DOCSLIB.ORG

Catálogo Ficunam 2016

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Catálogo Ficunam 2016 TERRITORIOS CONTENIDO ISAAC JULIEN 243 PRESENTACIÓN ARCHIVO 7 LEOBARDO LÓPEZ ARETCHE JURADO 311 21 CLÁSICOS RESTAURADOS PREMIOS PAULO ROCHA 311 29 FUNCIONES ESPECIALES INAUGURACIÓN 311 35 CLAUSURA COMPETENCIA INTERNACIONAL 327 39 AHORA MÉXICO ACTIVIDADES ACADÉMICAS: 65 CÁTEDRA INGMAR BERGMAN ACIERTOS. ENCUENTRO INTERNACIONAL EN CINE Y TEATRO DE ESCUELAS DE CINE FORO DE LA CRÍTICA PERMANENTE 149 CLASES MAGISTRALES MANIFIESTO CONTEMPORÁNEO TALLER 99 CONCURSO ALFONSO REYES FÓSFORO 331-351 EL PORVENIR CONTACTO 129 336 RETROSPECTIVA MIGUEL GOMES ÍNDICE POR REALIZADORES 165 344 RETROSPECTIVA MARLEN KHUTSIEV ÍNDICE POR PELÍCULAS 165 348 PRESENTACIÓN INTRODUCTORY REMARKS FICUNAM 2016 La Universidad Nacional Autónoma de México po- see un vínculo estrecho con el quehacer cinema- tográfico; hay de por medio una larga tradición si se consideran los más de 50 años de su presen- The National Autonomous University of Mexico cia en aulas y recintos —los primeros cineclubes (UNAM) has always had close links and ties to estudiantiles, la Filmoteca, el Centro Universitario filmic activities. This is a long standing tradition, if de Estudios Cinematográficos CUEC( ), el Centro we take into account over 50 years of filmic pres- Cultural Universitario (CCU)—, y como tal el cine ence in our university classrooms and facilities, ha constituido para los uni- our earliest film societies run by students, our versitarios no sólo un nicho Film Archives (Filmoteca) and our Film School, de creación sino de divulga- · the University Center for Filmic Studies (CUEC), ción de lenguajes y conoci- El esfuerzo institucional our University Cultural Center (CCU). For univer- mientos. que implica la organización sity people cinema has always been not only a de este festival corresponde niche for creation, but also a way to disseminate En este sentido despliega sin duda a un invariable languages and knowledge. el Festival Internacional de compromiso social y a un Cine de la UNAM (FICUNAM), proceso de búsqueda And it is in this tradition that, · en su edición sexta, su voca- y exploración in its sixth edition, the UNAM The institutional effort ción y compromiso de pro- ~ International Film Festival (FI- entailed in the organization mover lo más innovador del CUNAM) affirms its intention of the festival is related to a cine contemporáneo inter- and commitment to promote relentless social commitment nacional, auspiciando así, a través de la exhibición the most innovative interna- and to a process of search y reflexión entorno al venturoso cine autoral, uno tional contemporary cinema. and exploration de los fundamentos del séptimo arte: el que sus Thus, through the exhibition ~ posibilidades como manifestación cultural y do- of, and reflection on, quality cumental no se agotan, al contrario, se renuevan auteur cinema, we support one of the founda- constantemente dada la confluencia de propues- tions of an art that never runs out of new pos- tas creativas originales y elementos tecnológicos sibilities as a documentary and cultural practice; de avanzada, lo cual es fiel reflejo de que los tiem- on the opposite, cinema is constantly renewed pos cambian y que resultan imprescindibles —aún through the union of original creative ideas and más para la UNAM— nuevos enfoques para difun- state-of-the-art technical elements. It is a reflec- dirlos y asimilarlos. tion of ever-changing times and a remembrance about the need—specially so for UNAM—for new El esfuerzo institucional que implica la organiza- points of view in order to understand and pro- ción de este festival corresponde sin duda a un 6 mote this ever-increasing knowledge. invariable compromiso social y a un proceso de 7 búsqueda y exploración —de apertura— en un The institutional effort entailed in the organiza- contexto global en el que la sociedad del conoci- tion of the festival is related to a relentless social miento impone a amplias redefiniciones en todos commitment and to a process of search and ex- los ámbitos, y ello es condición ineludible en la ploration—opening up—within a global context in ejecución de las tareas sustantivas de nuestra which the society of knowledge imposes broad Universidad. redefinitions in all its areas. This is an inescap- able condition for the right execution of the es- Dr. Enrique Graue Wiechers sential tasks of our University. Rector UNAM Dr. Enrique Graue Wiechers Rector, UNAM El Festival Internacional de Cine de la UNAM tiene tras de sí un lustro de vida, y ahora, en ocasión de una edición más, emprende una in- tensa labor para consolidar espacios de proyección y debate de las filmaciones más propositivas que se hayan desarrollado en el orbe. The UNAM International Film Festival has already lived five years. And Esta original iniciativa de la UNAM ha pugnado a lo largo de estos now, for its newest edition, the Festival is working hard in consoli- años por despertar el interés de la comunidad universitaria y los dating spaces for screening and