By Nicolás Carrasco
“In 2011, theater director Juliano Mer-Khamis was murdered in the West Bank refugee camp of Jenin, in front of his young daughter and her nanny. Julian was the entrepreneur behind the Freedom Theater, which was an association that taught theater to Palestinian kids and teenagers”.
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.
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.
Por Aldo Padilla
El monumental trabajo del trio de directores de Martirio remite a un proyecto iniciado hace casi 30 años por Vincent Carrelli, que en el periodo de 1988 hasta 1995 tuvo un primer contacto con los indígenas guaraní-kaiowa, relación que se retomó quince años después para verificar el deterioro de su situación, (…)
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.
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.
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 (…)
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.
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.
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?
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.
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.