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1 2 3 4 5 www.ambulante.org F: GiradeDocumentalesAmbulante T: @Ambulante I: Ambulanteac 6 ANUNCIO1_PLANA_FS_18X22.5CM.indd 1 09/09/2019 17:05:40 7 ANUNCIO1_PLANA_FS_18X22.5CM.indd 1 09/09/2019 17:05:40 CINETECA NACIONAL EMBAJADA DE HUNGRÍA FESTIVAL CINEMA Alejandro Pelayo Embajador Ivan Medveczky NOUVEAU MONTREAL Nelson Carro Lazlo Kiss Dan Karolewicz Alejandro Gómez Treviño Émilie Poirier Julio Cesar Duran Laurie Buteau Israel Herrera CINEMEX Diana Laura Castañeda Francisco Eguren Rodrigo Garay Javier Reyes Moctezuma Jesús Brito Sergio Navarro Silva BOGOSHORTS Gustavo Ramírez Luis Emilio Sil Bañales Jaime Manrique Clara Bañuelos Chávez IMCINE SHORTS SHORTS FILM María Novaro MARVIN FESTIVAL & ASIA Fernanda Rio Cecilia Velasco Seigo Tono Lola Díaz González Homero Nuñez Tetsuya Bessho Isabel Moncada Aki Soyama Ángela Guerrero Luis Bustamante TIME OUT Antonio Pimentel Paola Palazón Seguel UNIVERSIDAD DE LA Julio Chávez COMUNICACIÓN A toda la comunidad académica, Rebeca Rojas Esqueda plantel docente y administrativo de la UC CATATONIA Eloisa Suarez Hari Sama Ilse Rodarte Verónica Valadez Jessy Vega Charlotte Lerchner Héctor Cordero PROCINE Victor Carrasquedo Cristián Calónico Lucio PARNITA RTC EMBAJADA DE FRANCIA, Nicolás Martínez Acra LE CINÉMA IFAL Paulino Martínez Acra Imelda Pantoja S.E. Embajadora Anne Grillo Bertha Rosa Acra Carmona Nuevo agregado cultural Clementine Mouraou-Ferreira Sofia Llorente Wendy Arzate AGAPI MU AMBULANTE Gisela Esteban León Faure Acra Noemi Cuetos Leticia Hernandez Juan Larios Jonathan Martell Edgar Domínguez GOETHE INSTITUT CINE SUBTITLES Jenny Mügel Azucena Benavides GRUPO REFORMA Rudolf de Baey FLOW SUITES EMBAJADA DE SUIZA Antonia Vera S.E. Embajador Eric Mayoraz Bianca Rivas Julia Ann Stüssi TAMPERE FILM EMBAJADA DE COREA, FESTIVAL CENTRO CULTURAL Yukka-Pekka Laakso COREANO S.E. Embajador Kim Sang-il Youngdoo Park Jungeuy Hong AGRADECIMIE8 NTOS ALIADOS SEDES ALIADOS INSTITUCIONALES HOTEL SEDE OFICIAL ALIADOS MEDIOS RESTAURANTES ALIADOS AGRADECIMIENTOS 9 We are celebrating three years of Black Canvas, an interna- tional film festival, conceived out of the autonomy and dissi- dence, that is conceived and organized as independently and personally as the films we program. A festival in the making which resists (and offers alternatives) to the imposition of a unique perspective of cultural management, with the support of people who believe in art in its purest form and who do not weigh-in economic interests and an overgrown sense of self-promotion; people who mean to share their everyday la- bor without discriminating, but instead focused on generosity in favor of building networks supported on reciprocity. We live in times when the film industry is managed by the big corpo- rations prowling behind enterprises run by sales agents, just to point out how, by way of an example, their business mod- el easily runs over the transcendental nature of art eventually blowing it up, demeaning the virtues and essence of the film itself: its concept and often times, the author. This is an era in which there are fewer alternative screening venues for cinema which is not main-stream, and the few of those spaces tend to sell out effortlessly with the promise of a couple of coins, betraying their original commitment: promoting those films that escape simple categorization; placing conditions on festivals to cover up-front the cost of filling the venue. It should be not- ed that some of these have lost this spirit of collaboration and resistance before a cinema which its aim is not to sell tickets but engage the public in a dialogue and a genuine reflection along with the author, its discourse and whatever permeates to the viewer when he or she discovers himself or herself acknowledging the other one seen on the screen. Cinema is, finally, the personalized and introspective reflection of life itself. The threshold which provide us a glimpse into the creators’ world. In a festival as Black Canvas, the lives of those who take part (guests, organizers, volunteers, general public) are intertwined with the stories projected in the screen. The sense of a festival is to discover restless filmmakers from distant places who meet at certain geo- graphic coordinates, who spring in determined social contexts and thoroughly, find in their inner voices a resounding echo with other continents; and even though circumstances are totally different and alien, humanity is the binding tie, which brings us together. Cinema reminds us that other realities exist., other fictions which confront us and induce wider reflections on what is meaningful and what transcends us in this unintelligible and unpredictable world.Black Canvas becomes a focal point among festivals in Latin America. This meeting shall bring together films of radical, transgressor, and experimental narratives, which may sublimate our state of our senses and perception; it also manifests its intention of developing new audiences. Additionally, the festival