Por Mónica Delgado Germania, Maximiliano Schonfeld’s first feature film, describes the last day of two adolescent brothers, Lucas and Brenda, in a small German settler village
By Catherine Jessica Beed
In the opening sequence of Bestiaire, three artists sketch a doe, slowly revealed to be dead and stuffed. The differing ways they focus on recreating the animal, one outlining, one laying the foundation for texture over form, initially coaxes a thoughtful introspection, that each of us in one moment viewing the same thing will always differ in our interests and perceptions of what we are seeing.
By Mónica Delgado
Alois Nebel is an adaptation of Jaroslav Rudiš andJaromír 99’s graphic novel, realized in rotoscoping: A technique which traces animated movements shot by shot following a previous real filming (as in Linklater’s A Scanner Darkly or Waking Life)
By José Sarmiento Hinojosa
It’s been a while since Alain Cavalier chose digital video (DV format) to shoot intimate personal mosaics, diaries of immense depth dealing with life, death, and things between.
By Mónica Delgado
Directed by the debutant Héléna Klotz, L’Age Atomique is a brief film that boards one of the most recurrent topics of independent cinema: adolescence and its digressions. Two boys riding a train to Paris appear on the scene. Alcohol and Red Bull, quotes to rock lyrics, music bands and poetes maldits: Elements that link us to that universe which exacerbates the “atomic age”; a sense of mockery, discovery, alienation and apathy.
By John A. Riley
At one point in Tinker Tailor Soldier Spy, Kathy Burke’s dejected, alcoholic ex-secret service researcher is enthusing about the good old days. Gary Oldman’s George Smiley reminds her that she’s talking about the era of World War Two, and she responds, dewy-eyed: “a real war… Englishmen could be proud then.”
By Catherine Jessica Beed
Werner Herzog has always been interested in documenting the misfits of society, his films fascinated with outcasts and the complex extremities of human beings. With this project, Herzog draws to attention the very real and very sensitive matter of capital punishment, and further continues one of his journeys into exposing the human condition.
By Monica Delgado Sylvain George returns again to the black and white underworld of his previous documentary Qu’ils reposent en révolte (des figures de guerres), this
Por Mónica Delgado Festival films have practically become almost a genre of their own. And it is exactly within the tracking of these commonalities that
Directors:
Mónica Delgado Ch.
José Sarmiento Hinojosa
ISSN 2311-7451
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