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Catálogo 33 Festival Complejo Cinemateca Lorenzo Carnelli 1311 (C.P 11200) Montevideo Casilla de correo 1170 Fax: (598) 2 419 45 72 [email protected] www.cinemateca.org.uy Sala Cinemateca, Sala 2 Secretaría, Administración: T: (598) 2 419 57 95 [email protected] Dirección y coordinación: [email protected] CINEMATECA 18 18 de Julio 1280-1286 T: (598) 2 900 90 56 SALA POCITOS Alejandro Chucarro 1036 T: (598) 2 707 47 18 ECU Escuela de Cine del Uruguay Alejandro Chucarro 1036 T: (598) 2 709 76 37 [email protected] www.ecu.edu.uy ARCHIVO DE FILMS Centro de Preservación y Restauración Catalogación Ruta 8, Brig.Gral. Lavalleja Km16, Calle Dionisio Fernández 3357 T: (598) 2222 10 91 [email protected] Este festival está dedicado a la memoria de su creador, Manuel Martínez Carril 33 Festival CinematoGRÁfico Internacional DEL UruGuaY Cuando en 1982, Manuel Martínez Carril decide crear el Festival Interna- sentido de masivamente aceptado, el cine que el festival exhibe. Así, la cional de Cine del Uruguay, había muchas razones para hacerlo. Cine- Cinemateca Uruguaya no renuncia a hacer lo que siempre ha hecho, que matográficas, claro, en un país con un circuito de exhibición oligopólico, es, tomar una posición frente al cine y la cultura. donde una gran cantidad del cine del mundo no tenía cabida. Político, por “Tomar una posición” significa, claro, juzgar. Significa señalar el valor, supuesto, en un país en dictadura, sumido en una feroz represión y donde o su falta. Significa, seleccionar y justificar esa selección con argumentos y los espacios de libertad habían sido suprimidos. Mucho ha cambiado la si- razones. Significa, claro, defender una idea de cine, pero también defender tuación política de nuestro país y, sin embargo, las razones, también polí- esa idea en la producción contemporánea de cine y no solamente en el ticas, para sostener el Festival Cinematográfico Internacional del Uruguay, campo de las ideas abstractas. siguen en vigor. Porque las libertades recuperadas no fueron suficientes Recién decíamos que “política” e “ideología” no eran palabras que para garantizar que la libertad de acceso a un cine diverso, inquieto, gozaran de una popularidad demasiado amplia hoy. Pues bien, “tomar innovador, de valores éticos y estéticos, esté dada por descontada. Hoy una posición”, tampoco es muy bien visto en los salones donde prima la las carteleras de estreno de Montevideo muestran una homogeneidad etiqueta de no juzgar para no incidir, no incidir para que nada cambie. pasmosa y el predominio no solo de un cine hegemónico, sino el triunfo Este festival trae, en doce días , 120 largometrajes y 60 cortometrajes de una idea de lo que es el cine, es, prácticamente, absoluto. Esa “idea del de todo el mundo. Es, una instantánea de lo que, desde la Cinemateca, cine” se ha metido, además, en los hogares de las personas y la facilidad creemos representativo de la idea de cine que defendemos. Este festival, al de acceso y la oferta en apariencia ilimitada enmascaran una uniformidad igual que los 32 anteriores se realiza en la misma Cinemateca de siempre, lamentable y empobrecedora. Hoy, que podemos ver más, vemos más de con los recursos de siempre. Es decir, más ingenio que recursos, más lo mismo. Ahora que podemos ver más fácilmente nos hemos quedado corazón, trabajo y vocación que apoyos efectivos para realizarlo. Y con sin herramientas y, por qué no, sin libertad para elegir. una férrea convicción de la absoluta necesidad de hacerlo hoy igual que Cuando decimos que las razones para sostener este Festival son po- ayer. O incluso con mayor energía todavía, porque mientras que en 1982 líticas e, incluso, ideológicas, estamos diciendo que hay una idea y una había un poder oscuro que desde el propio Estado reprimía, prohibía y acción detrás de la obstinación por defender este espacio ganado a la censuraba –generando, en reacción, una resistencia cultural decidida y oscuridad dictatorial por aquellos que en 1982 se animaron a hacer un entusiasta– hoy los mecanismos son más sutiles y dispersos y, la resis- festival de cine para abrir la noche. Política, porque es en defensa del tencia, alarmantemente escasa. interés general, que el festival retiene no solamente su espacio en un Pero hay algo que ha cambiado dramáticamente para la trigésimo mercado secuestrado, sino el derecho a pensar, sentir, ver y saber con tercera edición del Festival Internacional de Cine del Uruguay. Esta edi- mayor amplitud, profundidad, intensidad, belleza e inteligencia. Ideoló- ción es la primera que se realiza sin la activa participación de su creador, gica, porque el Festival encarna una idea y un discurso acerca del cine, Manuel Martínez Carril. que se opone, clara y firmemente, a la idea y el discurso hegemónicos. Realizar el festival sin su participación, opinión y consejo ha sido y “Política” e “Ideología”, no son palabras que gocen de demasiada po- es un reto y una responsabilidad inmensos. Esperamos estar a la altura pularidad en los tiempos que corren. Pero tampoco es popular, en el de su legado. 