¿Bajo qué premisa tendemos puentes entre dos obras que no parecen entrelazarse en un diálogo simbiótico? Es la principal duda que queda flotando en el aire luego de la experiencia de ver MS Slavic 7 y Her Name Was Europa, dos filmes decididamente interesantes bajo sus propias pretensiones de representación, pero parte de dos discursos enteramente distintos.
Winner of the FIPRESCI prize at Locarno 2019 with A Febre, brazilian filmmaker Maya Da-Rin has been exploring different aspects of Latin American identity towards post-colonial influence, and the intimate dynamics of fluid borders between different countries in the region. We spoke to her about her movement inside different genres and formats (installation/documentary/fiction), her ideas on post-colonialism and identity, and the reality of the Bolsonaro Regime in Brazil.
By this time of the century, we could say that Pandora’s Box (1929) G.W. Pabst classic silent film, shows women as guilty of tragedy. Everything in the film is associated with the myth of the famous box that encloses all the evils in the world, opened by Epimetheus wife, Pandora, which in Pabst film takes a sweet materiality in the figure of Louise Brooks.
El aislamiento, como las películas, tiene diferentes géneros. Hay un tipo de aislamiento que busca y genera soledad. Otro, toma la forma de una prueba o experimento; mochilear sola por el Pacific Crest Trail, o como Thoreau en Walden Pond. Existe el tipo de aislamiento que uno podría desear después de un incidente de vergüenza pública, al cual le sigue la consiguiente desaparición, salir bajo fianza, la protección de testigos, o esconderse de personas violentas. O el tipo de reclusión que nos aplicamos frente a una recuperación prometida. Meditación. Soledad.
Isolation, like movies, has different genres. There is a type of isolation that is sought and generative, what is called solitude. Another takes the form of a test or experiment; backpacking the Pacific Crest Trail by oneself, or Thoreau at Walden Pond.
La construcción de la ficción, del docu-ficción, del fake documentary juega un rol primordial en esta construcción extraña de Bruno Risas. Ideada como un jornal fílmico de ciencia ficción (!?), Ontem Havia Coisas Estranhas no Ceú, declara muy tempranamente sus intenciones: es el seguimiento de la misma familia de Risas, en su quehacer cotidiano, en medio de una crisis económica que afecta la región.
Hay una malaise perpetua en esta convulsión de cuerpos agónicos, entregados al abandono, en búsqueda de alimento afectivo, de una especie de plasma que regrese a sus arterias, transparentes bajo la mirada del visor nocturno de Antoine d’Agata.
Un diario de viaje experimental, [En tre] Fuego incesante de Ivonne Sheen explora las posibilidades del territorio como una reflexión del espacio íntimo personal, un espacio de meditación frente a la inherente velocidad del movimiento actual. Estamos contentos de estrenar online su segundo cortometraje.
A personal experimental travelogue, Ivonne Sheen’s [In Between] Relentless Fire explores the possibilities of landscape as a reflection of a personal intimate space, a space of meditation against the inherent velocity of today’s movement. We’re happy to premiere online her second short film.
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.
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.
Travelling around CPH:DOX, Berlinale, IndieLisboa and Toronto, Jessica Forever a strange new creature from Caroline Poggi and Jonathan Vinel, a suburban post-apocalyptic sci-fi that follows a group of rebellious young men and her leader, Jessica, in a struggle to keep surviving against a “virtual” totalitarian regime.
Radical intimacy. In some way, I’ve found difficult to find another term that defines the experience I had watching José Luis Torres Leiva’s latest film, Vendrá la Muerte y Tendrá tus Ojos (Death Will Come and Shall Have your Eyes, 2019).
