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Cannes

CANNES 2017: THE NOTHING FACTORY BY PEDRO PINHO

By Mónica Delgado

A fábrica de Nada, presented in the Quinzaine de Realisateurs, speaks about something no other Cannes film has mentioned: the reality of a Europe that screams for a life jacket, but not because of migration or racism issues, xenophobia or bourgeois indifference; where the only exit is renouncing the world we live in, coped by the result of this economical system: nothingness.

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Cannes

CANNES 2017: THE BEGUILED BY SOFIA COPPOLA

By Mónica Delgado

The greatest merit of The Beguiled lies in how Coppola constructs the relationships between women, through silences or simple and suggestive dialogues that avoid evilness, and bets for an atmosphere of power plays, where the photography unveils this darkness that the actions repress or hide.

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Cannes

CANNES 2017: THE DAY AFTER BY HONG SANG-SOO

By Mónica Delgado

In The Day After, one finds some subtle transformations on the narrative strategies of Hong Sang-soo had patented throughout his filmography: variations on a same theme or occurrence, where the narrator has the ability to return to a previous scene to revisit it, thus originating a double lecture of what could have been.

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Cannes

CANNES 2017: LA FAMILIA BY GUSTAVO RONDÓN CÓRDOVA

By Mónica Delgado

It’s impossible not to see La Familia from the political, social and economic crisis that Venezuela is suffering in the last years. However, Gustavo Rondón Cordova isn’t looking to make a social diagnosis or any kind of critique to the present regime in his first feature film.

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desistfilm

SURREALISM AND TWIN PEAKS: THE ORIGIN OF DAVID LYNCH AND MARK FROST´S GREAT WORK

By Karla Loncar

David Lynch has been particularly responsible for the lasting allure of the show. In other words, the series would be inconceivable without the content-based and formal characteristics typical of Lynch’s films: his love for the contrast between the eerie and the comical, light and dark, popular and exquisite; the preoccupation with the motif of evil (in a seemingly idyllic American small town); the fascination with the subconscious turmoil of characters; the richness of varying, often disturbing, sounds; and modern methods of filmmaking, particularly visible in the series’ pilot and the individual episodes directed by Lynch himself.

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desistfilm

NEW FILMMAKER: SU HUI-YU

by José Sarmiento Hinojosa

The work of Hui-Yu can be seen as an exploration of the primary erotic impulses of humanity, not only as a personal occurrence, but as a phenomena that transports itself into mass media. Super Taboo (2016), his latest work, is a dual screen diptych that explores the erotic fantasies of his lead character, which manifests themselves as a giant tableau vivant, where several “scandalous” sex acts take place.

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desistfilm

TRANSCINEMA 2016: GOD BLESS THE CHILD DE ROBERT MACHOIAN Y RODRIGO OJEDA-BECK

Por Aldo Padilla

Los californianos Robert Machoian y Rodrigo Ojeda-Beck plantean un nuevo punto de vista sobre el abandono infantil en God bless the child, donde cinco niños deben enfrentar un día cualquiera en el cual no hay certeza sobre el retorno de su madre, de la cual no sabemos motivaciones y tan solo se ve un auto alejarse temprano en la madrugada.

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