debating the most innovative films públicos más variopintos por las tendencias osadas del mundo ci- made worldwide. nematográfico, procurando brindar con cada una de las actividades Throughout these years, this original que son propias del FICUNAM — UNAM initiative has strived to stir the in- · secciones, competencias, foros, · terest of the university community—and la evolución y crecimiento de clases magistrales— una experien- such a high-level cultural the most diverse audiences—towards este encuentro cultural y académico de cia integral que incluya el goce and academic gathering some of the most daring filmic trends. alto nivel es una doble característica estético y el aprendizaje, pues una evolves and grows in a FICUNAM aims to offer—through each of que se corresponde con las inquietudes de las peculiaridades del cine de two-fold way—taking into its unique activities, its various sections, tanto de los creadores como de autor es que establece una rela- account the needs of the creators, competitions, forums, and masterclass- espectadores y estudiosos ción estrecha con otras especiali- but also those of the viewers es—a comprehensive experience that que convoca dades artísticas, y esa propensión and film-scholars the festival encompasses education and aesthetic ~ multidisciplinar lo vuelve dinámico, brings together enjoyment. One of the characteristics de tal suerte que la evolución y ~ of auteur films is the close relation crecimiento de este encuentro cul- they establish with other art disciplines tural y académico de alto nivel es una doble característica que se and this multidisciplinary tendency is corresponde con las inquietudes tanto de los creadores como de responsible for a very dynamic kind of espectadores y estudiosos que convoca. cinema. Thus, such a high-level cultural and academic gathering evolves and grows in a two-fold way—taking into account the needs El FICUNAM es una plataforma para las vanguardias y aquellas ex- of the creators, but also those of the viewers and film-scholars the presiones cinematográficas auténticas que acogen un conjunto di- festival brings together. verso de concepciones de creadores noveles y reconocidos, quie- nes hacen gala de una impetuosa —libre— impresión de lo real y de FICUNAM is a platform for avant-garde cinema and for all authentic lo imaginario para abonar a un crecimiento de la cultura cinemato- filmic expressions, including a diverse set of conceptions by emerg- gráfica en cada una de sus facetas. ing and renowned creators who flaunt their intense and free impres- 8 sion of reality and imagination and, thus, plant seeds that foster the De ese modo el gran objetivo sigue vigente: ver y apreciar aquellas 9 growth of all facets of cinematic culture. películas y argumentos que perviven en otras latitudes, otros festi- vales, y que representan un rostro menos conocido del cine pero The main goal remains the same—to see and to appreciate films and estimulante y provocador, que hace una crónica visual de vaivén de stories that live on in other latitudes, in other festivals; films that are las identidades, de su evolución o construcción, como el caso de representative of a lesser known, but just as exciting and provoca- la cinematografía portuguesa, cuya calidad y trascendencia de sus tive, face of cinema. These films offer a visual chronicle of fluctuating cineastas han acompañado con brío este FICUNAM 2016. identities and their evolution, or construction. Such is the case of Portuguese cinema, present in FICUNAM 2016 through its filmmak- Dra. María Teresa Uriarte ers and the quality and transcendence of the films they offer in this Coordinadora de Difusión Cultural UNAM edition. Dra. María Teresa Uriarte Cultural Outreach Coordinator UNAM · Entre las vocaciones Con la sexta edición del FICUNAM se inicia de este festival que · un nuevo ciclo. Es un festival ya consolida- compartimos con la Cátedra One of the concepts the do, que ha demostrado tener su vocación e está la convergencia de Ingmar Bergman Chair identidad muy definida y clara. La programa- disciplinas para la creación The sixth edition of FICUNAM opens a new and FICUNAM share is the ción cuidadosamente seleccionada ofrece y construcción cycle. This is now a consolidated festival that convergence of various un ejercicio curatorial comprometido con el de discursos éticos has demonstrated a clear and well-defined disciplines for creating and espectador, con el arte y especialmente con y estéticos. intention and identity. Its carefully selected building up an ethical and el cine. Con ello se ha ganado una buena re- ~ program offers a curatorial effort centered in aesthetical discourse. putación entre los cinéfilos jóvenes y experi- its viewers, in art in general, and specially in ~ mentados. cinema. This has allowed the festival to earn a solid reputation among young and experi- Ahora el reto no es menor, si bien ya no se trata de demostrar, se enced film lovers. trata de mantener la calidad, a la vez que guardar el balance entre la sorpresa, el discurso consistente y la búsqueda de nuevas miradas.
