Sergei Loznitsa

Sergei Loznitsa

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CPH:DOX

CPH:DOX 2020. A SHAPE OF THINGS TO COME Y STATE FUNERAL

Por Aldo Padilla

En A Shape of Things to Come, junto a Lisa Marie Malloy, se concentra en un ermitaño (en los créditos finales del film nos enteraremos que se denomina Sundog), quien se encuentra en un estado de aparente precariedad acompañado de su silencio y la ausencia personas cercanas, pero que logra encontrar una armonía entre lo que la naturaleza le ofrece a su alrededor.

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En español

TIFF 2018. WAVELENGTHS: THE TRIAL DE SERGEI LOZNITSA

Por Aldo Padilla

Ante todo, el montaje declara una idea de intencionalidad: mostrar algo de acuerdo a una finalidad artística o comunicacional. Cuando desde un medio de comunicación se utiliza el termino “montaje”, por lo general hace referencia a un tipo de trampa que busca manipular a un segmento de la sociedad.

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Film Festival Reports

TIFF 2018. WAVELENGTHS: THE TRIAL BY SERGEI LOZNITSA

By Aldo Padilla

Montage declares, before anything, an idea of intentionality, the idea of showing something according to an artistic or communicational intention. When the term “montage” is used in the media, it is generally referred to a trap that seeks to manipulate a segment of society. Governments with a totalitarian tendency are experts in constructing parallel realities, both to reaffirm the loyalty of its followers and to intimidate its opponents. The communicational montages that are built or denounced pretend to hide the root problems of their dubious regimes.

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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.

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Cannes

CANNES 2018: DONBASS BY SERGEI LOZNITSA

By Mónica Delgado

Donbass is the name of an Eastern Ucranian territory which is described and critiqued by Sergei Loznitsa, in a key of absurdist tale about the crisis of that country and Russia, its big opposition. The acid humor pours in thirteen episodes, whether in usual situations about politic negotiations and others due to quotidian life in wartime. Meetings from different politicians, public workers and civil society, and also weddings or hospital dates, are part of simulacra machinery (actors are paid to create news) that the filmmaker uses as a prologue and epilogue, to enclose the facts of war in the realm of falsehood or “post-truth”.

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Cannes

CANNES 2014: MAÏDAN DE SERGEI LOZNITSA

Por Mónica Delgado

Filmar la inmediatez de la revolución, desde su aspecto noticioso pero sin serlo, porque ante todo el director ucraniano Sergei Loznitsa parece estar en esa suerte de territorio comanche, donde la mística por el acto de registrar queda en evidencia en las dos horas y media de metraje de Maïdan. 

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Cannes

CANNES 2014: MAÏDAN BY SERGEI LOZNITSA

By Mónica Delgado

To film the immediacy of revolution, from its newsreel aspect but not really like it. Before everything, Ucranian filmmaker Sergei Loznitsa seems to be in this sort of Comanche territory, where the mysticism of registry is evidenced in the two and a half hours of footage of Maïdan.

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