Page 5

Cannes

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Cannes

CANNES 2019: THE INVISIBLE LIFE OF EURÍDICE GUSMÃO BY KARIM AÏNOUZ

By Mónica Delgado

There’s a marketing fever that considers that every story of women in the festival, is automatically framed in the waves of feminine empowerment of recent times. This of course, happens with The Invisible Life of Eurídice Gusmão, the new film of Brazilian Karim Aïnouz, a melodrama about two sisters which are separated by the father because one of them was made pregnant by a Greek sailor. If maybe this is a story about how sexism destroyed the family environment in the fifties, the staging full of conventionalisms and stereotypes about women, knocks down any intention of vindication.

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Cannes

CANNES 2019: ATLANTIQUE BY MATI DIOP

By Mónica Delgado

Atlantique’s title makes sense with a turn of the screw, a surprise effect that takes the film out of the love drama to render it as a fantastic one. The sea acquires an oneiric dimension and becomes an element of transit between worlds, of the living and the dead. A young woman if forced to marry someone she doesn’t love, and at the same time, keeps the secret of a love affair. Suddenly, the lover disappears with all the men of the community of Ada’s (Ibrahima Mbaye) friends, in an illegal ship of Senegal, in course to Spain, and after that incident, an ambiance of sad women who just lost their couples sets in.

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Cannes

CANNES 2019: LA VIDA INVISIBLE DE EURÍDICE GUSMÃO DE KARIM AÏNOUZ

Por Mónica Delgado

Hay una fiebre marketera que considera que toda historia de mujeres en el festival, automáticamente se enmarcan en las olas de empoderamiento femenino de los tiempos recientes. Pasa eso con La vida invisible de Eurídice Gusmão, el nuevo film del brasileño Karim Aïnouz, un melodrama sobre dos hermanas que son separadas por el padre, debido a que una de ellas fue abandonada embarazada por un marinero griego. Si bien es una historia sobre cómo el machismo destruye en el mismo seno familiar, la puesta en escena poblada de convencionalismos y estereotipos sobre las mujeres, derriba cualquier intención de reivindicación.

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Cannes

CANNES 2019: ATLANTIQUE DE MATI DIOP

Por Mónica Delgado

El título de Atlantique cobra sentido con una vuelta de tuerca, con el efecto sorpresa que saca al film del drama amoroso para ofrecerlo a los códigos del género fantástico. El mar adquiere una dimensión onírica y se convierte en elemento de tránsito entre mundos de vivos y muertos.

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Cannes

CANNES 2019: LET IT BE LAW, BY JUAN SOLANAS

By Mónica Delgado

A couple of days ago, Juan Solanas’ Que sea ley was presented in a special projection in Cannes, a film which seeks to be a vehicle to achieve a change of mind for the  decriminalization of abortion in Argentina. Through testimonies of victims and showing various positions in interviews to different political actors, Solanas makes a documentary about the mood that permeated the country before the vote against the project in the Argentinian senate.

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Cannes

CANNES 2019: QUE SEA LEY DE JUAN SOLANAS, Y ADAM DE MARYAM TOUZANI

Por Mónica Delgado

Hace un par de días se presentó en Cannes en una proyección especial el film Que sea ley, de Juan Solanas, que busca, ante todo, ser un vehículo para lograr el cambio de un sentido común sobre la despenalización del aborto en Argentina. A partir de testimonios de víctimas y recogiendo posiciones en entrevistas a diversos actores políticos, Solanas realiza un documental sobre el ánimo que primó en el país antes del voto en contra y en mayoría del senado. 

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Cannes

CANNES 2019: A HIDDEN LIFE, BY TERRENCE MALICK

By Mónica Delgado

Again we face a film of the Malick trademark. The elements are all there: atmospheric cameras always in unrest, melancholic voice overs spilling pseudo-existential reflections, and a soundtrack which complete the spiritual elevation of the characters. In Malicks cinema, even a rusty chain, an old broom in a corner or a hairy worm over a letter seems transcendent. So, yes, A hidden life is more of the same.

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Cannes

CANNES 2019: A HIDDEN LIFE DE TERRENCE MALICK

Por Mónica Delgado

Estamos nuevamente ante un film de la marca Malick. Cámaras atmosféricas siempre inquietas, melancólicas voces en off derramando reflexiones pseudoexistenciales, y una banda sonora que completa la elevación espiritual de los personajes. En el cine de Terrence Malick, hasta una cadena oxidada, una escoba vieja en un rincón o un gusano peludo sobre una carta lucen trascendentales. Así es, A hidden life es más de lo mismo.

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Cannes

CANNES 2019: PORTRAIT DE LA JEUNE FILLE EN FEU BY CÉLINE SCIAMMA

By Mónica Delgado

Céline Sciamma takes as an inspiration some imaginaries about sisterhood through the times, to appropriate them and return them inside a tal of a lesbian love at the end of XIX century. An abortion, a night gathering of women where they sing and meet around the fire, hallucinogenic potions which are absorbed when scrubbed in the skin appear in different passages of Portrait de la jeune fille en feu, her second film.

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Cannes

CANNES 2019: LIBERTÉ BY ALBERT SERRA

By Mónica Delgado

Albert Serra’s Liberté becomes a new semantic for the libertine imaginaries of the XVIII century. In hand with one of the motifs of the tales of Marquis de Sade, to the fantasies of Guillaume Apollinaire, and an installation and play from the own filmmaker, Serra develops in this film a naturalization of the different sexual practices of that particular historical context, to implant them under the shelter of some woods during a whole night and dawn. It’s the practice of decadent cruising for the enjoyment of voyeurists and exhibitionists.

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