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TIFF 53 COVERAGE: DEAD EUROPE BY TONY KRAWITZ (ENG)

Despite some common places, like evoking that multinational cinema of cosmopolite contexts as a synonym of migrants, delinquency, violence and drug addiction, Krawits achieves a film with force and suspense, which is passionate in this almost obscene tale that evocates and avoids to translate from the book (a novel that carries the “dooms” of Henry Miller or Lautreamont) and that includes overall a lot of disappointment and pessimism.

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TIFF 53 COVERAGE: TABOOR BY VAHID VAKILIFAR (ENG)

Vahid Vakilifar centres the whole of his film on the protagonist, a lonely middle-aged man who begins to leave his room towards a search of light, as simple as the dawn. A strange Tehran opens under splendid night photography and in a sci-fi style that escapes the naturalistic canon of films from the same country.

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TESALÓNICA 53: THE CAPSULE DE ATHINA RACHEL TSANGARI (SPA)

Pese a cierto manierismo, Tsangari logra en The Capsule forjar una serie de símbolos sobre mujer contra mujer, o sobre su convivencia, pocas veces mostrada como una sutil enfermedad, entre animal y voluptuosa.

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TESALÓNICA 53: DEAD EUROPE DE TONY KRAVITZ (SPA)

El filme cuenta, a la par de las necesidades de la historia, con un reparto internacional, llamando la atención la aparición de Francoise Lebrun, la memorable actriz de La mamá y la puta de Eustache, como una holandesa que vive en París. Por otro lado, las escenas de Atenas en Dead Europe fueron filmadas en días de plenas manifestaciones ante la crisis, por lo cual ese espíritu de caos logra por momentos un halo documental.

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TESALÓNICA 53: THE COLOR OF THE CHAMELEON POR EMIL CHRISTOV (SPA)

The color of the chameleon (Bulgaria, 2012), como las mil caras y emociones de Batko, es un filme que no intenta ser agradable, sino mas bien extremo en su mirada de un régimen totalitario a través de un antihéroe poco peculiar, surgido de las fuerzas masturbatorias y de la mentira.

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TIFF 53 COVERAGE: REBELLE (WAR WITCH) BY KIM NGUYEN (ENG)

In this rebel group who recruit minors from the nearby communities and leave no one alive, Kim Nguyen describes the training, the initiation rituals and the cult of arms as power mechanisms. The cause and reason of their fight is uncertain. The enemy, talked about as “the government”, is rarely mentioned, a presence that hardly appears.

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