Eng
DESISTFILM 2022 FILM ROUND-UP: THE LISTS/LAS LISTAS
Presentamos las listas de desistfilm 2022, con mención a los filmes más valorados vistos durante este año, gracias a la participación de colaboradores, amigos y
2022.12.31
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.
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.
2022.07.30
Artículos
WHAT IS AN EMOTION: NOTES ON JUST BE THERE BY CASPAR PFAUNDLER
by Claudia Siefen-Leitich
Emotions run parallel to bodily processes, signify the interpretation of identified and replicated bodily states and are externally recognisable by third parties. The approach has attempted to interpret emotions in purely neuronal and physiological terms. It should be noted, however, that an original bodily process is not necessary to talk about emotions.
2022.04.26
Artículos
A FEMININE MANIFESTO: ASPARAGUS, AN INTRICATE VISUAL POEM
By Dhia Dhibi
A red-heeled leg penetrating through a blood-colored rotating circle ushering a green serpent that slithers spiraling around it with a twisted manner, this is the first sequence that welcomes us to embark and immerse in the erotic and surreal experience of the 18 minutes animated masterpiece by Suzanne Pitt, Asparagus (1979).
2022.04.04
Eng
LANDSCAPE – MOVEMENT: A VIDEO ESSAY ON A VIDEO ESSAY ON ARTAVAZD PELESHIAN
By Maria Dianela Torres Valencia
How can we link the landscape and the music of cinema? With this in mind, this essay shows the formal relationship between the cinematographic montage of landscape and music based on a film by Artavazd Peleshyán. If the landscape and the human being are a cyclical totality, the work in the field has a dialectical relationship which is both sensory and rhythmic with nature. Thus, geography and climate are presented as a being-environment in an audiovisual sense.
2022.03.25
Eng
THE WOUND AS A DISPLACEMENT: ON NICOLAS KLOTZ AND ÉLISABETH PERCEVAL’S NOUS DISONS RÉVOLUTION
By José Sarmiento Hinojosa
Before they reached the Negro they stopped, because he began to sing. They could see him, naked and mud-caked, sitting on a log, singing. They squatted silently a short distance away, until he finished. He was chanting something in his own language, his face lifted to the rising sun. His voice was clear, full, with a quality wild and sad.
William Faulkner – Red Leaves
2022.03.24
Berlinale
BERLINALE 2022: MATO SECO EM CHAMAS BY ADIRLEY QUEIRÓS AND JOANA PIMENTA
By José Sarmiento Hinojosa
Mato Seco em Chamas culminates with a procession of motorcyclists after the fire of the repressive apparatus, represented in the armored police vehicle. An ending that adopts the epic western as a declaration of principles, but in this case, principles of elementary subversion in the face of repression. A remarkable film in the filmography of both filmmakers.
2022.02.16
Berlinale
BERLINALE 2022: RIMINI, BY ULRICH SEIDL
By Monica Delgado
With more than twenty films, between documentaries and fiction, the Austrian filmmaker Ulrich Seidl arrived at the 72nd edition of the Berlinale. Rimini’s premiere is part of the official competition, and although it takes the name of a city that is not indifferent to any movie buff (the birthplace of Federico Fellini), it is a portrait of an autumn character, crossed by a context political and social, as is often the case in much of this filmmaker’s cinema.
2022.02.14
Artículos
THE ENERGIES OF MARA MATTUSCHKA
by Claudia Siefen-Leitich
With her seemingly never-ending energy, there is a moment when you experience the painter and filmdirector Mara Mattuschka in peace and in almost frozen concentration, and that is while eating in a restaurant. As a performance artist, painter, author, actress, professor and even singer, Mara Mattuschka surprises her audience time and again and is one of the figureheads of Austrian avant-garde cinema. The body is at the centre of Mattuschka’s work, quite conscious in its impulsiveness and defectiveness, through which the unconscious seems to burst forth and leap at us. If one allows it to. Born in Sofia in 1959, she studied painting and animation with Maria Lassnig at the University of Applied Arts in Vienna, but began to explore the medium of film at an early age.
2022.01.18
Directors:
Mónica Delgado Ch.
José Sarmiento Hinojosa
ISSN 2311-7451
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