From Argentina, the usual correspondents of our magazine, Silvia G. Romero and Fabian Sanchez, sent these two glimpses of the XXV International Film Festival Mar del Plata , one of the most important events in Latin America. A comprehensive and exclusive material Godard Blog!
"Quality above all things"
By Silvia G. Romero Correspondent Godard! 
The "25 ° Festival Internacional de Cine de Mar del Plata" fulfilled his duties. Unique in its style, was designed with the knowledge necessary to be a center where new artistic tendencies coexist with gems from decades past. Then going through various stages of consolidation, the aim of reaching this "Silver Edition" with quality programming became a reality. In the words of its director, José Martínez Suárez, "a festival is vital representation of the country that performs it, a meeting place." Well, this dynamic was seen in the interest of those involved in special activities proposed (book presentations , open dialogues) and gave his "thumbs up" to the selected material. More authors added to the grid developments, not forgetting the classics, and productive exchange of nuclear region in "Country Programme". If there were expectations , were paid off in spades.
Somewhere Sofia Coppola was the opening film.
near Lost in Translation , this road movie follows the travails of the heart of a Hollywood star who must assimilate the arrival of their daughter. Almost silent, father and daughter roam hotels and improvising games kill time in an attempt to feel family. Something similar happened in
near Lost in Translation , this road movie follows the travails of the heart of a Hollywood star who must assimilate the arrival of their daughter. Almost silent, father and daughter roam hotels and improvising games kill time in an attempt to feel family. Something similar happened in
Virgin Suicides, where a teenage disc or an object to stimulate communication another. However, here everything is doomed to failure. With grimaces rogues and enforced complicity, Sofia has a dramatic comedy with obvious references to his childhood trips and a soundtrack that reinforces the pilgrimage of Stephen Dorff and Elle Fanning. Inspired 
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.
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. In the "Panorama", highlighted Poetry, South Korean Lee Chang-dong. Undoubtedly, a virtuoso exercise on defenseless civilians in a peaceful district. The story of an elderly woman with Alzheimer problems who enrolls in a poetry class might be the starting point for a simple fall melodrama. But the filmmaker's meticulous narrative combining this desire, and the suicide of a minor stained dark shades the plot. When asked about the choice of Miryang for Secret Sunshine
, Changdong stated that "there must be a reason why we must continue to live in a cruel place." Well, there are no barriers valid for Mija (a masterful performance of the consecrated Yun Jung-hee) who experience different stages of mediocrity neighborhood to arrive at their initial purpose. In the manner of Shoei Imamura, who proposed the redemptive nature and space, here, an escape attempt is made concrete in open fields, bridges, parks, places where the repair is at hand and the truth is always near. In Poetry
, Changdong stated that "there must be a reason why we must continue to live in a cruel place." Well, there are no barriers valid for Mija (a masterful performance of the consecrated Yun Jung-hee) who experience different stages of mediocrity neighborhood to arrive at their initial purpose. In the manner of Shoei Imamura, who proposed the redemptive nature and space, here, an escape attempt is made concrete in open fields, bridges, parks, places where the repair is at hand and the truth is always near. In Poetry
opposites are vital (not random) and serve to expose a society that punishes the innocent trembling. Inspired by events reales sobre una joven violada en una ciudad periférica, el título surge porque, según su director, era el único posible. Excelente conclusión.
Otra visión ‘desangelada’ en cuestiones humanitarias es la llevada a cabo por Mark Romanek en
. Basada en la obra literaria de Kazuo Ishiguro, la adaptación al cine puede encontrar detractores: sin embargo, la efectividad de la transposición descansa en la evolución del relato hacia zonas inesperadas para el espectador. Un internado de niños es el punto de partida de un siniestro experimento científico. La casa Hailsham inscrutable hidden secrets for the players but in delicate progression, we see a mixture of creating a climate records in the training spectral Victorian infants. What starts with an atmosphere suitable to a Dickens novel or made by James Ivory is transformed into a nightmare Sci-Fi, with details that could well have been developed by Philip K. Dick.
Thus, a simple exchange of toys or a school play take on a new meaning when the truth comes. More disturbing than the mission for which they prepare these "donors", the truth is that the proposition of a love triangle within a universe is not unusual for Romanek not easy and graceful exit from the game. Also promising young indie film (Carey Mulligan, Andrew Mulligan and Keira Knightley) have adjusted their work acting with minimal gestures and great sensitivity. The handling of suspense and timelessness are two other parameters to consider, providing not only a grim future tension but also a lazy reading of genetic advances present. "These beings have souls or are just mice?. As in "Do Androids Dream of mechanical Sheep?" Some consideration to ponder.
