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Críticas

NEW DIRECTORS/ NEW FILMS 2013

By Tristan Teshigahara Pollack

Matias Pineiro, a graduate from Universidad del cine (one of Argentina’s most prestigious universities), has a profound obsession with the uneventful. Although his films are replete with probing camera work, dialogue heavy sequences, convergences between theatre and film, and promiscuous diversions, his gifts as cinematic purveyor have been somewhat ignored by the festival circuit. In his realm, theatre is both source and subject.

2013.04.01

Artículos

HARUN FAROCKI, DESCONFIAR DE LAS IMÁGENES

Por Eduardo Russo

El actual volumen recoge varios de los artículos antes compilados en Crítica de la mirada, en una cuidadosa traducción de Julia Giser. La publicación en sí prolonga el exquisito trato con que la editorial Caja Negra viene publicando su material sobre cine, en una serie en la que pueden encontrarse ciertos volúmenes de Godard, Kluge o Glauber Rocha, cuya publicación parecía utópica en estas latitudes hace unos pocos años.

2013.03.30

Main Articles

VIRIDIANA BY LUIS BUÑUEL

By John A. Riley

Buñuel’s capitalisation on the Franco regime’s vanity to return and make a supposedly pious film that ultimately outraged General Franco and the Pope, and went on to win the Palme D’Or, is a legendary fireside tale of postwar European film. But how does Viridiana stand up when viewed today?

2013.03.30

Q&A

Q & A: ALEX COX

By John A. Riley and Mónica Delgado

“I’d like to shoot a different ending for Sid and Nancy, too. But I’m less fond of that film. Straight to Hell was always one of my favourites and revisiting it, playing around with it, making it more bloodthirsty and giving it a different colour treatment and more skeletons and reinserting the deleted scenes… it was a real treat”.

2013.03.29

Artículos

LA VIDA SUBLIME. EL CINE DE GONZALO GARCÍA PELAYO

Por Ricardo Adalia Martin

García Pelayo es tajante: dejar atrás todo el pasado y comenzar una vida nueva. Superar todos los rencores y bailar con el tiempo para encontrar otro no supeditado ningún tipo de lastre. Gracias a esta actitud, su cine aparece ayer y hoy como un soplo de aire fresco dentro del panorama español. Un panorama que continúa viviendo preso de la nostalgia, de aquello que pudo ser si los fascistas no hubieran ganado la guerra civil.

2013.03.29

Main Articles

FRANTISEK VLÁCIL IN THREE TIMES

By David Phelps

Vlácil’s moral grappling seems like its own answer throughout his films. Men are beasts, the world is hell, and innocence can only exist as a symbol, dove or child, unplugged from a brutal reality and dwelling apart in celestial conjecture. Convenient for allegory, the point operates as pretext, subtext, and text of Vlácil’s movies.

2013.03.29

Cine latinoamericano

EDUARDO QUISPE: VISUALIDAD RADICAL EN TORNO A LA COMPOSICIÓN A-TONAL DEL RELATO

Por Lucas Saporosi

Pues a eso se dedica Quispe, a algo tan simple como hipnótico, al mero enfoque de rastros y paisajes, que encuentran corporeidades en personajes residuales o insignificantes de la Lima actual. Pero para hacerlo, y en esto radica nuestro trabajo, las categorías tradicionales de plano y montaje le son escuetas y totalitarias.

2013.03.29

Main Articles

POEMS FOR THE CROSS-EYED BY KEN JACOBS (1989/97)

By Ken Jacobs

Seven poems.

2013.03.29

Main Articles

MAYBE. EARLY. RESURFACED. (ABOUT KEN JACOBS’ POEMS)

By Claudia Siefen

Right eye. Left Eye:

Some rhythmic thoughts on some cinematic poems by Ken Jacobs (1989/97).

2013.03.29

Main Articles

DAY OF THE BEAST BY ALEX DE LA IGLESIA

By John A. Riley

In Alex de la Iglesia’s second feature, a priest discovers a Biblical code that prophesies Satan’s appearance on Earth. He enlists the help of an LSD-loving heavy metal fan and the presenter of a TV show about the paranormal to prevent this catastrophe, which confusingly involves the priest trying to sell his soul to Satan.

2013.03.29