Images Festival

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Film Festival Reports

IMAGES FESTIVAL 2019: SMUDGE SERIES BY EVE-LAURYN LAFOUNTAIN & LA CABEZA MATÓ A TODOS BY BEATRIZ SANTIAGO MUÑOZ

By Ivonne Sheen

Images Festival’s Interior Mythologies program focuses in indigenous ancestral ritualistic practices which remain alive through the wisdom of people, talking about the mystique and forces of natural resources. Smudge series (2013) by Eve-Lauryn LaFountain and La cabeza mató a todos (2014) by Beatriz Santiago Muñoz, both follow the process of ritualistic acts within non-fictional sceneries and characters.

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En español

IMAGES FESTIVAL 2019: I SIGNED THE PETITION DE MAHDI FLEIFEL

Por Pablo Gamba

I Signed the Petition (Reino Unido-Alemania-Suiza, 2018), premiado como mejor cortometraje documental en el IDFA, fue realizado por Mahdi Fleifel, un palestino que nació en Dubái, se crió en un campo de refugiados de Líbano, estudió cine en Londres y tiene la nacionalidad danesa. En 2016 ganó el Oso de Plata al mejor corto en la Berlinale por A Man Returned y al año siguiente compitió en Cannes con otro corto, A Drowning Man.

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Film Festival Reports

IMAGES FESTIVAL 2018: STREETSCAPES [DIALOGUE]

By Alonso Castro 

In Streetscapes [Dialogue] (2017) Heinz Emigholz proposes us with a complex exercise in the reconstruction of space and time through the montage, in which architecture predominates -displaying beautiful images of buildings’ dimensions and textures-, as well as dialogue. Through pictures of buildings designed by Julio Vilamajó, Eladio Dieste, Arno Brandlhuber, among other architects, in the fourth part of the series of Streetscapes [Dialogue], Emiglhoz reflects on the durability of time through space from the link between architecture and cinema.

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Film Festival Reports

IMAGES FESTIVAL 2018: HIWA K, KORAKRIT ARUNANONDCHAI, RHAYNE VERMETTE, SYLVIA SCHEDELBAUER

By José Sarmiento Hinojosa

In the realm of identity, being confronted with the crude reality of the world we’re inhabiting may be birthing a sort of cognitive dissonance: we’re not what we used to be, or we must switch our identities in order to survive. Hiwa K and Korakrit Arunanondchai take two very different approaches on the subject, one could say approaches that emerge from the uncertainty of representation.

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Film Festival Reports

IMAGES FESTIVAL 2018: SANGRE SECA, BAD MAMA, WHO CARES

By Morella Moret and José Sarmiento Hinojosa

A struggle poem is sung, thousands of women join to rebel against patriarchy and misoginy every March 9th, but we’re still abused. We’re killed because we’re rebels, raped because we’re whores, beaten for being insolent. Sangre Seca by Los Ingrávidos Collective shows us 16mm red and bloody images, footage of woman marching for our rights, of different historical moments of Mexican activism.

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Film Festival Reports

IMAGES FESTIVAL 2018: PERFECT FILM, THE RARE EVENT, 3 DREAMS OF HORSES

By Tara Judah

One mode of transparency is in admitting that temporal and spatial distance meant I didn’t physically attend Images Festival. This relegates my observations of the films I watched deficient, insofar as they are subject to the rarity and the ‘live-ness’ of their intent: I did not experience the atmosphere or energy of curated and presented programmes. Still, in the interests of opacity, I engaged with select content on my own terms and, in so doing, created my own rare event.

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