Juruna Mallon’s Les Îles Résonnantes (Resonant Islands) approaches Eliane Radigue and her aesthetics with a subtle audiovisual composition that mixes her sound sculptures with visual explorations of herself, her work, and evocations from her music. The film stands far away from any precise biographical portrayal to immerse us in her intimate and spiritual approach to sound, music and life.

CINÉMA DU RÉEL 2017: AUSTERLITZ BY SERGEI LOZNITSA

By Aldo Padilla
Austerlitz has been analyzed as a portrayal of horror as a commodity and the relation of man with its history, which is something that Loznitsa explores in his filmography, but it’s also pertinent to point to the depersonalization of the people moving in front of the camera, reducing it all to masses with an undefined face, which seem to condemn they all from the beginning. It’s possible that everything said until now can be reduced to a simple question: Does Loznitsa and the spectators feel morally superior to the people being filmed?

CINÉMA DU RÉEL 2017: AUSTERLITZ DE SERGEI LOZNITSA

Por Aldo Padilla

Austerlitz ha sido analizada respecto al horror como un bien de consumo y la relación del hombre con su historia, que es algo que explora Loznitsa en su filmografía, pero a la vez es necesario apuntar a la despersonalización de la gente que pasa frente a la cámara, reduciendo todo a masas sin un rostro definido, lo cual pareciera condenarlos a todos desde un inicio.

CINÉMA DU REÉL 2017: PARIS EST UNE FÊTE – UN FILM EN 18 VAGUES

By José Sarmiento Hinojosa

The apparatus of resistance and its relentless mechanism in an era of crisis has already been explored in Sylvain George’s Vers Madrid: The Burning Bright, a slow burner of political uprise and class struggle on the Madrid revolts of 2011 and 2012. And while the immediate consequences of political civil organization might not be instantly apparent, the sense of general malaise in a population pushed to the verge of self suffocation was absolutely palpable, and the film turned a hopeful eye in the light of civilian organization capabilities.