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Film Festival Reports
Cannes

CANNES 2017: LA BOUCHE BY CAMILO RESTREPO

By Mónica Delgado

La bouche keeps a risk that has characterized the style of the Colombian filmmaker, and that is affirmed here through the use of 16mm and the continuity of an aesthetic, that many assume as “guerrilla film”, and that in Cilaos or La Bouche is centered in the choreography and a body sublimation of rhythm. This is a film of formal affronts that may have gone further than the other short films presented in the Quinzaine.

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2017.05.28
Cannes

CANNES 2017: THE NOTHING FACTORY BY PEDRO PINHO

By Mónica Delgado

A fábrica de Nada, presented in the Quinzaine de Realisateurs, speaks about something no other Cannes film has mentioned: the reality of a Europe that screams for a life jacket, but not because of migration or racism issues, xenophobia or bourgeois indifference; where the only exit is renouncing the world we live in, coped by the result of this economical system: nothingness.

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2017.05.26
Cannes

CANNES 2017: THE BEGUILED BY SOFIA COPPOLA

By Mónica Delgado

The greatest merit of The Beguiled lies in how Coppola constructs the relationships between women, through silences or simple and suggestive dialogues that avoid evilness, and bets for an atmosphere of power plays, where the photography unveils this darkness that the actions repress or hide.

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2017.05.26
Cannes

CANNES 2017: THE DAY AFTER BY HONG SANG-SOO

By Mónica Delgado

In The Day After, one finds some subtle transformations on the narrative strategies of Hong Sang-soo had patented throughout his filmography: variations on a same theme or occurrence, where the narrator has the ability to return to a previous scene to revisit it, thus originating a double lecture of what could have been.

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2017.05.25
Cannes

CANNES 2017: LA FAMILIA BY GUSTAVO RONDÓN CÓRDOVA

By Mónica Delgado

It’s impossible not to see La Familia from the political, social and economic crisis that Venezuela is suffering in the last years. However, Gustavo Rondón Cordova isn’t looking to make a social diagnosis or any kind of critique to the present regime in his first feature film.

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2017.05.23
Cannes

CANNES 2017: HAPPY END BY MICHAEL HANEKE

By Mónica Delgado

Beyond this social scan that Haneke deems as absolutely necessary, such in films like Funny Games of Caché, his film dwells better in the passages that talk about a unhealthy family side, incarnated in the figure of the child, a kind of proto-psychopath, marked with Haneke’s undertones all over

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2017.05.22
Cannes

CANNES 2017: JEANNETTE L’ENFANCE DE JEANNE D’ARC BY BRUNO DUMONT

By Mónica Delgado

Divided en three parts, Jeannette, L’Enfance de Jeanne d’Arc is an absolutely unusual musical, but at the same time it is a very “Dumontian” film. His style is clearly recognizable in the actors’ direction, in its “medieval” physiognomies, in the austerity of his mise in scene and also in the clear familiarity with the absurdist comedy he’s been working in in the last years. A free and creative work, that presents an iconoclastic and renewed Dumont.

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2017.05.22

desistfilm

Director: Mónica Delgado Ch.
ISSN 2311-7451

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