By Paddy Mulholland
In the spirit of the later turning point of 1998, in that near-comically optimistic decade for the West, the narrative shifted momentously and purposefully. All efforts were put toward ending the conflict – bygones had to be bygones now, forgiveness had to be no longer sought but unconditionally proffered, the buzzword became “reconciliation.”
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).
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.
By José Sarmiento Hinojosa
Two 2020 films I saw which were decidedly different from one another but shared a common element that made them exceptionally good and drove me to write a piece about them (in this series of impossible dialogues between films I am planning to do) were the dance/coreography documentary Shelly Belly Inna Real Life by Argentinian filmmaker, dancer and choreographer Cecilia Bengolea and 80,000 ans, a dreamlike split screen film by Christelle Lheureux.
Directors:
Mónica Delgado Ch.
José Sarmiento Hinojosa
ISSN 2311-7451
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