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Berlinale

Berlinale

BERLINALE 2018: WILD RELATIVES – PLANTS AND BIRDS AND ROCKS AND THINGS

By Pamela Cohn

Forum and Forum Expanded with its forty-eight year legacy has become its own robust festival residing still pretty much in the shadows of the main program, but with its own imperatives of collecting stories from the periphery. Some colleagues are always sure to tell me how underwhelmed they are by the programming. This year, the exhibition’s theme curated by Arsenal – Institute for Film and Video Art, expertly led by Stefanie Schulte Strathaus, is entitled A Mechanism Capable of Changing Itself, a nod to avant-garde film artist Maya Deren’s idea: “Marxism is the only theory of politics which designed a mechanism capable of changing itself – as in the concept of the withering away of the state.”

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BERLINALE 2018: LAS HEREDERAS DE MARCELO MARTINESSI

Por Aldo Padilla
Las herederas maneja fuertemente el universo femenino donde los hombres son solo complementos y parecen asomar apenas como billeteras andantes. La herencia de las actrices está definida por una sociedad que ha vivido 40 años de dictadura, además del legado explícito de la protagonista que poco a poco se va perdiendo a raíz de los problemas económicos que no parecen terminar y que se acumulan para dejarla simplemente con emociones que no pueden ser manifestadas.

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BERLINALE 2018: TEATRO DE GUERRA DE LOLA ARIAS

Por Aldo Padilla

“La historia la escriben los vencedores” es una frase que dentro de sus matices tiene cierta razón. Al final hay una imposición y visión que quedan plasmadas por el supuesto vencedor de un conflicto, hay una representación de una realidad que no es única y que, ante todo, es inabarcable. La historia se va modificando de a poco, ya que no siempre es escrita por sus protagonistas, sino más bien por gente que mira todo desde una posición cómoda, donde no siempre le da un valor adecuado a todas las piezas de un complejo tablero.

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Berlinale

BERLINALE 2018: ISLE OF DOGS BY WES ANDERSON

By Aldo Padilla

Usually, there is some condescendence when talking about animated cinema, which is usually put in the “family” or “children” section. To the generalists, this cinema is usually limited to consume or nostalgia, with no other quality that its pictorial beauty or its closeness to reality. Despite this idea, it’s possible that animated cinema could be evaluated under the same parameters than conventional cinema, while certain qualities of it make animation unique in its conception, turning that genre in a contradiction in itself.

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Berlinale

BERLINALE 2018: ISLE OF DOGS DE WES ANDERSON

Por Aldo Padilla

Si bien el lector puede intuir que el film tiende hacia un patrón, Isle of dogs construye su historia desde los detalles, pantallas donde la realidad televisada no es en stop-motion sino en animación 2D, que da una percepción de una realidad diferente.

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BERLINALE 2017: WOCHE DER KRITIK

By Tara Judah

During the Berlinale the two exist together, alongside but outside of the official festival. Conceived of in 2014, by the German Film Critics Association, Woche der Kritik was born from a frustration with the industry. Calling on critics to take up activism in academic pursuit, they wrote and circulated a manifesto before launching the now established programme of annual screenings and discussions.

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Berlinale

BERLINALE 2017: ULYSSES IN THE SUBWAY DE MARC DOWNIE, PAUL KAISER, FLO JACOBS, KEN JACOBS

By Tara Judah

For me, the affect of 3D holds a specific fascination, as it constructs real life dimensionality (between the viewer and the surface of the screen) from the images (the (re)presentation of something that exists) to create cognitive and theoretical interpretation. So, while immersion may be one way to talk about the affect of 3D, so too might the relationship between the aesthetic pursuance of the ontology of what it (re)presents: an historical, indexical real.

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BERLINALE 2017: IMPACT, OR CINEMA-GOING

By Tara Judah

Amidst the festival buzz of the Berlinale, a new cinema has opened in Berlin: w o l f Kino. With two small screens (between 40-60 seats each), a stylish bar and a multi-purpose studio space that accommodates a screen and temporary projection set up, w o l f announced itself while the majority of its industry players were ferreting about Potsdamer Platz.

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BERLINALE 2017: COLO DE TERESA VILLAVERDE

Por Mónica Delgado

Presentada en la sección de la competencia oficial de la Berlinale 2017, Colo afirma el estilo de Villaverde, a partir de una puesta en escena con personalidad, y de un gran trabajo visual y de sonido, y sobre todo porque ofrece un imaginario distinto sobre la Portugal de hoy.

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