Film Festival Reports

Our coverage on the latest film fests.

BERLINALE 2020: FREM BY VIERA CAKANYOVÁ

By Mónica Delgado

Young Slovakian filmmaker Viera Cákanyová poses in Frem (Czech Republic, Slovakia, 2019), a different approach to the representation of territories almost devoid of human presence. In time where the resource of the drone is synonym of postcard-type shots or advertising kind-of-material, a film like this poses itself as an exploration of everything that the dispositive implies as an experimentation tool.

BERLINALE 2020: MALMKROG BY CRISTI PUIU

By Mónica Delgado

Some years ago, Romanian filmmaker Cristi Puiu gave an acting workshop at Les Chantiers Nomades center in Toulouse, where the actors and actresses had to work based in the book Three Dialogues and the Tale of the Antichrist, from the philosopher, theologian and Russian writer Vladimir Soloviev.

IFFR 2020: INTERVIEW WITH MALOU REYMANN, DIRECTOR OF A PERFECTLY NORMAL FAMILY

By Gojko Dimic

At last nights’ IFFR world premiere of “A Perfectly Normal Family“, directed by the Danish filmmaker Malou Reymann, the entire cinema gave a standing ovation to the stunning debut feature. This fascinating story follows an 11 year old girl Emma whose entire world suddenly changes its course when her father Thomas tells her and her sister Caro that he wants to become a woman. Now, a story like that has been told many times, a struggle of a transgender person to find acceptance from their family and the world at large.

IFFR 2020: LAGUNA NEGRA BY FELIPE ESPARZA

By Wilder Zumarán Sarmiento

Our species was and has always been spawning and instituting myths surrounding its quotidian existence and metaphysics. While it’s usually thought that these narrations are exclusive from the rural world, this is an element that transverses everything: family, money, the individual, eternal life the idea of progress, for example, are myths in which some of our societies are built.

IFFR 2020: KRABI 2562 BY BEN RIVERS AND ANOCHA SUWICHAKORNPONG

By Jessica McGoff

What year is it? The year referenced in the title of the latest collaboration between Ben Rivers and Anocha Suwichakornpong, Krabi, 2562, is the present day as designated by the Buddhist calendar. The decision not to state the common (Western) year immediately introduces a slippage into the film’s sense of time and place. Slippage is the central tenant of the project, the film knocks time, identity and memory slightly off-balance, and questions how these concepts are constructed by humans. In its unfolding, the film demonstrates how the Holocene can run into the Anthropocene and back again.

IFFR 2020: WISDOM TOOTH BY LIANG MING

By  Mónica Delgado

With jury and Best Director awards in the recent Pingyao Film Festival, this debut film by Chinese filmmaker Liang Ming arrives at Rotterdam in the Bright Future section. This is a film that allows us to put in value this work of neon and industrial climates in a country halted in peripheries and suburbs which are dependent of a strict work life.

IFFR 2020: INTERVIEW WITH MLADEN KOVACEVIC, DIRECTOR OF MERRY CHRISTMAS YIWU

by Gojko Dimic

This year’s IFFR is the birthplace of many great international films which are full of excitement and cinematic explorations of world’s topics. One of those films “Merry Christmas, Yiwu” by the Serbian director Mladen Kova?evi?, had its world premiere in the Bright Future Main Programme.

IFFR 2020: APIYEMIYEKI? BY ANA VAZ

By Jessica McGoff

A river runs through Ana Vaz’s latest work in the International Film Festival Rotterdam’s Ammodo Tiger Short Competition. Apiyemiyekî? was commissioned as part of a project designed to act as a space of reflection on the Brazilian military dictatorship that spanned 1964-1985.

IFFR 2020: IN THE MIDDLE OF THE LABYRINTH, BY SALOMÓN PÉREZ

By José Sarmiento Hinojosa

Three films come to mind from the last 20 years when talking about the teenage coming-of-age genre. From Andrea Arnold’s magnificent Fish Talk (2009), To Larry Clark’s The Smell of Us (2014), all the way across the ocean with Raúl Perrone’s masterpiece P3ND3JO5 (2013), there seemed to be a shared sensibility from their authors, an intention to dwell deeply into the soul of their protagonists: classless, outsider young men and women living in a rarefied atmosphere, in an opposite margin.

PINGYAO 2019: A BALANCE

By Mónica Delgado

Pingyao faces yet another year of growth, and the last one where they receive municipal and national subventions. But despite the possible elimination of this support, the festival has made a name for itself in China as a space for encounter and for visibility of the work from new generations (…)