Laura Huertas Millán

Laura Huertas Millán

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Berlinale

BERLINALE 2020: A PROGRAM FOR LATIN AMERICA

By Mónica Delgado

The program 6 of Forum Expanded was particularly interesting for me. And this doesn’t have to do with the quality of the films shown, but the criteria used to select them and group them. Laura Huertas Millán’s Jíibe, Jonathas de Andrade’s Jogos Dirigidos and Ava Vaz’s Apiyemiyekî? were all projected in this sesion, three works that have as a common denominator being solely from Latin America.

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Crossroads

CROSSROADS 2019, PROGRAM 3: OTHER VOICES, OTHER ROOMS

By Wilmer Zumarán

The films of the Program 3, Other voices other rooms, of the Crossroads Film Festival 2019 are very heterogeneous among them. However, they have as a common denominator a particular position on the look, the image, the representation. These are films that impose a way of seeing cinema that works in turn as a political stance against the hegemonic gaze. They are films that seek to denaturalize the way we have become accustomed to feel, that question our experience.

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Film Festival Reports

TIFF 2018. WAVELENGTHS: THE LABYRINTH BY LAURA HUERTAS MILLÁN

By Mónica Delgado

In The Labyrinth, Colombian filmmaker Laura Huertas Millán proposes a bifurcating road: the tale about the ascent and fall of a eccentric drug dealer in the middle of the Amazon jungle, something that little by little is left aside to give place to a local testimony that connects with the environment: the description of a trance and the encounter with the figures and gods that rule those lands.

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Cine latinoamericano

TIFF 2018. WAVELENGTHS: EL LABERINTO DE LAURA HUERTAS MILLÁN

Por Mónica Delgado 

En El Laberinto, la cineasta colombiana Laura Huertas Millán propone un camino que se bifurca: el relato sobre el ascenso y caída de un narco excéntrico en plena selva amazónica, que poco a poco se va dejando de lado para dar paso a un testimonio local que sí conecta con el entorno: la descripción de un trance y el encuentro con las figuras y dioses que gobiernan esas tierras.

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Cámara Lúcida

CÁMARA LÚCIDA 2018: MIRADA EPICENTRO – LAURA HUERTAS MILLÁN

Por Aldo Padilla

Las dos primeras experiencias cinematográficas de Huertas están marcadas con su relación con la naturaleza como testigo de la intervención humana en diferentes espacios temporales, una contemplación que evoca una mirada de cientos de años y que define inquietudes donde los humanos son reflejos, más que personas.

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Cinéma du Réel

CINÉMA DU RÉEL 2018: JENY303 BY LAURA HUERTAS MILLÁN AND THE WHITE ELEPHANT BY SHURUQ HARB

By Pablo Gamba

Laura Huertas Millán’s Jeny303 and Shuruq Harb’s The White Elephant, (both part of the short film competition in Cinéma du Reel) are films realized by female artists and filmmakers, about identity political issues. In the first case, the film owes its existence to a malfunction of the 16mm camera used in the film. This is the kind of accidents that fascinated the surrealists, and the filmmaker chose to include the result.

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Cinéma du Réel

CINÉMA DU RÉEL 2018: JENY303 DE LAURA HUERTAS MILLÁN Y THE WHITE ELEPHANT DE SHURUQ HARB

Por Pablo Gamba

Jeny303, de Laura Huertas Millán, y The White Elephant, de Shuruq Harb, que forman parte de la competencia internacional de cortos de Cinéma du Réel, son filmes realizados por mujeres que son cineastas y artistas, sobre problemas políticos de la identidad. En el primer caso, la película debe en parte su existencia a una falla de la cámara de 16 mm. Es el tipo de accidentes que fascinaban a los surrealistas, y la realizadora decidió incluir el resultado.

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Film Festival Reports

TIFF 2017: WAVELENGHTS. LA LIBERTAD BY LAURA HUERTAS MILLÁN

By Mónica Delgado

In the first minutes of La Libertad, a group of women is observed from fragmentation. Their faces are barely shown and their physiognomies are out of field, shown from their main actions of survival: cooking, knitting, kneading. But during the passing of minutes, Colombian filmmaker Laura Huertas Millán, influenced by the statements of the Sensory Ethnographic Lab, proposes an articulation of a feminine clan in the rural zones of Mexico, with the tradition of handicraft and the urgent resistance and economical independence of women.

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Cine latinoamericano

TIFF 2017. WAVELENGHTS: LA LIBERTAD DE LAURA HUERTAS MILLÁN

Por Mónica Delgado

En los primeros minutos de La Libertad se observa a un grupo de mujeres desde el fragmento. Sus rostros apenas son mostrados y se opta por reconstruir sus fisonomías desde el fuera de campo y desde sus principales acciones de supervivencia: cocinar, tejer, amasar. Pero conforme pasan los minutos, la colombiana Laura Huertas Millán, influida por los estamentos del Sensory Ethnographic Lab de la universidad de Harvard, propone la articulación de un clan femenino en la ruralidad mexicana con la tradición de la artesanía y la urgente resistencia e independencia económica de las mujeres.

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