By Morella Moret
Ejercicios de Memoria tells us from a particular case, the story of many families during the Paraguayan dictatorship: the thousands of missing people that haven’t yet been found and the many death ones without a name. Finally, it doesn’t only narrate the story of a country but of many similar regimes whose memories have been forgotten.
By Nicole Brenez
That’s how art connects directly with the violence of reality and finds itself reconfigured in it, as it is accredited in the work of Ing K, completely consecrated to the political, social, religious, economic and ecological problems of her country, Thailand, or, as she calls it “Siam”, according to its anti-fascist name.
By Ivonne Sheen
Juruna Mallon’s Les Îles Résonnantes (Resonant Islands) approaches Eliane Radigue and her aesthetics with a subtle audiovisual composition that mixes her sound sculptures with visual explorations of herself, her work, and evocations from her music. The film stands far away from any precise biographical portrayal to immerse us in her intimate and spiritual approach to sound, music and life.
By Aldo Padilla
Austerlitz has been analyzed as a portrayal of horror as a commodity and the relation of man with its history, which is something that Loznitsa explores in his filmography, but it’s also pertinent to point to the depersonalization of the people moving in front of the camera, reducing it all to masses with an undefined face, which seem to condemn they all from the beginning. It’s possible that everything said until now can be reduced to a simple question: Does Loznitsa and the spectators feel morally superior to the people being filmed?
By José Sarmiento Hinojosa
The apparatus of resistance and its relentless mechanism in an era of crisis has already been explored in Sylvain George’s Vers Madrid: The Burning Bright, a slow burner of political uprise and class struggle on the Madrid revolts of 2011 and 2012. And while the immediate consequences of political civil organization might not be instantly apparent, the sense of general malaise in a population pushed to the verge of self suffocation was absolutely palpable, and the film turned a hopeful eye in the light of civilian organization capabilities.
By Mónica Delgado
A Strange New Beauty is a film that deals with the inequity of world economics and creates a concept from that. The metaphor of a house as a closed exclusive entity which can only shelter a privileged group while the “outside” follows a savage and natural course, is the bet from which American filmmaker Shelly Silver develops a structure of ideological confrontation . An opulent empty house with big gardens clashes with an out of field auditory field, where we hear the other vein of narration, where voices and screams from a mental hospital, sighs and phrases spoken by an almost cybernetic soul, rule this different “outside”, which is sensorial and full of memory.
By José Sarmiento Hinojosa
It seems that with each consecutive documentary, Wang Bing gets closer to narrate the real experience of human drama in rural China. In Bing’s camera, his country becomes a hostile environment which must be dealt head on, a rural and urban labyrinth to be traversed by these disenfranchised citizens, who seem to abandon any possibility of true hope to deal with the cruel reality of raging capitalism and its consequences.
By Ivonne Sheen
The sound vibrations you feel in a techno rave can be described as intense, kind of violent, raw, but mainly cathartic (to the ones we enjoy it), like the feeling of the drummer who opens this film. Rage addresses about Acid Techno music and all the underground culture around it. The film sets a dialogue about Anarchy and Techno which comes and goes from theoretical talks to sensorial documentary with found footage and lots of music. Through and anarchic narrative we are immersed in a ecosystem of philosophical and performative interviews, and hardcore beats, which gives us an organic point of view of social phenomenons against the system, such as Anarchy and Techno.
By Morella Moret
Craigslist Allstars is a postmodern tale of the loneliness of man. The director Samira Elagoz opens the film with an e-mail: she contacts strangers so she can then record herself meeting them and anything that happens in the process. She listens to them, disinhibits them and creates a safe place for them to present their secrets and deepest pains, and we are there to witness this.
By Ivonne Sheen
In a summer environment of the Argentinian upper class, Gaston Solnicki portraits a group of intergenerational girls, who seem to be in discomfort and bored with their surroundings. The narrative aspects are composed as a mosaic of the different points of views and emotions of each girl we get to meet. Nevertheless, along the film, our gaze is focused in one girl in particular, a young adult one, played by Laila Maltz, who starts a naive hunt of her independency.
Director: Mónica Delgado Ch.
ISSN 2311-7451
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