33 International FILM festival OF uruGuaY When, in 1982, Manuel Martínez Carril decides to create the International “Politics” and “ideology” are not very popular words in current times. Film Festival of Uruguay there were many reasons to do it. Cinemato- But the cinema the festival shows not popular either, in the largely ac- graphic ones, of course, in a country with an oligopolistic screening circuit, cepted sense. In this way, Cinemateca Uruguaya does not give up doing where a great amount of the world’s cinema did not have a place. Political, what it has always done, that is, taking a stand for film and culture. of course, in a country with a dictatorship, subdued to a fierce repression “Taking a stand” means, of course, to judge. It means to point out the and where the spaces of freedom had been suppressed. value – or lack thereof. It means to select and justify that selection with A lot has changed in the political situation of our country and, how- arguments and reasons. It means, of course, to defend an idea of cinema, ever, the reasons, also political, to maintain the International Film Festival but also to defend that idea in current filmmaking and not only in the of Uruguay are still in full force. Because the freedoms recovered were field of abstract ideas. not enough to guarantee that the freedom to access a diverse, restless, We were just saying that “politics” and “ideology” were not extremely innovative cinema, with ethical and aesthetic values, is taken for granted. popular words today. So, “taking a stand” is also not very well seen in the Today, the premiere listings in Montevideo show an astonishing homoge- rooms where not judging in order not to influence and not influencing neity and the predominance of not just a hegemonic cinema but also the so that nothing changes take precedence. In twelve days, this festival triumph of an idea of what cinema is, practically absolute. This “idea of brings 120 feature films and 60 short films from around the world. It is cinema” has also found its way inside people’s homes and easy access and a snapshot of what, in Cinemateca, we believe to represent the idea of demand that appear to be limited mask this terrible and impoverishing cinema we defend. This festival, like the 32 that came before it, is made uniformity. Today, having the possibility to see more, we see more of the in the same Cinemateca as always, with the same resources as always. same. Now that we can see more easily we have run out of tools and, while That is to say, more wit than resources, more heart, work and dedication we are at it, run out of freedom to choose. that actual support to organize it. Or even with greater energy because When we say that the reasons to hold this Festival are political and while in 1982 there was a dark power repressing from the very State, even ideological, we are saying that there is an idea and an action behind prohibiting and censoring – generating, as a reaction, a determined and the determination to defend this space earned in the dictatorship’s dark- enthusiastic cultural resistance-, today the mechanisms are more subtle ness by those who, in 1982, dared to make a film festival to draw back the and disperse and resistance is alarmingly scant. But there is something darkness. Political, because it is meant to defend general interest, that in that has changed drastically in the thirty-third edition of the International the festival not only maintains its place in a kidnapped market, but also Film Festival of Uruguay. This edition is the first made without the active the right to think, feel, see and know more extensively, deeply, intensely, participation of its creator, Manuel Martínez Carril. beautifully and intelligently. Ideological, because the Festival embodies Making this festival without his involvement, opinion and advice has an idea and a discourse about film that opposes, clearly and firmly, to the been and is a tremendous challenge and responsibility. We hope to live hegemonic idea and discourse. up to his legacy. ÍNDICE ALFABÉTICO 37°4 S 157 DESCUBRIENDO A BERGMAN 134 LA TRAICIÓN DEL INSTINTO 137 400 MALETAS 59 DESCUBRIENDO A BERGMAN 162 FRESIA 52 DE TAL PADRE, TAL HIJO 70 A G DETRÁS DEL MITO 171 A BLAST 65 GARE DU NORD 80 DISCIPLINA 60 ADIOS AL LENGUAJE 66 GRAND CENTRAL 81 DOS DÍAS, UNA NOCHE 11 ALENTEJO, ALENTEJO 184 DOS DISPAROS 71 H 5 ALEXFILM 67 H 82 ALGUNOS METROS CÚBICOS DE AMOR 49 E HASSAN EN EL PAÍS DE LAS MARAVILLAS 60 ALMAS DE LA COSTA 12 ECHOES 156 HINOKI FARM 118 AMOUR
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