TIFF Wavelenghts

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 2017: WAVELENGTHS. DISLOCATION BLUES DE SKY HOPINKA Y ONWARD LOSSLESS FOLLOWS DE MICHAEL ROBINSON

Por Nicolás Carrasco

En Onward Losless Follows, bajo la influencia de ese genio llamado Craig Baldwin (y, remontándonos más de medio siglo, de Joseph Cornell), Robinson re-edita y le cambia el sentido a imágenes provenientes de esas películas que los norteamericanos llaman “scare films”: aquellas hechas para proyectarse en colegios y advertir a los alumnos contra los peligros del aborto, las drogas, las enfermedades de transmisión sexual, el satanismo, el comunismo, entre otros “males” enemigos del sueño americano.

TIFF 2017. WAVELENGHTS: LA LIBERTAD DE LAURA HUERTAS MILLÁN

Por Mónica Delgado

En los primeros minutos de La Libertad se observa a un grupo de mujeres desde el fragmento. Sus rostros apenas son mostrados y se opta por reconstruir sus fisonomías desde el fuera de campo y desde sus principales acciones de supervivencia: cocinar, tejer, amasar. Pero conforme pasan los minutos, la colombiana Laura Huertas Millán, influida por los estamentos del Sensory Ethnographic Lab de la universidad de Harvard, propone la articulación de un clan femenino en la ruralidad mexicana con la tradición de la artesanía y la urgente resistencia e independencia económica de las mujeres.

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. ALIENS DE LUIS LÓPEZ CARRASCO

Por José Sarmiento Hinojosa

Aliens no es sólo un documento de la ex corista de Zombies, sino también un testimonio sobre el resultado de una vida que siempre ha sido ajena a las estructuras de comportamiento de la sociedad, una vida de exceso que después de un fuego salvaje, está lista para ser extinguida.

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

Por Aldo Padilla

En Cocote, la muerte es un extraño hilo conductor que va conectando al protagonista con un entorno extraño, desde una familia a la cual pareciera desconocer, un pueblo que se ve lejano, unas costumbres que se ven casi sacrílegas desde su conservador punto de vista y un sentimiento de venganza que el trata de rechazar a toda costa, pero que pareciera ser un virus que infecta a todo a su paso.

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: OCCIDENTAL DE NEÏL BELOUFA

Por Nicolás Carrasco

Un hotel de dos estrellas en París parece haberse quedado en los años 70.  ¿En que época nos encontramos? Las manifestaciones en las calles fuera del hotel parecen remitir, más que a un lejano mayo del 68, a la situación actual de crisis europea. De noche y durante estas revueltas, una pareja italiana y homosexual llegará al hotel Occidental, microcosmos que representará esa noche a toda Europa y donde transcurre casi la totalidad de la película

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.