desistfilm
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
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.

LEER MÁS »
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).

LEER MÁS »
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.

LEER MÁS »
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

LEER MÁS »
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.

LEER MÁS »
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.

LEER MÁS »
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.

LEER MÁS »
2022.01.18
Eng

BETTE GORDON: THE ARTIST THAT PAINTS IMAGES WITH LIGHT

By Víctor Paz Morandeira

American filmmaker Bette Gordon was in the spotlight in 2020 due to the recent restoration of her cult film Variety (1983), which found an obstacle in its way to theaters in the COVID-19 pandemic. Fortunately Play-Doc International Film Festival (Tui, Spain) gave us the opportunity this year to discover this gem on the big screen. The story depicts the life of a young woman who works in a porn theater in Manhattan selling tickets. Not only does the film subvert the traditional idea of female representation, but it also shows hidden unconventional human landscapes of New York by having the protagonist follow a mysterious client around the city. Gordon inverts the Madeleine-like stereotype of the beauty that exists only for the pleasure of the male gaze in a very playful way, delivering a feminist film – profoundly influenced by Laura Mulvey’s essays put into practice – that does not feel militant at all.

LEER MÁS »
2021.10.18
Eng

KIM KNOWLES: “PHOTOCHEMICAL FILM CAN BRING ABOUT A NEW KIND OF ETHICAL OR ENVIRONMENTAL CONSCIOUSNESS”

By Tomáš Hudák

Despite film becoming a predominantly digital medium in the 21st century, photochemical film has not disappeared completely. There is still a vibrant scene of experimental cinema around it that doesn’t value analogue film for its past glories but focuses on how it can speak to our present and help us reflect on contemporary issues like climate change. Newly established artist-run labs and collectives are therefore not only an expression of artistic ambitions or aesthetical priorities, but can be understood as part of wider social and political movements.

LEER MÁS »
2021.10.14

desistfilm

Directors: 
Mónica Delgado Ch.
José Sarmiento Hinojosa 

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

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