25 ° Festival Internacional de Cine de Mar del Plata (Part 2)
second part of special coverage of the Festival XXV Film International Mar del Plata. Read the first version here. Blog exclusive Godard!
For
The festival "A" par excellence of Argentina tries to regain her identity. The search seems be working positively for at least compared with the previous edition, it showed some very interesting points and a polished and varied selection. In competition could be the fantastic animation Chomet, The Illusionist, Aballay, the Man Without Fear Fernando Spiner (a solid "western" with gauchos), and the Panorama section,
Outrage, Takeshi's return Kitano the yakuza. The winner was more than justified: the Polish by Jerzy Skolimowski pride Essential Killing
. The best of the festival was again the viewer feel "harassed by the movies" ("If I see now this, I miss this ... oh! "), a feeling that was lost. There was room for rescues as
White Lands Hugo del Carril and retrospective of Pierre Etaix, Marco Ferreri, John Hughes ...
quite diverse. Welcome festival, we will meet at the XXVI edition.
Aballay, the Man Without Fear (2010) by Fernando Spiner
is a pity that the gender "Gauchos" that had been a territory to explore at the level of western U.S. and even to that of western Mexico has had no continuity in Argentina (remember some examples as
Bairoletto, the Adventure of a Rebelde -1985 - Atilio Polverini and the various versions of
Juan Moreira
from Mario Gallo - 1913 -, through the Nelo Cosimi, 1936, to the masterful and unsurpassed Leonardo Favio -1973 -).
material there was and is, as shown by this work of Fernando Spiner based on a story by Antonio di Benedetto (mendocino author who wrote clandestinely in jail during the dictatorship) and written Javier Diment, Santiago Hadida and Spiner himself. Abalos (Paul Kedron) is the head of a party of renegades gauchos (the gaucho malo typified by Domingo Faustino Sarmiento in Facundo
) engaged in looting.
The first images show the attack qu and they perpetrated against an errand (now iconic image of the Western) in which a passenger travels father of a boy named Julian. The child, hidden under a seat, witnesses the murder of his father. Aballay discovered the child but for some reason, not killed. The Dead , Aballay second (perfect villain composed by Claudio Rissi), betrays his boss and lets him staked to starve (Theme of betrayal, emblematic European westerns and scripted by Borden Chase). Some priests, brothers "stylites", led by a English priest (Gabriel Goity), they explain the path of holiness by way of penance and Aballay choose not to get off the horse anymore, except for issues "special." After ten years, Julian is a man (Nazareno Casero) and find those responsible for the death of his father (the revenge, another topic of gender.)
is Buenos Aires and that makes him an outsider in this world of evil and evil gauchos entertained. In his odyssey meets Juana (Moro Anghileri) which has been sold as wives to the Dead and, moreover, the two begin to fall. The Dead is now the most terrible villain Aballay Tucumán and has become a being sanctified, whose statue is sold as a religious image and it is invoked in the prayers of the people.
With a classic sense of rhythm, timing reminiscent Mann Hathaway and more than Leone and Corbucci, Fernando Spiner captures the spirit of the western U.S. and translated into Latin Americanism (theme of the sanctification of characters popular indigenous representation, a great character made up an astonishing shamanic Horacio Fontova, among other sub-themes) without losing coherence or credibility. The path to revenge is the way of redemption, the violent scenes are perfectly resolved, without excess, in some cases up to a dry form to culminate in a memorable duel with enough blood, to show that the crescendo came in every way.
As in traditional westerns, the landscape is part of the story, and in this case is that of the Province of Tucumán, with the men who seem sons of the soil, Malaria, the people who control "The Dead" is a location as aggressive and hostile as the villain in question. Fernando Spiner, a filmmaker who has made the Buenos Aires in science fiction (
La Sonnambula or hilarious
Goodbye Dear Moon) knows perfectly appropriate genre and "create" something personal, enjoyable and recommended, where you look.
