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.

A THOUSAND TIMES GODARD / MIL VECES GODARD

Here in Desistfilm, we can’t overlook such an important date for any cinephile: December third, 1930. To think about cinema without Godard is impossible, not only for his reformist and playful role in the Nouvelle Vague, but also for being an inherent par of the aesthetic revolution of the new technologies. Godard was cinema, 60 years ago, and today, he remains so. From 16mm to digital. Because of that, we made a list of our passion for this amazing french filmmaker, translated in ten acts of pure love for cinema.

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52 NEW YORK FILM FESTIVAL: OVERVIEW #1 (ENG)

By Tristan Pollack Teshigahara

On the first day of the New York Film Festival everything seems to be in place. Inside of the Walter Reade cinema critics, writers, filmmakers and curators gather around the lobby eagerly waiting to reserve seats for what could easily rank as the most ambitious NYFF program to date. The NYFF has kept a strong track record in featuring films from all around the world, each film offering a unique perspective. Like some of the best film festivals, it has turned into a beacon of hope for filmmakers and artists who have been censored by totalitarianism. The 49th NYFF premiered Jafar Panahi’s This is Not a Film (2012), which he made while under house arrest from the Iranian government. The 51st NYFF released Jehane Noujaim’s The Square (2013), a vivid documentation of the Egyptian Revolution that originally took place in Tahrir Square in 2011. Although this year’s festival seems to move away from that direction, there is a subtle gesture of altruism that seems to give the programming a socially conscious direction. The 52nd New York Film Festival runs from September 26 – October 12.

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CANNES 2014. DAY NINE. LES PONTS DE SARAJEVO (ENG)

By Mónica Delgado Under the impulse of the Commision for the First World War Centenary, thirteen filmmakers of different nationalities get together in Les ponts de Sarajevo, to gaze history from a review of the Sarajevo crisis and its geopolitical location of transit or limbo, from the past to the future, from memory to oblivion. But…

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CANNES 2014. DÍA NUEVE. LES PONTS DE SARAJEVO (SPA)

Por Mónica Delgado

Bajo el impulso de la Comisión por el centenario de la Primera Guerra Mundial, trece cineastas de diversas nacionalidades se reúnen para dar una mirada sobre la historia a partir de un repaso por las crisis de Sarajevo, y su ubicación geopolítica de tránsito o limbo, tanto del pasado al futuro, como de memoria y olvido. Pero no todo el tono de esta serie de cortos está marcado por el luto, en ensayo histórico o una mirada solemne, sino que hay espacio para el humor y la ironía, como parte de ese espíritu “balcánico”.

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CANNES 2014. DAY EIGHT. ADIEU AU LANGAGE BY JEAN-LUC GODARD (ENG)

By Mónica Delgado

The title says it all. In Adieu au Langage Jean-Luc Godard returns to the intentions of his episode for 3X3, but now reaffirming his least solemn side and carrying his reading about the perception of the technological, the impossibility of thought in any sort of “shareable” language to its most sarcastic possibilities, leaving space for an scatological mockery in between philosophical dwellings by Levinas, Husserl or Merleau – Ponty.

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