Por Mónica Delgado
Finisterrae (España, 2010) es un chiste absurdo filmado con la fotografía de Eduard Grau, una de las más impecables de los últimos tiempos, que cuenta la historia de dos fantasmas, que tienen como fisonomía ordinaria a un par de sábanas con orificios a la altura de los ojos.
By Wiwat Lertwiwatwongsa
A grey path leads to nothing but a tilted, half-collapsed house on waste ground. Everything is grey and cold. Police arrive, advising the residents to leave by the last ferry, but there’s no answer from within.
By Claudia Siefen
Maybe you are familiar to the story of the Three Wise men Caspar, Melchior and Balthazar walking their long enfeebling path surching for the little child, supposed to be the savior and king of the world? Well, and maybe sometimes you asked yourself what has happen during that journey. What did they talk about, the three guys, what did they eat and where did they hang out. Have they ever been bored and have they ever thought …
Por Mónica Delgado
La distribución y exhibición del cine independiente y experimental de los Balcanes y de otros paises de Europa del Este tienen un desarrollo y difusión escasos en la actualidad, comparados a las cinematografías cercanas del mismo continente, siendo algunos festivales ventana de difusión hacia el resto del mundo. De por sí la Europa “hegemónica” sigue reacia a dar cabida a aquel cine periférico dentro de su propio territorio, salvo como “obras de arte en museos y galerías”, inmerso en un universo heredero de la distancia fomentada por los totalitarismos y gobiernos socialistas del bloque del Este y la Guerra Fría.
By Mónica Delgado, Narda Liotine, José Sarmiento Hinojosa
Bill Morrison (Chicago, 1965) is one of the most important experimental filmmakers today, especially in the found footage vein. His first full-length feature Decasia (2002) became a milestone in this style of experimental cinema, not only for his use of special techniques in the celluloid format, but also for becoming an inspiration for future works. Decasia dwells in exploring film decay, the decomposition of the image medium, a decayed body that has something to show still. Talking about this and other works, Bill Morrison answers some questions from our staff.
per: Narda Liotine
Uno dei modi migliori per indagare le relazioni interpersonali è analizzare i pasti. Evitando quelli solitari, frugali e scomposti, preferiamo quelli affollati e i tête-à-tête. Il regista surrealista ceco Jan Svankmajer -dal seminale Dimensioni del dialogo (Možnosti dialogu, 1982) passando per il più recente Meat Love (1989) – ci insegna che consumare un pasto in compagnia può portare a scontri e contrasti. Nella sua riflessione artistica i tavoli da pranzo e le stoviglie sono creati per generare tanto l’armonia quanto il caos, ritenendo il primo come una possibile conseguenza del secondo.
By Narda Liotine
Jan Philippe “JP” V. Carpio (Manila, Philippines) is a self-taught writer, filmmaker and performer living in Metro Manila, Philippines. He has been making films for over a decade and has written and directed several shorts and three feature length films shot on video: Girl of My Dreams (2000), Balay Dakû (2002), Hilo (thread)(2007). He is a National Commission for Culture and the Arts Cinema Grant Recipient for the first full length film in the Ilonggo language Balay Dakû, and many other awards. He is a believer and practitioner in cross training between the different art forms, having collaborated and performed with “Actors’ Pleygrawnd” and with dancer Vanni Liwanag. He currently teaches film and mass communication subjects at St. Paul University Manila and at the School of Design and Arts College of St. Benilde. He has also become a staff member of desistfilm.
por Ricardo Adalia Martin
El contacto férvido con lo bello.
By John A. Riley
I’ve been captivated by cinema since I saw Superman split into his constituent good and evil parts to do battle in a junkyard. Growing up, I devoured anything I could, from blockbusters to Hammer Horror, to Welles and Hitchcock. As a university student, I was exposed to world cinema and the avant-garde too. But it wasn’t an academy-endorsed masterpiece that made the biggest impression on me; it was a chance encounter in the bargain bin of a cash and carry that resulted in me seeing a VHS of Horror Hospital.
By Jan Philippe V. Carpio
Perhaps in no other art form (and other art forms may disagree with this) do cinema’s practitioners constantly choose (and it is a seldom choice) to wage war with the tyranny of audience expectations. To perpetuate the tyranny of the regime, audiences usually possess five (of many) insidious weapons – immaturity, indifference, arrogance, laziness, distraction – which cinema’s practitioners engage with experience, involvement, humility, dedication, focus. These perpetual wars seem to stem from practitioners and audiences differing perceptions of cinema and its uses. And it is here, on one of the many battlefields of perceptions, where Tom Noonan’s What Happened Was … wages its delicate and covert war.
Director: Mónica Delgado Ch.
ISSN 2311-7451
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