Load more

Recommended publications
  • Marlen Khutsiev's Films
    FC_72-77_MarlenKhutsiev.qxp_072FC 21/12/2016 03:06 Page 72 BREAKING THE ICE Unsung maestro Marlen Khutsiev channeled the joys and the anxieties roiling within the Soviet soul BY NATHAN DUNNE !" | F ILM COMMENT | January-February 2017 FC_72-77_MarlenKhutsiev.qxp_072FC 21/12/2016 03:06 Page 73 n the second half of marlen khutsiev’s 1965 drama I Am Twenty, a group of students at a party dance gaily among potatoes that have fallen to the floor. Characters are often seen dancing in Khutsiev’s 1960s films, yet this particu- lar scene exemplifies the youthful break of the Khrushchev Thaw from the previous generation’s hardships during World IWar II. Like his fellow revelers, the protagonist of I Am Twenty, Sergei (Valentin Popov), is free of the embittered wartime strug- gle endured by his mother, who had worked night shifts and for- aged for potatoes during the day. Without the pressure of food shortages, this new generation is free to celebrate peacetime with a fond embrace of jazz and Parisian chansons. In I Am Twenty, characters seem to drift effortlessly along pavements, buoyed by the optimism of their youth in the manner of Godard’s Breathless, and yet with a more pronounced sense of lyricism and even expressionism. Of all the major directors that emerged during the Khrushchev Thaw after Stalin’s death, when repression and censorship of artists was relaxed, Khutsiev is perhaps the least well-known outside Russia. He came from a generation that included Andrei Tarkovsky, Sergei Parajanov, Vasiliy Shukshin, Elem Klimov, and Kira Muratova, who together might be called the Soviet New Wave.
    [Show full text]
  • The Altering Eye Contemporary International Cinema to Access Digital Resources Including: Blog Posts Videos Online Appendices
    Robert Phillip Kolker The Altering Eye Contemporary International Cinema To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/8 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Robert Kolker is Emeritus Professor of English at the University of Maryland and Lecturer in Media Studies at the University of Virginia. His works include A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg Altman; Bernardo Bertolucci; Wim Wenders (with Peter Beicken); Film, Form and Culture; Media Studies: An Introduction; editor of Alfred Hitchcock’s Psycho: A Casebook; Stanley Kubrick’s 2001: A Space Odyssey: New Essays and The Oxford Handbook of Film and Media Studies. http://www.virginia.edu/mediastudies/people/adjunct.html Robert Phillip Kolker THE ALTERING EYE Contemporary International Cinema Revised edition with a new preface and an updated bibliography Cambridge 2009 Published by 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com First edition published in 1983 by Oxford University Press. © 2009 Robert Phillip Kolker Some rights are reserved. This book is made available under the Cre- ative Commons Attribution-Non-Commercial 2.0 UK: England & Wales Licence. This licence allows for copying any part of the work for personal and non-commercial use, providing author
    [Show full text]
  • OIL MILL GAZETTEER Official Organ of the National Oil Mill Superintendents’ Association
    OIL MILL GAZETTEER Official Organ of the National Oil Mill Superintendents’ Association. VOL. X V Ii., NO. 10. WHARTON, TEXAS, APRIL, 1916. PRICE TEN CENTS From Secretary-Treasurer Morris It is unnecessary for me to go into details vention, and certainly hope I will succeed much concerning our next convention, for President better. Leonard’s letter in the March issue was to the Let everybody boost for the convention and point and brings out in full everything connect­ be sure to be on hand yourself. Yours to ed with our next meeting. However, I want to serve, F. P. MORRIS, impress upon the minds of all members that in Secretary-Treasurer. order to succeed as we have planned, you must * * * attend. Let’s make this our banner meeting BIG FIRE LOSS AT TYLER year. I have letters from superintendents from California to North Carolina expressing their Tyler, Texas, March 17.— The Tyler Oil desire to be there, and if nothing prevents, you Company and the Tyler Ice Company suffered a will see them. Now then, let’s all who live, fire loss last night of between $25,000 and closer be on hand. The meeting has been ad­ $30,000. The oil company lost its big seed house, vertised throughout all cotton growing states, in which there was no seed, and its hull house, and I will continue to do so from now until the in which was stored a large quantity of hulls. convention meets. If President Leonard and The damage to the walls of the large mill build­ myself, assisted very ably by our never tiring ing will amount to several thousand dollars.
