By José Sarmiento Hinojosa
Somehow the religious and mystical overtones in Bruno Dumont‘s oeuvre have always been a trademark of his work, but in his latest films (especially Hadewijch and Hors Satan) they seem to slowly lose some of their subtlety and give way to a more evident although not less troubling mise-en-scene.
By Mónica Delgado Bonsái by Cristian Jiménez is a Chilean film programmed in the International BAFICI Competition, by a filmmaker from Valdivia, which is one of the most cinephilic
By Lea Liotine
I anticipated this film with the highest expectations, not only because it was a potpourri of twenty-five minute shorts by many established and emerging Taiwanese directors, including the master himself Hou Hsiao-hsien, but also because it was commissioned by the Taipei Golden Horse Film Festival to celebrate the 100th anniversary of the Republic of China’s formal establishment.
Por Mónica Delgado
Tabú is a film of references to the old days of cinema, a two part tale (“Lost paradise” and “paradise”), an ode to black and white nostalgia, to the expressive aesthetics of silent film, with small moments of brilliant humor and a 60’s pop soundtrack. If in Aquel querido mes de agosto, Gomes makes a lucid exercise in expressive renovation and metalanguage surprises, in Tabú, the clear homage to F.W. Murnau’s film feels powerful, like if the ghost of the German filmmaker was tempted to suddenly appear in front of us.
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.”
Director: Mónica Delgado Ch.
ISSN 2311-7451
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