By Mónica Delgado
A Yangtze Landscape is a film that can be seen in conversation with Land Vessels (Navíos de Tierra), also presented in Olhar de Cinema, a film that responds to an entire maritime imaginary in diverse films that have flooded the festival scene and independent cinema.
By Mónica Delgado
Khyentse Norbu Rimpoche’s Hema Hema: Sing Me a Song While I Wait is a surprising visual experience, in its eclecticism and evocation of neon as a preamble of a color environment extracted from the ancestral traditions of Bhutan and in its bet to develop a liminal space where anything can happen.
By Mónica Delgado
Alipato, which was in competition in Outros Olhares en Olhar de Cinema, must be one of the most free films of the last couple of years, especially since the Filipino filmmaker becomes a great recycler of iconic themes in cinema: police movies, exploitation, B-movies, and digests them in his own way, without restrictions, playing the part of writer, producer and musician.
By Mónica Delgado
To enter the universe of filmmaker Julio Calasso for the first time has not been an easy feat. Especially since his Death’s Long Way (Longo Caminho da Morte, Brasil, 1971), presented in Olhar de Cinema, in the section Classics, in its remastered version, generates a series of questions towards the validity of some works, the reasons for their aging or the styles that were used in those years, above any inventive initiative or creative freedom.
By Mónica Delgado
This sixth edition of Olhar de Cinema has seen a diversity of Brazilian premieres. Among them, a couple of short films we’re covering here, since they offer different constructions in cinema and help to measure the temperature of the new bets made by new and young filmmakers.
Niles Atallah’s King (Rey) and David Pretto’s Rifle, shown as special projections on Olhar de Cinema Film Fest, are discussed here by Desistfilm’s Mónica Delgado and Aldo Padilla.
Mónica Delgado offers us a view on Pablo Chavarría Gutiérrez’ Still the earth moves and João Castelo Branco & Elisabeth Moreschi’s Scribbles, Doodles and Other Monsters, on this edition of Olhar du Cinema Film Festival.
By Mónica Delgado In Brazil, the 6th edition of Olhar de Cinema (Curitiba International Film Festival) has started. This is a space that maintains its
Each year, the [S8] Mostra de Cinema Periférico, celebrated en A Coruña, remains as an unbeatable space to affirm the brilliance of several personalities in experimental cinema, an also, a space to proclaim the validity of a way to make cinema from the resistance. This year, the festival not only showcases the work of Aldo Tambellini, filmmaker linked to the New York’s counter culture scene of the 1960’s, and Helga Fanderl, a master of Super 8, but also explores the work of the historic Joseph Cornell and the Americans Luther Price (a first in Spain) and Steve Polta.
By Mónica Delgado
This festival edition included a group of Latin American film that somehow didn’t reflect any kind of tendency on the region’s cinema, but instead affirmed some sensibilities and tastes, both of the programmers and the producers, that keep betting for a formulaic cinema, not a freer, more creative one.
Director: Mónica Delgado Ch.
ISSN 2311-7451
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