Film Festival Reports

Our coverage on the latest film fests.

OLHAR DE CINEMA 2017. HEMA HEMA: SING ME A SONG WHILE I WAIT AND SOLDIER

By Mónica Delgado

Khyentse Norbu Rimpoche’s Hema Hema: Sing Me a Song While I Wait is a surprising visual experience, in its eclecticism and evocation of neon as a preamble of a color environment extracted from the ancestral traditions of Bhutan and in its bet to develop a liminal space where anything can happen.

OLHAR DU CINEMA 2017: ALIPATO, THE VERY BRIEF LIFE OF AN EMBER BY KHAVN DE LA CRUZ

By Mónica Delgado

Alipato, which was in competition in Outros Olhares en Olhar de Cinema, must be one of the most free films of the last couple of years, especially since the Filipino filmmaker becomes a great recycler of iconic themes in cinema: police movies, exploitation, B-movies, and digests them in his own way, without restrictions, playing the part of writer, producer and musician.

OLHAR DE CINEMA 2017: DEATH’S LONG WAY BY JULIO CALASSO

By Mónica Delgado

To enter the universe of filmmaker Julio Calasso for the first time has not been an easy feat. Especially since his Death’s Long Way (Longo Caminho da Morte,  Brasil, 1971), presented in Olhar de Cinema, in the section Classics, in its remastered version, generates a series of questions towards the validity of some works, the reasons for their aging or the styles that were used in those years, above any inventive initiative or creative freedom.

OLHAR DE CINEMA: THE LIGHTHOUSE ISLAND AND SKAKE UP BRAZIL

By Mónica Delgado

This sixth edition of Olhar de Cinema has seen a diversity of Brazilian premieres. Among them, a couple of short films we’re covering here, since they offer different constructions in cinema and help to measure the temperature of the new bets made by new and young filmmakers.

OLHAR DE CINEMA 2017: KING (REY) & RIFLE

Niles Atallah’s King (Rey) and David Pretto’s Rifle, shown as special projections on Olhar de Cinema Film Fest, are discussed here by Desistfilm’s Mónica Delgado and Aldo Padilla.

OLHAR DE CINEMA 2017: A QUIET DREAM BY LU ZHANG

By Mónica Delgado In Brazil, the 6th edition of Olhar de Cinema (Curitiba International Film Festival) has started. This is a space that maintains its bet for the most creative side of independent cinema, and recovering different works seeking to contribute new discussions and dialogues on the nature of cinema. And it is precisely in […]

S[8] MOSTRA DE CINEMA PERIFÉRICO 2017: AN OVERVIEW

Each year, the [S8] Mostra de Cinema Periférico, celebrated en A Coruña, remains as an unbeatable space to affirm the brilliance of several personalities in experimental cinema, an also, a space to proclaim the validity of a way to make cinema from the resistance. This year, the festival not only showcases the work of Aldo Tambellini, filmmaker linked to the New York’s counter culture scene of the 1960’s, and Helga Fanderl, a master of Super 8, but also explores the work of the historic Joseph Cornell and the Americans Luther Price (a first in Spain) and Steve Polta.

CANNES 2017: THE MOUNTAIN RANGE, THE DESERT BRIDE, THE DOGS AND THE DRAGON DEFENSE

By Mónica Delgado

This festival edition included a group of Latin American film that somehow didn’t reflect any kind of tendency on the region’s cinema, but instead affirmed some sensibilities and tastes, both of the programmers and the producers, that keep betting for a formulaic cinema, not a freer, more creative one.

CANNES 2017: THE SAFDIE BROTHERS VS LYNNE RAMSAY

By Mónica Delgado

The sense of rhythm towards action defines the identity of Good Time, film by Benny and Josh Safdie, but also of You Were Never Really Here, by Scottish filmmaker Lynne Ramsay, both films in competition in this recent Cannes and that share many elements in common.

CANNES 2017: DIRECTIONS BY STEPHAN KOMANDAREV AND OUT BY GYÖRGY KRISTÓF

By Mónica Delgado

The Iranian film A Man of Integrity, by Mohammad Rasoulof has just won Un Certain Regard, and since it’s a film that we didn’t watch, we can’t really judge the jury decision or the film itself. However, we highlight two Eastern Europe films presented in this section which were interesting enough (but inferior to last year’s Câini, by Bogdan Mirica or Sieranevada, in the official competition) and had particular universes which we describe here.

CANNES 2017: LA BOUCHE BY CAMILO RESTREPO

By Mónica Delgado

La bouche keeps a risk that has characterized the style of the Colombian filmmaker, and that is affirmed here through the use of 16mm and the continuity of an aesthetic, that many assume as “guerrilla film”, and that in Cilaos or La Bouche is centered in the choreography and a body sublimation of rhythm. This is a film of formal affronts that may have gone further than the other short films presented in the Quinzaine.