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Artículos

CONJETURAS SOBRE JOSÉ VAL DEL OMAR. EL QUE AMA, ARDE.

Por Eduardo Russo

El cineasta experimental e historiador Eugeni Bonet comenta que reparó en Val del Omar a través de un ya clásico estudio de Amos Vogel, Film as a Subversive Art (1974). Allí, el autor norteamericano destacaba Aguaespejo granadino (1955) en los siguientes términos: “Una obra explosiva y cruel, de la más honda pasión: un grito silencioso, una evocación mística de las pesadillas de España. Reminiscente de Tierra sin pan, de Buñuel, logra transmitirnos un horror y una ansiedad sin nombre. Una de las grandes obras ignoradas de todo el cine mundial.”

2013.03.28

Q&A

Q&A: SYLVAIN GEORGE

By José Sarmiento y Mónica Delgado

The mastermind behind the dyptich “Qu’ils Reposent En Révolte (Des Figures De Guerre)” and “Les Éclats (Ma Gueule, Ma Révolte, Mon Nom)” has just released his new documentary “Vers Madrid” in which he returns to the social problems of the new Europe, now focusing in the 15-M movement in Spain. He shared some words about it and his body of work with Desistfilm.

2013.03.28

Q&A

Q&A: DAVID GATTEN

By David Phelps

The word outstrips the sentence, and the design outstrips the system: the virtual text takes on compositional weight, and the flattened colors of flattened digital take on a variegated texture across the screen. As an ultra-virtual movie, it turns itself inside out; what’s left is simply what’s there. I talked with Gatten around midnight last October at Views from the Avant-Garde in New York, a couple nights after the movie’s premiere.

2013.03.28

Film Festival Reports

DIAGONALE: FESTIVAL OF AUSTRIAN FILM

By Claudia Siefen

This year’s «Diagonale“, Festival of Austrian Film, located in the city of Graz, provided a few heartfelt pulsing productions of austrian filmproduction. You have been simply on the safe side not going with the flow, to find yourself in the end on the right side. And then you have been not alone.

2013.03.26

Artículos

VAL DEL OMAR Y LA INUNDACIÓN DE LOS SENTIDOS

Por Almudena Escobar López

La obra del Val del Omar forma parte de este precoz despertar que creó un nexo temporal hacia el futuro más allá del presente que le tocó vivir. Su poética se sale literalmente de la pantalla adentrándose en “las habitaciones del Duende del Espíritu” yendo hacia delante, sin mirar atrás y sin miedo a caerse por el precipicio.

2013.03.24

Main Articles

ARREBATO BY IVAN ZULUETA

By Lauren Bliss

Much could be said about Ivan Zulueta’s cult classic Arrebato (Rapture, 1980). As a philosophical manifesto for the cinema, it is complex, sensitive, and humorous in its treatment of the question ‘What is cinema, what does it do?’ The film is the story of a struggling horror director José Sirgado (Eusebio Poncela), who is haunted by a strange film sent to him by his ex-lover’s cousin, Pedro (Will More). Pedro sends the film to José in an attempt to uncover its mystery: a frame of Pedro sleeping has disappeared and been replaced with a blood red mark on the reel.

2013.03.23

Artículos

TRÍPTICO ELEMENTAL DE ESPAÑA DE VAL DEL OMAR

Por Almudena Escobar López

La trilogía está formada por tres poemas audiovisuales rodados entre 1953 y 1961. Se trata de tres vértices que cruzan diagonalmente España, de noroeste a sudeste, originariamente en correlación rotativa, a través de un cuarto elemento o vórtice que nunca llegó a realizarse. Val del Omar no documenta, despliega, en un viaje hacia lo elemental y primigenio. El resultado es una serie de imágenes dispuestas líricamente, un análisis del espíritu inmaterial de España pensado para percibirse con los cinco sentidos.

2013.03.22

Main Articles

FROM “RETHINKING THE FEMME FATALE: READY FOR HER CLOSE-UP”

By Julie Grossman

I am grateful for the opportunity to update my introduction to Rethinking the Femme Fatale: Ready for Her Close-Up. The book was originally written to question the assumptions surrounding film noir’s character patterns and, in particular, to explore why we rely so heavily on a narrow construction of the “femme fatale” as malevolent seductress.

2013.03.20

Main Articles

A NATURAL, LIVING FILM: PASOLINI’S “WRITTEN LANGUAGE OF REALITY”

Por Adelmo Dunghe

Most semioticians believe that a language is a self-contained semiotic system that can be used to communicate human experience, and that this communication exists within the limits of our language. Pasolini asserts that reality itself–or at least the reality we perceive–is a semiotic system. “It seems to me,” he says, “that the first language of men is their actions. The written-spoken language is nothing more than an integration and a means of such action”.

2013.03.18

Main Articles

ABBAS KIAROSTAMI:IN SEARCH OF THE FRIEND

By Tristan Teshigahara Pollack

In order to decipher the implicit qualities and poetic references in Kiarostami’s oeuvre, a brief discussion on Persian literature is necessary. Provided that ancient Persian is still intelligible for contemporary Persian speakers, the whole span of Persian literature is accessible for reading and thus remains influential.

2013.03.18