Film Festival Reports

Our coverage on the latest film fests.

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.

TIFF 2017. WAVELENGHTS: THE WATCHMEN BY FERN SILVA

By Mónica Delgado

With a world premiere in Rotterdam Film Festival and a Canadian premiere in Wavelenghts, Fern’s Silva The Watchmen is a revisitation on the concept of the panoptic from its vestiges and interactions with new dispositives of social surveillance. If the Jeremy Bentham invention is recovered here from some abandoned architectural ruins, which give an idea of the failure of methods of control and power, the question of feeling surveilled and repressed by an omnipresent being seem to be a conceptual motivation that the filmmaker uses in this short film.

TIFF 2017: WAVELENGTHS. CANIBA BY LUCIEN CASTAING-TAYLOR AND VERENA PARAVEL

By José Sarmiento Hinojosa

As someone who knows the story of Issei Sagawa (a Japanese cannibal who killed and ate his classmate Renée Hartevelt, and was subsequently released by reasons of insanity), revisiting the almost mythical tale yet again trough the lenses of Castaing-Taylor and Paravel (the duo behind the extraordinary Leviathan) is something of a release valve, a cathartic experience into the intimate realm of one of mankind mos peculiar and disturbing characters, but also a lesson on humanity, on perception and listening

TIFF 2017: WAVELENGTHS. (100) FT BY MINJUNG KIM AND HEART OF A MOUNTAIN BY PARASTOO ANOUSHAHPOUR, RYAN FERKO AND FARAZ ANOUSHAHPOUR

by Ivonne Sheen

In the section Wavelengths 3: figures in the landscapes, one can find two shortfalls which portrays a sort of Inner Landscape. This is to say, subjective experiences that find their appearances in the evocative power of a landscape. (100) ft by Minding Kim and Heart of a Mountain by Parastoo Anoushahpour, Ryan Ferko and Faraz Anoushahpour, are cinematic Inner Landscapes that go deeper into images’ nature, instead of going wider. A exploration that comes from the inside and returns to it.

TIFF 2017: WAVELENGTHS PALMERSTON BLVD. BY DAN BROWNE & FIRE BY LUCY PARKER

By Morella Moret

Wind and fire, nature and plasticity are the characters that play in this film that in less than six minutes show us different ways to conceive fire in our lives. The light, the wood, the electricity are ways that reflect on fire as one of the elements of nature, which are created thanks to the human being.