Documentos de Académico
Documentos de Profesional
Documentos de Cultura
8 al 21 de febrero
Guerrero
22 AL 28 de febrero
Puebla
1 al 7 de marzo
Veracruz
8 al 14 de marzo
VIVE LATINO
15 al 17 de marzo
Baja California
15 al 21 de marzo
Nuevo Len
29 de marzo al 4 de abril
COAHUILA
5 AL 11 de abril
Jalisco
12 al 18 de abril
Michoacn
19 al 25 de abril
Chiapas
26 de abril al 2 de mayo
Oaxaca
3 al 9 de mayo
CONTENIDO CONTENTS
5
Presentacin | Foreword
20
22
REFLECTOR
24
26
28
30
Les Invisibles
Los invisibles
The Invisible Ones
56
58
AMBULANTE MS ALL
60
Campo 9
Field 9
60
ChibalKan
61
De tresuno
From Three... One
61
62
62
Koltavanej
32
Journal de France
Diario de Francia
63
El Nail
34
63
36
Stories We Tell
Las historias que contamos
64
Sanjuana
64
Tramas y trascendencias
Resilience
38
PULSOS
40
El alcalde
The Mayor
42
44
Elevador
Elevator
46
Inori
48
50
52
La piedra ausente
The Absent Stone
54
Quebranto
Ruin
66
OBSERVATORIO
68
Argentynska Lekcja
Leccin argentina
Argentinian Lesson
70
Future My Love
Futuro mi amor
72
Leviathan
Leviatn
74
Planet of Snail
Planeta del caracol
76
Tchoupitoulas
78
80
DICTATORS CUT
108
SONIDERO
82
110
84
112
114
86
Campesinos
Peasants
86
116
Chircales
Brickmakers
88
The Gatekeepers
Los guardianes
90
118
120
122
92
94
Winter, Go Away!
Invierno, lrgate!
INJERTO
98
100
102
104
Programa 4: Seducciones
Program 4: Seductions
106
124
AMBULANTITO
126
Alouette
126
126
Fiesta Brava
127
Interlude
Interludio
127
127
One Week
Una semana
127
128
ENFOQUE:
CINE SOBRE CINE
148
Sans Soleil
Sin sol
Sunless
130
Emak Bakia
148
130
149
Le train en marche
El tren en marcha
The Train Rolls On
149
149
150
150
152
imperdibles
156
ambulante
internacional
158
ambulante ante
la crtica
ambulante:
a critical review
187
directorio | directory
189
190
193
patrocinadores | sponsors
132
Love
Amor
134
136
138
140
RETROSPECTIVA:
chris marker
144
... Valparaiso
A Valparaso
Valparaiso
144
A.K.
145
145
La Jete
El muelle
The Pier
146
Le joli mai
El hermoso mayo
Beautiful May
146
147
Level 5
Nivel 5
147
Loin du Vietnam
Lejos de Vietnam
Far from Vietnam
presentacin | Foreword
Ambulante
Hoy, ms que nunca, el ser humano tiene consciencia de su entorno y del mundo en el que vive. En
la era del Internet y de las telecomunicaciones no
es necesario viajar a otros pases ni tener un grado
acadmico para poder penetrar en los misterios
de otras sociedades y de otras culturas. Siempre
que exista la curiosidad suficiente, es posible
desarrollar un conocimiento, al menos bsico,
sobre prcticamente cualquier tema.
Tanto el avance de esta interconexin global
como el desarrollo de la tecnologa digital han
impulsado dramticamente la produccin de obras
cinematogrficas. Probablemente, el gnero que
ms se ha beneficiado de estos avances es el
documental. Afortunadamente, los documentales
no solo han aumentado en cantidad sino tambin
en calidad.
