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Rotterdam

Film Festival Reports

ROTTERDAM 2018: GOOD EVENING TO THE PEOPLE LIVING IN THE CAMP,CARTUCHO AND PLAYING MEN

By Aldo Padilla

The limbos in which some medium-length films are handled due to their duration usually make their situation quite complex in festivals. Most of these films are documentaries 40 to 60 minutes long, and they keep away from the circuits of short and feature films circuits, having serious difficulties to be programmed in commercial cinemas, even at art-house theaters. This is why places like the medium-length film competition in Rotterdam Film Festival are such a great opportunity for their visualization, and for some awards. Also, one can see a great creative freedom in these works and clear examples that duration is not a limiting feature in front of the ideas the pose. This freedom can be seen in the competition selection of this year.

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Críticas

ROTTERDAM 2018: GOOD EVENING TO THE PEOPLE LIVING IN THE CAMP,CARTUCHO Y PLAYING MEN

Por Aldo Padilla

Good evening to the people living in the camp se hace cargo de esa libertad mediante la fluidez de sus imágenes. El notorio trabajo de muchas horas de registro en los campos de refugiados en Grecia, permite que los migrantes denoten una gran confianza con el director (el holandés Joost Conijn) y su cámara, que parece prácticamente invisible, ya que logra captar momentos muy íntimos sin ningún tipo de filtro.

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Film Festival Reports

ROTTERDAM 2018: MORMAÇO, POSSESSED AND DJON AFRICA

By  Aldo Padilla

The Rotterdam international competition is possibly one of the most important for filmmakers with a first feature, since it is focused in first and second films. Although the number is very limited (just eight films for a couple of years now), in this competition there’s always place for some surprises.

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Críticas

ROTTERDAM 2018: MORMAÇO, POSSESSED Y DJON AFRICA

Por Aldo Padilla

La competencia internacional de Rotterdam es posiblemente una de las competencias más importantes para directores que realizan sus primeras armas, ya que se enfoca en óperas primas y segundas películas. Aunque el número de competidores es muy limitado, solo ocho films desde hace algunos años, en esta competencia siempre habrá lugar para algunas sorpresas.

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Film Festival Reports

ROTTERDAM 2018: HOMOGENEOUS, EMPTY TIME BY THUNSKA PANSITTIVORAKUL Y HARIT SRIKHAO

By Aldo Padilla

Homogeneous, Empty Time talks about the empty time when the King dies and the military junta seems to take the control of a country with a massive population that moves between oriental capitalism, the radical Buddhist tradition and the mix of religions that inhabit the country. Pansittivorakul and Srikhao dose the film with touches of humor, a way of lightening a little bit a situation that is not always denounced in such an explicit way, with a language so far away from being condescending

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Film Festival Reports

ROTTERDAM 2018: A TIGER IN WINTER BY LEE KWANGKUK AND LA PELÍCULA INFINITA BY LEANDRO LISTORTI

By Aldo Padilla

If in its own way, every work of art has its degree of infinity, the case of Listorti’s film drives us to value unfinished projects that are kept away and grow old without anyone knowing. Not only incomplete projects, but scenes shot but were kept in some drawer, cut by the able hands of the editor, improvised dialogues that weren’t taken into account.

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Críticas

ROTTERDAM 2018: LA PELÍCULA INFINITA DE LEANDRO LISTORTI

Por Aldo Padilla

El caso de los films que se ven en La Película Infinita se entiende que apenas habían sido rodados, por lo cual su recuperación individual no era posible por ser obras incompletas, mientras que la agrupación con otras obras con la misma naturaleza, le da un sentido más amplio.

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Críticas

ROTTERDAM 2018: A TIGER IN WINTER DE LEE KWANGKUK

Por Aldo Padilla

A tiger in winter de Lee Kwangkuk  se mueve bastante en el terreno del cine de Hong Sang-soo, y el hecho de que haya sido su ayudante de dirección remarca esa idea, aunque el cineasta se apoya más en las alegorías que en el diálogo como forma de desarrollo de la historia.

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Film Festival Reports

ROTTERDAM 2017. PARALLAX VIEWS: BIGGER THAN SHINING BY MARK COUSINS

By Tara Judah

Building on last year’s audio-visual essay provocation – Whose Cinema: the video-essay on the big screen of the International Film Festival Rotterdam – critic and filmmaker Mark Cousins returned to screen his 2016 contribution Bigger than The Shining one last time before destroying it (the DCP) with an axe.

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