desistfilm – Page 11

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PANORAMA: ONCE THERE WAS BRASILIA BY ADIRLEY QUEIRÓS

By José Sarmiento Hinojosa

To the point: Adirley Queirós is helping reinvent the “Sci-fi” genre with Once There Was Brasilia. This is by no means, however, a statement that gives Queirós film the qualification of a “masterpiece”: some scenes feel overly long, and one gets the sense that an equally powerful work could’ve been made in approximately 70 minutes of duration, against the 100 minutes which drag a little bit too much, even for the most seasoned, slow-cinema cinephile lovers. But there is a significant gesture in the political realm that the Brazilian filmmaker articulates perfectly, in this universe of post-apocalyptic intergalactic time travelers which fail to assassinate president Kubitschek, landing in 2016 Ceilandia.

2017.11.13

desistfilm

NEW FILMMAKERS: MINJUNG KIM

By Ivonne Sheen

Min jung Kim is a young South Korean filmmaker whose latest work 100ft was one of the highlights in the latest edition of TIFF’s Wavelenghts section. After investigating about her fascinating work, we asked her some questions about her poetical approach to moving images and the film mechanism, throughout her work, which comprehends the films: Australian paper, FOOTAGE and 100ft. We also were curious about her influences and her relationship with language as a mean of reflection and creation. She answered us with a single long answer to our questionnaire, in her own style, which we reproduce entirely here.

2017.11.13

desistfilm

PANORAMA: THIRST STREET BY NATHAN SILVER

By José Sarmiento-Hinojosa

If maybe more contrived and less risky than his previous affairs, Thirst Street is Silver appropriate salute to amour-fou. Burdge is never out of control, or portrayed like a neurotic women; her attitude of naivete and obliviousness is exemplary awkward but also shows an unrestricted frailty. Silver never uses one-dimensional characters and here is no exception: even Bonnard, at his most deceptive, is just an aimless man, discouraged and adrift. The construction of this narrative, along the use of a particular atmospheric use of photography and camera, elevates this tragic comedy to a realm of the almost oneiric, something like a fever dream, or a wild fantasy.

2017.11.11

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PANORAMA: ZAMA, BY LUCRECIA MARTEL

By Mónica Delgado

The frame that illustrates this text, and that is also the first to appear in the film, reveals Zama’s nature in itself, the character on Antonio di Benedetto’s novel, that Lucrecia Martel adopts, transforms to cinema and returns it from its most visceral side, like an entity thrown away into the world and forever stopped in this liminal state, in the edge, the border, the shore.

2017.11.02

desistfilm

F.J. OSSANG ANSWERS THE PROUST QUESTIONNAIRE

A few weeks ago, the Curtocircuito Film Festival in Santiago de Compostela took place. In this venue, French filmmaker F.J. Ossang participated with a retrospective of his work. From that stay we share his answers to this Proust test.

2017.11.02

desistfilm

YOU CAN RING THOSE BLOODY BELLS – COUNTRY DANCE AKA BROTHERLY LOVE (1970)

By Claudia Siefen

It was in 1961 when Bristol-born scriptwriter and director John Lee Thompson achieved international fame with The Guns of Navarone, exemplifying his visual style and his use of suspenseful narrative. The film brought him to the attention of Hollywood, as he was nominated for an Academy Award, finally leading Thompson to his first Hollywood production, Cape Fear, which got its release one year later.

2017.10.30

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VALDIVIA INTERNACIONAL FILM FESTIVAL 2017: THE WINNERS

By Mónica Delgado & Aldo Padilla

FICValdivia has just ended, and here at Desistfilm, we offer you an extensive review of the winners of one of the best Latin American Film Festivals around. This year, we were witness of a variety of quality international and Chilean productions, films that had been touring different film festivals and other new ones recently released specially for Valdivia. This, alongside an excellent experimental showcase and a series of magnificent restorations, gave FICValdivia the status of an outstanding film festival, arguably the best of Latin America right now.

2017.10.22

desistfilm

A RUSSIAN GAZE ON THE SOUTHERN CITYSCAPE: TATIANA DANILIYANTS AND HER CIVIC/URBAN ANTHROPOLOGY APPROACH

By Giuliano Vivaldi

Amongst Russian documentary filmmakers there is arguably only one, Tatyana Daniliyants, who restores a vivid, lucid and healthily bright anthropological glance on the city. Not the city of Moscow (although a very early, and very rarely shown, film of hers ‘U’ did feature that city) but ‘southern cities’.

2017.09.25

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LOCARNO 2017: 9 DOIGTS BY F.J. OSSANG

By José Sarmiento Hinojosa

Always punk, always noir, F.J. Ossang’s post-apocalypse has no survivors. Everyone’s a victim of other people’s bullets, of their own bullets, of the condemnation of their past. 9 Doigts makes a perfect “black triptych of the apocalypse” with Treasure of the Bitch Islands (1990) and Dharma Guns (2010), both masterpieces of industrial atmospheres, where nuclear waste is a representation of the tragic ambitions of men.

2017.08.07

desistfilm

OLHAR DE CINEMA 2017. HEMA HEMA: SING ME A SONG WHILE I WAIT AND SOLDIER

By Mónica Delgado

Khyentse Norbu Rimpoche’s Hema Hema: Sing Me a Song While I Wait is a surprising visual experience, in its eclecticism and evocation of neon as a preamble of a color environment extracted from the ancestral traditions of Bhutan and in its bet to develop a liminal space where anything can happen.

2017.06.19