By José Sarmiento Hinojosa
Mato Seco em Chamas culminates with a procession of motorcyclists after the fire of the repressive apparatus, represented in the armored police vehicle. An ending that adopts the epic western as a declaration of principles, but in this case, principles of elementary subversion in the face of repression. A remarkable film in the filmography of both filmmakers.
By Monica Delgado
I grouped these two films together, one from the Encounters section and the other from the official competition of the 72nd edition of the Berlinale, since they address the topic of sexuality from different perspectives and modalities (one is a documentary, the other is fiction), and both they question or problematize -consciously or not- the director’s gaze on this object of study. In Mutzenbacher (2022) by the Austrian documentary filmmaker Ruth Beckermann…
By Monica Delgado
Un Año, Una Noche (One Year, One Night, 2021) , premiered in the competition for the Golden Bear at the 72nd Berlinale, is a film about trauma and the impossibility of overcoming tragic events from a psychological point of view. Moreover, it seems appropriate that the adaptation of a non-fiction book about a survivor of the attack on the Bataclan club in Paris in 2015 fell into the hands of the Spanish filmmaker Isaki Lacuesta, since although the film describes the horror during this assault, it focuses more on the consequences of this event in the relationship of a young couple, played by the Argentine actor Nahuel Pérez Biscayart and the French actress Noémie Merlant.
By Monica Delgado
Presented in the international competition of the 72nd Berlinale, Everything Will Be Ok, by the Cambodian filmmaker Rithy Panh, is an activist statement against everything that makes up the destruction of the world: totalitarianism, genocide, exploitation, cruelty, subjugation, decadence, in a great cocktail visual, typical of the reflective essay film, and in this case with a particular political agenda.
By Monica Delgado
All the elements of Avec amour et acharnement belong to the previous universe of Claire Denis. In this adaptation of a novel by the French writer Christine Angot, made in tandem with Denis herself in the script, unusual meanings about love appear, as well as forms of genre cinema, fetish actors, and a dramatic imprint around the rupture of the idyll. Presented in the official competition of the 72nd Berlin Film Festival, this new feature film by Denis is a stupendous work about the figure of the intruder, and about suspicion, a necessary input to narrate a love story seen a thousand times, but here under the influence creative and innovative of Denis.
By Monica Delgado
Peter Strickland’s fifth feature film is a satire on the world of artists in residence. Following the style of The Duke of Burgundy (2014), his episode in The Field Guide To Evil (2018) or In Fabric (2018), in Flux Gourmet (2022) exposes a fabled setting, with delicate, glamorous characters, but who they never cease to be bizarre or grandiloquent, to tell a story about impact performances.
By Monica Delgado
With more than twenty films, between documentaries and fiction, the Austrian filmmaker Ulrich Seidl arrived at the 72nd edition of the Berlinale. Rimini’s premiere is part of the official competition, and although it takes the name of a city that is not indifferent to any movie buff (the birthplace of Federico Fellini), it is a portrait of an autumn character, crossed by a context political and social, as is often the case in much of this filmmaker’s cinema.
By Monica Delgado
The 72nd edition of the Berlin International Film Festival began in person against all odds. And a good symptom of the program’s commitment were the films selected for the initial date, such as the world premiere of the recent work by French filmmaker Alain Guiraudie, the comedy Nobody’s Hero (Viens je t’emmène).
By Milan Cyron
Translated from Czech by Tomáš Hudák.
In the 1960s, works of the Czechoslovak New Wave were regularly awarded in Cannes, Venice, Bergamo, Sorrento, Locarno, Mannheim, or Oberhausen while film critics praised directors such as Miloš Forman, Vera Chytilová, Jaromil Jires, or Hynek Bocan. However, these Czech filmmakers somewhat overshadowed their Slovak companions, including arguably the most famous one, Juraj Jakubisko, whose second feature, Deserters and Pilgrims (1968), was awarded at the Venice Film Festival.
By José Sarmiento Hinojosa Last week, the winners of Ammodo Tiger Competition were announced at IFFR 2022. And while my “to watch” list included the
Directors:
Mónica Delgado Ch.
José Sarmiento Hinojosa
ISSN 2311-7451
© Desistfilm 2020
Lima Perú. All rights reserved.