will present different film approaches and 3 retrospectives of historically relevant filmmakers as the Portuguese Rita Azevedo Gomes, the Romanian Andrei Ujica, and the French Paul Vecchiali. Likewise, the solid Extension of the Canvas program is betting, once more, for creating new meaning-ful spaces where new formed audiences may bind with the authors and let their work grow into them. Film- makers which rub on us ideas. Cinema can be a liberating art to the eye and mind, transcending towards a more spiritual experience. Our New Horizon section becomes the arena for eleven films which in all, make a call out to memory in personal ways but also within history, the search for identity, the definition of collective and individual ways of thinking both consciously and unconsciously in the path to give voice to those without it, for whatever reason. One hundred and forty-nine films from forty countries such as Mexico, Portugal, Romania, Spain, Korea, Canada, Israel, Belgium, Hungary or Germany; and which are part of the narrative spectrum of this third edition, dedicated to offering hints that shall confirm our bearings or change our course, but surely widen our vision. The Black Canvas, not as festival but as a concept, is the surface for creation in which the discourse of the film materializes. From imagination’s purest state looking to connect our origins with our emotions and our narrative. It is also the deepest black found in our subconscious and an analogy to the universe as the farthest and largest of black holes, tunnels through which we shall navigate in the vast domain of cinema and its possibilities. From October 1 to 8, the Black Canvas Contemporary Film Festival invites the public to enjoy an extraordinary occasion to get acquainted with the most celebrated film proposals of the international film circuit. Our deepest appreciation to all dependencies, sponsors and allies which have made this third edition a reality. See you at the Canvas. Claudio Zilleruelo Acra Artistic director and programmer Black Canvas Contemporary Film Festival CLAUDIO ZILLERUELO ACRA DIRETOR ARTÍSTICO Y PROGRAMADOR BLACK CANVAS FESTIVAL DE CINE CONTEMPORÁNEO 10 Celebramos tres años de Black Canvas, un festival internacion- lenguaje y las estructuras fílmicas, incitando a que el público al de cine, que se gestó desde la disidencia y de la autonomía, también lo haga. Así juntos nos libramos de falsas concep- que se piensa y organiza con la misma independencia y autoría ciones de la imagen y de las formas narrativas impuestas. La que muchas de las películas que programamos. Un festival en programación se clasifica en diez secciones, en las cuales el desarrollo que se resiste (ofrece alternativas) a la imposición de cine de autor, el cine independiente o cierto cine que toca a las la perspectiva única de gestión cultural, con el apoyo de perso- grandes audiencias converge y se relaciona. Distintas perspec- nas que creen en la cultura y el arte desde lo genuino y que no tivas narrativas y estéticas, se muestran mediante un abanico ponderan intereses económicos y un protagonismo desmedido, de estrenos cinematográficos que nos persuadirán a vivir en personas a quienes les interesa compartir su quehacer cotiadi- las salas de cine. ano con los demás sin miramientos por cuestiones de gremio, si no en función de la generosidad misma a favor de la con- En esta tercera edición Nuevo Horizonte se vuelve competitiva. strucción de redes que se apoyan en aras de la reciprocidad. Once películas que en su conjunto claman a la memoria de Vivimos en tiempos donde la industria del cine es manejada por forma personal pero también dentro de la historia, del pasa- las grandes transnacionales agazapadas detrás de empresas do, en donde los objetos y objetivos le dan sentido de lucidez gestionadas por agentes de ventas, por poner un ejemplo, en y pertenencia a las búsquedas de una identidad, que define cuyo negocio, facilmente pasan por alto lo trascendental y ter- formas de pensamiento de manera consciente e inconsciente, minan por reventar el arte, opacando las virtudes y lo primordial desde lo individual hasta lo colectivo, en el camino a la mani- de una película: su concepto y muchas veces, su autor. Ésta festación de dar voz a personajes marginados por su condición es una época en la que cada vez son menos los espacios de social, confinados a la soledad por decisión personal, a veces exhibición para el cine que no se distribuye en el main stream, y determinados por el contexto sociopolítico pero con la fuerza de que los pocos espacios alternativos de proyección se corromp- tomarlo como un proceso introspectivo para activar preguntas en fácilmente con la promesa de generar unos cuantos pesos, y confrontar al mundo que no se detiene a esperar estos pro- traicionando la consigna con la que se concibieron estos recin- cesos. Propuestas arriesgadas que indagan en la mirada de tos: la de promover aquél cine que escapa de la clasificación sus jóvenes autores y sus preocupaciones sociales y políticas.