desistfilm – Page 10

desistfilm

DAN BROWNE: “CINEMA PROVIDES A FOCUS FOR EXPLORING THE WORLD AND MY RELATION TO IT”

By José Sarmiento Hinojosa

Canadian filmmaker and artist Dan Browne started working on analog film but promptly made the change to digital, a format in which he has excelled with outstanding works like memento mori or Palmerston Blvd. His films seem to be particularly involved with nature, exploring multi exposure, patterns and image composition. Here at Desistfilm we managed to steal a couple of hours of his time, which resulted in the following extensive interview.

2018.05.24

Cannes

CANNES 2018: THE WILD PEAR TREE BY NURI BILGE CEYLAN

By Mónica Delgado

It seems that a particular film was left for the end of the projections here in Cannes: an intimate film which describes from a different angle the usual universe of Turkish filmmaker Nuri Bilge Ceylan. With the same existential worries, and again, like in Winter Sleep, the lead character is a writer, here young and arrogant, that will be able to find answers to his different questionings about his role in the world, coming and going to his hometown.

2018.05.21

desistfilm

CANNES 2018: CORTOMETRAJES DE LA SEMANA DE LA CRITICA

Por Aldo Padilla

La predominancia de producciones francesas en los certámenes de cortometrajes, como el de la Semana de la Crítica, sección paralela del festival de Cannes, muestra la gran vitalidad de la industria del corto galo, los cuales no solo se concentran en el mismo país sino también a través de rodajes en el exterior, con especial mirada en sus excolonias.

2018.05.21

Críticas

PANORAMA: TRILOGÍA DEL LAGO HELADO DE GUSTAVO FONTÁN

Por Pablo Gamba

La Trilogía de lago helado de Gustavo Fontán –Sol en un patio vacío (Argentina, 2015), Lluvias (Argentina, 2017) y El estanque (Argentina, 2017)– reúne películas que van del diario al ensayo, y de la experimentación con la “captura” de lo real con la cámara a la adaptación de una obra previamente existente al cine, tal como entiende eso el cineasta. El título viene de un fragmento de Manual para sonámbulos de Gloria Peirano, fuente de los textos que dieron origen a El estanque y que ha sido recientemente publicado en un libro, junto con Trilogía del lago helado. Diarios de Gustavo Fontán.

2018.05.01

Cinéma du Réel

CINÉMA DU REEL 2018: L. COHEN BY JAMES BENNING

by José Sarmiento Hinojosa

One of the most relevant things about James Benning’s films is how they immediately relate to their audience. Benning’s work statism and absence of occurrences (in the typical sense of the word), can defy the patience of any veteran cinephile, yet along any newcomer who would be immediately taken aback by the realization that “nothing’s happening”. Indeed, this gesture of the avant-garde instantly reflects on the spectator: Benning’s films are very much about them as they are about the subject who is watching them.

2018.03.26

desistfilm

L’ANALOGIQUE NE DEVRAIT PAS ÊTRE UN LUXE OU UN CAPRICE MAIS UN MOYEN DE CONCEVOIR LA FANTASMAGORIE

Entretien réalisé par Mónica Delgado

Le cinéaste, curateur et chercheur catalan Antoni Pinent était il y a quelques semaines à Lima pour une masterclass et un atelier dans le cadre du MUTA, la Muestra Internacional de Apropriación Audiovisual (Festival international d’appropriation audiovisuelle). En plus de son activité de cinéaste, Antoni Pinent a de nombreuses casquettes : curateur de cinéma expérimental (en Espagne et ailleurs), programmateur, notamment lors des séances Xcèntric du CCCB (Centro de Cultura Contemporánea de Barcelona), et enfin commissaire d’expositions, telles que THAT’S NOT ENTERTAINMENT! El cine responde al cine (2006-2007), ou DEL ÉXTASIS AL ARREBATO (2009-2012), une rétrospective itinérante sur les cinquante ans de l’« autre cinéma espagnol » qui a marqué les esprits. Ses films, parmi lesquels G/R/E/A/S/E (2008-2013) et FILM QUARTET/POLYFRAME (2006-2008), ont été primés dans plusieurs festivals internationaux, et le cinéaste catalan a reçu le Grand Prix de la Biennal Museum of Contemorary Cinema Foundation lors de sa seconde édition en 2008 (New York, Paris, Madrid).

2018.03.12

Berlinale

BERLINALE 2018: BIXA TRAVESTY BY CLAUDIA PRISCILLA Y KIKO GOIFMAN

By Aldo Padilla

Transsexualism can be seen as a weapon of protest, not against nature but against a society that imposes the basic rules of what a man and a woman are supposed to be. The idea of transsexualism is not to regret being born under certain gender, but to decide on what you want to do with your body, with your image against the world. Transsexualism is one of the most committed political acts, to decide against conventional rules and manifest a position in a radical way.

2018.02.20

desistfilm

DESISTFILM 2017 FILM ROUND-UP: BEST OF 2017/ LO MEJOR DEL 2017

A special mention for: Twin Peaks: The Return (David Lynch, U.S.A., 2017), heavily voted, so to avoid the discussion “T.V. vs. series” we have included it here, since we recognize its cinematic value (especially episode n° 8!)

2017.12.29

desistfilm

DESISTFILM 2017 FILM ROUND-UP: THE LISTS / LAS LISTAS

Nicole Brenez Programmer (Cinémathèque française, Cinéma du Réel) and researcher (Femis, Université Paris 3). Programadora Cinemateca Francesa e investigadora (Femis, Université Paris 3) (No order. Everyone

2017.12.29

desistfilm

AGNÈS VARDA’S QUEST FOR ‘ULYSSE’: NAMING THE GUILTY THROUGH IMAGES, MEMORIES AND TIME

By Andrea Aramburú

Put yet another way, in Ulysse, Varda sets out on quest to construct a film caption for ‘Ulysse’, and she does so by meditating on her own process of creative production through a recollection of images, represented by the photographic stills; memories, her own and those of her models; and, finally, temporalities, by placing her image within a historical lapse.

2017.11.23