BAFICI Coverage – Four Shades of Brown (Alfredson)
for desistfilm: John A. Riley Those who know Tomas Alfredson from his international successes Let the Right One In and Tinker Tailor Soldier Spy are likely to consider him as a director at home with genre material, working with well-known tropes in a highly stylised but somehow unassuming way. His two well known films have … Continue reading
COBERTURA BAFICI – Palacios de Pena (Abrantes y Schmid) (SPA)
para desistfilm: Ricardo Adalia Martín En el cine de Gabriel Abrantes todo parece girar alrededor del número 2; siempre dirige en compañía de otro director y coloca en la escena a dos personajes que representan dos puntos de vistas enfrentados sobre la misma realidad. Esa realidad es una brecha sensible donde se rompe toda la … Continue reading
BAFICI CORRISPONDENZA : LA MALADIE BLANCHE di Christelle Lheureux (ITA)
per desistfilm: Lea Liotine Prima della scrittura l’oralità. Prima del cinema la pittura rupestre. Il simbolismo faunistico tipico di molto cinema contemporaneo, che attraverso un potente e diffuso richiamo alle origini sembra anelare ad una purezza non già perduta ma in qualche modo smarrita, affetta questo breve sogno ambientato in un villaggio delle Alpi francesi. … Continue reading
BAFICI 2012 – AWARDS/PREMIOS
CINE DEL FUTURO (CINEMA OF THE FUTURE) Mención para (Honorary Mention): Ok, Enough, Goodbye / Rania Attieh y Daniel García (Emiratos Arabes Unidos, Líbano, 2011). Mejor Película auspiciado por I.SAT para (Best Film): É na Terra não é na Lua / Gonçalo Tocha (Portugal 2011). SELECCIÓN OFICIAL ARGENTINA (OFFICIAL SELECTION – ARGENTINA) Distinción Mejor Tratamiento … Continue reading
BAFICI COVERAGE: On Death Row (Herzog)
for desistfilm: Catherine Jessica Beed Werner Herzog has always been interested in documenting the misfits of society, his films fascinated with outcasts and the complex extremities of human beings. With this project, Herzog draws to attention the very real and very sensitive matter of capital punishment, and further continues one of his journeys into exposing … Continue reading
BAFICI COVERAGE – LES ECLATS (Ma gueule, ma revolte, mon nom) (GEORGE)
for desistfilm: Mónica 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 time through fragments of the same shooting period, a four year task from which he now elaborates a B-side track of sorts. In an hour and a half, Georges edits … Continue reading
COBERTURA BAFICI – Les Eclats (MA GUEULE…) (George) SPA
for desistfilm: Mónica Delgado. Nuevamente Sylvain George vuelve a la descripción del inframundo en blanco y negro de “Qu’ils reposent en révolte (des figures de guerres)”, su anterior documental, pero esta vez a través de fragmentos del mismo periodo de filmación, registro que tomó cuatro años, elaborando así una suerte de B side o reverso. En hora y media, Georges realiza … Continue reading
BAFICI COVERAGE – Eighty Letters (Kadrnka)
Eighty Letters (Osmdesát Dopisú) by Václav Kadrnka is a film set in early eighties socialist Czech Republic under the ex USSR. The filmmaker has made it clear that this is an autobiographical film and it traces the memories of his adolescence, where his mother organized a future encounter with his father, who lived in London as … Continue reading
BAFICI Coverage – Play (Östlund)
for desistfilm: John A. Riley Slowly, over the course of a day, five black boys intimidate some younger, wealthier Swedish boys (two white, one of Chinese descent) and gradually strong-arm, high-pressure and browbeat their quarry into giving them all of their treasured consumer goods. This uncomfortable film unfolds largely in impassive long takes that keep … Continue reading
BAFICI COVERAGE – Hors Satan (Dumont)
for desistfilm: José Sarmiento Hinojosa Somehow the religious and mystical overtones in Bruno Dumont‘s oeuvre have always been a trademark of his work, but in his latest films (especially Hadewijch and Hors Satan) they seem to slowly lose some of their subtlety and give way to a more evident although not less troubling mise-en-scene. One could … Continue reading
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