Expanding on new forms of film criticism.
Por Mónica Delgado
Como suele pasar en el cine de Luis Buñuel, las mujeres son objetos de deseo, mientras los hombres ordenan con su mirada los mundos en relación a esta fijación. En Viridiana (1961), el cineasta español decide dividir su puesta en escena en dos partes marcadas, que son reproducciones de contextos y de visiones de mundo masculinas.
By Monica Delgado In Summer with Monika (Sommaren med Monika, 1952), Ingmar Bergman proposes a series of resources to describe a pessimistic story of confrontation between the city and the countryside, youth and the heaviness of adult life; working life and bourgeois enjoyment without guilt. Beyond the modernity of this story which showed ethical planes […]
By Jessica McGoff
This video essay was commissioned as part of the Critics’ Choice strand of the International Film Festival Rotterdam, as a response to Janis Rafa’s Kala Azar. The strand’s theme was the notion of collectivity, and the video seeks to think through the possibilities of a collective way of living, of coexistence. Kala Azar is an elusive and textural work, focusing on a young couple who collect animal cadavers for burial. Rafa’s film, and her previous visual work, explores the relationship between animals and humans.
Por Mónica Delgado
En Un verano con Mónica (Sommaren med Monika, 1952), Ingmar Bergman propone una serie de recursos para describir una historia pesimista de confrontación entre la ciudad y el campo, entre la juventud y la pesadez de la vida adulta, entre la vida obrera y el disfrute burgués sin sentimiento de culpa.
By Mónica Delgado
In The Night (La Notte, 1961), Michelangelo Antonioni proposes the progressive rupture of the relationship in a bourgeois marriage (a writer, and a writer’s wife). However, on the symbolic level, the filmmaker establishes in advance, the sexual desire imaginary of Lidia (Jeanne Moreau) facing her husband’s disinterest. Hence, The Night is not a film about a couple in crisis, but about the gaze of a woman on this crisis.
Por Mónica Delgado
Se ha hablado de La Noche (La Notte, 1961) de Michelangelo Antonioni como una película sobre la incomunicación, es más, como parte de una serie de indagaciones sobre los desencuentros entre hombres y mujeres y sus roces sentimentales, junto a las clásicas L’Eclisse (1962) y L’Avventura (1959). Aunque a diferencia de estos dos trabajos sobre parejas, en La Noche, hay una intención clara por definir y cifrar la mirada que gobierna el impulso del relato fílmico: la de Jeanne Moreau, o de la mujer angustiada e introspectiva que encarna.
By Monica Delgado
In three moments of Adam’s Rib (EEUU, 1949), George Cukor uses the resource of breaking the fourth Wall, not with the usual intention in comedy, but to obtain some kind of filiation of the spectator in this war of the sexes which was declared.
Por Mónica Delgado.
En tres momentos de Adam’s Rib (La Costilla de Adán, 1949), George Cukor utiliza el recurso de ruptura de la cuarta pared, no con la intención usual de las comedias, sino para obtener algún tipo de filiación del espectador o espectadora en esta guerra de los sexos declarada.
By Monica Delgado
With La Ciénaga (2001), Lucrecia Martel made her debut into feature films, and did so with clear and rational structure that looks to reflect the signs of decadence of a social class, with characters that spend summer in an Argentinian northern rural zone estate. Beyond raising the question of how a determined social stratum in Argentina becomes reflected in this film, I’m interested in finding out some motives about the idea of family that La Ciénaga suggests.
Por Mónica Delgado
Con La Ciénaga, Lucrecia Martel debutó en el largometraje, y lo hizo a través de un film con una clara y racional estructura que busca reflejar los signos de decadencia de una clase social, con personajes que pasan el verano en una estancia en una zona rural del norte argentino. Más allá de plantear el film como reflejo de un determinado momento social en Argentina, pos crisis económica, lo que me interesa es detectar algunos motivos en torno a la idea de familia que La Ciénaga sugiere.
By Mónica Delgado
Beyond the power of technology and its control over the libido of teenagers that is posed in Videophilia (And Other Viral Syndromes), it seems that Peruvian filmmaker Juan Daniel Molero also proposes a reading about the consequences of this type of “infection” from female guilt and repression.
By Mónica Delgado
What are the similarities, beyond their arguments, between On The Silver Globe and Hard to Be a God? Both in Andrzej Zulawski’s film, as in Aleksei German’s, science fiction is the point of departure to tell stories of scientific nature in two planets similar to Earth. In both films there are characters forced to live in new communities, or to establish them, where historical processes experienced on Earth are replicated under the same social and human dialectics. These are dystopian and pessimistic universes, where research and investigation become focus and narrative eye.