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?
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”.
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.
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.
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.
By Claudia Siefen
Right eye. Left Eye:
Some rhythmic thoughts on some cinematic poems by Ken Jacobs (1989/97).
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.
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.”
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.
Director: Mónica Delgado Ch.
ISSN 2311-7451
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