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desistfilm

OLHAR DE CINEMA 2018: JANIE GEISER’S STEREOSCOPIC ARTIFACTS

Not to subvert the proper definition of what stereoscopic is, but meddling with some of the images of Janie Geiser’s oeuvre kept me in incessant agony while trying to get a word that was remarkable enough as to describe her unique language of animation. Stereoscopic is then, an easy (sort of easy) way to describe the transmutation of the multiple overlayed images that recreate this sense of stereo-visual game, a game that is expanded in Geiser’s multiple work as an installation artist, visual artist and performer. I was able to grasp a wide panorama of her film works while covering her program at the last Olhar de Cinema Film Festival. 

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(S8)

(S8) MOSTRA DE CINEMA PERIFÉRICO: A BALANCE

By Mónica Delgado

There’s no doubt that (S8) Mostra de Cinema Periférico, in La Coruña, is one of the most important spaces for exhibition of experimental cinema around the world. Each year, its careful programs, the performances, installations and masterclasses, affirm the festival as a space for dialogue and enjoyment, in projections of 8, 16, 35mm or video, which transform the film experience in a survivor, in the middle of an international crisis of projection, distribution and exhibition of films.

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desistfilm

ROSE LOWDER: “ME GUSTARÍA QUE NO HAYA FLICKER EN MIS TRABAJOS”

Por Mónica Delgado

La gran cineasta experimental francoperuana Rose Lowder estuvo en Lima luego de casi sesenta años, para presentar un par de programas y un masterclass en el marco del 8° Festival Internacional de Cine Lima Independiente.  Su visita a Lima consistió en mostrar un panorama amplio de su trabajo a modo de introducción, donde primaron sus cortos más conocidos como Voiliers et coquilicots (2001), parte de los famosos Bouquets, así como sus procedimientos creativos en papel, que llama partituras.

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(S8)

(S8) MOSTRA DE CINEMA PERIFÉRICO 2018: EXILE BY ROBERT TODD AND AS MUCH TIME AS SPACE BY KATJA MATER

By Mónica Delgado

This edition of (S8) Mostra de Cinema Periferico carries the name Lux Algebra, something which defines mostly its entire program dedicated to structural cinema. Paraphrasing the concept by film historian P. Adams Sitney, it’s about a type of simplified cinema of predetermined forms (even of rhythmic patterns or algorithms) where the explorations of nature or film materiality are primal. This is why the fundamental presence of canon structural cinema by Ernie Gerhr or Kurt Kren are exemplary in these days of projections, along other works by younger or posterior filmmakers, than are inspired or revisit their works.

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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.

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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.

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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.

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desistfilm

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.

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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. 

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