desistfilm – Page 11

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

desistfilm

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

desistfilm

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