Por Mónica Delgado
En The Day After se perciben algunas sutiles transformaciones sobre las estrategias narrativas que Hong Sangsoo ya había patentado a lo largo de toda su filmografía: las variaciones de un mismo hecho, donde el “narrador” tiene la oportunidad de volver al desarrollo de una escena anterior, para calcarla, revisitarla o replantearla, originando así la doble lectura de “lo que pudo ser”.
By Mónica Delgado
It’s impossible not to see La Familia from the political, social and economic crisis that Venezuela is suffering in the last years. However, Gustavo Rondón Cordova isn’t looking to make a social diagnosis or any kind of critique to the present regime in his first feature film.
Por Mónica Delgado
Es inevitable ver La Familia desde la crisis política, económica y social que vive Venezuela en los últimos años. Sin embargo, Gustavo Rondón Córdova no pretende hacer algún diagnóstico social ni mucho menos hacer alguna crítica al régimen vigente en esta ópera prima.
By Mónica Delgado
Sean Baker’s The Florida Project is a film about the construction of a Paradise, of a bubble, of an arcade of roses for children among an obscure America, the America of unemployment, poverty and crisis.
By Mónica Delgado
Beyond this social scan that Haneke deems as absolutely necessary, such in films like Funny Games of Caché, his film dwells better in the passages that talk about a unhealthy family side, incarnated in the figure of the child, a kind of proto-psychopath, marked with Haneke’s undertones all over
By Mónica Delgado
A brief report on these three films in diverse sections, measuring the pulse half way in this 70th edition of Cannes
Por Mónica Delgado
Todo en The Florida Project, desde los colores en las locaciones, que dan la ilusión de una ciudad de juguete, un Disneyland provisional, donde las drogas y la prostitución están alejado de los espacios de Moonee y sus amigos, hasta los planos cerrados que busca la expresividad de los gestos, está desarrollado para fabular una infancia libre de dolor.
By Mónica Delgado
Divided en three parts, Jeannette, L’Enfance de Jeanne d’Arc is an absolutely unusual musical, but at the same time it is a very “Dumontian” film. His style is clearly recognizable in the actors’ direction, in its “medieval” physiognomies, in the austerity of his mise in scene and also in the clear familiarity with the absurdist comedy he’s been working in in the last years. A free and creative work, that presents an iconoclastic and renewed Dumont.
By Mónica Delgado
The Square poses a special relationship between art and men. Is art any good nowadays to transform society or people? -the dream of the old vanguards.
By Mónica Delgado
Garrel returns to his previous ghosts: variations on the topic of love, its transformation, but never its denial. Through a porous black and white, the French filmmaker applies all of his measured sentimentality and proposes an ambivalent character to remember, the one played by Louise Chevillote, showed in a kind of Nouvelle Vague-splendor.
Director: Mónica Delgado Ch.
ISSN 2311-7451
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