AMBULANTE ha estado presente a lo largo de
siete aos atestiguando, por un lado, el desarrollo
10
general director
cinepolis
11
12
GENERAL director
morelia international film festival
13
14
The year 2012 was very special for the Ford Foundations Mexico and Central America office. We
celebrated fifty years of uninterrupted presence in
the region and organized a diverse series of events:
round tables, photo exhibits, courses, meetings and
art installations, among others. AMBULANTE joined
the Ford Foundation in this year-long celebration
as an integral part of two of the main activities
that were carried out: a presentation of migrationrelated films in Tijuana and San Diego under the
Ambulante Border Series program, and a series
of events grouped under the name Migratory Ideas
and Documentary Strategies, which included a film
series and panels with special guests, but also a
wonderful art exhibit entitled Migrant Suitcases and
a food tasting. The importance that these events had
for the Ford Foundation is reflected in the fact that
the president and vice presidents of the Foundation traveled to Mexico to attend the inauguration.
15
16
director
ambulante beyond
17
18
19
20
21
22
once and for all. Above all, we are interested in recognizing and promoting those projects, actions and
initiatives where art and culture work as platforms
for liberation. Documentary filmmaking undoubtedly
plays a fundamental role in this sense, as it registers
and expresses different forms of encounters with a
historical and phenomenological reality; it has the
potential to subvert hegemonies, reconfigure our
perception of power structures, expose coercive
practices and orient our thoughts and imagination
toward action and liberation. Cinema, as an aesthetics of liberation, has the capacity to extract images
from one sphere and translate them into different
historical, geographical and ideological contexts.
We also want to address a more conceptual idea
of liberation in relation to cinematographic language
and the hybridization of cinema through the proliferation of digital technologies, interactive platforms and
other cultural expressions and performative practices.
Documentary film allows us to perceive and question
the conventional forms and narratives that shape
and signify our reality.This years program places
emphasis on self-reflexive and interactive modes that
draw attention to the medium and to the notion of
author (sometimes undermining the idea of a single
source of signification)and that invite spectators to
partake in the construction of meaning. We hope to
showcase an array of experimental film practices,
both documentary and non-fiction strategies, that
go beyond strictly cinematic forms and manifest
themselves across different cultural platforms such
as music and theater. Critical, avant-garde, reflexive
and engaged documentary cinema that prompts us
to reimagine and reinvent our relationship to the
past, present and future will comprise the core of
AMBULANTEs 2013 program.
23
REFLECTOR
Pelculas de gran atractivo e inters general que han sido aclamadas por la audiencia
y los crticos de diferentes festivales del mundo.
24
Films of wide appeal that have been highly acclaimed by audiences and critics
at festivals around the world.
Contacto | Contact
Michael Haslund-Christensen
Haslund Film Aps
Nrrebrogade 12, 1.th
DK 2200 Copenhagen N
Dinamarca
haslundfilm@gmail.com
T: +45 20231388
Festivales | Festivals
IDFA, CPH:DOX, Festival Internacional de Cine de Gotemburgo, Festival de Cine de Estocolmo.
REFLECTOR
Daniel Dencik (Suecia, 1972) estudi edicin en la Escuela Nacional de Cine de Dinamarca
en 1999. Ha escrito y editado varias pelculas galardonadas, incluyendo The Five Obstructions, Happy Now, Dark Horse, Into Eternity, Danish Dynamite y Labrador. En 2012, Dencik
debut como director de documentales con Moon Rider. Tambin en ese ao se public su
cuarto libro, el obituario Via Katastroferne.
26
Daniel Dencik (Sweden, 1972) graduated as a film editor from The National Film School of
Denmark in 1999 and has written and edited numerous award-winning films, including The Five
Obstructions, Happy Now, Dark Horse, Into Eternity, Danish Dynamite and Labrador. In 2012
Daniel Dencik debuted as a feature documentary director with Moon Rider. His fourth book, the
obituary Via Katastroferne, was also published in 2012.
REFLECTOR
RF
A success at CPH:DOX 2012 and likely to continue to top charts around the world, Expedition to the End
of the World is a modern-day epic adventure into the hidden recesses of Northeast Greenland. For a few
weeks every year, the ice melting at the North Pole allows a narrow access into the fjords. In the spirit of
Erik the Red, an audacious and quirky group of scientists and artists take advantage of the opportunity and
set out to explore this uncharted territory. However, their twenty-first century technologysophisticated
equipment and vehiclesincidentally seems to fail when most needed.
