Por Mónica Delgado
Wiñaypacha, película peruana de Oscar Catacora, fue filmada en el nevado de Allincapac, a 5,800 m.s.n.m., en la provincia de Carabaya, en Puno. El registro del paisaje también expresa parte de la perspectiva romántica que Catacora dota a su film.
Por David S. Blanco
Ya está todo listo. Un año más arranca el Festival Internacional de Cine de San Sebastián, con una edición plagada de grandes nombres, jóvenes promesas, y un puñado de estrellas, que se pasearán por la costa cantábrica durante los próximos días. Tras la primera jornada, podemos confirmar que esta edición promete. Y mucho.
by Claudia Siefen
The films by independent filmmaker Goh HARADA present both narrative and experimental cinema. They are equally accessible to audiences interested in practice and theory alike. HARADA does not focus on people as privileged actors or performers, but rather on the emotional network of relationships between the elements “technology” and “physical living worlds”.
Por Pablo Gamba
La ganadora este año de la competencia internacional del Festival Internacional de Cine Documental de Buenos Aires (Fidba) fue O processo (Brasil, 2018), una película sobre el impeachment que llevó a la destitución de la presidenta Dilma Rousseff. Era lo que se esperaba, debido a la manera como fue recibido el film de Maria Augusta Ramos, estrenado en el Festival de Berlín.
By José Sarmiento Hinojosa
Experimental filmmaker Jessica Sarah Rinland (Argentina, UK) has been building a personal project for at least ten years, a project that expands itself in more than fifteen short films, photography, installation and object-books. Rinland’s work covers a universe of meta-fictional representations, where the image becomes an accomplice of a documentalized fiction, an eye over personal universes and cosmos that unravel under her 16mm lens.
By José Sarmiento Hinojosa
Unpacking Guli Silberstein’s Never twice the same color, a portrait of his life in New York prior to 9/11, is a daunting task. Previous to this documentary, Silberstein had already created a body of work leaning quite a lot to the political spectrum, specially in his remarkable shorts Cry havoc (2017) and Stuff as dreams (2016) where the resource of glitch media and noise (much abused gimmicks in contemporary moving image but proper tools of emphasis in Silberstein’s hands) is used as a testimony of the fragility of the image, as document and memory.
By José Sarmiento Hinojosa
Made somewhere between Sway (1985) and Engram (1987), Summer 1968 can be considered a transitional work that carries many of the elements of latter-period Matsumoto. For many, Matsumoto is the author behind the masterpiece Funeral Parade of Roses, but little more is popular on his experimental work through the 60’s, 70’s and 80’s. Many titles such as For the Damaged Right Eye, Atman or Engram carry out a variety of styles, manifestations and intentions, different classifications of the author’s obsessions and milestones of cinema in their own right.
By Mónica Delgado
In The Labyrinth, Colombian filmmaker Laura Huertas Millán proposes a bifurcating road: the tale about the ascent and fall of a eccentric drug dealer in the middle of the Amazon jungle, something that little by little is left aside to give place to a local testimony that connects with the environment: the description of a trance and the encounter with the figures and gods that rule those lands.
Por Mónica Delgado
En El Laberinto, la cineasta colombiana Laura Huertas Millán propone un camino que se bifurca: el relato sobre el ascenso y caída de un narco excéntrico en plena selva amazónica, que poco a poco se va dejando de lado para dar paso a un testimonio local que sí conecta con el entorno: la descripción de un trance y el encuentro con las figuras y dioses que gobiernan esas tierras.
By Aldo Padilla
A woman builds a puzzle, while wearing a dress with a pattern much like the pieces of the game she’s playing. The image seems to show her trying to reconstruct herself through her broken and disperse personality. In the wall of the same room there are many Venetian masks that also serve to accentuate her multiple facets. The tattoos of her big arms represent posing birds on multi-colored branches, part of a strange nature that opposes us seing the woman in the exterior, whose name is Elizabeth, or also Liz.
Director: Mónica Delgado Ch.
ISSN 2311-7451
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