By Catherine Jessica Beed
In the opening sequence of Bestiaire, three artists sketch a doe, slowly revealed to be dead and stuffed. The differing ways they focus on recreating the animal, one outlining, one laying the foundation for texture over form, initially coaxes a thoughtful introspection, that each of us in one moment viewing the same thing will always differ in our interests and perceptions of what we are seeing.
Por Mónica Delgado Alois Nebel es una adaptación de la novela gráfica de Jaroslav Rudiš and Jaromír 99, realizada en la técnica de Rotoscopia, que traza movimientos animados plano
By Mónica Delgado
Alois Nebel is an adaptation of Jaroslav Rudiš andJaromír 99’s graphic novel, realized in rotoscoping: A technique which traces animated movements shot by shot following a previous real filming (as in Linklater’s A Scanner Darkly or Waking Life)
By John A. Riley
At one point in Tinker Tailor Soldier Spy, Kathy Burke’s dejected, alcoholic ex-secret service researcher is enthusing about the good old days. Gary Oldman’s George Smiley reminds her that she’s talking about the era of World War Two, and she responds, dewy-eyed: “a real war… Englishmen could be proud then.”
By Monica Delgado Sylvain George returns again to the black and white underworld of his previous documentary Qu’ils reposent en révolte (des figures de guerres), this
Por Mónica Delgado Festival films have practically become almost a genre of their own. And it is exactly within the tracking of these commonalities that
Por Mónica Delgado
Tabú es un filme de referencias al cine de antaño, un relato en dos partes marcadas («Paraíso perdido» y «Paraíso»). Es una oda a la nostalgia en blanco y negro, a la estética expresiva del cine silente, que cuenta con chispazos de humor brillante y una banda sonora sesentera y pop.
Director: Mónica Delgado Ch.
ISSN 2311-7451
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