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.
By Tara Judah
Contemporary issues like the global financial crisis and climate change have begged for another round of Robinson’s sleuthing; another essay articulate beyond its years from his companion, our narrator. Something to unpack as the next decade tattoos itself onto the landscape.
But Robinson is defeated.
By Lauren Bliss
Mad Max is a dystopian road movie. Set in the open, dull plains of rural Victoria in southern Australia Max is a member of a special police force “Main Force Patrol” employed to stop out of control feral gangs that have taken the highway hostage. At war against the pursuit of the police, the ferals set their sights on Max’s idyllic wife and baby son. The gang find their revenge and tragedy strikes for Max: his wife and son are killed when run over by the motor-bike gang. His life now sacrificed to the road, mad Max methodically hunts down the destroyers of his family.
Director: Mónica Delgado Ch.
ISSN 2311-7451
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