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THE ENERGIES OF MARA MATTUSCHKA

by Claudia Siefen-Leitich

With her seemingly never-ending energy, there is a moment when you experience the painter and filmdirector Mara Mattuschka in peace and in almost frozen concentration, and that is while eating in a restaurant. As a performance artist, painter, author, actress, professor and even singer, Mara Mattuschka surprises her audience time and again and is one of the figureheads of Austrian avant-garde cinema. The body is at the centre of Mattuschka’s work, quite conscious in its impulsiveness and defectiveness, through which the unconscious seems to burst forth and leap at us. If one allows it to. Born in Sofia in 1959, she studied painting and animation with Maria Lassnig at the University of Applied Arts in Vienna, but began to explore the medium of film at an early age.

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Críticas

DESISTFILM 2021 FILM ROUND-UP: THE LISTS/LAS LISTAS

From Desistfilm, we continue with our commitment to continue to make visible a cinema supported by online festivals above all, and the mission of this type of list is to share this appreciation for a cinema that resists and that continues to transform us. Here is the list of collaborators and friends of Desistfilm, who this year accompanied us in some way, either with their texts, appreciations or other forms of love for cinema.

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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

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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).

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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.

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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

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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.

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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.

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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?

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