Outrage (2010) Takeshi Kitano
Kitano returns to the Yakuza genre, a type of cinema that he found a twist very personal and demonstrated the existence of an "author" in this director. Beyond that theories like them or not auteur, the truth is that a creative genius unwittingly creates rules that are creating (Immanuel Kant dixit) and that made the director with
Sonatina or
Boiling Point.
For your return, Kitano explores the theme of death codes, Yakuza-codes, which were once like those of the Samurai and you have no place in this treacherous world's hyper. Otomo, the character plays the same director seems to be one of the few to the conservatives, and that will take you down a path full of accounts adjustments to its ultimate consequences. Otomo, offers its services to various organizations mafia each of which wants to eliminate the other. And here we find the path of the hero. This time the road is a series of murders (more than twelve characters are executed in the most diverse forms.)
The treatment of violence by Kitano is most striking. Otomo's character will not move one hair at a time to act (as in Fire Flower), is simply fulfilled its duty and (codes). The theme of the little finger cut off as much as apology as a demonstration of loyalty, known in the West by the Yakuza film Sydney Pollack, 1975, but as shown here thing of the past: it is useless to cut his finger.
The dialogue is terse but shed uncontrollable aggressiveness. Takeshi Kitano has given us a yakuza film Twilight. It shows a world in which there are no codes and power is achieved at the expense of treason and bribery. The loneliness of the hero in an environment that has been left out is visible and palpable, with the zenith at the scene of his murder, in prison, an environment is "supposedly" more controlled than the outside.
The White Land (1959) by Hugo del Carril Hugo del Carril, tango singer, actor and, later, one of the most important filmmakers of Argentine cinema, takes an interesting challenge: to shoot a film in accordance social witness to the overwhelming political constraints of time.
remember that Hugo del Carril, Peronist for the first time, he recorded the famous "March Peronist" or rather the march "The guys Peronist." For this, a little history: the September 16, 1955 uprising occurs-called "Liberating Revolution" the revolutionary movement led by General Eduardo Lonardi, that overthrew the constitutional government of General Juan Domingo Peron. On November 13, 1955, Lonardi would be replaced by General Pedro Eugenio Aramburu. In 1958 Arturo Frondizi, constitutional president takes office but was severely restricted by the pressure of military power which came to impose liberal finance ministers and Roberto Alvaro Alsogaray Alemann. Peron was not mentioned or to Peronism.
also began to soften the blacklisting of those who supported this ideology as Hugo del Carril.
is in this context that the director sets his film. The plot is set in the kidney in the province of Santiago del Estero, an area called "White Land" by the impossibility, due to the dry soil and dry climate, plant. The people living on some fishing, some eventual changa and smuggling. In this environment (which you can see a direct antecedent of
Vidas Secas Nelson Pereira dos Santos -1963 -) shows the "Party of National Tradition" featuring "Peace, Prosperity and Work." The protagonist is a fellow (Trigo), with his wife and son (Amanda Silva and the child then Carlitos Olivieri), occupies an abandoned hut, to support his family, should be paid to do odd jobs for Soriano a smuggler care. A good day comes The Natalio (Hugo del Carril), the ranch owner, who has served two years in prison after being indicted by the political pointer Artaza.
Rail Issues handled by the use of the laborers by unscrupulous politicians, the prevailing injustice that appears no way out, remember the 1952 film Murky Waters Bajan. The positive outlook of the world of children (Carlitos Olivieri and Monica Cristina Ramos) to the soulless world of adults (the child that establishes a parental relationship with the Natalio). Natalio's wife, Angelina (Nora Palmer) has had to prostitute to support her baby, is melodrama par excellence.
To White Lands, Hugo del Carril was based on a novel by Juan José Manaut of 1956 and the screenplay was written by Eduardo Borrás. Manaut was a militant in the Communist youth federation, first and then the Communist Party, which prevented him from exercising his profession as letters from his graduation in 1942. He devoted himself to writing by the impossibility of being a teacher, for his zeal as a communicator and not part of a wealthy family in support of its expenses. Born in Gualeguay (Entre Ríos), but upon graduation from the University of La Plata, was unable to return to his province for his activities with communism. However, Entre Rios is the land on which Manaut returns and, in this sense, back to expose the lives of its people.
