Ali Abbasi – desistfilm

Cannes

CANNES 2022: HOLY SPIDER BY ALI ABBASI

By Monica Delgado

As with Boy from Heaven, also in official competition at the 75th Cannes Film Festival, Holy Spider is a 100% European production based on an Islamic reality. If in Boy from heaven, the Swede of Egyptian origin Tarik Saleh explores the interior of religious power from its formative levels, in Holy Spider, the Iranian living in Denmark Ali Abbasi formulates a story about a serial killer of sex workers in Mashhad, the second largest city in this Muslim country. Both themes would probably be censored in the countries to which they refer, and that filmmakers with the possibility of making them abroad is an opportunity to discuss issues of social and political fundamentalism (although of course, always with concessions very much in tune with the thematic fashions of the moment in festival spaces like this) and from a moral perspective of the West.

2022.05.24

Cannes

CANNES 2022: HOLY SPIDER DE ALI ABBASI

Por Mónica Delgado

Como pasa con Boy from heaven, también en la competencia oficial del 75º Festival de Cannes, Holy Spider es una producción 100% europea sobre una realidad islámica. Si en Boy from heaven, el sueco de origen egipcio Tarik Saleh explora el interior del poder religioso desde sus estamentos formativos, en Holy Spider, el iraní radicado en Dinamarca Ali Abbasi formula una historia sobre un asesino en serie de trabajadoras sexuales en Mashhad, la segunda ciudad más importante de este país musulmán.

2022.05.22

Cannes

CANNES 2018: A BALANCE

By Mónica Delgado

It’s been over a week since the Golden Palm was awarded to Hirokazu Kore-eda Shoplifters, an event which closed a festival that kept its classics leitmotivs in a low key: miserabilism, cruelty or the overrating of a cinema with messages and big issues had its few peaks. Even if this year the program was better in quality compared to other edition, the jury, presided by Cate Blanchett, was discreet when awarding common themes, like the award given to the unambitious Kore-eda film, a plain family drama without any major stylistic attributes. Point aside was the jury prize to Capharnaum by Libanese filmmaker Nadine Labaki, a fact which confirm that despite the good films that made this a noble edition, remains a liking for the kind of films that look to edify consciences through stories of misery, war and refugees.

2018.05.28

Cannes

CANNES 2018: BORDER (GRÄNS) BY ALI ABBASI

By Mónica Delgado

Based on John Ajvide Lindquist’s novel, the same author of Let the Right One In, In, Gräns (Border), Ali Abbasi’s film, is a special experience. Lidquist portrays the story of a police woman with a bloated and deformed shape, who relates to the world through animal drives. The story takes from local myths and Nordic folklore, with echoes of tales of werewolves and other supernatural monsters.

2018.05.13

Cannes

CANNES 2018: BORDER (GRÄNS) DE ALI ABBASI

Por Mónica Delgado

Presentada en la sección Un Certain Regard, el film danés resultó una sorpresa, debido al perfil de híbrido que tiene, entre film de género y realismo documental, ya que el cineasta Abassi propone más allá del cariz fantástico de la historia que narra, una mirada lograda sobre la otredad, el racismo y la indiferencia social desde este “cuento de hadas” atípico.

2018.05.11