Cine latinoamericano
Q & A: PATRICIO GUZMÁN
By Christopher Small
The prestigious Chilean filmmaker answers some questions about “El Botón de Nacar”, the Silver Bear recipient in last year Berlinale.
2016.04.16
Q&A
Q&A
Q & A: YANN BEAUVAIS
By .txt texto de cinema
In this interview with Yann Beauvais we speak about the relations between film and text. Non-narrative aspects of text in filmmaking, text as image, and try to stablish a minor history of film text pieces.
2016.04.02
Q&A
TOO MUCH: FRAGMENT OF AN INTERVIEW WITH GUY MADDIN
By Tara Judah
My first encounter with The Forbidden Room was at the Berlinale. We met again at LFF (London Film Festival). In London it played at the BFI IMAX, and it was different. Not only because it was so much bigger, but because Maddin had made it shorter, too.
2015.12.11
Q&A
Q & A: ALEXANDRE LAROSE
By Tess L. Takahashi
Alexandre Larose is a Montreal-based filmmaker, and has screened work at venues like Projections (NYC), Wavelengths (Toronto), Images Festival (Toronto), Media City (Windsor), the Oberhausen Short Film Festival, and the International Film Festival Rotterdam. He has also produced the installation Round Trip at the Eastern Bloc in Montréal (in collaboration with Heather Reid) and has made numerous experimental shorts including 930 (2006), Le Corps Humain (2006), Artifices #1 (2007), La Grande Dame (2011), and j (2008, co-directed with Solomon Nagler).
2015.09.02
Q&A
Q & A: STINE MARIE JACOBSEN
By Pamela Cohn
Direct Approach is an art project as well as a practical working method on how to talk about violence and, through memories of violent scenes in film, creatively, theoretically and practically work with the themes surrounding it. Jacobsen has collected “statements of violence” shared by several different people of all ages and walks of life here in Berlin that she’s approached and asked to participate.
2015.03.10
Q&A
Q & A: JAN SOLDAT
By Pamela Cohn
Jan Soldat’s documentary work is the purest storytelling I’ve seen in cinema. What might blur or mar this purity, at first blush, is the subject matter he tends to choose. But like many filmmakers I’ve spoken to, he uses his craft in order to search, to seek and to satisfy his own unending curiosities about his fellow human beings.
2015.03.10
Q&A
Q & A: VERONIKA LIŠKOVÁ
By Pamela Cohn
Czech filmmaker Veronika Lišková followed Daniel for one year as he introduces his family, friends, and the society in which he lives into his world living as a pedophile. An exceedingly empathetic and human-scale story, Daniel’s World captures both the public and private moments of his confessions.
2015.03.10
Q&A
Q & A: PETER VON BAGH (1943-2014)
By Julian Ross
Just two years ago, Peter von Bagh (1943-2014) was the subject of a Signals retrospective programme at the 41st International Film Festival Rotterdam. I’m ashamed to say I had never heard of him before. But the idea of a reverse Pickpocket in the form of Pockpicket eli katkelmia helsinkilaisen porvarisnuoren elämästä (Pockpicket – Recollections of a Helsinki Bourgeois Youth, 1968) intrigued me and I headed to the cinema.
2014.11.28
Q&A
FEATURED FILMMAKER: JEANNE LIOTTA
By José Sarmiento Hinojosa
Jeanne Liotta (New York, 1960) calls herself a “professional amateur”, and beyond that particular declaration there’s more than 30 years of amazing work in different fields of art. Of course, she’s better known as one of the best avant-garde filmmakers of all time, but her intertwined work that consists of installations, photography, field recordings and films transcend the experience of cinema in so many different ways. Desistfilm had a chance to talk to her about her initial “intuitions” as an artist, and how did she adapt to the different formats she ended up working with.
2014.11.28
Q&A
INTERVIEW WITH ERIC AND MARC HURTADO
By Nicole Brenez
Writers, musicians, performers, Eric and Marc Hurtado have worked with Alan Vega, Genesis P-Orridge, Lydia Lunch, and Philippe Grandrieux. For decades, they left us thinking that their splendid films in 8mm, pantheistic odes to the intensities of the world, were the fruits of a symbiotic partnership – until they revealed in 2008 that Marc was only the author at the times where Jajouka’s production required a great creative clarity.
2014.09.29