Video essays

Video essays

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Video essays

VIDEO ESSAY: PICTURING THE COLLECTIVE

By Libertad Gills

As I edited this video, I explored and found other characteristics to this image of collectivity, including its similarity to forms of play, as a kind of pact or contract between the participating individuals. In this sense, while in Mendonça Filho’s films the collective is often an ideal, and differences in class, gender and age are subdued, Uchôa renders visible the effort that goes into being part of a collective.

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Cine latinoamericano

NO SEAS ALGUIEN, A VIDEO ESSAY

By Joe Miller

“The truth is, even now I don’t feel I have a career in film,” acclaimed Argentine director Lucrecia Martel confesses in this mini biopic made from excerpts of interviews found on YouTube. Her life story is interwoven here with images of a train trestle over the Bermejo River near her hometown, Salta (some taken in 1925, when the bridge was young and sturdy, others from early 2020, when it was washed out in a flood) along with scenes from the heroine thread of El Úlitmo Malón [The Last Indian Attack] (1918, Argentina), a silent film set in the area around Santa Fe and Rosario.

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Video essays

AUDIOVISUAL ESSAY: GROWING UP? IN THE “CINES CON NIÑO”

By Erin Hogan

This audiovisual essay explores orientations–spatial, political, and sexual–in child-starred films from Spain. Recent coming-of-age cinema offers a counter narrative to its predecessor, the cine con niño child musical films (1950s-60s) from Francisco Franco’s military dictatorship (1939-75).

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Video essays

CITIZEN KAEL, A VIDEO ESSAY

By Monica Delgado

In her famous 1971 article Raising Kane, film critic Pauline Kael rants against the authorship of Orson Welles in Citizen Kane. Today we know that Kael’s arguments were not solid.However, she revealed an absolute passion to dismantle films and defend her positions.

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Video essays

AUDIOVISUAL ESSAY: SHADOWS OF OUR FORGOTTEN MONTAGES

By Dianela Torres

Video essay that explores the relations between montage and music in Sergei Parajanov’s film Shadows of our forgotten ancestors (1965). Parajanov seems to perceive montage as an organic form, in this case, linked to death and grieving. The audiovisual perception is layered in a sensorial sequence that is associated through rhythms (visual and sound). The montage is shown as a dialectical thought. Every shot, sequence and montage is expressed as ancestors.

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Video essays

VIDEO ESSAY: WILDE AT HEART

By Calin Boto

Queers, fags, dandies, daddies. The jet-set and the outlaws. Failed revolutionaries and old money. All living together in Fassbinder’s filmography, sometimes in the very same movie.

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Video essays

VIDEO ESSAY: SUMMER WITH MONIKA

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.

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desistfilm

IFFR 2020: ON COLLECTIVY STRAND, A VIDEO ESSAY BY JESSICA MCGOFF

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.

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Video essays

THE NIGHT BY MICHELANGELO ANTONIONI, A VIDEO ESSAY

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.

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Video essays

ADAM’S RIB BY GEORGE CUKOR: A VIDEO ESSAY

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.

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