Manaut Communist Condition hit the Peronist condition Rail and that led him to dismiss the film and finish (despite the appearance of it as a school teacher). So we should not deny the importance and validity of this film, one that was considered lost and now could be seen in the XXV International Film Festival Mar del Plata. The sleek black and white photography ofrece un meticuloso trabajo de cámara gracias a Américo Hoss, la escenografía de Gori Muñoz, la obra de Manauta y la adaptación de Borrás más un increíble trabajo actoral. Todo ello, sostenido por el demiurgo Hugo del Carril, hacen de Las Tierras Blancas una obra a ver y rever, sin dudas. Es un placer poder disfrutar de un dream team cinematográfico de esta categoría.
Le Grand Amour (Ese Loco, Loco Deseo de Amar, 1969) de Pierre Etaix
No es una coincidencia, o por lo menos no lo parece, el hecho de que en esta edición del XXV Festival conviva El Ilusionista Sylvain Chomet
( L'Illusionniste
, 2010) in competition, combined with a retrospective of Pierre Etaix. The latter reflects the multicultural legacy of Jacques Tati and an original script creator Mr. Hulot was the basis for the exquisite Chomet's animated feature.
Etaix seems in this case a mixture between Jacques Tati, Robert Bresson and Alain Resnais. Le Grand Amour
sequence begins with a strange, unusual in a church in which the record is constantly changing, a sort of nouvelle vague in the comedy imaginary sequences are interspersed with flashbacks of a reality, "alternate" flash-forwards, flashbacks of what we believe the reality of the currently suspended on celluloid, etc.. After a ten-year marriage to Pierre's character is tired, tired of his wife Florence (Annie Fratellini-granddaughter of Paul Fratellini, one of Europe's most famous clowns). Known at this stage (is the tenth year itch?) In its employment Agnès (Nicolle CALF), a young lady who is its secretary.
relations with his wife become more hostile and intolerant, and this extends to his father (owner of a tannery that now manages the Pierre himself) and, especially, his unbearable mother.
This material sings not just a celebration of a family ideal and unreal (a situation that never really existed), Etaix creates a fast-moving comedy, gags and memorable twists, for example, what happens when he meets Pierre Florence's family (flashback), the dream sequence mobile beds (funny and unexpected), the time of the confession of love to Agnes, etc. The dialogues are particularly scathing about the advice of a friend of Pierre to seduce the secretary or to leave his wife. The screenplay was written by Etaix with Jean Claude Carriere and that is evident in every section of the footage. Good opportunity to snap up the work of the author of The sighing .
est Mort Robert Mitchum (Robert Mitchum Is Dead, 2010) by Olivier Babinet and Fred Kihn
A young man with cleft lip and looking werewolf, Franky (Pablo Nicomedes), shows all times be an inept actor. Everything you say or do to show her remarkable talents as refused to confirm as a performance art. Obsessed with black film, reinterpret what they have done other actors like Richard Widmark in classic Kiss of Death
Henry Hathaway, 1947. At these times it leaves all his wealth flowing interpretive and really feel the paper. Robert Mitchum is only one reference in the title refers perhaps to the image of the actor as an icon of black cinema (perhaps the best Philip Marlon screen in unforgettable Farewell Doll
the now forgotten Dick Richards).
appears a certain Arsene Meyer (who even has a name
of Hollywood mogul) played by actor Olivier Gourmet (known as the inspector Philibert in the TV series "Maigret"), interested in Franky (perhaps your name in connection with the Frankenstein monster) once and succeed as an actor. To this end he begins a journey with the protagonist to Film Festival exotic Arctic Circle where to find the producer Sarrineff can mean the road to fame. From this moment begins a road movie by passing the most colorful characters, a Texas rockabilly fan (although psychobilly), André Wilms, a Polish student, a car salesman, Bakary Sangare of the Comedie Francaise and musical numbers, etc.
