Cinéma du Réel

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Cinéma du Réel

CINÉMA DU RÉEL 2017: AUSTERLITZ BY SERGEI LOZNITSA

By Aldo Padilla
Austerlitz has been analyzed as a portrayal of horror as a commodity and the relation of man with its history, which is something that Loznitsa explores in his filmography, but it’s also pertinent to point to the depersonalization of the people moving in front of the camera, reducing it all to masses with an undefined face, which seem to condemn they all from the beginning. It’s possible that everything said until now can be reduced to a simple question: Does Loznitsa and the spectators feel morally superior to the people being filmed?

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Cinéma du Réel

CINÉMA DU RÉEL 2017: AUSTERLITZ DE SERGEI LOZNITSA

Por Aldo Padilla

Austerlitz ha sido analizada respecto al horror como un bien de consumo y la relación del hombre con su historia, que es algo que explora Loznitsa en su filmografía, pero a la vez es necesario apuntar a la despersonalización de la gente que pasa frente a la cámara, reduciendo todo a masas sin un rostro definido, lo cual pareciera condenarlos a todos desde un inicio.

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Cinéma du Réel

CINÉMA DU REÉL 2017: PARIS EST UNE FÊTE – UN FILM EN 18 VAGUES

By José Sarmiento Hinojosa

The apparatus of resistance and its relentless mechanism in an era of crisis has already been explored in Sylvain George’s Vers Madrid: The Burning Bright, a slow burner of political uprise and class struggle on the Madrid revolts of 2011 and 2012. And while the immediate consequences of political civil organization might not be instantly apparent, the sense of general malaise in a population pushed to the verge of self suffocation was absolutely palpable, and the film turned a hopeful eye in the light of civilian organization capabilities.

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Cinéma du Réel

CINÉMA DU RÉEL 2017: A STRANGE BEAUTY BY SHELLY SILVER

By Mónica Delgado

A Strange New Beauty is a film that deals with the inequity of world economics and creates a concept from that. The metaphor of a house as a closed exclusive entity which can only shelter a privileged group while the “outside” follows a savage and natural course, is the bet from which American filmmaker Shelly Silver develops a structure of ideological confrontation . An opulent empty house with big gardens clashes with an out of field auditory field, where we hear the other vein of narration, where voices and screams from a mental hospital, sighs and phrases spoken by an almost cybernetic soul, rule this different “outside”, which is sensorial and full of memory.

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Cinéma du Réel

CINÉMA DU RÉEL 2017: A STRANGE BEAUTY DE SHELLY SILVER

Por Mónica Delgado

A Strange New Beauty es una pieza que propone un concepto logrado sobre la inequidad económica mundial. La metáfora de la casa como entidad cerrada y excluyente, que solo puede cobijar un grupo privilegiado mientras “el afuera” sigue un curso salvaje y natural, es la apuesta con la que la artista estadounidense Shelly Winter desarrolla una estructura de confrontación ideológica.

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