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CPH:DOX

CPH-DOX 2018: THE DISTANT BARKING OF DOGS DE SIMON LERENG WILMONT Y JANE DE BRETT MORGEN

Por Pablo Gamba

The Distant Barking of Dogs (2017), galardonada en el IDFA de Ámsterdam y ganadora del Alejandro de Oro y del premio de la crítica internacional en Tesalónica, y Jane (2017), que estuvo en el mismo festival holandés y recibió el Critics’ Choice Award al mejor documental, son destacados ejemplos de modalidades de representación que siguen siendo dominantes en este tipo de películas en la actualidad, a pesar de los problemas que plantean.

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2018.03.16
desistfilm

L’ANALOGIQUE NE DEVRAIT PAS ÊTRE UN LUXE OU UN CAPRICE MAIS UN MOYEN DE CONCEVOIR LA FANTASMAGORIE

Entretien réalisé par Mónica Delgado 

Le cinéaste, curateur et chercheur catalan Antoni Pinent était il y a quelques semaines à Lima pour une masterclass et un atelier dans le cadre du MUTA, la Muestra Internacional de Apropriación Audiovisual (Festival international d’appropriation audiovisuelle). En plus de son activité de cinéaste, Antoni Pinent a de nombreuses casquettes : curateur de cinéma expérimental (en Espagne et ailleurs), programmateur, notamment lors des séances Xcèntric du CCCB (Centro de Cultura Contemporánea de Barcelona), et enfin commissaire d’expositions, telles que THAT’S NOT ENTERTAINMENT! El cine responde al cine (2006-2007), ou DEL ÉXTASIS AL ARREBATO (2009-2012), une rétrospective itinérante sur les cinquante ans de l’« autre cinéma espagnol » qui a marqué les esprits. Ses films, parmi lesquels G/R/E/A/S/E (2008-2013) et FILM QUARTET/POLYFRAME (2006-2008), ont été primés dans plusieurs festivals internationaux, et le cinéaste catalan a reçu le Grand Prix de la Biennal Museum of Contemorary Cinema Foundation lors de sa seconde édition en 2008 (New York, Paris, Madrid).

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2018.03.12
Cine latinoamericano

PANORAMA: LA VIDA SUSPENDIDA DE HARLEY PROSPER DE JUAN MANUEL SEPÚLVEDA

Por Pablo Gamba

La vida suspendida de Harley Prosper (2018) recibió este mes una mención en la competencia mexicana del Ficunam. Es un documental de Juan Manuel Sepúlveda, el realizador de La balada del Oppenheimer Park (2016), y es también la continuación de la controversial mirada a los personajes indígenas de esa otra película, quienes tienen un comportamiento de rechazo a lo que los rodea, y se emborrachan y se drogan en un parque de Vancouver, Canadá.

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2018.03.12
Main Articles

PANORAMA: MESCALINE BY CLARISSE HAHN

By Jose Sarmiento Hinojosa

Clarisse Hahn is no alien to foreign territories. For years, she was personally involved in documenting the phenomena of migration, identity and post-colonialism. Hahn’s bodies are an element of intrusion, a physical manifestation of resistance against the apparatus of power. In her documentaries, the skin is explicitly symbolic: deprived of every right, the last human resource lies in what is intrinsically theirs, what can’t be stripped off, the biological equivalent of a shield, or a banner. In this exploration of the flesh, the organic is a particular vessel for sexual manifestation, or political struggle.

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2018.03.01
Berlinale

BERLINALE 2018: ARGENTINIAN CINEMA, ITS FICTIONS AND UNCERTAINTIES

By Aldo Padilla

Despite not having a film in the official selection, the vast presence of Argentina in different sections deserves a text of its own for the eclecticism of the different proposals and its strong feminine presence. Argentina, in contrast to Brazil and Chile, has bet strongly towards fiction (except for Lola Arias’ film Theatre of War or Pino Solanas’ documentary A Journey to the Fumigated Towns).

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2018.03.01
Berlinale

BERLINALE 2018: CINE ARGENTINO, SUS FICCIONES E INCERTEZAS

Por Aldo Padilla

A pesar de no haber contado con una película en la selección oficial, la nutrida presencia de Argentina en diferentes secciones merece un texto aparte por haber abarcado casi todas las secciones del festival, por el eclecticismo de las diferentes propuestas y también por la fuerte presencia femenina.

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2018.03.01
Berlinale

BERLINALE 2018: MUSEUM BY ALONSO RUIZPALACIOS

By Aldo Padilla

The Chilean documentary Stealing Rodin (Robar a Rodin, 2017) starts from the idea of the presence-absence of a work of art, idea that emerged from the theft of a work by the French sculptor by an art student, which generated an enormous amount of visits to the museum showing the exposition. The thief posed that his robbery was part of a performance that showed that the absence of the work had an artistic justification, an effect on society which made it move massively towards the empty cabinet. “We don’t appreciate something until we lose it”. In the case of the Mexican film Museum (Museo), another premise is added: that something that one doesn’t know is lost can’t be appreciated.

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2018.02.26
Berlinale

BERLINALE 2018: IN THE AISLES BY THOMAS STUBER AND FIGLIA MIA BY LAURA BISPURI

By Aldo Padilla

Romantic comedies’ codes are a complete leap of faith. They usually start with some of its basic premises, like love at first sight, and with an almost instantaneous correspondence, despite the circumstances that surround each person. In general, picturesque sceneries are preferable for the development of love: it can be an office, or a slaughterhouse (like last year’s winner of the Golden bear On Body and Soul) This year, Thomas Stuber’s In the Aisles takes this genre to the aisles of a supermarket, where an employee with a dark past learns about his trade with different tricks and nuances.

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2018.02.26

desistfilm

Director: Mónica Delgado Ch.
ISSN 2311-7451

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