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Rotterdam

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Film Festival Reports

IFFR 2020: LAGUNA NEGRA BY FELIPE ESPARZA

By Wilder Zumarán Sarmiento

Our species was and has always been spawning and instituting myths surrounding its quotidian existence and metaphysics. While it’s usually thought that these narrations are exclusive from the rural world, this is an element that transverses everything: family, money, the individual, eternal life the idea of progress, for example, are myths in which some of our societies are built.

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Film Festival Reports

IFFR 2020: KRABI 2562 BY BEN RIVERS AND ANOCHA SUWICHAKORNPONG

By Jessica McGoff

What year is it? The year referenced in the title of the latest collaboration between Ben Rivers and Anocha Suwichakornpong, Krabi, 2562, is the present day as designated by the Buddhist calendar. The decision not to state the common (Western) year immediately introduces a slippage into the film’s sense of time and place. Slippage is the central tenant of the project, the film knocks time, identity and memory slightly off-balance, and questions how these concepts are constructed by humans. In its unfolding, the film demonstrates how the Holocene can run into the Anthropocene and back again.

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Cine latinoamericano

IFFR 2020: LAGUNA NEGRA, DE FELIPE ESPARZA

Por Wilder Zumarán Sarmiento

Nuestra especie está y estuvo siempre engendrando e instituyendo mitos alrededor de su existencia cotidiana y metafísica. Si bien se suele pensar que estas narraciones son exclusivas del mundo rural, se trata de un elemento que es transversal: la familia, el dinero, el individuo, la vida eterna, la idea de progreso, por ejemplo, son mitos sobre los que están construidas muchas de nuestras sociedades.

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Film Festival Reports

IFFR 2020: WISDOM TOOTH BY LIANG MING

By  Mónica Delgado

With jury and Best Director awards in the recent Pingyao Film Festival, this debut film by Chinese filmmaker Liang Ming arrives at Rotterdam in the Bright Future section. This is a film that allows us to put in value this work of neon and industrial climates in a country halted in peripheries and suburbs which are dependent of a strict work life.

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En español

IFFR 2020: WISDOM TOOTH DE LIANG MING

Por Mónica Delgado

Con premios a mejor director y del jurado en el reciente festival de cine de Pingyao, este film debut del chino Liang Ming llega a Rotterdam en la sección Bright Future, y permite revalorar este trabajo pleno de neón y climas industriales en un país detenido en periferias y suburbios dependientes de la vida estrictamente laboral.

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Cine latinoamericano

IFFR 2020: APIYEMIYEKI? DE ANA VAZ

Por Jessica McGoff

Un río atraviesa el último trabajo de Ana Vaz presentado como parte de la competencia de cortos del Festival Internacional de Cine de Rotterdam. Apiyemiyekî? fue comisionado dentro de un proyecto diseñado para actuar como un espacio de reflexión sobre la dictadura militar brasileña, que se extendió desde 1964 hasta 1985.

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Film Festival Reports

IFFR 2020: APIYEMIYEKI? BY ANA VAZ

By Jessica McGoff

A river runs through Ana Vaz’s latest work in the International Film Festival Rotterdam’s Ammodo Tiger Short Competition. Apiyemiyekî? was commissioned as part of a project designed to act as a space of reflection on the Brazilian military dictatorship that spanned 1964-1985.

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cine peruano

IFFR 2020: EN EL MEDIO DEL LABERINTO DE SALOMÓN PÉREZ

Por José Sarmiento Hinojosa

Los primeros minutos son prometedores: el telón de fondo de luces en el horizonte, un cielo nocturno y las tomas en caja de 4:3 simulando el 16 mm parecen establecer cierta intención de darle a la ciudad un protagonismo destacado en el desarrollo de la historia, los espacios urbanos como territorio bajo el dominio de estos jóvenes skaters aficionados, las primeras conversaciones ociosas y la impasibilidad de sus personajes, todo se suma a una cierta idea en prospectiva.

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Film Festival Reports

IFFR 2020: IN THE MIDDLE OF THE LABYRINTH, BY SALOMÓN PÉREZ

By José Sarmiento Hinojosa

Three films come to mind from the last 20 years when talking about the teenage coming-of-age genre. From Andrea Arnold’s magnificent Fish Talk (2009), To Larry Clark’s The Smell of Us (2014), all the way across the ocean with Raúl Perrone’s masterpiece P3ND3JO5 (2013), there seemed to be a shared sensibility from their authors, an intention to dwell deeply into the soul of their protagonists: classless, outsider young men and women living in a rarefied atmosphere, in an opposite margin.

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