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CANNES 2014. DAY TWO: PARTY GIRL BY MARIE AMACHOUKELI, CLAIRE BURGER AND SAMUEL THEIS (SPA)

The young Marie Amachoukeli, Claire Burger and Samuel Theis filmed this portrait film, that is set on the french-german border and that kicks off with a good spirit, focused on capturing the joy and vitality of these women, pole dancers and escorts under the music of Chinawoman and neon lights. Quickly, Angélique turns into the plot’s axis, especially since her indecisions after the marriage proposal, in her adolescent driftings and her violence attacks. However, the history then makes a turn to easy drama, with the arrival of the long lost daughter, losing the energy of the beginning, and turning the search of the character who resists happiness towards a direct happy ending.

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CANNES 2014. SEGUNDO DÍA. DARKER THAN MIDNIGHT DE SEBASTIANO RISO (SPA)

Por Mónica Delgado Estamos en los ochenta, y el opening de la película nos habla de un púber, de rizos pelirrojos que se parece al Tadrío de Muerte en Venecia de Visconti, y que aparece cantando bajo el influjo de sus inspiradores: David Bowie, Lou Reed y una decena de iconos del rock en afiches…

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CANNES 2014. SEGUNDO DÍA: PARTY GIRL DE MARIE AMACHOUKELI, CLAIRE BURGER Y SAMUEL THEIS (SPA)

Por Mónica Delgado

Tres cineastas debutantes se reúnen para extender la vida en pantalla grande de Angélique Litzenburger, una exbailarina de nightclub, de unos 60 años, quien se ve en el dilema de mantener un estilo de vivir o de cambiarlo por otro tras un ofrecimiento de matrimonio de uno de sus clientes. Party Girl coloca todo su peso dramático en la figura especial de Angélique, personaje real, de estilo johnwatersiano, que asume en la ficción reinterpretarse a sí misma, y contagiar un poco de ese modo jovial y fresco de su rutina nocturna.

thata

CANNES 2014. DAY TWO. THAT LOVELY GIRL BY KEREN YEDAYA (ENG)

In That Lovely Girl (Loin de mon pere, in french) there’s an intention of the feminine portrait coming from permanent shock, coming from the intimacy of a girl in love with her father, whom she establishes a relation of ambivalent power, based in a pulling and pushing of sincerities and furies. Yedaya is interested in registering how her character responds in each situation of abandonment, in her bulimia and decadence, which is evidenced in a borderline physical state, where the only obsession is receiving the love of the father/lover.

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CANNES 2014. SEGUNDO DÍA. THAT LOVELY GIRL DE KEREN YEDAYA (SPA)

Por Mónica Delgado
Como en anteriores filmes de Yedaya presentados en el festival, se siguen persiguiendo algunos tópicos de este cine de lo “femenino” extremo, reflejado en situaciones de supervivencia desde lo filial (madres prostitutas, luchas por hijos ilegítimos, y ahora el incesto) y que muestran de alguna manera ese cine “feminista” que busca aleccionar a partir de algunas heroínas como chivo expiatorios, probando tesis de luchas internas para lograr rupturas de status quo de modo casi milagroso.

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CANNES 2014: DAY ONE. TIMBUKTU BY ABDERAHMNE SISSAKO (ENG)

Sissako starts the film with a metonymic about hunting, which in the end is what feeds Islamism, which is constantly hunting all minimal actions that evidence a betrayal to the “system” to then punish or kill. But it also stops in a paradigmatic scene, the death of culture, from a shooting to some wooden idols that later would evidence the end of imagination and distraction. After that, Sissako approaches us to the intimacy of a family living in the town surroundings, living from cattle, and owning an Ox called GPS. This name becomes the motif for the relationship of this family with the technology, despite the dryness of the desert: fundamentalists and subdue people, as if technology was a new god, making them all equal.

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