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Berlinale

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Berlinale

BERLINALE 2021: BAD LUCK BANGING OR LOONY PORN DE RADU JUDE

Por Mónica Delgado

Las imágenes domésticas de un acto sexual es la materia prima con la que el rumano Radu Jude inicia y va construyendo una sátira, entendida aquí como un discurso que critica de modo agudo y corrosivo un sistema de costumbres y taras, prejuicios y sentidos comunes, aunque no con intención moralizante, sino como una políticamente burlesca.

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Berlinale

BERLINALE 2021: STE. ANNE BY RHAYNE VERMETTE

By José Sarmiento Hinojosa

This idea finally gave materialized in Ste. Anne (2021), Rhayne’s first feature film and also her first venture into narrative experimental fiction. Though she has kept alive very much what is the essence of her experimental work, in Ste. Anne there’s an expansion to her methods, her primal interests on the idea of deconstruction, the ruin as a seminal element that triggers her creative process and her own vital relation with the materiality of film. This is manifested through a connection that is expanded:

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Berlinale

BERLINALE 2021: ON FILMS BY ALEXANDER KOBERIDZE AND CÉLINE SCIAMMA

By Mónica Delgado

Both Petite Maman, by the French Céline Sciamma, and What do we see when we look at the sky?, by the Georgian Alexandre Koberidze, allow us to measure a sensitivity from the programming of festivals in relation to the pandemic crisis, which in addition to being economic, is also emotional. Is it that, from now on, films that show more than the optimistic future of humanity will pour over us? Are now these films of guilt and tragedy or those of beautiful human warmth “necessary” films?

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Berlinale

BERLINALE 2021: SOBRE LOS FILMS DE ALEXANDER KOBERIDZE Y CÉLINE SCIAMMA

Por Mónica Delgado

Tanto Petite Maman, de la francesa Céline Sciamma, y What Do We See When We Look at the Sky?, del georgiano Alexandre Koberidze, permiten medir una sensibilidad desde la programación de los festivales en relación a la crisis pandémica, que además de económica, es también de tipo emocional. ¿Es, acaso, que de ahora en adelante lloverán los films que muestren con creces el futuro optimista de la humanidad?

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Berlinale

BERLINALE 2021: INTRODUCTION BY HONG SANG-SOO

By Mónica Delgado

As in The Day After or On The Beach At Night Alone, Hong Sang-soo focuses her new account on certain questioning of representations of masculinity. Characters dejected by some conventions, who discuss common places or preconceived ideas about how they should act in certain situations. The film tells a few passages in the life of Youngho (Shin Seokho), a young acting student who gives up studying for love. This seems to be the central premise of a film, which, as often happens in the South Korean filmmaker’s cinema, is divided into parts and subject to some situations fragmented by huge ellipses or jumps in time.

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Berlinale

BERLINALE 2021: ABOUT FILMS BY AVI MOGRABI, ALICE DIOP AND ZHU SHENGZE

By Mónica Delgado

The shot that A River Runs, Turns, Erases, Replaces (2021) opens with, refers to pandemic-ridden Wuhan. A “necessary” context to begin to describe the Chinese city most mentioned by the news throughout the past year. Sirens sounds, few people in the almost empty streets with masks, while security agents guard the quarantine. But, the intention of the filmmaker Zhu Shengze is not to take a look at this place in response to all the stereotypes and prejudices with xenophobic issues that also circulated in the media and networks.Military Occupation

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Berlinale

BERLINALE 2021: INTRODUCTION DE HONG SANG-SOO

Por Mónica Delgado

Como en The Day After o On The Beach At Night Alone, Hong Sang-soo centra su nuevo relato en algunos cuestionamientos a representaciones de masculinidad. Personajes abatidos por algunas convenciones, que ponen en discusión lugares comunes o ideas preconcebidas sobre cómo deben actuar en determinadas situaciones. Cuenta contados pasajes en la vida de Youngho (Shin Seokho), un joven estudiante de actuación que renuncia a estudiar la carrera por amor.

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Berlinale

BERLINALE 2021: SOBRE FILMS DE AVI MOGRABI, ALICE DIOP Y ZHU SHENGZE

Por Mónica Delgado

El plano con el que abre A River Runs, Turns, Erases, Replaces (2021) remite al Wuhan de la pandemia. Contexto “necesario” para comenzar a describir la ciudad china más mencionada por las noticias a lo largo del año pasado. Sonidos de sirenas, escasa gente en las calles casi vacías con tapabocas, mientras agentes de seguridad resguardan la cuarentena.

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Berlinale

BERLINALE 2021: THE POLEMICS BEHIND BLACK BACH ARTSAKH

By Mónica Delgado

This film, which is part of the Forum Expanded section of the Berlin International Film Festival, caught my attention due to requests for the withdrawal of the film in the program and the censorship of political activists on social networks, calling it pure propaganda about a war, with claims against the justification of ethnocides, ethnic cleansing and fascism.

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