By Mónica Delgado
Winter Sleep is plagued by that bergmanian invention called “the hour of the wolf”. As if the conversations by half-light imply always a renounce and decisive revelations, the fall of the masks that invite change or imprisonment in the characters.
By Mónica Delgado A film of stylized suspense, about the search of clues and the resolution of a crime, based in a Georges Simenon novel,
By Mónica Delgado
Argentinian filmmaker Damián Szifrón’s Relatos Salvajes breaks with the festival film prototype designed especially for Cannes, or in other case, proposes a new route: that of black b series humour, as if it were a tape of eighties’ spirited episodes, but with a social critique intention and mockery in an actual national key.
By Mónica Delgado
Three debutant filmmakers come together to extend the life on the big screen of Angélique Litzenburger, a 60 year old ex-nightclub dancer, who finds herself in the dilemma of keeping a lifestyle or changing it for a marriage proposal from one of her clients. Party Girl sets all its dramatic weight in the especial figure of Angélique, a real John-Wateresque character, that assumes in fiction a re-representation of herself, and to spread a little of that fresh and jolly way of her nocturne rutine.
By Mónica Delgado
We’re in the eighties, and the film opening talks about a pubescent kid, of red curls that seems very much like Tadzio of Visconti’s Death on Venice, and who appears singing under the influence of his inspiration figures: David Bowie, Lou Reed and other icons of rock in posters glued to the wall of his secret corner.
By Mónica Delgado
Israeli filmmaker Keren Yedaka returns to Cannes, but this time in the Un Certain Regard section, with a dry drama about an incestuous relationship between father and daughter in Tel Aviv.
By Mónica Delgado
Getting away somewhat from the slope of African cinema in the style of Ousmane Sembene, appealing less to the ritual matter or social aspect between hierarchies in a same community, Timbuktu explores the invasion of the Islamic police in a little town of the deserts of Mauritania, in an abrupt cultural and moral clash that is narrated with a keen and denouncing eye.
By Julian Ross With the recent announcement of a partnership between Eye Film Institute and the National Film Preservation Foundation to preserve early American films
By Mónica Delgado
First day at Cannes and all seems in order. All press gathered in expectation for the new film of Olivier Dahan. As it happened before for La Vie en Rose, the biopic of Edith Piaf, the filmmaker takes passages of the life of famous characters with an evident preoccupation of seasoning them with some vague detail of the official biography.
By Claudia Siefen
Notes concerning a very personal selection of Austrian Avantgarde Cinema seen during the “Diagonale”, Festival of the Austrian Film, in the year 2014.