By Pablo Gamba
Fausto got this year one of the two special mentions of the jury in the Cineasti del Presente at Locarno Film Festival. This is the second feature of Andrea Bussman and the first one she directs alone. In her previous film, Tales of two who dreamt (2016), she shared director duties with Nicolás Pereda, her husband.
By Ivonne Sheen
Thought and Film. Several filmmakers have been in this galaxy, the one in which film thinks itself. One could say that experimental filmmaking focuses in a way of thinking film, as medium, as phenomenon, as life, from its own nature as a medium. Three films from TIFF’s Wavelengths program think about film, one from a landscape documentary perspective and the two others from an inherited structuralism.
By José Sarmiento Hinojosa
The crushing of lemons, a welcome parallel (an imagined parallel, to be honest) to the manipulation of the possibilities of cinema. Laida Lertxundi, as many other filmmakers in her camp without a proper formation in cinema, has achieved the freedom of a person who manipulates an object the first time it sees it without knowing what it is. This possibility, this immense advantage for the eye, has gave her particular brand of cinema a certain liminality between the discourse and the image, the object and the subject matter.
By Mónica Delgado
In the first minutes of La Libertad, a group of women is observed from fragmentation. Their faces are barely shown and their physiognomies are out of field, shown from their main actions of survival: cooking, knitting, kneading. But during the passing of minutes, Colombian filmmaker Laura Huertas Millán, influenced by the statements of the Sensory Ethnographic Lab, proposes an articulation of a feminine clan in the rural zones of Mexico, with the tradition of handicraft and the urgent resistance and economical independence of women.
by Nicolás Carrasco
In the opposite pole of originality, we find the latest appropriation work by Michael Robinson. Onward Lossless Follows proposes, through the re-montage of images of different sources, and the dubbing of their original dialogues, a completely new narrative.
Por Nicolás Carrasco
En Onward Losless Follows, bajo la influencia de ese genio llamado Craig Baldwin (y, remontándonos más de medio siglo, de Joseph Cornell), Robinson re-edita y le cambia el sentido a imágenes provenientes de esas películas que los norteamericanos llaman “scare films”: aquellas hechas para proyectarse en colegios y advertir a los alumnos contra los peligros del aborto, las drogas, las enfermedades de transmisión sexual, el satanismo, el comunismo, entre otros “males” enemigos del sueño americano.
Por Mónica Delgado
En los primeros minutos de La Libertad se observa a un grupo de mujeres desde el fragmento. Sus rostros apenas son mostrados y se opta por reconstruir sus fisonomías desde el fuera de campo y desde sus principales acciones de supervivencia: cocinar, tejer, amasar. Pero conforme pasan los minutos, la colombiana Laura Huertas Millán, influida por los estamentos del Sensory Ethnographic Lab de la universidad de Harvard, propone la articulación de un clan femenino en la ruralidad mexicana con la tradición de la artesanía y la urgente resistencia e independencia económica de las mujeres.
By Aldo Padilla
Religious catharsis, a contact with God, the rhythmic movement that allows one to feel a presence that goes beyond the evident, a painful dance, shaped like a prayer. The ecstasy that the faithful reach through praises and supplications to God makes them lose their conscience, leaving aside everything that is logical. A sound marks the way to this particular nirvana, a rhythm, mix of crying, movement and all the emotions that try to get out, a strange way of celebrating death.
Por José Sarmiento Hinojosa
Aliens no es sólo un documento de la ex corista de Zombies, sino también un testimonio sobre el resultado de una vida que siempre ha sido ajena a las estructuras de comportamiento de la sociedad, una vida de exceso que después de un fuego salvaje, está lista para ser extinguida.
Por Aldo Padilla
En Cocote, la muerte es un extraño hilo conductor que va conectando al protagonista con un entorno extraño, desde una familia a la cual pareciera desconocer, un pueblo que se ve lejano, unas costumbres que se ven casi sacrílegas desde su conservador punto de vista y un sentimiento de venganza que el trata de rechazar a toda costa, pero que pareciera ser un virus que infecta a todo a su paso.
Director: Mónica Delgado Ch.
ISSN 2311-7451
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