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Berlinale

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Berlinale

BERLINALE 2020: THERE IS NO EVIL DE MOHAMMAD RASOULOF

Por Mónica Delgado

Que este film iraní se llevara el Oso de Oro de la edición 70° de la Berlinale ha significado que el cine de “los grandes temas”, la mirada que valora los contenidos, sigue liderando las preferencias de los jurados de los festivales. There Is No Evil, del iraní Mohammad Rasoulof, es un film en episodios que describe la marca social de vivir en un país donde la pena de muerte transforma todo.

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Berlinale

BERLINALE 2020: A PROGRAM FOR LATIN AMERICA

By Mónica Delgado

The program 6 of Forum Expanded was particularly interesting for me. And this doesn’t have to do with the quality of the films shown, but the criteria used to select them and group them. Laura Huertas Millán’s Jíibe, Jonathas de Andrade’s Jogos Dirigidos and Ava Vaz’s Apiyemiyekî? were all projected in this sesion, three works that have as a common denominator being solely from Latin America.

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Berlinale

BERLINALE 2020: DAYS DE TSAI MING LIANG

Por Mónica Delgado

Luego de Stray Dogs (2013), el malayo Ming-liang regresa, en la competencia oficial de la Berlinale, con una historia de amor física, a punta de hermosos planos fijos. El movimiento es lentamente perceptible en algunas escenas, a través de la caída de la lluvia y su reflejo en un ventanal o de una olla posada en un fogón.

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Berlinale

BERLINALE 2020: THE WOMAN WHO RAN BY HONG SANG-SOO

By Mónica Delgado

As with some recent films of Hong Sang-soo, women are in the center of a series of tales, where the usual stylistic motives of the Korean filmmaker remain. But in a clear difference to the rest of his filmography, here, in this film at the Berlinale’s official competition, the men are left.

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Berlinale

BERLINALE 2020: THE WOMAN WHO RAN DE HONG SANG-SOO

Por Mónica Delgado

Como sucede con algunos recientes trabajos de Hong Sang-soo, las mujeres son el centro de una serie de relatos, donde los usuales motivos estilísticos del cineasta coreano permanecen. Pero a diferencia de los demás films de su autoría, aquí los hombres están demás.

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Berlinale

BERLINALE 2020: UNDINE BY CHRISTIAN PETZOLD

By Mónica Delgado

Romance understood as a fortuitous and tragic fact is the motif behind several films by Christian Petzold. In Transit, for example, the same protagonists of Undine (the magnificent pair of Paula Beer and Franz Rogowski) are submitted to destines indifference, where sublimation in times of war is impossible. Or like in Jerichow, where sexual attraction is the path to hell. Instead, in Undine, with a bit more complacent tone, without the stylistic bets of his previous works, the context doesn’t matter much; instead the filmmaker is focused in offering a romantic tale in every sense, which includes mythical beings and love sacrifices. 

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Berlinale

BERLINALE 2020: SIBERIA BY ABEL FERRARA

By Mónica Delgado

Abel Ferrara’s Siberia is, before anything, a film about drives as non-natural impulses. And this concept is read here in a Freudian sense, where the characters do different actions (in a conscious or unconscious manner) with the end of calming an intense and profound desire, usually of sexual nature. The drives that are satisfied after an unusual and intense search.

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Berlinale

BERLINALE 2020 INTERVIEW: CRISTINA NORD, FORUM DIRECTOR

By Mónica Delgado

In the middle of all her tasks in this edition of Berlinale, curator Cristina Nord, took some minutes to talk with Desistfilm about his new role directing Berlinale Forum, about the 50 years of this showcase, and on some topics of cinephile concern, parity and programming.

Cristina Nord was an editor of the cultural section of the taz. die tageszeitung newspaper in Berlin until 2015. A teacher in Freie Uniersität Berlin, and programmer in Haus der Kulturen der Welt and Duisburger Filmwoche, she was responsible for the cultural southeast Europe program in Brussels Goethe-Institut and realized different investigations about literature and cinema.

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Berlinale

BERLINALE 2020: DO STUFF AND GET MONEY FOR IT ALL THE TIME: TWO FILMS ON LABOR, FIFTY YEARS APART

By Adina Glickstein 

At this year’s Berlinale, the program from the original International Forum of New Cinema was re-screened in full, presenting a slate of films from 1971 with half a century of retrospect. This first-ever Forum coincided with the year that the U.S. fully abandoned the Bretton Woods system, departing from the Gold Standard in a shift that arguably engendered the onset of neoliberalism. Martin Jacques identifies 1972 as the year that the top ten percent of incomes began to skyrocket while those of the lower third stagnated or fell; the establishment of the WTO, the dual leviathan of Reaganite-Thatcherism, and the push towards deregulation were all soon to follow.

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