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.
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“.
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.
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.
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.
By Jaime Frijalba
Gore-met, Zombie Chef from Hell (1986) and Ozone: The Attack of the Redneck Mutants (1986) both serve as examples of movies made by non-professionals that had the crew and the possibilities of filming a movie, and they couldn’t afford the negative cost that the video format would have in their artistic visions, or at least one would think at the time. But after taking a look at both of these movies released in 1986, at least one would think that “Goremet” would’ve benefited from the video format.
By Bill Mousoulis
Super 8 was the 16mm of my generation. By 1982, 16mm independent film production was starting to become industrialized. Its peak worldwide was in the early-to-mid 1970s, as the counter-cultural film movement had a thriving co-op scene, where thousands of 16mm short (and feature) films would be cheaply made and easily distributed, lapped up by people worldwide in universities, cinemas and many “free” spaces (events, parties, etc.). It had started in the 1960s with the New American Cinema (and before that, with Maya Deren and others), and quickly spread through the whole world, including Australia, where the avant-garde scene was particularly strong. As everyone knows, the period 1965-1975 was an intense and exciting period to be alive in, culturally, socially and politically, and the films of the time reflect this.
By Victor Bruno
Casa Grande follow the path opened by Kleber Mendonça Filho’s Neighboring Sounds: it is an arrogant and resentful work disguised as sociological essay made by an individual that, coming from the exact place where the film takes place (literally, since Fellipe Barbosa, the director, lived in the same house that acts as stage for much of this picture and studied in the same school, the Colégio São Bento, in Rio de Janeiro, as does his star), intents to attack by all means the place where he was born, grew up and lives today. Not satisfied, the film also attacks the people who are from there, too. And for Barbosa there is an aggravating: one of his targets is his own family.
By Claudia Siefen
It is not that Anja (Elisabeth Umlauft) is not willing to communicate with the people around her. She is just communicating in a little different way. Her way of communication makes it hard to be understood, not only when it comes to her friends and family. This fact also concerns herself.
By Jaime Grijalba
Instead of focusing on the Madeleine/Judy conundrum, I’ll tackle the issue of James Stewart’s character, Scottie. Does he have a double? I ponder two possibilities.
Director: Mónica Delgado Ch.
ISSN 2311-7451
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