A Surprise in film with small budget, but a lot of creativity, was IM Caravaggio Derek Stonebarger. In this debut, raised sa Exploitation retro movie, we enter the world of Italian painter known through the madness of a young student who follows his course as a "copycat" of the famous artist. In the manner of a modern Bathory, the seductive Ian appropriates the sins of past centuries, with the frenzy of one who sets his own bunker of doom and feeding on three statements that foretell their fate: "I am an orphan, I am a drunk, I'm a murderer. " With few scenic elements and boulevards wandering pernicious idea Stonebarger apocryphal biography with an imprint revived kitsch and color tones that flirt with bloody taps expected. Inevitably the memory of Crimes of Passion , Ken Russell, where the unhinged is the order of the day. Ian is Ryan Eisler, in his debut for the screen, a sort of Anthony Perkins XXI century that descends into the abyss of their own ethical boundaries.
I did not expect is that the cast and crew of
IMCaravaggio be made in the courtroom, his factotum presenter officiating. Some of the attendees agreed that The film hides a vital educational component for new generations. An opinion risky but compatible with the good reception of the little book in question, since its world premiere took place here in Argentina. Magnificent!
Another highlight was debut for The Sentimental Engine Slayer
Omar Rodriguez-Lopez, founder of the cult band The Mars Volta, which has captured fans throughout their particular discography. Prolific like few others, it was not hard to imagine that cinema could focus their attention and landed on fertile ground, using his city of origin as a starting point. Indeed, the action is concentrated in El Paso, Texas, a bleak and fertile stage to unleash their personal musings. They always say that the writers will escape the "incest", which few can express with intensity and imagination this problem. But a challenge of this nature implies an invitation to the nerve to Rodriguez-Lopez. And it was. Won the lead role, he called his close friends and staged the frustration in Barlam psychosis, a scrawny boy who secretly loves his own sister, cultural and religious burden this implies. Unexpressed, rituals dream, latent masochism, everything leans strongly nurtured through dialogue a poetic substance harmful, achieved through inscrutable verses referring to the night and death. Along with IMCaravaggio
two minimalist pieces teenagers psycho-killers. A finding.
two minimalist pieces teenagers psycho-killers. A finding.
Kidnapped Michelangelo Vivas, where a family of wealthy class is exposed to a myriad of insults by the kidnappers to give no respite. A movie only "development" where no one expects that certain scenes expose. The parallel narrative and split screen (with the Brian de Palma) enhance the savagery of a gang that does not let up. Much, much cash that it can hurt themselves, but whose "use and abuse" is celebrated. Vivas said, "This is a film of events where the absolute fear is imposed." One would think that triggered the panic button for which no one was prepared. A systematic meltdown cries, gasps, shock, of meticulous persistence, setting a precedent against local produce predictable as REC
or The Orphanage. If the intention was to discuss the global phenomenon of "express kidnappings", the reflection was shattered by the frenzy of brutality exposed: a fine work of execrable facts that are shaking the cinephile more mediocrity. The family trio, sustained applause does my Manuela Vella. His performance presents different phases so that moves, especially the radicalization of his hysterical acting behavior. Bravo!
In line, Bedevilled
( Endemoniada ) not far behind, although the deprivation of liberty happen on an island where people know the term "civilization." A woman named Bok-nam is subjected to cruel treatment by their peers, a situation that seems to have no end until it reaches the place Hae-won, a supposed childhood friend may be the solution to their problems. So far, we can assume that a buddy movie is ripe and that both will come together to escape from this hell. But the passivity of powerlessness encourages the other. And yes, Jang Cheol-soo used to discuss the slasher violence, appealing to the inhabitants plot to silence a loser of law. Something explored in Angel of Vengeance but deep aroma Korean. Former assistant director of the laureate Kim Ki-duk, this debut follows the course of The Isle or Birdcage Inn, but with less refinement and an unexpected ending. If we omit the wilderness, is "theater of complaint." Risky.
Finally, it should mention the rescue of Australian filmmakers of the seventies and eighties. In the celebrated Bruce Beresford, Peter Weir and Ted Kotcheff, joined the lesser known Donald Crombie (I'll call Caddie ) and Fred Schepisi (The Chant of Jimmy Blacksmith). A retrospective bold titles excited by the reviews. Well labeled may be the key to this "Silver Edition": quality and value of the encounter, above all things.
+ Read the second part of our coverage of the festival at this link.
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