    [Show full text]
  • 43E Festival International Du Film De La Rochelle Du 26 Juin Au 5 Juillet 2015 Le Puzzle Des Cinémas Du Monde
    43e Festival International du Film de La Rochelle du 26 juin au 5 juillet 2015 LE PUZZLE DES CINÉMAS DU MONDE Une fois de plus nous revient l’impossible tâche de synthétiser une édition multiforme, tant par le nombre de films présentés que par les contextes dans lesquels ils ont été conçus. Nous ne pouvons nous résoudre à en sélectionner beaucoup moins, ce n’est pas faute d’essayer, et de toutes manières, un contexte économique plutôt inquiétant nous y contraint ; mais qu’une ou plusieurs pièces essentielles viennent à manquer au puzzle mental dont nous tentons, à l’année, de joindre les pièces irrégulières, et le Festival nous paraîtrait bancal. Finalement, ce qui rassemble tous ces films, qu’ils soient encore matériels ou virtuels (50/50), c’est nous, sélectionneuses au long cours. Nous souhaitons proposer aux spectateurs un panorama généreux de la chose filmique, cohérent, harmonieux, digne, sincère, quoique, la sincérité… Ambitieux aussi car nous aimons plus que tout les cinéastes qui prennent des risques et notre devise secrète pourrait bien être : mieux vaut un bon film raté qu’un mauvais film réussi. Et enfin, il nous plaît que les films se parlent, se rencontrent, s’éclairent les uns les autres et entrent en résonance dans l’esprit du festivalier. En 2015, nous avons procédé à un rééquilibrage géographique vers l’Asie, absente depuis plusieurs éditions de la programmation. Tout d’abord, avec le grand Hou Hsiao-hsien qui en est un digne représentant puisqu’il a tourné non seulement à Taïwan, son île natale mais aussi au Japon, à Hongkong et en Chine.
    [Show full text]
  • Indian Artists
    CONTENTS 03. Editorial 04 Contemporary Korean Music: Black String live at Chennai, Kochi and Kolkata 07 Hamlet-Avataar at the Seoul Performing Arts Festival 08 Calligraphy and Painting Exhibitions at The Gallery @ InKo Centre 10 Choreography residency at Hongeun Art Space in Seoul, Korea 11 Heart of Matter Happiness Conversations- Edition 2 12 Emerging Canvas-3: an Indo-Korean Young Artists’ Exhibition. 14 Two Indian students at The King Sejong 3rd Tae Hon Festival Institute Learners’programme A unique Taekwondo Fellowship Tournament in South India 15 The 3rd TaeHon Festival 16 Contemporary Korean Films at The Third Eye Asian Film Festival, Mumbai 17 Trending @ InKo Centre 28, 29 November 2015 The tournament aims to celebrate the spirit of taekwondo as both sport and philosophy and we welcome applications in the Sub-Junior, Junior and Senior categories. For further enquiries, please contact InKo Centre - +91 44 24361224 / 9940139100 or write to [email protected] 18 Newspicks Designed by Studio RDA © InKo Centre. All right reserved. If you wish to reproduce any material published here, kindly contact us at [email protected] EDITORIAL If cultural engagement is primarily a sensory connect, then it presupposes that it is the synthesis of perception and feeling that creates meaning. We perceive and feel or vice versa, simultaneously, with reason and logic kicking in only much later in the process. It is possible for adults, as well as for children, to receive any number of sensory impressions and be none the richer. Sense impressions are not enough by themselves, for the mind needs education and training to be able to discriminate and appreciate, to distinguish, to categorize and to relate new information to what one already knows.
