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desistfilm

JANIE GEISER: “I LIKE TO BE INVOLVED IN WORK THAT ALLOWS MY CURIOSITY TO GET IN PLAY”

By José Sarmiento Hinojosa

I would like to recover some words with a previous exchange with Louisiana-born artist Janie Geiser, which aptly reflect on how I still feel about the work of this wonderful American experimental filmmaker, author of masterpieces of collage cinema such as The Red Book (1994), Ghost Algebra (2010), Valeria Street (2018), Reverse Shadow (2019), among many others. Janie also works in installation and performance with expanded cinema and puppets, and co-created Automata, an experimental film and puppet theater in Los Angeles.

LEER MÁS »
2021.05.11
Eng

ANTONI PINENT: “CELLULOID PRODUCES PHYSIOLOGICAL SENSATIONS THAT DIGITAL DOES NOT CONTAIN”

By José Sarmiento and Mónica Delgado

Almost at the end of last year, Spanish filmmaker, curator and teacher, currently based in Los Angeles, Antoni Pinent premiered his new work “i STiLL BELiEVE iN CELLULOiD” [aka ‘film beyond film’] or iSBiC (2020), a series of short films (or capsules as he calls them) as part of a multimedia project that reflects on the practice and validity of experimental cinema, art and celluloid as a subject.

LEER MÁS »
2021.05.01
Eng

VISIONS DU RÉEL 2021: COURAGE BY ALIAKSEI PALUYAN

By José Sarmiento Hinojosa

Behind the crisp cinematography of Aleksei’s Paluvan latest documentary Courage (2020), lies the story of an underground theater group in Minsk, surviving through times of Alexander Lukashenko’s dictatorship of over 20 years, in the middle of a fraudulent election to further prolong the last communist regime in Europe.

LEER MÁS »
2021.04.20
Eng

CINEMATIC LETTERS TO WUHAN AND BEIRUT: INTER-IMAGES OF A MNEMONIC RIVER AND AFTER-IMAGES FROM A MEMORY BOX

By Dina Pokrajac

Letters have been sent and received since antiquity. But what is the relation of the epistolary practice to cinema? Is every film an open letter inventing its addressee or is it a missive intended for a very specific reader? If the epistle is a form of documenting the past, can it truly capture the exquisite intricacy of its repressed insinuations and remerging indications, or is it merely “rescuing” the banal and otherwise soon to be forgotten fragments of our quotidian?

LEER MÁS »
2021.04.03
Eng

MYTHS IN MOTION: AN INTERVIEW WITH JULIEN FARAUT

By Alonso Aguilar

Intercutting between sharp body movements and intense dramatic sights, French filmmaker Julien Faraut has retooled the sports documentary format to fit his own pursuits. For him, the subjects of his films aren’t just about their unmatched prowess and unthinkable triumphs, but more so a reflection of their own iconography. We see them through the lens of cinematic time. Their actions are repurposed, reframed and recontextualized, while their narratives leave behind the restrictive realms of representation in favor of the limitless possibilities of true expression.

LEER MÁS »
2021.04.01
Eng

BERLIN CRITIC’S WEEK: A LOOK AT ITS DOUBLE PROGRAMS

By Monica Delgado

A new (online) edition of Berlin Critic’s Week (Woche der Kritik) took place from March 7 to 27. Woche der Kritik is organized annually by the German Film Critics Association (Verband der deutschen Filmkritik), within the framework of the Berlinale, in order to contribute to the debate on cinema.

LEER MÁS »
2021.03.15
Artículos

THE HUMAN BEING IN HIS DARKEST CONDITION – ABOUT IMAI TADASHI

by Claudia Siefen-Leitich

In his films, people are at the center of events – as one reluctantly and often reads about directors. Except that in his case it is true. Imai Tadashi (1912-1991), the people-watcher. From a naïve enthusiasm for suffering, whether this arose from poverty or illness, he developed an intense preoccupation with this unchanging point of view.

LEER MÁS »
2021.02.21
Eng

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.

LEER MÁS »
2021.01.06
Book & DVD reviews

SECESSION FROM THE BROADCAST – GENE YOUNGBLOOD

Although the conference “Secession From the Broadcast” given by Gene Youngblood in Buenos Aires dates from 2012, its relevance and validity is currently urgent : “Secession means changing our minds profoundly to become the kind of people who will be able to meet the challenge of creating on the same scale that we can destroy.

LEER MÁS »
2020.12.15

desistfilm

Directors: 
Mónica Delgado Ch.
José Sarmiento Hinojosa 

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

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