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Film Festival Reports

LOCARNO 2018: AL NAHER AND SOUL OF A BEAST

By Mónica Delgado

These two feature films presented in the international competition section of the Locarno festival, in its 2021 edition, are like two opposite poles. On the one hand, they reflect the eclectic spirit of the selection, which wants to reveal itself as a panorama of works of diverse descent and intention, also taking into account that there is a new director -Giona A. Nazzaro- who wants to give a particular touch to her management. And on the other, these are two experiences that could also illustrate two trends in some festivals today.

2021.08.08

Cine latinoamericano

LOCARNO 2021: A MÁQUINA INFERNAL DE FRANCIS VOGNER DOS REIS

Por Mónica Delgado

A Máquina Infernal (The Infernal Machine) es el debut en la dirección del crítico de cine y programador brasileño Francis Vogner Dos Reis. Si bien Vogner tiene experiencia como guionista, productor e incluso actor en algunos films independientes de cine brasileño (fue guionista de Jogo das Decapitações (2013), de Sergio Bianchi; O Último Trago (2016), de Pedro Diógenes, Luiz Pretti y Ricardo Pretti; and Os Sonâmbulos (2018), de Tiago Mata Machado), esta es una primera muestra incursión en la dirección que permite conocer cuáles son esas filias o motivaciones, aquí asociadas a códigos del cine de género (el cine de terror más conceptual), liado a una crítica social desde el mundo obrero automatizado.

2021.08.07

Film Festival Reports

LOCARNO 2021: A MÁQUINA INFERNAL BY FRANCIS VOGNER DOS REIS

By Mónica Delgado

A Maquina Infernal (The Infernal Machine) is the directorial debut of the Brazilian film critic and programmer Francis Vogner Dos Reis. It is also one of the few Latin American shorts seen in this 74th edition of the Locarno Film Festival. Although Vogner has experience as a screenwriter, producer and even actor in some independent Brazilian films (he was a screenwriter for Jogo das Decapitações (2013), by Sergio Bianchi; O Último Trago (2016), by Pedro Diógenes, Luiz Pretti and Ricardo Pretti; and Os Sonâmbulos (2018), by Tiago Mata Machado), this is a first foray into direction that allows us to know what those affiliations or motivations are, here associated with codes of genre cinema (the most conceptual horror cinema), bundled to a social critique from an automated working-class world. The thing is, Vogner comes off fine.

2021.08.07

Críticas

LOCARNO 2021: ATLAS DE NICCOLÒ CASTELLI

Por Mónica Delgado

Atlas es el segundo largometraje del cineasta italiano Niccolò Castelli, y que concentra toda tu estructura en dar vida al retrato de Allegra, una joven que ha sufrido la pérdida de unos amigos durante un ataque terrorista. El film está construido de tal manera, debido al uso de diversos flashbacks, que la culpa, el trauma y el luto se unen a la sospecha, la desconfianza y una postura xenófoba del personaje principal, prejuicios que poco a poco se van despejando.

2021.08.06

Film Festival Reports

LOCARNO 2021: ATLAS BY NICCOLÒ CASTELLI

By Mónica Delgado

Atlas is the second feature film by Italian filmmaker Niccolò Castelli, and it concentrates all its structure on bringing to life the portrait of Allegra, a young woman who has suffered the loss of her boyfriend and some nearby friends during a terrorist attack. The film is constructed in such a way, due to the use of various flashbacks, that guilt, trauma and mourning join suspicion, mistrust and a xenophobic stance from the main character, prejudices that are gradually being cleared.

2021.08.06

Film Festival Reports

LOCARNO 2021: HEAVENS ABOVE (NEBESA) BY SRDAN DRAGOJEVIC

By Mónica Delgado

Serbian filmmaker Srdan Dragojevic returns to Nebesa to talk about another side of the Balkan conflict, from satire and comedy, and sometimes from the grotesque. From three parts, one in 1993, another in 2001, and a third in 2016, he composes a fresco through time on the crisis of Christian religion, as well as a great narrative axis to achieve a political critique on the ecclesiastical institutionality.

2021.08.06

Críticas

LOCARNO 2021: HEAVENS ABOVE (NEBESA) DE SRDAN DRAGOJEVIC

Por Mónica Delgado

El cineasta serbio Srdan Dragojevic regresa con Nebesa para hablar sobre otra arista del conflicto de los Balcanes, desde la sátira y la comedia, por momentos, grotesca. A partir de tres partes marcadas, una en 1993, otra en 2001, y una tercera en 2016, compone un fresco a través del tiempo sobre la crisis de la religión cristiana, además el gran eje narrativo para lograr una crítica política sobre la institucionalidad eclesiástica.

2021.08.06

Críticas

LOCARNO 2021: MAD GOD DE PHIL TIPPETT

Por Mónica Delgado

Estamos ante una obra de carácter épico en todo sentido. A Phil Tippett le costó treinta años poder materializar esta casi hora y media de purgatorio, de pesadilla distópica, de fantasia pútrida hecha de carne y alquimia imposible. Presentada fuera de concurso en el reciente festival de cine de Locarno, Mad God (2021) cumple un largo sueño en stop motion y se convierte en “el jardín de las delicias” del siglo XXI en clave steamgoth y steampunk.

2021.08.05

Film Festival Reports

LOCARNO 2021: MAD GOD BY PHIL TIPPETT

By Mónica Delgado

We are facing a work of epic nature in every sense. It took Phil Tippett thirty years to materialize this almost hour and a half of purgatory, dystopian nightmare, putrid fantasy made of flesh and impossible alchemy. Presented out of competition at the recent Locarno film festival, Mad God (2021) fulfills a long dream in stop motion and becomes the “garden of delights” of the 21st century in steamgoth and, above all, steampunk.

2021.08.05

Críticas

LOCARNO 2019: EL MOVIMIENTO

Por Aldo Padilla

Los premios máximos de un festival, no siempre parecen responder de manera acorde al discurso de la programación, pero una constancia en el cuidado de la curaduría, suele dar como resultado una lista de ganadores que termina retratando a una gran generación de autores: Albert Serra, Lav Diaz, Hong Sang-Soo, Wang Bing y este año Pedro Costa han sido ganadores del Leopardo de oro (…)

2019.09.10