Por Mónica Delgado
Pocas veces una película logra remover las raíces de las políticas sobre la migración como lo hace Stranger in Paradise, a partir de la escenificación de un requisito burocrático, que implica la participación de un actor que simula ser un docente o empleado del estado en tres momentos distintos, donde refugiados reales lidian con un proceso para obtener la residencia en Holanda.
By Carlos Rentería
Nele Wolhatz was born in Hannover, Germany, but has been living in Argentina for a number of years now. It is in this country where she directed the short film Novios del Campo and her feature film Ricardo Bär. In this pleasant conversation, he talks about different processes: the ones of her last film, of films in general and its frontiers, and the migration process.
By Ivonne Sheen
The Third Option put us in the middle of several ethical questions about the way contemporary societies have figured life, health, and progress. Along the film, there are different voices that guide us through a minimalistic visual essay (echoing Harun Farocki), which take us from personal testimony, to philosophical and scientific thoughts.
By Mónica Delgado
Only in rare occasions does a film stir up the politic roots of migration such as Stranger in Paradise does, and it does that by staging a bureaucratic process with an actor simulating to be a teacher or employee of the state in three different moments, while real refugees deal with a process to get a Dutch residency.
By Vica Smirnova
As with Antonio López Garcia, who follows nature, Victor Erice creates a palimpsest of times, or, rather, of traces of their presence, insisting on conventionality of end and beginning. In the end the camera, which for a long time shared a place with the artist, is left in solitude. Different mediums will create a semblance of finality; of something that doesn’t finish or, on the contrary, finishes in every moment of painting and filming.
By Mónica Delgado
Frank Fu is a young filmmaker living between EEUU, Australia and China. With his first film, Orange Confucius, he comes across a multi-disciplinary artist with transgressive intentions.
Por Iván Ramírez Zapata
¿Cómo es la vida del refugiado? ¿Qué vínculos deja atrás? ¿A dónde quiere llegar y para qué? ¿Qué arriesga? ¿Qué es lo que pierde en el camino? En este artículo voy a comentar tres documentales estrenados en años recientes a propósito de este tema, y que se aproximan a estas preguntas.
Review by Adrian Martin
Dirk de Bruyn’s book is a bold and original piece of in-depth, sustained research that brings together two areas have never been brought into relationship in this way, at this length. On the one hand, there is the lineage of experimental audiovisual work. (I personally dislike the visual-centric term ‘moving image art’ – sound has been around for a while now! – but each person chooses their own label, wisely or not.)
Por Sebastian Wiedemann
La pregunta por un pueblo y su porvenir es sin duda el germen que mueve la posibilidad de un cine político. No obstante, es una pregunta que habitualmente responde a lógicas logo-antropocéntricas. En ese sentido, el movimiento que intente llevar adelante en Los (De)pendientes está marcado por un deseo paradojal de afirmar la pregunta por un pueblo y su porvenir en diferentes direcciones al mismo tiempo. Para una matriz perceptiva de hábito, es un filme que hace una relectura histórica. Para una matriz perceptiva, que podríamos llamar de cosmogenetica, es un filme que apela al acontecimiento.
By Tara Judah
During the Berlinale the two exist together, alongside but outside of the official festival. Conceived of in 2014, by the German Film Critics Association, Woche der Kritik was born from a frustration with the industry. Calling on critics to take up activism in academic pursuit, they wrote and circulated a manifesto before launching the now established programme of annual screenings and discussions.
Director: Mónica Delgado Ch.
ISSN 2311-7451
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