Film Festival Reports

Cinéma du Réel

CINÉMA DU RÉEL 2022: WE STUDENTS!, DOMY+AILUCHA: KET STUFF!

By José Sarmiento Hinojosa

A subjacent theme seems to have permeated the program of the latest edition of Cinéma du Réel: somehow the preoccupations on the effects of colonialism and capitalism and its aftermath seems to be manifesting deeply in the different sections of the festival. Arguably, not all the films in the programs address this issue head-on, but the latent marks of these particular elements in former colonized lands, and the situation in the different territories that are now within the geography post-pandemic/neoliberalist/late-stage capitalism countries, “late-developed” and “first world” ones, appear to be more tangible than ever. There is a necessity to address these stories, because behind this whole conglomerate of history-made-scar lies real human beings, attempting to somehow navigate the waters of the world they’ve received. 

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Berlinale

BERLINALE 2022: GEOGRAPHIES OF SOLITUDE BY JACQUELYNE MILLS

By Monica Delgado

Geographies of Solitude is the debut feature film by Canadian Jacquelyn Mills and is a different and auspicious experience in the documentary treatment and in the approach to its protagonist, the conservationist, activist and naturalist Zoe Lucas, who has lived since the seventies on an island lonely, Sable Island. The filmmaker’s gaze on her character allows us to value the committed dimension of Lucas in the study of the fauna and flora of the area and in his fight against the plastic waste that ends up in the confines of the island. And Mills does not stay in the convention, but she explores from the diversity of textures, exposures and montage that 16mm allows.

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Berlinale

BERLINALE 2022: AFTERWATER BY DANE KOMLJEN

By Monica Delgado

Divided into three parts, Afterwater is a feature film that configures a world based on the texture of formats. In this second work, the Serbian filmmaker and artist based in Berlin, Dane Komljen, chooses a topic and an even group of characters to explore some dimensions of space and time, in three episodes that distill stories and corporalities around the figure of a lake , and from three different supports.

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Berlinale

BERLINALE 2022: ALCARRÀS BY CARLA SIMÓN

By Monica Delgado

The winner of the recent Golden Bear at the 72nd Berlinale, Alcarràs, by the Spanish filmmaker Carla Simón, is a defense of a mode of production that has fallen into disrepair due to capitalism, but also of a state of things from the safeguarding of tradition, from the old -and heartfelt- idea of ??home.

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Berlinale

BERLINALE 2022: THE NOVELIST’S FILM BY HONG SANGSOO

By Monica Delgado

In In front on your face, one of Hong Sangsoo’s films released last year, Lee Hye-young plays an actress who returns to her country due to a critical situation that gradually reveals itself in the film. Clearly, due to the climate, the tone, the gestures and dialogues of the characters, we are in the branch of Sangsoo’s films where there is a dramatic component (in this case, the farewell, the announcement of death), with an intention more thoughtful than his other fresher, more casual-looking films. While in The Novelist’s Film (So-seol-ga-ui yeong-hwa, 2022), another side of the coin appears.

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Berlinale

BERLINALE 2022: SE HACE CAMINO AL ANDAR BY PAULA GAITÁN

By Monica Delgado

Although this short film by the Colombian-Brazilian filmmaker Paula Gaitán had its premiere at the Tiradentes festival in 2021, and was announced at the 71st edition of the Berlinale, due to the pandemic its exhibition had to be postponed and rescheduled pending the face-to-face edition of the festival. For this reason, Se Hace Camino al Andar (The Path When Walking, Brazil, 2021) is part of the Closer to the Ground exhibition, a series of installations at the Silent Green Kulturquartier, as part of the Forum Expanded program at the current Berlinale, which runs until February 20th. Gaitán’s short shares the stage with works by Haig Aivazian, Grace Ndiritu, Musquiqui Chihying, Maya Schweizer, Rosalind Morris, among others.

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Berlinale

BERLINALE 2022: MATO SECO EM CHAMAS BY ADIRLEY QUEIRÓS AND JOANA PIMENTA

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.

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Berlinale

BERLINALE 2022: MUTZENBACHER DE RUTH BECKERMANN AND UN ÉTÉ COMME ÇA DE DENIS CÔTÉ

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…

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Berlinale

BERLINALE 2022: UN AÑO, UNA NOCHE BY ISAKI LACUESTA

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.

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Berlinale

BERLINALE 2022: EVERYTHING WILL BE OK BY RITHY PANH

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.

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