    [Show full text]
  • SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN the LINES by Olga Klimova Specialist Degree, Belarusian State University
    SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN THE LINES by Olga Klimova Specialist degree, Belarusian State University, 2001 Master of Arts, Brock University, 2005 Master of Arts, University of Pittsburgh, 2007 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2013 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Olga Klimova It was defended on May 06, 2013 and approved by David J. Birnbaum, Professor, Department of Slavic Languages and Literatures, University of Pittsburgh Lucy Fischer, Distinguished Professor, Department of English, University of Pittsburgh Vladimir Padunov, Associate Professor, Department of Slavic Languages and Literatures, University of Pittsburgh Aleksandr Prokhorov, Associate Professor, Department of Modern Languages and Literatures, College of William and Mary, Virginia Dissertation Advisor: Nancy Condee, Professor, Department of Slavic Languages and Literatures, University of Pittsburgh ii Copyright © by Olga Klimova 2013 iii SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN THE LINES Olga Klimova, PhD University of Pittsburgh, 2013 The central argument of my dissertation emerges from the idea that genre cinema, exemplified by youth films, became a safe outlet for Soviet filmmakers’ creative energy during the period of so-called “developed socialism.” A growing interest in youth culture and cinema at the time was ignited by a need to express dissatisfaction with the political and social order in the country under the condition of intensified censorship. I analyze different visual and narrative strategies developed by the directors of youth cinema during the Brezhnev period as mechanisms for circumventing ideological control over cultural production.
    [Show full text]
  • Marco Bellocchio (Writer-Director) Feature Filmography
    Massimo’s idyllic childhood was shattered by the mysterious death of his mother. As he prepares to sell his parents’ apartment, he is haunted by his traumatic past. Compassionate doctor Elisa could help tormented Massimo open up and confront his childhood wounds… Synopsis Turin, 1969. Nine-year-old Massimo’s idyllic childhood is shattered by the mysterious death of his mother. The young boy refuses to accept this brutal loss, even if the priest says she is now in Heaven. Years later in the 90s, adult Massimo has become an accomplished journalist. After reporting on the war in Sarajevo, he begins to suffer from panic attacks. As he prepares to sell his parents’ apartment, Massimo is forced to relive his traumatic past. Compassionate doctor Elisa could help tormented Massimo open up and confront his childhood wounds… Marco Bellocchio (writer-director) Feature Filmography 2016 – FAI BEI SOGNI (SWEET DREAMS) 2015 – SANGUE DEL MIO SANGUE (BLOOD OF MY BLOOD) From teenage rebellion to religious From the 80s on, Bellocchio’s films 2012 – BELLA ADDORMENTATA (DORMANT BEAUTY) institutions to political subversion, have often focused on coming to 2010 – SORELLE MAI (THE MAI SISTERS) the films of Italian director Marco terms with a personally and politi- 2009 – VINCERE Bellocchio have explored the social cally turbulent past. He has ques- 2006 – IL REGISTA DI MATRIMONI (THE WEDDING DIRECTOR) and political contradictions of his tioned ideologies and moral issues 2003 – BUONGIORNO, NOTTE (GOOD MORNING, NIGHT) country. His prolific 50-year career and fought to make sense of his 2002 – L‘ORA DI RELIGIONE (aka IL SORRISO DI MIA MADRE - MY MOTHER‘S SMILE) has been closely intertwined with characters’ motives.