We follow the team as they do their research, analyze their findings and search for new species, the
traces of our ancestors and answers to the questions of existence. Philosophy, science, art and spirituality come together. The members of the eclectic crewa captain, an artist and theologist, a geologist, a
geochemist, a geographer, another artist, a zoologist, an archaeologist and a marine biologistreflect on
the meaning of life and the prospects for humanity. Lyrical sensibility clashes with raw cynicism as they
reveal their radically different approaches to interpreting the world and our place within it. An irreverent
soundtrack and a singular sense of humor set the tone for their musings, and the stunning cinematography
captures beautiful landscapes that seem to belong to another world.
However, the collapsing blocks of ice, a lonely polar bear and an oil tanker, bring us back to the reality
of mans destructive footprint on Earth. We are left with a lingering anxiety stemming from the fact that
what we are looking at may be radically altered in the near future. The grandeur and the insignificance of
mankind is a recurring theme throughout the film. As the marine biologist encounters a new species, we
are reminded of the accomplishments of the human race. On the other hand, the scale and perseverance
of nature leave us with the disquieting realization that mankind may just be, in the words of the geologist,
but a parenthesis in the development of the Earth.
Elena Fortes
Expedicin al fin del mundo, documental que tuvo un gran xito en CPH:DOX 2012, es una moderna
y pica aventura por los parajes recnditos del noreste de Groenlandia. Cada ao, durante algunas semanas, el deshielo en el Polo Norte revela un estrecho camino hacia los fiordos. En el espritu de Erick
El Rojo, un intrpido y peculiar grupo de cientficos y artistas aprovechan la oportunidad para explorar
este territorio desconocido. Llevan consigo equipo de alta tecnologa y sofisticados vehculos que, sin
embargo, fallan en el momento ms inesperado.
Vemos a los tripulantes investigar, analizar sus hallazgos y buscar nuevas especies, huellas de nuestros antepasados y respuestas sobre la existencia. Filosofa, ciencia, arte y espiritualidad se conjugan.
La eclctica tripulacin incluye un capitn, dos artistas, un telogo, un gelogo, un geoqumico, un
gegrafo, un zologo, un arquelogo y una biloga marina, que reflexionan sobre el significado de la
vida y las perspectivas de la humanidad. La sensibilidad potica se contrapone al cinismo, cuando los
navegantes intercambian sus interpretaciones radicalmente opuestas sobre el mundo y nuestro lugar
en l. Un soundtrack irreverente y un singular sentido del humor marcan el ritmo de estas meditaciones
y el tono de la impactante cinematografa que muestra espectaculares paisajes dignos de otro mundo.
Los grandes bloques en deshielo, un solitario oso polar y un barco petrolero nos recuerdan el poder
destructivo del hombre sobre la tierra. La angustia nos sobrecoge ante el hecho de que observamos algo
que podra cambiar radicalmente en el futuro cercano. La grandeza y la trivialidad del gnero humano son
un tema recurrente en el filme. Mientras que el descubrimiento de una nueva especie nos recuerda la
grandeza humana, la grandeza de la naturaleza frente al hombre, solo parece reafirmar la conclusin
del gelogo de que la humanidad es solo un parntesis en el desarrollo de la Tierra.
27
Contacto | Contact
Ana Vicente
ana@dogwoof.com
www.dogwoof.com
Festivales | Festivals
Sundance, IDFA, Festival de Cine Documental Full Frame, Silverdocs, Festival de Cine de Los ngeles, Sundance Londres,
Sheffield Doc/Fest, Festival Internacional de Cine de Melbourne, Festival Internacional de Cine de Bergen, Festival de Derechos
Humanos WatchDocs.
