Film Festival Reports

Our coverage on the latest film fests.

55° GIJON INTERNATIONAL FILM FESTIVAL – PART III

By David S. Blanco One of the best films of the day was Bruno Dumont’s anti-musical Jeannette, l’enfance de Jeanne d’Arc. In this film, the French filmmaker excels again in doing a classic story from a historic character –adapted for screen so many times: Joan of Arc. Dumont achieves this mastery by turning all the […]

55° GIJON INTERNATIONAL FILM FESTIVAL – PART II

By David S. Blanco The first film of the day was the Argelian Until the Birds Return, a competitor of last Canne’s Un Certain Regard. The fifth film by filmmaker Karim Moussaoui is a cryptic place of stories related to each other, without apparent connection, with open places for excursions and exits on the drama […]

VALDIVIA INTERNACIONAL FILM FESTIVAL 2017: THE WINNERS

By Mónica Delgado & Aldo Padilla

FICValdivia has just ended, and here at Desistfilm, we offer you an extensive review of the winners of one of the best Latin American Film Festivals around. This year, we were witness of a variety of quality international and Chilean productions, films that had been touring different film festivals and other new ones recently released specially for Valdivia. This, alongside an excellent experimental showcase and a series of magnificent restorations, gave FICValdivia the status of an outstanding film festival, arguably the best of Latin America right now. 

NORDISK PANORAMA FILM FESTIVAL 2017: PART II

By Mónica Delgado

One of the best things about Nordisk Panorama Film Festival is that it gives access to works from Nordic and Scandinavian countries, especially from places like Iceland, whose visibility in film spaces is scarce. For this 2017, their selection of short films picks up works that have previously received some recognition in other international film festivals, also giving some space to young new directors, which are motivated to work in collaboration.

NORDISK PANORAMA FILM FESTIVAL 2017: PART I

By José Sarmiento-Hinojosa

Taking place between 21-26 September in Malmö, Sweden, the Nordisk Panorama Film Festival presents over 100 films, documentary and short-films (experimental, animation, fiction), in a diverse programming which showcases works from Sweden, Finland, Denmark, Norway and Iceland, giving a great opportunity for different latitudes to dive in and measure the pulse of Nordic cinema. In Desistfilm, as we do, we focused in the experimental side of the festival, getting to know the new voices in expanded cinema for that part of the world.

TIFF 2017: WAVELENGHTS. LA LIBERTAD BY LAURA HUERTAS MILLÁN

By Mónica Delgado

In the first minutes of La Libertad, a group of women is observed from fragmentation. Their faces are barely shown and their physiognomies are out of field, shown from their main actions of survival: cooking, knitting, kneading. But during the passing of minutes, Colombian filmmaker Laura Huertas Millán, influenced by the statements of the Sensory Ethnographic Lab, proposes an articulation of a feminine clan in the rural zones of Mexico, with the tradition of handicraft and the urgent resistance and economical independence of women.

TIFF 2007. WAVELENGTHS: COCOTE BY NELSON CARLO DE LOS SANTOS ARIAS

By Aldo Padilla

Religious catharsis, a contact with God, the rhythmic movement that allows one to feel a presence that goes beyond the evident, a painful dance, shaped like a prayer. The ecstasy that the faithful reach through praises and supplications to God makes them lose their conscience, leaving aside everything that is logical. A sound marks the way to this particular nirvana, a rhythm, mix of crying, movement and all the emotions that try to get out,  a strange way of celebrating death.

TIFF 2017. WAVELENGTHS: OCCIDENTAL BY NEÏL BELOUFA

By Nicolás Carrasco

Our setting is a two-star hotel in Paris that seems suspended in the 70’s. In what time frame is this movie set? The riots on the streets outside the hotel seem to refer, rather than to a distant May 1968, to our current times of European crisis. At night and during these revolts, an Italian gay couple arrives at the Occidental Hotel, a microcosm that will represent that night all of Europe and where almost the entire film will take place.

TIFF 2017: WAVELENGTHS. ALIENS BY LUIS LOPEZ CARRASCO

By José Sarmiento Hinojosa

Questions apart, Aliens stays as an invaluable document and magnificent documentary about one of the most characteristic figures of the eighties in Madrid, and about this decade, its figures (Almodovar, Zulueta, Berlanga, nobody escapes the memory of Tesa) and this necessity of López Carrasco to construct new narratives from Spain’s contemporary history. Is a fantastic endeavor that wants to rescue the fundamental discourses of a generation that is “now in power, trying to manipulate and control any dissident discourse”. This articulation of the personal portrait and the testimony of the social array, is what makes the Spanish filmmaker so special. A VHS treat in 2017. 

TIFF 2017: WAVELENGTHS. WASTELAND N°1: ARDENT, VERDANT BY JODIE MACK

By José Sarmiento Hinojosa

Ardent, Verdant, (Burning green) is a proper title for Jodie Mack’s latest exploration in the structural games of textures, patterns and colorful images that carry an unsuspected depth. This playful way in which Mack orders her personal structure of objects can be misleadingly deceitful, although in the best of ways: there’s always something to reflect on this intense game of materials which is the filmmakers way of speaking of the optical arrest that the everyday object can bring to life, and the underlying reflection on the origins of the same object and what does it speaks for.