An interesting film with some downtime, but that puts the characters constantly in search of warmth not found.
The Illusionist (2010) Sylvain Chomet
Jacques Tati in 1959 wrote a screenplay with Henri Marquet, your partner in
Mr. Hulot's Holiday . Tati was not satisfied with the work to be considered dark and gloomy. Saved the script as it was not filmable, at least by himself, and went on to other things. Chomet it back 51 years later and is presented in this exquisite piece of animation.
A Tati black legend says that on his trip to Scotland had an unacknowledged daughter, who still lives there. Quizás teniendo en cuenta este hecho, quizás no, la historia nos relata la relación que se establece entre un mago, el ilusionista de marras, y una niña escocesa, sin palabras, solamente con amor y melancolía. Una relación paternal que recuerda a la que entablan Calvero (Charles Chaplin) y Thereza (Claire Bloom) en
Candilejas , de 1952. Como Calvero, el mago es un artista de variedades que no encuentra su lugar en el mundo y se topan ambos con personajes femeninos jóvenes para acompañarlos quien sabe dónde.
Como ocurre con el filme de Chaplin, el de Chomet derrama melancolía en cada fotograma. Una melancolía ya presente in his earlier work (The Triplets of Belleville ), but now takes a step further. It was noted that this is a pessimistic work that is clear reflection of his vision: when there are no spectators, magic and art are dead, no longer exist. These are just tricks created by men. Real, so Glade died at the end of the film but left open the window to Thereza.
Not here, in Chomet no hope and the end of an era-that of illusion, "it looks, feels and smells. In an animated film enters and sees an image of Tati My Uncle , both are in the work of Chomet and thus enter the pantheon cinephile par excellence, the world of the appointment. A new smile warmly melancholic loss can be drawn on the faces of the spectators. That loss is like a whole movie leaves along its intense 80 minutes.
Essential
Killing (2010) by Jerzy Skolimowski
"I am humbled by this award and want to thank the jury for recognizing our hard work in freezing temperatures have shot, "he said upon receiving the award Skolimowski from the president of the official jury, English Gubern Roman, who said "today and the political force" of the film.
"No doubt that was the hardest film I've done in my career. The shooting was very difficult because we had to shoot raw and very low temperatures in the snow. Luckily, as I had done before in another shooting, Gallo said he was accustomed to walking barefoot through the snow, "said the filmmaker was Polish.
Going this way in the film classic and a director (his first length is 1961, Boks ) is perhaps to quote word for word to the director, who is worth in this case. The film shows a soldier (supposedly) Taliban caught, tortured and illegally brought to Europe by the CIA. On the way manages to escape. That begins his odyssey should run all hazards, inclement weather, hunger, possible hostility of those who can find, etc..
Vincent Gallo up this character without words, gestures elusive, look of fear, anxiety, unfamiliarity with the environment. Also justified the "Astor de Plata" for Best Actor of the Festival. Like a wounded animal, man, in extreme conditions, only defended at all costs. Comes to kill (by fear or desperation) of a nurse or nurse. A film that finds its justification in a topic not closed, as history. And while we know what will happen eventually with the character, do not know when ... or when it was.
Godard Magazine! Invites the course 
-by to give some examples, "appealed to a new realism, energetic and disappointed against the American dream away altogether from the glamor that characterized the Hollywood of yesteryear. From the selected movie, and its main film and cultural references, the course aims to provide an approach to the generation of directors who, in the late sixties, marked a before and after in the history of American cinema and world. 
Paper Moon by Peter Bogdanovich, the daily effort of Johnny and Cleo to strengthen their bond is evident in endless repetitive details. Shot in a Chateau Marmont unpleasant, the feeling of emptiness can wake up in the most innocent gesture daily. "I wanted to do something simple, minimalist," said the director, and he succeeded. In melancholy songs, in a strip dance on skates or swimming. An ultra personal approach on the success and the transience of happiness. To let go. 
What is Cinema?: From DW Griffith to Wong Kar-Wai 
4:30 p.m. 
