Film Festival Reports

Our coverage on the latest film fests.

OBERHAUSEN FILM FESTIVAL 2020: FOCUS HENRI PLAAT

By Monica Delgado

In times of political correctness, Henri Plaat’s work displays disturbing. Beyond the search for the perfect shot and frames, the result of the filmmaker’s pictorial provenance, a suggestive transgressive intention is perceived, that at the same time, seeks to confront common senses about the beautiful, the grotesque, with criticism of social hypocrisy.

OBERHAUSEN FILM FESTIVAL 2020: SHORT FILMS ABOUT MEMORY AND PERCEPTION 1

By Ivonne Sheen

These days, when our physical interactions are quite limited and we constantly communicate through interfaces, memory could mean this common place within our affections, where we can still relate deeply with our subjectivity. Some short films from Oberhausen’s International Competition reflect on memory and perception. Both are human experiences that, fundamentally nowadays, are essentially valuable. This is a first entry about these topics.

OBERHAUSEN FILM FESTIVAL 2020: THE ARTON FOUNDATION PROGRAM

By Ivonne Sheen

One of the greatest achievements of Oberhausen short film Festival is their showcase of film and video Archives’ curatorial selections. Among them, Fundacja Arton’s exhibition curated by Marika Ku?micz, showed film and video works by female artist with strong avant-garde and feminist voices. The Arton Foundation compiles private archives of artists’ works, who during the 60s and 70s created the artistic scene in Poland during their communist era.

OBERHAUSEN FILM FESTIVAL 2020: INTERNATIONAL COMPETITION PROGRAM 2

By Ivonne Sheen

The online streaming of Oberhausen’s Film Festival is organized chronically. Different programs are shared everyday, which will be online only for 48 hours. This method contributes to a constant rhythm of viewing, closer to the regular dynamics during Film Festivals. In this way, the audiences are more able to catch most of the Film Festival along its duration. This online version goes through 13-18 May.

VISIONS DU RÉEL 2020: THE CALM AFTER THE STORM BY MERCEDES GAVIRIA

By Ivonne Sheen

The Calm after the Storm (2020) by young colombian filmmaker Mónica Gaviria is a bright example of these new gazes, which aim to renew and re build new paths in latinamerican filmmaking, and break away from ideologies rooted in past generations, by exposing and question them. The film is part of the competitive section Burning Lights.

VISIONS DU RÉEL 2020: MIMAROGLU: THE ROBINSON OF MANHATTAN ISLAND BY SERDAR KÖKÇEOGLU

By Ivonne Sheen

In the current online edition of the Visions du Réel festival stands out the international competitive section Burning Lights, which is dedicated to formal experimentations and new expressive explorations in recent documentary cinema. Among the section’s films, Mimaroglu: The Robinson of Manhattan Island (2020), the first feature film by Turkish director Serdar Kökçeoglu, creates an audiovisual portrait of the avant-garde and little-known Turkish electronic music composer, Ilhan Mimaroglu.

IMAGES FESTIVAL 2020: MATNI- TOWARDS THE OCEAN, TOWARDS THE SHORE BY SKY HOPINKA

By Ivonne Sheen

Sky Hopinka’s work is known for an evocation of his ancestors and memory through a contemplation of the landscape. There is a melancholy that trespasses his work as a backbone referred to his Chinook roots. In malni- towards the ocean, towards the shore (2020) the author once again develops a rupture of the common and normal ethnographic approach to native communities. This is the artist’s first feature film, which opened the 33rd edition of the Images Festival 2020.

BERLINALE 2020: DAU.NATASHA BY ILYA KHRZHANOVSKIY AND JEKATERINA OERTEL

By Mónica Delgado

Due to its extensive and polemic process of production, Ilya Khrzhanovsky and Jekaterina Oertel’s DAU. Natasha is a work whose value resides in how to detect the frontiers of fiction, to hunt those moments where the true catharsis of the real comes to float. At least, in my case, it was an uncomfortable exercise, since the non-professional actors and actresses let us see in several situations the way they assaulted with agency some scenes in a free way, in their own way, but submitted nevertheless to certain specific rules for the shooting. The filmmaker’s yoke, contained and destroyed, inside the fictional limits, to achieve moments of sudden commotion. 

BERLINALE 2020’S FORUM EXPANDED: RECOVERY, EQUINOX, THE PHANTOM MENACE

By Mónica Delgado

In program 9 of this edition of Forum expanded, three short films were shown that from their peculiarities, could confront a current panorama of conceptual proposals. From a variety of supports and aesthetics, they keep a tradition not only with the so-called “structural cinema” but also between them, creating a sort of correspondence among the works. What could have in common a short film in 16mm, in black and white, which describes a bureaucratic process from the perspective of the body, or a camera-less work in 70mm that only has one apparent field of color variations? Or the digital baroque proposal of Graeme Arnfield?

BERLINALE 2020: INTERVIEW WITH BORA LEE-KIL

By Felix Ernesto Arias Hück

South Korean filmmaker and writer Bora Lee-Kil has made a medium length film and two long documentaries so far. At the latest edition of Berlinale Talents, Doc Station, she presented her new documentary project Our Bodies, an intergenerational dialogue between Koreans. Who talks? With whom? About what? How and where?