Q&A

Interviews and conversations with filmmakers worldwide.

INTERVIEW: KAZUO HARA & SACHIKO KOBAYASHI

By Nicolás Carrasco

Renowned documentary filmmakers Kazuo Hara and Sachiko Kobayashi were in Colgate University (Hamilton, New York) on June this year as part of the Flaherty Film Seminar, where they screened their first three films as part of the program curated by Shai Heredia. For more than half a century, the Flaherty Seminar has been firmly established as a one-of-a-kind event that seeks to encourage filmmakers and other artists to explore the potential of the moving image.

BRUCE LABRUCE: “MY FILMS ARE A KIND OF CRITIQUE TO CERTAIN GAY CULTURE”

By Mónica Delgado & José Sarmiento-Hinojosa

Filmmaker Bruce LaBruce (Ontario, 1964) was in Lima as a stellar guest of the 16th edition of OutfestPerú, the Gay, Lesbian, Trans, Bi Film Festival that takes place every year. It was a fantastic opportunity to explore his most recent work and to discuss the context of underground and queer productions in times of political correctness.

TAKASHI MAKINO: “I HAVE A BIG INTEREST FOR THE IMAGE OF DREAMS AND IMAGINATION”

By chance, the last edition of Filmadrid coincided with the presentation of the work of Japanese filmmaker Takashi Makino and the travel of our collaborator Nicole Remy, who also received an honorable mention for her first experimental short Detenerte en el Pulso. We took advantage of this cosmic coincidence and sent Nicole to meet Takashi to talk about the early influences on his cinema, his methods, the change from analog to digital and his different collaborations in image and sound.

(S8) MOSTRA DE CINEMA PERIFÉRICO: AN INTERVIEW WITH BILL BRAND

By José Sarmiento-Hinojosa

One of the most remarkable programs at the latest (S8) Mostra de Cinema Periférico at Galicia, dealt with chosen works by experimental filmmaker Bill Brand, which has been challenging the notions of perception and montage in cinema for years. A guest in this years’ festival as well, Bill talked to us about his program at (S8), the philosophy behind his work, his techniques, the importance of the spoken word in the image and the exercise of seeing. Here’s the conversation that took place.

LAV DIAZ: “CINEMA IS ZEN”

By Monica Delgado

Lav Diaz’s The halt (Ang Hupa) was presented in the latest edition of the Directors’ Fortnight in Cannes. Because of a previous commitment with Film School San Antonio de los Baños, in Cuba, Lav couldn’t assist to the usual Q&A after the screenings, and we were disappointed not to have, first hand, his impressions about this new almost five-hour film.

JODIE MACK: “I WANT TO FIGHT AGAINST THE IDEA OF CINEMA AS A REPRODUCIBLE OBJECT”

By José Sarmiento-Hinojosa

Part child play, part reflection on the memory of the material, the work of Jodie Mack is a unique feature of evolving strategies that mix the structural, the game (in its performative sense), and the archive in a complex web of significations and semiotic rapports between the world, in its materiality and the eye of cinema.

INTERVIEW: CHLOÉ GALIBERT-LAÎNÉ

By José Sarmiento Hinojosa The video essay format is one of the most intriguing and dynamic forms of film criticism today. This unique way of establishing links and dialogues with different films or bodies of work, allows the viewer a further analysis and discovery, something that goes beyond the written text or other forms of […]

DAN SALLITT: “MICRO-BUDGETS ARE A LIBERATING THING FOR ME”

By José Sarmiento Hinojosa

Arguably one of the most interesting indie filmmakers of the last 20 years, Dan Sallitt has been involved with different aspects of cinema with equal success. After the premiere of his latest “Fourteen” at the Berlin Film Festival, we spoke with the director, film critic and dedicated cinephile, to talk about his work, his experience with this latest film and the philosophy behind the work of his many remarkable films.

PAUL GRIVAS: “THE IMAGES ARE THERE FOR THE TAKING, YOU JUST GOT TO PICK THEM UP”

By José Sarmiento Hinojosa

The remarkable Film Catastrophe, premiered last year, revisits certain images from the iconic ship Costa Concordia, main location for Film Socialisme (2010) the first venture in digital film by master Jean-Luc Godard. Here, Paul Grivas gives back to us certain images of the creation process by Godard, a kind of guerrilla filmmaking where we can witness the creativity of one of the greatest geniuses of this century.

DANE KOMLJEN: “CINEMA CANNOT EXIST WITHOUT PEOPLE WORKING TOGETHER”

by Vladimir Seput 

Since 2010 Dane Komljen has created a distinctive body of work that slowly and exquisitely observes human bodies and spatial transformations, intertwining them with history, memory and dreams. His unique and innovative approach to filmmaking has been widely recognized and his work has been screened at major festivals.

DENNIS COOPER & ZAC FARLEY: “LANGUAGE, AND HOW IT’S USED, IS EXTREMELY IMPORTANT IN PERMANENT GREEN LIGHT”

By José Sarmiento Hinojosa

Almost an underground legend by own merit, Dennis Cooper is not only celebrated today for his outstanding novels like Closer, Frisk and The Sluts, but also as a culture vigilante, famous for his ten-year blog of writings, which was temporarily deleted by Google in 2016. In his second venture with filmmaking, Cooper joins talented visual artist and long time friend Zac Farley for their second film Permanent Green Light, a raw yet poetic beautiful view on alienation and adolescence. We found Dennis and Zac online for an interview, in which we discussed their collaboration and everything about their latest films. 

STEVE POLTA: “I THINK LIGHT IS KEY IN TERMS OF PRODUCING THE SENSUAL ENCOUNTER I’M AFTER”

By Ivonne Sheen

Steve Polta is one of the most interesting experimental filmmakers and film curators from the Bay Area, USA. Nowadays he works as the artistic Director of the San Francisco Cinematheque and curates the Crossroads Film Festival program. His film explores the expressiveness of light and soundscapes in super 8 format, which have been screened in alternative film venues and film festivals such as Anthology Film Archives, the Echo Park Film Center, The Museum of Modern Art (New York), The New York Film Festival’s Views from the Avant-garde, SFMOMA, Pacific Film Archive, among others.


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