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.
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.
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.
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.
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’.
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.
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.
By Mónica Delgado
This sixth edition of Olhar de Cinema has seen a diversity of Brazilian premieres. Among them, a couple of short films we’re covering here, since they offer different constructions in cinema and help to measure the temperature of the new bets made by new and young filmmakers.
Niles Atallah’s King (Rey) and David Pretto’s Rifle, shown as special projections on Olhar de Cinema Film Fest, are discussed here by Desistfilm’s Mónica Delgado and Aldo Padilla.
Mónica Delgado offers us a view on Pablo Chavarría Gutiérrez’ Still the earth moves and João Castelo Branco & Elisabeth Moreschi’s Scribbles, Doodles and Other Monsters, on this edition of Olhar du Cinema Film Festival.
Director: Mónica Delgado Ch.
ISSN 2311-7451
© Desistfilm 2024
Lima Perú. All rights reserved