By José Sarmiento Hinojosa
Thanks to The Idiot reads the final closing credits of Nathan Silver last feature Soft in the Head and one can’t help but recalling the Dostoveskian tale of absurdity, chaos and turmoil of a man with good intentions and the consequences his behavior sparks around him and the people who surround him.
By Claudia Siefen Listen, the wind will whip up, and you will feel the knife cutting into your lower arm. The body as a living organism
By Claudia Siefen
A group of spectators form a rolling road-block while two trotting horses, with sulkies and riders, run a fast race on a public highway and large sums of money exchange hands. In Road Race, (2004) the director questions the aspiration of documentary to collapse the distance between reality and representation. An amazing artwork because of its energy and brutality and the unusual twist and thoughts behind it.
By José Sarmiento Hinojosa Following the lives of young Yingying and her smaller siblings, left alone for months without parents and coping with survival and hard
By José Sarmiento Hinojosa The Wayúu indigenous community, a hidden village on the Guajira peninsula somewhere along the Colombian/Venezuelan border, is one of the thousands of
By José Sarmiento Hinojosa Preceded by good comments and reviews, this adaptation of Roberto Bolaño‘s «Una Novelita Lumpen» (the last novel he published in life) even arrived with
By José Sarmiento Hinojosa
Jacques (William Hurt) and Mado (Alexandra Lamy) are a couple who loses their child tragically in an accident and gets separated because of a destructive mourning process. After leaving to America to restart his life, Jacques gets reunited with her former wife, returning to France to handle his father succession. There, he’ll meet her 7 year-old son of a new marriage, Paul, and a succession of obsessive and morose passages will lead to disaster.
By José Sarmiento Hinojosa
It should not become as a surprise that Gustav Deutsch(Vienna, 1952), better known from his work with found footage of obscure sources, had decided to do a film about Edward Hopper’s paintings, recreating the story of Shirley’s (a fictional lead character) personal life through the 30’s to the 60’s. “I am interested in the meaning that is given by the image”1, were his words about Film Ist. a Girl & a Gun, and that reflection could easily land in fertile ground when referring to this latest film. Shirley: Visions of Reality, it’s probably 2013’s definitive masterpiece, a film which digs deep into Hopper’s universe and uses it to spark a story which speaks about an era, its politics, its mood but more importantly, an intimate personal journal through one of America’s most convulsed periods.
by Julie Grossman and Therese Grisham
This essay aims to unlock gender from specific genre types by way of Ida Lupino’s melonoir films of the 1950s. The strong associations critics and viewers have forged between genres and gender categories have marginalized Lupino’s contributions, which are only now coming into critical view. Merging film noir and women’s melodrama brought her tough noir vision more fully into the domestic sphere, establishing an intriguing blend of what Therese Grisham identifies more particularly as “home noir.”
By Adrian Martin
Land of the Dead (2005) is, at every moment, a jaw-droppingly audacious film. In fact, it is Karl Marx’s Capital on the multiplex screen. George Romero’s anti-Bush (indeed, anti-American) rhetoric is fearless and unrelenting: the embodiment of evil capitalism, Kaufman (Dennis Hopper), announces, “We don’t negotiate with terrorists”; and his opponent, the heavily ethnic Cholo (John Leguizamo), later responds with: “I’m gonna do a Jihad on his ass.” Only a supposedly trivial zombie horror movie – dismissed, overlooked or treated summarily by many mainstream, middlebrow critics – could manage to fly under the ideological radar so completely to work its savage, subversive mischief.
Director: Mónica Delgado Ch.
ISSN 2311-7451
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