desistfilm
Eng

CPH:DOX 2023 – IRAN IS SLIPPING THROUGH OUR FINGERS / IRAN SE NOS CUELA ENTRE LOS DEDOS (ENG/SPA)

José Sarmiento Hinojosa

En el programa documental colectivo “A Sense of Place”, seis cineastas iraníes cuentan historias de lugares en Irán o en el exilio. El programa ha sido creado por la productora Afsun Moshiry en colaboración con la Fundación Wim Wenders, y las películas se han desarrollado en estrecha colaboración con Wim Wenders y Hella Wenders.  – CPH:DOXA Sense of Place incluye los trabajos de Mohammadreza Farzad (Hollow), Shirin Barghnavard (Density of Emptiness), Azin Faizabadi (Shadowless – In Transit), Pooya Abassian (Mal Tourné), Afsaneh Salari (Great Are the Eyes of a Dead Father), and Mina Keshavarz (Phobos). – CPH:DOX

LEER MÁS »
2023.04.12
Eng

THE MODERN DANCE: 18TH BERWICK FILM & MEDIA ARTS FESTIVAL (SPA/ENG)

Por José Sarmiento Hinojosa

Encontrar las variables sobre las que descansa la lógica de programación de un festival como Berwick es particularmente desafiante. En efecto, hay un decante sobre un cine más arriesgado, cercano a lo que hemos llegado a llamar “experimental” y de un tono particularmente contemporáneo.

LEER MÁS »
2023.03.22
Berlinale

BERLINALE 2023: THIS IS THE END DE VINCENT DIEUTRE

Por Mónica Delgado

En la usual veta intimista o autorreferencial de las obras previas del cineasta francés Vincent Dieutre, en This is the end estamos ante una sentida reflexión en torno al amor y al paso del tiempo en épocas de pandemia y confinamiento. El cineasta describe en primera persona su permanencia en Los Ángeles como espacio de reencuentro con un amor de antaño, como si la mirada del enamoramiento a los setenta años permitiera un nuevo nacimiento de la mirada, pero también de la escucha.

LEER MÁS »
2023.03.15
Berlinale

WE ARE ALL MADE OF STARS – DEBORAH STRATMAN’S LAST THINGS @ BERLINALE (ENG/SPA)

By Irina Trocan

Seeing Deborah Stratman’s medium-length film in the Forum Expanded section of the Berlinale means taking an unrepentant break from the hectic rhythm of the festival – in the end, you may conclude midway through the screening, none of this really matters, and when we consume our life on this planet we’ll only be a thin layer of dust that covers the rocks. As mankind’s impact on Earth is more demonstrably damaging from decade to decade, the least cinema can do about it is to accommodate views that don’t place humans at the center of everything. Last Things is a definite model for such an eco-cinematic approach.

LEER MÁS »
2023.03.14
desistfilm

FUTURE VS. DEATH OF CINEMA: EVERY SPECTATOR IS EITHER A COWARD OR A TRAITOR (ENG/SPA)

By Dina Pokrajac*

During a conversation on the future of cinema at this year’s Locarno FF Kevin B. Lee and Hito Steyerl came to the alarming yet self-evident conclusion that most media-works these days are at the imminent risk of perpetual abandonment, becoming “the orphans of attention.” Cinema spaces (via their attention privilege) provide one of the last sanctuaries for these orphans, yet in the aftermath of the pandemic many have closed their doors. Therefore, it is important to rethink their role in the way we de-code films.

LEER MÁS »
2023.03.03
Artículos

CAYENDO.EN.TI/FALLING.INTO.YOU – NOTAS SOBRE/NOTES ON BAS JAN ADER (SPA/ENG)

by Claudia Siefen-Leitich

Art-historically unchallenged is his role model function for conceptual artists such as Rosa Barba, Fiona Tan, Marco Schuler, or Shahryar Nashat, Bas Jan Ader’s biography provokes art history to romantic speculations: During the Second World War, his parents hid Jewish neighbours and refugees who knocked on their door in the hope of finding a hiding place. His father, Bastiaan Jan Ader, was deported and murdered in 1944. This traumatic experience is seen to form the basis of Bas Jan Ader’s desire to process it artistically.

LEER MÁS »
2022.11.21
Artículos

NEVER-ENDING MUSIC – GERMAN LANGUAGE AND LANDSCAPE IN THE FILMS OF BERNHARD SALLMANN

by Claudia Siefen-Leitich

Within one’s writing, speaking, and ideally within one’s daily practical life, to place one’s words, pauses, pitches, and even omissions purposefully and communicatively can by now be called a luxury. Defining one’s own character through one’s own language, making it visible and possibly also accessible to a certain extent, is a luxury. And we recognise each other without wanting to form an elitist attitude, but for the sake of simplicity: I say what I mean, and therefore I also mean what I say.

LEER MÁS »
2022.07.30

desistfilm

Directors: 
Mónica Delgado Ch.
José Sarmiento Hinojosa 

ISSN 2311-7451
© Desistfilm 2020
Lima Perú. All rights reserved.

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