    [Show full text]
  • JAPAN CUTS: Festival of New Japanese Film Announces Full Slate of NY Premieres
    Media Contacts: Emma Myers, [email protected], 917-499-3339 Shannon Jowett, [email protected], 212-715-1205 Asako Sugiyama, [email protected], 212-715-1249 JAPAN CUTS: Festival of New Japanese Film Announces Full Slate of NY Premieres Dynamic 10th Edition Bursting with Nearly 30 Features, Over 20 Shorts, Special Sections, Industry Panel and Unprecedented Number of Special Guests July 14-24, 2016, at Japan Society "No other film showcase on Earth can compete with its culture-specific authority—or the quality of its titles." –Time Out New York “[A] cinematic cornucopia.” "Interest clearly lies with the idiosyncratic, the eccentric, the experimental and the weird, a taste that Japan rewards as richly as any country, even the United States." –The New York Times “JAPAN CUTS stands apart from film festivals that pander to contemporary trends, encouraging attendees to revisit the past through an eclectic slate of both new and repertory titles.” –The Village Voice New York, NY — JAPAN CUTS, North America’s largest festival of new Japanese film, returns for its 10th anniversary edition July 14-24, offering eleven days of impossible-to- see-anywhere-else screenings of the best new movies made in and around Japan, with special guest filmmakers and stars, post-screening Q&As, parties, giveaways and much more. This year’s expansive and eclectic slate of never before seen in NYC titles boasts 29 features (1 World Premiere, 1 International, 14 North American, 2 U.S., 6 New York, 1 NYC, and 1 Special Sneak Preview), 21 shorts (4 International Premieres, 9 North American, 1 U.S., 1 East Coast, 6 New York, plus a World Premiere of approximately 12 works produced in our Animation Film Workshop), and over 20 special guests—the most in the festival’s history.
    [Show full text]
  • Análisis Fílmico De Tag De Sion Sono: Feminae in Fabula
    Análisis fílmico de Tag de Sion Sono: feminae in fabula Versión abreviada de Trabajo Final de Máster (Universitat Oberta de Catalunya), tutorizado por el profesor Jordi Codó Sabrina Vaquerizo González Introducción Licenciada en Traducción e Interpretación, Universidad Autónoma de Barcelona; Máster en Edición, Estoy en el cine. Asisto a la proyección de la película. Universitat Oberta de Catalunya; Asisto. Igual que la comadrona que asiste a un Máster en Estudios Asiáticos, con parto y que, por eso mismo, asiste a la parturienta. especialización en Economía, Lengua Me hallo presente en la película según la doble y Política japonesa, Universitat Oberta modalidad (única sin embargo) del ser testigo y del de Catalunya; Máster Universitario ser-ayudante: miro, y ayudo. Al mirar la película, la de China y Japón contemporáneos; Universidad Oberta de Catalunya. ayudo a vivir, puesto que vivirá en mí y puesto que para esto se ha realizado: para que la mire, es decir Interesada en la representación de para que consiga su ser únicamente a través de la las feminidades y masculinidades en mirada. (Metz, 2001, p.95) la cultural visual y el cine japonés; redactora en Asiateca.net. Con esta metáfora Christian Metz hace hincapié en cómo el sujeto construye y da vida al significado del texto fílmico a través de la mirada. Sujeto y objeto están inexorablemente unidos por el placer escópico porque el cine es un objeto escópico. Lo curioso de la cita es que el sujeto de esta mirada constructora sea una comadrona, una mujer; cuando ya por aquel entonces las teóricas feministas reclamaban que tanto la mujer como la espectadora femenina, se encontraban en el cine clásico en una posición cero, en un espacio de no significado.
    [Show full text]
  • Arabian Nights
    produced by O Som e a Fúria, Shellac Sud, Komplizen Film, Box Productions in co-production with Agat Films et Michel Merkt arabian nights a film by miguel g<mes arabian nights In Portugal — a European country in crisis — a film director proposes to build fictional stories from the miserable reality he is immersed in. However, failing to find meaning in his work, he cowardly runs away and leaves the beautiful Scheherazade to stand in his shoes. She will require enthusiasm and courage so as not to bore the King with sad stories of this country. As nights go past, restlessness leads to desolation and in turn to enchantment! Therefore Scheherazade organises the stories she tells the King in three volumes. She begins like this: “It hath reached me, O auspicious King, that in a sad country among all countries...”. v>lume 1 the restless one 2h05 – DCP – 2:40 scope – 16mm, 35 mm – color – sound 5.1 In which Scheherazade tells of the restlessness that befell the country: Portugal, France, Germany, Switzerland – 2015 “It hath reached me, O auspicious King, that in a sad country among all countries, where people dream of mermaids and whales, and cast Crista Alfaiate, Adriano Luz, Américo Silva, Rogério Samora, Carloto Cotta, Fernanda Loureiro unemployment is spreading. In certain places, forests burn into the night despite the falling rain; men and women long to set out to sea in the middle of Winter. Sometimes there are animals that talk although it is highly improbable that they are listened to. In this country, where things are not what they appear to be, men of power promenade on camels and hide permanent and shameful erections; they await the moment when taxes are collected so they can pay a certain wizard whom…” And seeing the morning break, Scheherazade fell silent.
