Por Aldo Padilla
Por un lado, la coproducción brasileño portuguesa Antonio um dois treis, inspirada en Las Noches Blancas de Fedor Dostoievski, y por otro, la iraní The pot and the oak. Ambas enfrentan a los personajes tratando de llevar sus vidas a una meta obra, de las cuales no tenemos certeza, ni convencimiento en ningún momento de su existencia.
Por Aldo Padilla
El voyerismo como acto prohibitivo puede ir aumentando con ciertos agravantes, y precisamente Pedro Aguilera director de Demonios tus ojos, va llevando a nuevos límites la obsesión de su aturdido protagonista, Oliver, un oscuro director (como lo van definiendo a lo largo de la película), quien se obsesiona con su media hermana Aurora. El protagonista traslada sus ojos al cuarto de su hermana mediante una cámara, para observarla de una forma ambigua no necesariamente sexual en un inicio, disfrutando de distintas formas, ya sea viéndola mientras él la llama o cuando rechaza a su obtusa pareja.
Por Aldo Padilla
El director austriaco, radicado en Buenos Aires, Lukas Valenta Rinner, retrata mordazmente un microcosmos porteño, como hace algunos años lo hiciera Benjamin Naishtat en Historia del miedo, que se concentraba en la paranoia que reina en estos lugares bonaerenses alejados, frente a fantasmas imaginarios que perturban una tranquilidad que se cree garantizada.
By Tara Judah
First time feature filmmaker, Kevin Phillips, captures the sweet mundanity of suburbia well; the meaninglessness of the boys’ conversations as they discuss wanking, set against beautiful sunsets, are the kinds of motifs that form the backbone for nostalgia and evoke the notion of ‘formative’ experiences. But, and let’s be clear that the male characters are all unrepentant and abhorrent, Phillips’ film is no Stand By Me (Rob Reiner, 1986); the boys have no future. Instead, this dramatic horror is characterised by absent fathers, failed morals, self-interest and extreme violence.
By Tara Judah
The prolific Miike Takashi directed five other films in the two years (2014 and 2015) since the first instalment of his live action adaptation, The Mole Song: Undercover Agent Reiji (2013). Returning now to the titular bat-shit cray undercover cop character, created as a manga series by Noboru Takahashi, Takashi has created something exhilarating and messy.
By Tara Judah
In each segment, Cate Blanchett is re-invented as a human incarnation of each movement’s manifesto. The hair, make-up, wardrobe and mise-en-scene that mark each transition are supreme. But beyond that, and beyond even the careful composition of each striking establishing shot, or the brilliantly rhythmic score, is a belly full of passionate anger.
Por Aldo Padilla A pesar de la enorme maquinaria del cine de la India, son pocas las películas desde aquel subcontinente que se pueden ver
By Tara Judah I feel as though I’ve been waiting to see this documentary most of my life. So many documentaries rely on talking heads
By Tara Judah
I don’t speak Swedish or Dutch. Nevertheless, I saw Roy Andersson’s, En duva satt på en gren och funderade på tillvaron (2014), a Swedish language film, with Dutch subtitles, at IFFR.
By Tara Judah
Though I am sure the dialogue is filled with nuanced witticisms – Andersson is known for his deadpan humor – every frame is a carefully composed artwork. His painterly compositions are captivating and, after some early frustration at my compulsion to read the subtitles I couldn’t understand, I found it liberating to exclude language from the experience. I looked more pointedly at the images and I noticed things I think I would have missed, on a first viewing, at least.
Director: Mónica Delgado Ch.
ISSN 2311-7451
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