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Film Festival Reports
Cannes

CANNES 2019: BACURAU BY KLEBER MENDONÇA FILHO AND JULIANO DORNELLES

By Mónica Delgado

Bacurau arrived to Cannes’ oficial competition with high expectations after its predecessor Aquarius. Both films not only share Sonia Braga but also explore the social diversity through the radiography or the allegoric framework. However, Bacurau goes beyond and marks a different tone. It could be seen as a new chapter in the filmography of Kleber Mendonça Filho, which blurs the already known style of the filmmaker.

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2019.05.16
Cannes

CANNES 2019: LES MISÉRABLES BY LADJ LY

By Mónica Delgado

Les misérables by French filmmaker Ladj Ly had all the elements to promise a real feat: a filmmaker who comes from the marginal Arab and African suburbs of France, actors of the same community ready to play as gang members, a pop review of the heart of Victor Hugo’s work about the excesses of legality and the revenge of poverty, and a police story / thriller that takes the streets by storm. However, these elements are wasted for an unforgivable concession to a festival formula that insists on portraying social issues from the codes of miserabilism and the urgency to calm the guilt through a “social” or realist cinema.

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2019.05.16
Cannes

CANNES 2019: LITIGANTE BY FRANCO LOLLI

By Mónica Delgado

Litigante is a film about women and could easily be jump (in a marketing way) in the bandwagon of the feminist struggles of current times. However, it isn’t a political film, nor it does propose some premises in times of the me too movement, or less. It also isn’t a film about sexism. What it is, is a measured melodrama from the portrait of a woman who’s affected by the cancer of her mother, and a trial she’s been subjected to by the state, because of a state bidding of a public work.

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2019.05.15
Cannes

CANNES 2019: THE DEAD DON’T DIE BY JIM JARMUSCH

By Mónica Delgado

Some years ago, Jim Jarmusch had the privilege, or the fortune to premiere two films in Cannes: Paterson and Gimme Danger, the documentary on The Stooges. This time, not so far away from this past fortune, he also has two precise moments in the French screen, but with the same work: the organization chose his recent comedy about zombies to open this 72th edition of Cannes Film Festival, and also, simultaneously, premiered the film in France to the general audience. Jarmusch is indeed admired in France.

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2019.05.15
Film Festival Reports

OBERHAUSEN FILM FESTIVAL 2019: A REPORT

By Vladimir Seput

The International Short Film Festival in Oberhausen celebrated its 65th edition this year in a week starting with Labour Day, 1st of May. Sixty-five years is a long time and its advanced age might show some signs of wear but the festival nevertheless seems to be in a rather good condition to continue for much longer. It again featured hundreds of new shorts, (re)discovered some old ones, brought plenty of filmmakers to Oberhausen (and some classics such as Alexander Sokurov), and dedicated time to invite curators and researchers to work on the new edition of its illustrious Theme.

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2019.05.14
Film Festival Reports

IMAGES FESTIVAL 2019: TWO FILMS BY CHRISTOPHER HARRIS

By Ivonne Sheen

Christopher Harris’ films still/here (2001) and A Willing Suspension of Disbelief + Photography and Fetish (2014) unfold the cinematic experience in its experimental practice and the documentary narrative as a possible anthropological hybrid device for profound ethical questions through a self-reflected audiovisual experience.

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2019.04.20
Film Festival Reports

IMAGES FESTIVAL 2019: SMUDGE SERIES BY EVE-LAURYN LAFOUNTAIN & LA CABEZA MATÓ A TODOS BY BEATRIZ SANTIAGO MUÑOZ

By Ivonne Sheen

Images Festival’s Interior Mythologies program focuses in indigenous ancestral ritualistic practices which remain alive through the wisdom of people, talking about the mystique and forces of natural resources. Smudge series (2013) by Eve-Lauryn LaFountain and La cabeza mató a todos (2014) by Beatriz Santiago Muñoz, both follow the process of ritualistic acts within non-fictional sceneries and characters.

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2019.04.20
Cinéma du Réel

CINÉMA DU RÉEL 2019: THIS SIDE OF HISTORY BY JOHN HULSEY

By José Sarmiento Hinojosa

There’s a particular intelligence in John Hulsey’s intention of diffusing the imposing presence of the image as a monolithic1 symbolic element, projecting it against different interior and exterior structures in This Side of History (2018). Of course, this strategy of “image against format” has been down countless times in different situations, from expanded cinema works that push the format of the image beyond the dispositif of cinema itself (…)

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2019.03.26
Cinéma du Réel

CINÉMA DU RÉEL 2019: PART ONE: WHERE THERE IS A JOYOUS MOOD, THERE A COMRADE WILL APPEAR TO SHARE A GLASS OF WINE BY ROSALIND NASHASHIBI

By José Sarmiento Hinojosa

Could new way of coexisting in community as a way to replace traditional familiar units and affection bonds be possible? Rosalind Nashashibi’s “Part One…” (2018), taking a a starting point Ursula Le Guin’s “The Shobies’ Story” opens a video diary of a group of undetermined people, seemingly friends and family sharing different spaces behind a conversation about time travel, and the novel itself.

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2019.03.26

desistfilm

Director: Mónica Delgado Ch.
ISSN 2311-7451

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