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LOCARNO: ENTREVISTA A KIRO RUSSO SOBRE VIEJO CALAVERA (SPA)

Por Gustavo Beck

Esta semana el boliviano Kiro Russo presenta en la 69° edición del Festival de Cine de Locarno, Viejo Calavera, su primer largometraje, donde aborda el entorno de los mineros en un socabón de Huanuni. Gustavo Beck lo entrevistó para Desistfilm, donde el cineasta habló sobre sus inspiraciones, el modo de hacer cine en Bolivia y sobre el imaginario del subsuelo y el alcohol.

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IL CINEMA RITROVATO: MAGIE MODERNE AND LE QUADRILLE (ENG)

By Tara Judah

Another experimental highlight came on the final day with a special screening of recently discovered and digitally restored short films by Jacques Rivette. Collaborating with Jean-Luc Godard, Le Quadrille (1950) was another invigorating highlight of the festival.

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IL CINEMA RITROVATO: SEVEN CHANCES BY BUSTER KEATON (ENG)

By Tara Judah

The “shared experience” that cinema-goers so often speak of presumes some consensus of experience. And yet, so often I find myself in an auditorium wondering why the atmosphere suggests everyone else is experiencing something entirely different to me. Buster Keaton’s recently restored and beautifully digitally presented Seven Chances (1925) is a chief example.

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IL CINEMA RITROVATO: REFLECTIONS IN A GOLDEN EYE BY JOHN HUSTON (ENG)

By Tara Judah

Beneath the dirt and amidst the scratches of a tired 35mm print is a shade of yellow I have never seen onscreen, so far as I am aware. When the golden title sequence comes to an end I think I will see Marlon Brando and Elizabeth Taylor’s skin tones as I have seen them before, but I am wrong. John Huston, determined to give his screen adaptation of Carson McCullers’ short novel a hue that would reflect the psychological and emotional complexity of its characters, worked with the Italian Technicolor lab to achieve the truly beautiful, heated, yet melancholy golden effect that marks Reflections in a Golden Eye (1967).

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IL CINEMA RITROVATO: SANGRE NEGRA (NATIVE SON) BY PIERRE CHENAL (ENG)

By Tara Judah

Sangre Negra (Native Son, 1951) was heavily censored on release in America; just six weeks after real life events that came a little too close to some of the film’s confronting and contentious racial content. Bigger Thomas (Richard Wright), living in abject poverty with his family in the Chicago slums, is offered a job as a chauffeur for an affluent white family. His past reveals some petty tire theft but he assures his new employers that he has turned over a new leaf and won’t be causing any trouble.

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AL ESTE DE LIMA: SECCIÓN CINE DIFERENTE Y EXPERIMENTAL DE PARÍS (SPA)

Por Mónica Delgado

En Desistfilm cerramos la cobertura sobre festival Al Este de Lima, con la apreciación de algunos trabajos que nos permiten valorar las nuevas perspectivas del digital y el 16 mm en el experimental de los Balcanes. Como viene pasando cada año, el festival dedica una sección a obras provenientes del Collectif Jeune Cinema, creado en Francia en 1971, organización de difusión de cine experimental e imagen en movimiento sobre todo de Europa. Cada año organiza el Festival de Cine de Diferente y Experimental de París, y es precisamente parte de esta muestra la que llega a Lima y esta vez a partir de siete trabajos, donde priman obras de Croacia, Serbia, Polonia y Alemania.

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