By Michael Guarneri
After From What is Before (2014), a personal recollection of «political cataclysm» Martial Law hitting the Philippines in the early Seventies, Lav Diaz’s new effort Storm Children – Book One tackles natural cataclysm «Yolanda», the tropical cyclone that struck the archipelago in November 2013, leaving thousands of victims and damage to the value of several billion pesos.
Por Nicolás Carrasco
En una de las primeras escenas de Ming of Harlem, una reportera le pregunta a Antoine Yates la razón por la que convivió por varios años con un tigre de Bengala y con un cocodrilo de dos metros. Su respuesta: “Love, baby. Love”.
Here in Desistfilm, we can’t overlook such an important date for any cinephile: December third, 1930. To think about cinema without Godard is impossible, not only for his reformist and playful role in the Nouvelle Vague, but also for being an inherent par of the aesthetic revolution of the new technologies.
By Julian Ross
Just two years ago, Peter von Bagh (1943-2014) was the subject of a Signals retrospective programme at the 41st International Film Festival Rotterdam. I’m ashamed to say I had never heard of him before. But the idea of a reverse Pickpocket in the form of Pockpicket eli katkelmia helsinkilaisen porvarisnuoren elämästä (Pockpicket – Recollections of a Helsinki Bourgeois Youth, 1968) intrigued me and I headed to the cinema.
Por Mónica Delgado
Como pasa en Sigo Siendo, lo rural en el cine peruano de ficción ha devenido con los años en un espacio paradigmático de lo estático, es decir el territorio donde los personajes no avanzan o se deterioran; el espacio que invita a la huida hacia una opción que refleje la modernidad y el progreso: la ciudad.
Julian Ross, Staff Writer at Desistfilm, sat down with two members of Sonic Acts, Lucas van der Velden and Gideon Kiers, to discuss screen formats, scale and the limitations they seek to conquer curating moving image media. The conversation continued with Japanese filmmaker Takashi Makino, with whom Lucas and Gideon collaborated for the film Deorbit (2013) as members of the Dutch media art group Telcosystems.
Por Marcelo Arias Souto
Esta impresión se potencia al leer The Sky Between the Leaves, una compilación de las críticas de cine, ensayos y entrevistas a directores y colegas que Walsh realizó entre 1992 y 2012. Esta antología está integrada en su mayoría por textos de la WSWS, el sitio de internet lanzado en febrero de 1998 por el Comité Internacional de la Cuarta Internacional.
Por Pablo Gamba
Hubo una época en la que Venezuela estuvo en el mapa del cine experimental: desde mediados de la década de los setenta hasta comienzos de los ochenta. Fueron los años del movimiento de cineastas que rodaban en Super 8 en el país y del Festival Internacional de Cine de Vanguardia de Caracas en ese formato, que comenzó a realizarse en 1976.
By Tara Judah
Robinson, a fictional man we never see, is studying – or perhaps sleuthing –London. We presume the images presented to be his visual documentation, though they might have materialised from the mysterious cognition of our own imagination. Though Robinson is not present, he is not missing either. Our narrator (Paul Scofield) is a companion to Robinson, though it has been years since they saw each other last. And though our nameless narrator speaks the words written by filmmaker Patrick Keiller, he too might be a materialisation of our imagination.
By Tara Judah
Our narrator (Paul Scofield) returns. Pairing himself once more with Robinson, this time commissioned to study (or sleuth) England, the examination of space moves ever so slightly from the psychogeographic to the ideological.
Director: Mónica Delgado Ch.
ISSN 2311-7451
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