Staff – Page 176 – desistfilm

Berlinale

BERLINALE 2018: DOVLATOV DE ALEKSEI GERMAN JR.

Por Aldo Padilla

Aleksei German Jr. sale de su línea habitual de cine onírico y con fuerte crítica hacia la Rusia actual con un film que explora la figura del poeta. Dovlatov no es un biopic al uso, ya que solo retrata una semana de la vida del escritor. pero esos siete días bastan para entender la frustración e ingenio del poeta, que veía cómo su talento se iba diluyendo en medio de encargos y pedidos de obras que iban en contra de su naturaleza.

2018.02.18

Berlinale

BERLINALE 2018: THEATER OF WAR, THE HEIRESSES

Por Aldo Padilla

The history of the Malvinas war is a tale with strange nuances, since it doesn’t carry the same name for Argentinians and English, who call them Falklands. The story that both countries tell is pretty different. Then, how is it possible to represent a conflict trying to avoid a position or doctrine? There’s not a concrete answer to this eternal question. The idea of impartiality is a utopia, and an approximation to a subjective reality is all that is left.

2018.02.17

Berlinale

BERLINALE 2018: WILD RELATIVES – PLANTS AND BIRDS AND ROCKS AND THINGS

By Pamela Cohn

Forum and Forum Expanded with its forty-eight year legacy has become its own robust festival residing still pretty much in the shadows of the main program, but with its own imperatives of collecting stories from the periphery. Some colleagues are always sure to tell me how underwhelmed they are by the programming. This year, the exhibition’s theme curated by Arsenal – Institute for Film and Video Art, expertly led by Stefanie Schulte Strathaus, is entitled A Mechanism Capable of Changing Itself, a nod to avant-garde film artist Maya Deren’s idea: “Marxism is the only theory of politics which designed a mechanism capable of changing itself – as in the concept of the withering away of the state.”

2018.02.17

Berlinale

BERLINALE 2018: CLASSICAL PERIOD, INTERCHANGE Y WILD RELATIVES

Por Aldo Padilla

Hoy nos detenemos en tres films de la sección Berlinale Forum: Classical Period de Ted Fendt, Interchange de Brian M. Cassidy y Melanie Shatzky, y Wild Relatives de Jumana Manna.

2018.02.17

Berlinale

BERLINALE 2018: LAS HEREDERAS DE MARCELO MARTINESSI

Por Aldo Padilla
Las herederas maneja fuertemente el universo femenino donde los hombres son solo complementos y parecen asomar apenas como billeteras andantes. La herencia de las actrices está definida por una sociedad que ha vivido 40 años de dictadura, además del legado explícito de la protagonista que poco a poco se va perdiendo a raíz de los problemas económicos que no parecen terminar y que se acumulan para dejarla simplemente con emociones que no pueden ser manifestadas.

2018.02.16

Berlinale

BERLINALE 2018: TEATRO DE GUERRA DE LOLA ARIAS

Por Aldo Padilla

“La historia la escriben los vencedores” es una frase que dentro de sus matices tiene cierta razón. Al final hay una imposición y visión que quedan plasmadas por el supuesto vencedor de un conflicto, hay una representación de una realidad que no es única y que, ante todo, es inabarcable. La historia se va modificando de a poco, ya que no siempre es escrita por sus protagonistas, sino más bien por gente que mira todo desde una posición cómoda, donde no siempre le da un valor adecuado a todas las piezas de un complejo tablero.

2018.02.16

Berlinale

BERLINALE 2018: ISLE OF DOGS BY WES ANDERSON

By Aldo Padilla

Usually, there is some condescendence when talking about animated cinema, which is usually put in the “family” or “children” section. To the generalists, this cinema is usually limited to consume or nostalgia, with no other quality that its pictorial beauty or its closeness to reality. Despite this idea, it’s possible that animated cinema could be evaluated under the same parameters than conventional cinema, while certain qualities of it make animation unique in its conception, turning that genre in a contradiction in itself.

2018.02.16

Berlinale

BERLINALE 2018: ISLE OF DOGS DE WES ANDERSON

Por Aldo Padilla

Si bien el lector puede intuir que el film tiende hacia un patrón, Isle of dogs construye su historia desde los detalles, pantallas donde la realidad televisada no es en stop-motion sino en animación 2D, que da una percepción de una realidad diferente.

2018.02.16

Main Articles

PHANTOM THREAD: THE INDISSOLUBLE RELATION BETWEEN LOVE AND FOOD

By Mónica Delgado

In Phantom Thread, Paul Thomas Anderson builds a game of correspondences through an elemental figure, food as a life drive. In its first minutes, the act of eating becomes a situation which defines sensibilities, attentions, rites and goodbyes. But this series of acts surrounding food (which draw the character of designer Reynolds Woodcock and his relationship with his new lover) is not completely explicit, but carefully inserted with an ingenious subtlety inside the first frivolous layer of fashion’s world.

2018.02.14

Main Articles

CINEMA AND LITERATURE IN SEARCH OF THE BALKAN SOUL

By Pamela Biénzobas

Could the spark born from the life-long romance between literature and cinema create a privileged light under which to see the soul of a region? If so, what would the complex Balkans look like? Through eleven films inspired on stories and novels from Albania, Bulgaria, Romania, Serbia and Montenegro, Turkey and ex Yugoslavia (Croatia, Serbia and Slovenia), the tribute From Words to Images within the Balkan Survey section of the 2017 Thessaloniki International Film Festival (November 2 to 12) sought to seize a kind of particular soul as conveyed by the cinema of the past six decades – from 1961 (Boštjan Hladnik’s Dance in the Rain) to 2015 (Grant Gee’s Innocence of Memories), though mostly from before the mid-seventies.

2018.02.14