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?
By John A. Riley
This film documents the complex relationship between Kazuo Hara and his ex-wife Takeda Miyuki. He and his current partner (the sound recorder and producer of the documentary) follow Miyuki as she flouts the conventions of Japanese society with a mercurial zeal; a lesbian affair, conceiving a child with an African-American GI, setting up a refuge for women and challenging local gangsters, resulting in her being assaulted.
by John A. Riley
At almost exactly the same time that Sean Connery’s crass, bloated 007 was undergoing plastic surgery to look more Japanese, Seijun Sujuki’s Branded to Kill debuted on Japanese screens, featuring Goro Hanada, an assassin whose licence to kill was entirely of his own making and who seemed determined to prove Fritz Lang right and Ian Fleming wrong.
Por Lorena Cancela
Para la civilización griega, mientras la persona vivía tenía que cuidar al cuerpo igual que a la mente (1). De acuerdo con Platón, Sócrates dice en Leyes: “Los que honran mejor a los dioses por medio de la danza son también los mejores en el combate”. No voy a detenerme en la cultura griega (los occidentales la conocemos: al menos en mi país, la Argentina, los manuales explican el origen de la Historia del mundo a partir de Grecia), pero sí voy a tomar esta idea de “armonía” (1) griega, de unidad entre cuerpo y mente para ver si funciona, o no, y cómo, en el cine, en ciertas corrientes y películas contemporáneas.
Director: Mónica Delgado Ch.
ISSN 2311-7451
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