Ficunam (wpatrywanie cz. 20)

Z tego zestawu obejrzałem tylko trzy filmy - dwa z nich bardzo warte polecenia, jeden przyzwoity.


Las letras Pablo Chavarrí Gutiérreza został nagrodzony na CPH:DOX. Ale nie jest to klasyczny dokument, raczej esej osnuty wokół przejmującej historiiAlberto Patishtána Gómeza.


"The soundtrack is the oddest combination of string instruments – sounds that verge on noises and which seem to make no sense until they start sounding both like greedy flies feasting over a dead body and the shock and fear that such a picture evokes in the living when coming in contact with it. It’s the sound of fear and death; a nightmarish combination of a dirty, hot country road and loss of hope. When percussion is sounded blasting from the forest’s depths, the tension rises further, and the pain and ghostly terrorization escalate with it." (via)



Minotauro Nicolás Peredy pokazywany był w Toronto, Rotterdamie, Nowym Jorku i Wiedniu. Znów jest to rzecz eksperymentalna, która nie przypadnie do gustu każdemu. Fabuły tutaj za bardzo nie ma, ale miłośnicy sennej atmosfery i koneserzy marazmu powinni się zainteresować.

Wcale nie zaskoczyło mnie, gdy przeczytałem, że lubi nudę: "When I’m bored I start to think of ideas, of projects, of films. The ideas come from my everyday experience, from the things that I witness and from things that happen to me, but I need to be bored in order to reflect upon those things. I lived in Canada for 12 years. I guess it was the right place for me."

"Set, in Pereda’s words, in “a home of soft light, of eternal afternoons, of sleepiness, of dreams,” the film is neither a study in stasis nor, properly speaking, minimalist. Its comfortable, gutsy wide-screen compositions within a single apartment seem as natural as the ambience and the behavior of its “characters.” Pereda’s people neither make plans nor talk very much, although now and again Gabino Rodriguez, something of the director’s alter ego in several films, reads passages from a novel, about recognition and unremembered encounters." (via)

"You feel echoes of Last Year in Marienbad and also perhaps Marguerite Duras’s India Song, filmed in the lo-fi sleekness found in the films of Matías Piñeiro, where the gloss of the video images is a sheen of mystery, the screen itself strangely slippery. (It has to be said: Minotaur, despite its profound financial limitations as a production, looks far more beautiful than most Hollywood digital products.)" (via)



Parque Lenin, pełnometrażowemu debiutowi Carlosa Mignona i Itziar Leemans niczego nie brakuje, ale przy dwóch powyższych wypada nieco blado, bo jest po prostu porządną robotą dokumentalną.