Críticas
DESISTFILM 2021 TOP 10: THE TALLY
After counting all the votes from our different friends, staff and collaborators from around the world, these are the best films of 2021.
2021.12.31
Main Articles
Artículos
ADEMÁS EL CINE: LA OBRA AUDIOVISUAL DE MARÍA GALINDO Y MUJERES CREANDO
Por Ivonne Sheen
En la octava edición del Festival Transcinema se presentó un foco a la obra audiovisual de la artista, feminista, teórica, lesbiana, boliviana, cocinera y ninfómana María Galindo, y el movimiento feminista Mujeres Creando, del cual forma parte. La curaduría está a cargo de Viola Varotto, creadora e investigadora audiovisua
2021.12.24
Eng
AESTHETICS OF A PERSONAL LANDSCAPE: FAT CHANCE BY STEPHEN BROOMER
José Sarmiento Hinojosa
I would like to make a case for the aesthetics present in Stephen Broomer’s appropriation films, but particularly in his latest film to date, Fat Chance (2020). One might be inclined to appreciate this work as a continuation of the possibilities for found footage in experimental cinema, following in the steps of other greats like Bill Morrison and Peter Tscherkassky (and yes, there is something to say -aesthetically and in its poetics*- about certain similarities between the film, and, let’s say, others like Outer Space or Light is Calling).
2021.06.21
Artículos
NOTES ON 2551.01 BY NORBERT PFAFFENBICHLER
by Claudia Siefen-Leitich
“Touch“, “shame”, and “disgust” have a multiple meaning in film. Not only do the protagonists touch each other, but the film touches the viewers. Trapped in their cinema seats, captivated by the events on the screen and integrated into the identity machine of cinema, the individual separates himself or herself in order to be involuntarily touched by the so called heroes.
2021.06.21
Main Articles
SARAH FRIEDLAND: ASSEMBLED CHOREOGRAPHIES AT HARNETT GALLERY
By Monica Delgado
The proposals of American artist and filmmaker Sarah Friedland have been based on materializing some concepts of choreographic art as an organized practice, but transferred to the realm of the everyday and familiar, which transforms the nature of the action and does not necessarily make it obvious
2021.04.19
Artículos
TRANSPARENT! THE BODIES OF YURI MURAOKA
by Claudia Siefen-Leitich
Filmmaker and poet Yuri Muraoka, born in 1981, describes her films, videos, photographs and texts as “self-portraits”, but above all she shows the modern image of a woman within contemporary Japanese society. Writings and drawings as well as her collaboration with the “Video Research Laboratory” consolidated the cinematic work of the internationally established artist. Perversion, illness, and corporeality form the framework for her self-documenting art. In 2019 I was able to pair two of her films with a screening of Koji Wakamtsu, and here I would like to take a closer look at this her very individual and personal form of artistic self-expression.
2021.04.09
Main Articles
MALMKROG: A GRACEFUL FEAR OF DYING
By Rodrigo Garay
I wanted to compare some of Vladimir Solovyov’s original passages from War and Christianity with its counterparts in Puiu’s film to try to reveal a modern reading of an old moral debate. Then I thought it would be better to focus on mise-en-scène and the thoughtful support of dialogue that intertwines the characters through its fluid panning shots.
2021.04.08
Eng
CINEMATIC LETTERS TO WUHAN AND BEIRUT: INTER-IMAGES OF A MNEMONIC RIVER AND AFTER-IMAGES FROM A MEMORY BOX
By Dina Pokrajac
Letters have been sent and received since antiquity. But what is the relation of the epistolary practice to cinema? Is every film an open letter inventing its addressee or is it a missive intended for a very specific reader? If the epistle is a form of documenting the past, can it truly capture the exquisite intricacy of its repressed insinuations and remerging indications, or is it merely “rescuing” the banal and otherwise soon to be forgotten fragments of our quotidian?
2021.04.03
Main Articles
CRYSTAL Z CAMPBELL: FROM THE CORNER OF MY EYE @ HARNETT GALERY
By José Sarmiento Hinojosa
One of the most impressive achievements of the curational experience is the dynamics of hybridity between the curator and the artist. Some of the most stimulating experiences of the gallery, museum, online platform, come alive when this dynamic channels the real interest for the artist in a collaboration that merges efforts not only for a platform of exhibition, but with a collaborative effort when the artist is allowed to roam free through innovative experiences of the aesthetic experience, aided skillfully by a professional whose effort involves the formal act of creation.
2021.03.19
Eng
BERLIN CRITIC’S WEEK: A LOOK AT ITS DOUBLE PROGRAMS
By Monica Delgado
A new (online) edition of Berlin Critic’s Week (Woche der Kritik) took place from March 7 to 27. Woche der Kritik is organized annually by the German Film Critics Association (Verband der deutschen Filmkritik), within the framework of the Berlinale, in order to contribute to the debate on cinema.
2021.03.15