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GOD’S LEFT INDEX FINGER: ON JONATHAN DEMME’S “THE SILENCE OF THE LAMBS”

By Victor Bruno

Over the last few months—starting with the release of Ricki and the Flash (2015) on home video—I developed an interest in Jonathan Demme’s cinema. As I watched his films, I developed a few ideas and scratched some notes on them about his ideas, interests and general style. That, by coincidence, happened to coincide with shifts on ideas of my own. Some of these notes were abbreviated and became my entry on MUBI’s Notebook fantasy double-feature pool.

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EDWARD HOPPER: THE MIRROR EFFECT

By Vica Smirnova

Since the 1930s Hopper has been quoted endlessly: De Mille and Siodmak, Hitchcock and Lynch. Hopper’s infinite stylizations reproduced the same effect of subtraction of the human, priority of space over its character. In his Victorian cottages, deserted cafes and hotels, a character was present only to point out his own insignificance. Hopper invented an absent America, and having fallen in love with its own reflection, it forgot about the author, as if this landscape had materialized out of thin air and had existed from the start.

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BERTOLUCCI’S “FAKE OPHELIA”

By Luke Scerri

It is an unfortunate undeniable occurrence that in film criticism, the importance of the musical contribution to the transformation of the art form is quite often overlooked, or underestimated because of several other factors that seem to strike the viewer at first glance. Bertolucci’s Last Tango In Paris is certainly no exception.

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ABOUT “JE M’APPELLE HMMM… “

By Claudia Siefen
In all this passivity, ignorance and awkwardness wrapped up in cotton wool, Céline (Lou-Lelia Demerliac) is such a strong character almost inappropriate for a child. The camera and framing (Jean-Philippe Bouyer) stays close to the protagonists that you literally feel the cramped confines. Here the so called grown up world means not to mention certain things, to play the game of not talking.

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BEAUTIFUL YOUTH BY JAIME ROSALES

By Rebecca Naughten

Ostensibly a social realist drama, Beautiful Youth follows Natalia (an impressive performance by Ingrid García Jonsson) and Carlos (Carlos Rodríguez), two working class twenty-somethings each living with their respective mothers and caught up in Spain’s economic crisis with little hope of employment or future security. Natalia’s pregnancy becomes the central focus of the narrative as the demands of familial responsibility impact on the pair differently and push the couple to breaking point.

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FATHERS & FOOTBALL: EL RASTREADOR DE ESTATUAS AND O FUTEBOL

By James Lattimer

In Jerónimo Rodríguez’s El rastreador de estatuas, a Chilean director called Jorge now based in New York sets out to find the statue of a Portuguese doctor his father took him to see one afternoon in Santiago, way back in 2000 when his father was still alive.

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THE WRECKAGE OF MEMORY: NOTES ON KENJI ONISHI

By Claudia Siefen

Onishi Kenji was born in 1973 in Mie Prefecture, located on the biggest japanese island of Honsh. He began making films with a second-hand 8mm camera, which he obtained during his high school days. In 1995 he founded the filmmaking group “Cinema Train” in Tokyo, a company that distributes films by young Japanese filmmakers and screens underground and avant-garde work from overseas. Here the filmmakers are invited and also united for the individual expression and a desire for a space to share their ideas. In 2007 Onishi worked as a cinematographer for Oguchi Yoko’s Real Access Discommunication. Onishi has made more than 100 films since 1990, ranging from Super-8 studies of light to full-length features filled with drugs and violence. I will be introducing some of them here, brought together on his DVD collection “Selected Works Of Kenji Onishi“.

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MANIFEST IN HONOR OF THE SUPER 8

By Mónica Delgado

This 2015 we are celebrate 50 years of super 8. Around the world have done and have been made activities, projections, talks, festival, demonstration for us on a special occasion, to give an account of sensitivities, trayectories and resistors around this support environment that never die. This edition of Desistfilm brings togethers texts about jobs in Argentina, Bolivia, Chile, Australia, Mexico, and Peru, we allows to pay tribute that binds us to this global celebration.

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CAN’T GET ENOUGH ARYAN KAGANOF

by Tanner Tafelski

Born Ian Kerkhof in 1964, the filmmaker changed his name to Aryan Kaganof in 1999, when he discovered who his actual father was. Kaganof grew up in Johannesburg, specifically Yeoville, a neighborhood once toted as an area where black and white people lived in harmony during apartheid.

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INDIVISIBLE RIVER: FILMS BY PABLO MARÍN

By Stephen Broomer
In his own filmmaking, Pablo Marín has pursued several forms; his early experiments in décollaged 35mm Hollywood film trailers gave way to Super 8 and Single 8 ‘camera roll’ films, approaching what is conventionally regarded as a home movie format with the seriousness that art demands, a seriousness of task that, in Marín’s films, is riddled with play, comic punctuation, a necessary casualness of composition (casual in the sense of the diaristic idiom), an openness to meaning.

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