    [Show full text]
  • Tarkovsky's Legacy. Tarkovskian Inspirations in Contemporary Cinema
    Marina Pellanda Tarkovsky’s legacy Tarkovskian inspirations in contemporary cinema THE STORY ACCORDING TO TARKOVSKY In his Répertoire, French writer Michel Butor imagined all men to be „continu- ously immersed like in a washtub“ in stories (Butor 1960, 1). Everything that is „other than us“, wrote the author, is known to us not because we have seen it but because someone has told us about it, with the configurations of meaning that make every narrated event something to communicate to others. In order to ex- ist, the story must allow itself first to be indiscriminately fragmented, and then forcibly reassembled. If we agree with Butor that narration seems to engulf us like water in a wash- tub, it is also true that every story remains essentially impossible to tell: as an in- tegral part of nature surrounding us, it is intolerant of any form of manipulation, since every manipulation is a meaningful organization of the awareness of time. Chained to the „present“ that is brought to life in every story, the imagination seems prevalently to be subject to a time that, along the lines of Schiller, we might define as „extraneous time“ (cfr. Morelli 1995, 13); nevertheless, it is often true that the user – be he a spectator or a reader – is allowed to proceed at an uneven pace through the event in which he is partaking, thereby tailoring the experi- ence to his own subjective needs. When this happens – for example in Sterne’s Tristram Shandy gentleman, or Joyce’s Ulysses or in the films of Russian director Andrei Tarkovsky who, while at the very back of a long shot and still out of focus, is slowly moving towards these pages – a standardization occurs that for some may be the emblem of an authentic waste of time, whereas for more insight- 549 Marina Pellanda ful eyes, it appears as a concession: the author grants the reader or spectator, the right to experience his own excursions through time.
    [Show full text]
  • Nvdcpizirsnbjrvb9rioq.Pdf
    12 JUL | Sex Fri | 16h00 4 pm Mon Cas My Case, 1986 VISITAS ORIENTADAS GUIDED TOURS FR | 88 min. 14 JUL | Dom Sun | 12h00 12 pm 14 JUL | Dom Sun | 16h00 4 pm Por By António Preto Amor de Perdição Doomed Love, 1978 PT | 261 min. 29 SET | Dom Sun | 12h00 12 pm Por By Regina Guimarães 16 JUL | Ter Tue | 16h00 4 pm A Caixa The Box, 1994 13 OUT | Dom Sun | 12h00 12 pm PT | 96 min. Por By Nuno Grande 17 JUL | Qua Wed | 16h00 4 pm 27 OUT | Dom Sun | 12h00 12 pm O Gebo e a Sombra Gebo and the Shadow, 2012 Por By Ricardo Vieira Lisboa FR | 95 min. 18 JUL | Qui Thu | 16h00 4 pm PROGRAMAÇÃO DE CINEMA Porto da Minha Infância Porto of My Childhood, 2001 CINEMA PROGRAMME PT | 60 min. 25, 27 JUN | Ter, Qui Tue, Thu | 15h00 3 pm 19 JUL | Sex Fri | 16h00 4 pm 26, 28 JUN | Qua, Sex Wed, Fri | 17h00 5 pm Je rentre à la maison I’m Going Home, 2001 29 JUN | Sáb Sat | 16h00 4 pm FR, EN | 89 min. 30 JUN | Dom Sun | 18h00 6 pm Visita ou Memórias e Confissões, 1982 21 JUL | Dom Sun | 16h00 4 pm Visit, or Memories and Confessions, 1982 A Divina Comédia The Divine Comedy, 1991 PT | 68 min. PT | 140 min. 25, 27 JUN | Ter, Qui Tue, Thu | 17h00 23 JUL | Ter Tue | 16h00 4 pm 26, 28 JUN | Qua, Sex Wed, Fri | 15h00 O Velho do Restelo The Old Man from Belém, 29 JUN | Sáb Sat | 18h00 6 pm 2014 30 JUN | Dom Sun | 16h00 4 pm PT | 19 min.
    [Show full text]