Rotterdam

ROTTERDAM 2018: THE FACT, THE FAKE AND THE FICTION

by Chloé-Galibert-Laîné

Having discovered IFFR for the first time this year, I can’t comment on the evolution of the program over years, or the specificity of this 2018 edition. And I regret it: I would have loved to be able to measure the impact of the overall insanity of 2017 on this year’s productions, as well as on the curatorial choices of the festival’s programmers.

ROTTERDAM 2018: CRITICS’ CHOICE – READERS BY JAMES BENNING

By Tara Judah

This is not a film review.

A perfect pairing: the durational work of James Benning (Readers, 2017) and a dynamic, good-humoured video essay (Reading/Binging/Benning, Kevin B. Lee and Chloé Galibert, 2018) about how we watch and how we read.

ROTTERDAM 2018: THE MONSTER THAT ENGULFS ITSELF (A BALANCE)

By Aldo Padilla

“Strange” seems to be the only definition that could apply to this Rotterdam 2018, since despite the outstanding organization of the festival itself, its programming left a few bumps, in some cases too big to ignore. Possibly, the weight of the years and their effect, the amount of films and tendencies took their toll with the Dutch festival, although this didn’t diminished the quality of the great new films seen for the first time.

ROTTERDAM 2018: BALANCE. EL MONSTRUO QUE SE ENGULLE A SÍ MISMO

Por Aldo Padilla

“Extraña” parece la única definición que puede darse a la edición 2018 de Rotterdam, ya que a pesar de la notable organización del festival, su programación dejó unos pocos baches en algunos casos insalvables. Posiblemente el peso de los años y su efecto sinusoidal, la cantidad de filmes y tendencias por abarcar mucho más de la cuenta, le haya pasado la factura al festival holandés, aunque esto no disminuye las grandes películas nuevas y consolidadas que se vieron por primera vez.

ROTTERDAM 2018: LA ESTRELLA ERRANTE; SANTOS #2 WORK IN PROGRESS AND AZOUGUE NAZARÉ

By Aldo Padilla

An axiom inside today’s cinema based in real characters, poses that to represent the entire life of a character in film is a script tool not solid at all, since portraying in two hours the whole course of a life is something that usually fails. Confronting this problem, biopics usually focus in portraying short periods of the protagonist, a year, a month or sometimes days, which also enters in common territory, but at least allows understanding a character in a determinate moment.

ROTTERDAM 2018: LA ESTRELLA ERRANTE; SANTOS #2 WORK IN PROGRESS Y AZOUGUE NAZARÉ

Por Aldo Padilla

Un axioma dentro del cine actual basado en personajes reales, plantea que representar la vida entera de un personaje es una herramienta de guion muy poco sólida, ya que aspirar a retratar en dos horas el recorrido completo de una vida suele ser fallido. Frente a este problema los biopics se han ido enfocando en retratar periodos cortos del protagonista, un año, un mes o a veces días, lo cual también entra en el territorio de la convencionalidad, pero que ayuda a entender a un personaje en un momento determinado.

ROTTERDAM 2018: GOOD EVENING TO THE PEOPLE LIVING IN THE CAMP,CARTUCHO AND PLAYING MEN

By Aldo Padilla

The limbos in which some medium-length films are handled due to their duration usually make their situation quite complex in festivals. Most of these films are documentaries 40 to 60 minutes long, and they keep away from the circuits of short and feature films circuits, having serious difficulties to be programmed in commercial cinemas, even at art-house theaters. This is why places like the medium-length film competition in Rotterdam Film Festival are such a great opportunity for their visualization, and for some awards. Also, one can see a great creative freedom in these works and clear examples that duration is not a limiting feature in front of the ideas the pose. This freedom can be seen in the competition selection of this year.

ROTTERDAM 2018: GOOD EVENING TO THE PEOPLE LIVING IN THE CAMP,CARTUCHO Y PLAYING MEN

Por Aldo Padilla

Good evening to the people living in the camp se hace cargo de esa libertad mediante la fluidez de sus imágenes. El notorio trabajo de muchas horas de registro en los campos de refugiados en Grecia, permite que los migrantes denoten una gran confianza con el director (el holandés Joost Conijn) y su cámara, que parece prácticamente invisible, ya que logra captar momentos muy íntimos sin ningún tipo de filtro.

ROTTERDAM 2018: MORMAÇO, POSSESSED AND DJON AFRICA

By  Aldo Padilla

The Rotterdam international competition is possibly one of the most important for filmmakers with a first feature, since it is focused in first and second films. Although the number is very limited (just eight films for a couple of years now), in this competition there’s always place for some surprises.

ROTTERDAM 2018: MORMAÇO, POSSESSED Y DJON AFRICA

Por Aldo Padilla

La competencia internacional de Rotterdam es posiblemente una de las competencias más importantes para directores que realizan sus primeras armas, ya que se enfoca en óperas primas y segundas películas. Aunque el número de competidores es muy limitado, solo ocho films desde hace algunos años, en esta competencia siempre habrá lugar para algunas sorpresas.

ROTTERDAM 2018: HOMOGENEOUS, EMPTY TIME BY THUNSKA PANSITTIVORAKUL Y HARIT SRIKHAO

By Aldo Padilla

Homogeneous, Empty Time talks about the empty time when the King dies and the military junta seems to take the control of a country with a massive population that moves between oriental capitalism, the radical Buddhist tradition and the mix of religions that inhabit the country. Pansittivorakul and Srikhao dose the film with touches of humor, a way of lightening a little bit a situation that is not always denounced in such an explicit way, with a language so far away from being condescending