By Go Hirasawa
The birth of ATG (Art Theatre Guild of Japan) in 1961 marked an epoch in the distribution of experimental films and art films from all over the world, which had hardly any chance of being shown in commercial theatres. In April 1962, ten Art Theatres were established nationwide to screen the films ATG distributed…
To make a list about the best films of all time is in some cases an exhumation process: hidden films to which we have to give a breath of life. In other cases, it is a process of vindicating the old glories beneath the guilty or aesthetic pleasures. In Desistfilm we’ve made a commitment to examine our sensibilities in depth and have built our own sentimental canon: Films without which we couldn’t translate a part of the world.
Por Mónica Delgado
¿Qué es un hipster? Si lo definimos como el estereotipo de personas consumidoras de una cultura alternativa, de apariencia sofisticada, de pose intelectual, aptos a nuevas tendencias, el protagonista del filme definitivamente escapa a este concepto.
By Mónica Delgado
Dead Europe is a hard novel by the Greek Australian Christos Tsiolkas, adapted by Tony Krawitz in a suggestive manner. The filmmaker takes the second part from the book and changes the places for ones more suitable in order to portray a powerful cartography, an archetype of the Europe that he sees dying.
By Jan Philippe V. Carpio
In “Nanami” The Inferno of First Love”, Hani shows an artistic devotion to exploring and communicating the experiences of “small” moments and “insides”. Hani also shows that like his protagonists Shun and Nanami, he himself is very much willing to pay the high price for constant curiosity and closing the distance between life and those who struggle to live it.
Por Mónica Delgado
Esta película franco belga tiene todas las características de lo que se denomina como pornomiseria: la pobreza como vehículo para el espectáculo, personajes marginales haciendo gala de su orfandad social, ausencia del Estado, y sobre todo, el ojo atento a captar todo lo peor de sus personajes.
Por Ricardo Adalia Martín
En cuanto la imagen se separa del soporte, de la materia en la que venía inscrita, embebida, su modo de memoria se transtorna y redefine por completo. Su antigua condición de memoria de archivo, repositoria, dependía justamente de su capacidad de absorber las cualidades propias de lo inerte: ella podía ejercer su fuerza conmemorativa, restitutoria, por la condición suficientemente inmutable de la materia a la que estaba indisolublemente apegada. Tan pronto como esa adhesión y su indisulubilidad se alivian, lo que se cumple en la nueva forma de producción técnica, las imágenes dejaran de oficiar como eficaces memorias de consignación…
by Vassilis Economou
Yoshishige Yoshida was one of the most important figures of the “Japanese New Wave” (Nuberu Bagu). He is lesser known than his colleagues Nagisa Oshima and Masahiro Shinoda but he played a major role in the creation of the New Wave at the Shochiki studios in early 60s. In 1969 he directed his masterpiece Erosu purasu Gyakusatsu (Eros Plus Massacre), a historical drama that is set in the 20s. This is the first part of a trilogy that is composed by historical political films.
By Vassilis Economou
Nagisa Oshima remains one of the best-known representatives of the Japanese New Wave (Nuberu Bagu). During the 60’s he was particularly active cinematically and he expressed his political beliefs through his films. The radical changes that occurred at the Japanese society during the same period could not leave him untouched.
By Lauren Bliss
Masao Adachi’s A Gushing Prayer (1971) figures the possibility for lived contradiction. The film was produced in the wake of the American occupation of Japan and its forced assimilation of Japanese society to Western values, yet it offers a cross-examination of the struggle against the occupation. This structuring is typical of Adachi’s work and thus, despite the historical specificities of this film, A Gushing Prayer is a prayer for us all. It asks: how is it possible to escape the perceived totality of history and of capitalism?
Director: Mónica Delgado Ch.
ISSN 2311-7451
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