TIFF Wavelenghts

TIFF 2018. WAVELENGTHS: FALLEN ARCHES, FAINTING SPELLS, WALLED UNWALLED

Por Nicolás Carrasco

Hace unos meses, en Nueva York, tuvimos la oportunidad de ver por primera vez una película de Simon Liu. Proyectada en cuatro proyectores de 16mm, Highview (2017) nos impresionó mucho por su capacidad de combinar formalmente la abstracción del cine lírico con los momentos íntimos del diario fílmico, dos conceptos que remiten, por ejemplo, a Mekas, pero con un lenguaje completamente distinto. El trabajo de Liu, si bien podría identificarse con cualquiera de estos “estilos”, explora sus propios caminos, completamente inéditos y singulares.

TIFF 2018. WAVELENGTHS: POLLY ONE BY KEVIN JEROME JEFFERSON

By Mónica Delgado

Unlike other experimental filmmakers that have shown a fascination for the eclipse as a metaphor of the auscultation of cinematographic support in in its materiality (a reality superimposed to another, like the position of the stars), in Polly One, Kevin Jerome Everson captures the intensity itself of this phenomena of the skies to take it to the possibility to become real spectators of an event of this nature that it’s barely intervened.

TIFF 2018. WAVELENGTHS: POLLY ONE DE KEVIN JEROME JEFFERSON

Por Mónica Delgado

A diferencia de otros cineastas experimentales que han mostrado fascinación por el eclipse como metáfora de la auscultación misma del soporte cinematográfico en su materialidad (una realidad superpuesta a otra, como la interposición de los astros), en Polly One, Kevin Jerome Everson capta la intensidad misma de este fenómeno celeste para liarlo a la posibilidad de ser espectadores reales de un suceso de esta naturaleza que apenas es intervenido.

TIFF 2018. WAVELENGTHS: ADA KALEH BY HELENA WITTMANN AND SIRA BY ROLLA TAHIR

By Aldo Padilla

The history of the extinct island of Ada Kaleh reminds us of the background story of Jia Zhang-Ke’s Still life: a hydroelectric plant whose construction destroys the surrounding towns, with the excuse of the unlimited need for energy. The case of this Turkish island had a similar fate with its disappearance during the 70’s. The idea of ??a ghost or a submerged island is represented by Wittman in the beginning of her short film with a wall where the humidity has left traces of a kind of map with the remains of paint that cling to the surface, while a mandarin voice talks about people in search of territory in a poem. The invented map of an imaginary island, the pccult map of a submerged island, with people floating in its nonexistence, a map that seems to show countries that do not welcome the wondering ghosts, because they cannot be determined.

TIFF 2018. WAVELENGTHS: ADA KALEH DE HELENA WITTMANN Y SIRA DE ROLLA TAHIR

Por Aldo Padilla

La historia de la extinta isla de Ada Kaleh trae reminiscencias al trasfondo de Still life de Jia Zhang-Ke, una hidroeléctrica que durante su construcción engulle a un pueblo frente a la ilimitada necesidad de energía, el caso de la isla turca tuvo un destino similar con su desaparición durante los años 70.

TIFF 2018. WAVELENGTHS: FAUSTO DE ANDREA BUSSMANN

Por Pablo Gamba

Fausto recibió este año una de las dos menciones especiales del jurado en la sección Cineastas del Presente, en el Festival de Locarno. Es el segundo largometraje de Andrea Bussmann y el primero que dirige sola. En el anterior, Tales of two who dreamt (2016), estrenado en el Festival de Berlín, compartió esa tarea Nicolás Pereda, esposo de la realizadora canadiense.

TIFF 2018. WAVELENGTHS: BLUE BY APICHATPONG WEERASETHAKUL & ARENA BY BJÖRN KÄMMERER

By Aldo Padilla

Insomnia can be defined as an intermediate state between dream and reality. Apíchatpong builds or simulates this scenario through tableaux that slightly change the dream, the possibility of voluntarily changing what we see in this intermediate state, part of the will of staying in that limbo. The lead character of Blue turns around in a bed while there’s a flame that extends through her, but without burning her, an illusion generated by a transparent screen that seems to ward off the spectator from the privacy of the inaccessible dream. The fire moves forward and the screens keep changing, while Apichatpong transposes the ideas of his cinema and his installations in five minutes, where the color blue associated to a peaceful dream, appears sporadically to remind us that we’re in the night, something that counterpoises the crepuscular passages of the exchangeable paintings.

TIFF 2018. WAVELENGTHS: BLUE DE APICHATPONG WEERASETHAKUL Y ARENA DE BJÖRN KÄMMERER

Por Aldo Padilla

El insomnio se puede definir como un estado intermedio entre el sueño y la realidad, Apichatpong construye o simula ese escenario mediante cuadros que van cambiando levemente el posible sueño, la posibilidad de cambiar voluntariamente lo que vemos en ese estado intermedio, parte de la voluntad de mantenerse en ese limbo.

TIFF 2018. WAVELENGTHS: FAUSTO BY ANDREA BUSSMANN

By Pablo Gamba

Fausto got this year one of the two special mentions of the jury in the Cineasti del Presente at Locarno Film Festival. This is the second feature of Andrea Bussman and the first one she directs alone. In her previous film, Tales of two who dreamt (2016), she shared director duties with Nicolás Pereda, her husband.

TIFF 2018. WAVELENGTHS: BEFORE MY EYES BY LINA RODRIGUEZ, MUMOK KINO, INVISIBLE CINEMA 3 BY PHILLIP FLEISCHMANN

By Ivonne Sheen

Thought and Film. Several filmmakers have been in this galaxy, the one in which film thinks itself. One could say that experimental filmmaking focuses in a way of thinking film, as medium, as phenomenon, as life, from its own nature as a medium. Three films from TIFF’s Wavelengths program think about film, one from a landscape documentary perspective and the two others from an inherited structuralism.

TIFF 2018: WAVELENGTHS. THE GLASS NOTE & WORDS BY MARY HELENA CLARK, PLANETS BY LAIDA LERTXUNDI

By José Sarmiento Hinojosa

The crushing of lemons, a welcome parallel (an imagined parallel, to be honest) to the manipulation of the possibilities of cinema. Laida Lertxundi, as many other filmmakers in her camp without a proper formation in cinema, has achieved the freedom of a person who manipulates an object the first time it sees it without knowing what it is. This possibility, this immense advantage for the eye, has gave her particular brand of cinema a certain liminality between the discourse and the image, the object and the subject matter.

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.