By Paul Grivas
In collaboration with Desistfilm
I always find strange when Jean-Luc Godard is accused of making “films without a script”.
Quite the contrary, his scripts are extremely precise, as shown in this short film.
By Mónica Delgado
We’re all Sailors (Todos Somos Marineros) has, in its first minutes, one of the most fascinating sequences seen in recent Peruvian cinema. Like waking up in a sinuous atmosphere, filmmaker Miguel Angel Moulet submits us, like one of his lead characters, to a sensation of disconcert, inside a ship of claustrophobic green, gray and blue tones. After this sort of abrupt awakening, of an unfinished dream, we witness the story of a group of Russian sailors which have been stranded in their ship for weeks, in some port in Chimbote, north of Peru
By Aldo Padilla
To analyze the audiovisual consumption in social media is something that poses many alternatives beyond viral videos and youtubers. The irruption of videogame streaming showed that a streamer can monetize its content despite being sponsored, by donations or subscriptions. In the west, Twitch is the platform that better represents this. Its popularity has allowed people to earn money while just talking or making personal diaries, an idea that takes the relay of blogging, which was trending a decade ago.
By Aldo Padilla
Ico Costa utilizes a similar planning when he shoots Alva, a film where we can see a man dwelling through the Portuguese forests, seeking shelter, small fruits or water from the river, a river whose sound defines the austerity of the film. Unlike Alonso’s films, Costa’s first feature allow us to be an auditory witness of the ominous crime of the lead character –despite giving few clues about the motives of the killings that he commits- only represented by shotgun shots we hear from a house door a woman just entered.
Por Tara Judah
Encontré emocionante de ver y soportar a The Wind (2018) de Emma Tammi, un film que despierta admiración profunda por su valentía al tratar temas domésticos dentro de los paradigmas de género tradicionalmente sesgados, como al desafiar esos mismos tropos mientras permanecen vigentes. Es un film lo suficientemente ambiguo para complacer tanto a los fanáticos del género (western) como a aquellos que desean una exploración más crítica.
Por Mónica Delgado
Todos somos marineros tiene, en sus primeros minutos, una de las secuencias más fascinantes del cine peruano reciente. Como si despertáramos en plena atmósfera sinuosa, el cineasta Miguel Ángel Moulet nos somete, como a su protagonista, a una sensación de desconcierto, dentro de un barco de claustrofóbicos tonos verdes, grises y azules.
By Aldo Padilla
Not only has the idea of a shared cinematic universe been used in the last year by superhero movies, we can also see in Jian Zhang Ke’s Ash is the purest white how the filmmaker returns to his iconic Still Life lead character (and her famous water bottle). In another example, Happy End of Michael Haneke seems like a bad sequel of his film Amour: this failed pastiche takes elements of all of the filmmaker’s filmography without any subtlety.
By Aldo Padilla
Locarno winner Yeo Siew Hua’s A Land Imagined, poses two stories that play in parallel, with a disappeared Chinese migrant and the case investigator. The tale is somewhat similar in structure to some Murakami novels: with several unanswered questions, the shadow of a manic pixie dream girl, a sort of mirror between the characters of the two stories and some elements that get near the supernatural or the oneiric.
Por Aldo Padilla
Zhu Shengze, debutaba hace dos años con su hiperrealista Another Year, en la cual acompañaba por un año entero a una familia china de clase media baja, donde ya adelantaba la estrecha relación de la sociedad china con los medios de comunicación mediante la omnipresencia de la televisión. En su nueva película, el hiperrealismo está filtrado bajo la mirada de las redes sociales, mediante el seguimiento de streamers chinos quienes van transmitiendo su día a día, desde muy diferentes perspectivas.
By Tara Judah
Perhaps watching a film about stillbirth and the haunting of pregnant women in isolation, while pregnant, was not the wisest of choices I’ve ever made. And yet, I found Emma Tammi’s The Wind (2018) thrilling to watch and enduring as a film I deeply admire for both its bravery in dealing with gendered, domestic themes inside the paradigms of traditionally gender biased genres, and in challenging their tropes whilst remaining just ambiguous enough to please both genre fans and those wanting a more critical exploration.
Director: Mónica Delgado Ch.
ISSN 2311-7451
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