REFLECTOR
28
Eugene Jarecki (USA) is an award-winning filmmaker, public thinker and author. He has received
critical recognition for multiple films, including Reagan; a documentary based on the bestseller
Freakonomics; the globally acclaimed Why We Fight; and The Trials of Henry Kissinger, which
screened internationally, aired on the BBC and the Sundance channels, and received a number
of accolades, including the 2002 Amnesty International Award. An authority on international
affairs, Jarecki has also appeared in an array of television, radio, and print media, from NPR to
MTV and the New York Times.
REFLECTOR
RF
Eugene Jarecki is the second director to receive the Grand Jury Prize twice at the Sundance Film Festival.
He won it first for Why We Fight (2006), an analysis of the industry and ideology of war in the United
States. He received his second award for The House I Live In, a documentary that sharply criticizes
the war on drugs in the U.S. Jarecki delves into his own familys history to elaborate an intelligent and
well-documented reconstruction of the hypocritical and bipolar relationship that U.S. society and its
government holds with regard to drugsespecially since Nixon declared them public enemy number
one at the end of the 1960s.
In addition to presenting an extraordinary display of images, this documentary allows privileged access
to different parties involved in this complicated story. We get to know DEA agents, dealers, addicts, occasional users, judges, lawyers, activists, academics, prisoners, prison guards and common citizens. With
great skill, Jarecki embeds individual cases within a larger concept, underscoring many aspects of these
complex problems: the sale of weapons in the United States and their exportation to other countries, the
electoral interests of anti-drug discourses and policies, the role of education and ideology, the racism
associated with migration flows, the disproportionate growth of the prison population and the successful
business that this war constitutes.
The House I Live In is essential to rethinking the war on drugs and the question of legalization, which
is poorly understood. The actions of our neighbor to the north have a profound impact on the entire world,
but primarily on our country, which suffers the violent effects of the war on drugs.
Antonio Zirin
Eugene Jarecki es el segundo director que ha ganado en dos ocasiones el gran premio del jurado
en el Festival de Sundance. Primero lo hizo con Why We Fight (2006), un anlisis de la industria
y la ideologa blica en Estados Unidos, y ahora lo consigue con La casa donde vivo, documental
que plantea una aguda crtica a la guerra contra las drogas en ese mismo pas. A partir de su propia
historia familiar, narrada en primera persona, Jarecki elabora una reconstruccin inteligente y bien
documentada de la relacin hipcrita y bipolar que mantienen la sociedad y el gobierno norteamericanos con las drogas, sobre todo desde que Nixon las declar el enemigo pblico nmero uno, a
finales de los aos sesenta.
Adems de un despliegue sobresaliente de imgenes de archivo, este documental logra un acceso
privilegiado a diferentes actores involucrados en esta absurda trama. Conocemos de cerca escuadrones de la polica antidrogas, vendedores callejeros, adictos, consumidores ocasionales, jueces,
abogados, activistas, acadmicos, presos, custodios y ciudadanos comunes. Con gran habilidad,
Jarecki vincula estos casos concretos con una visin panormica, destacando varios aspectos de
esta compleja problemtica, como la venta de armas al interior de Estados Unidos y su exportacin
a otros pases, los fines electorales de los discursos y polticas antidrogas, el papel de la ideologa y
la educacin, el racismo asociado con las distintas oleadas migratorias, el crecimiento desmesurado
de la poblacin carcelaria y el inmenso negocio que este combate sin sentido representa.
La casa donde vivo es una pelcula indispensable para repensar el tema de la legalizacin y el
combate a las drogas, una cuestin tan trillada como mal comprendida. Las acciones de nuestros
vecinos del norte tienen un impacto profundo en el mundo entero, pero afectan particularmente a
Mxico, ya que en buena medida son causantes de la violencia generada en nuestro pas en la lucha
del gobierno contra el crimen organizado.
29
Contacto | Contact
Mongrel Media
1028 Queen Street West
Toronto, M6J 1H6
Canad
T: 416-516-9775
info@mongrelmedia.com
www.mongrelmedia.com
Festivales | Festivals
Sundance, Silverdocs, New Directors/New Films, Festival de Cine True/False, Festival Internacional de Cine de Seattle, Festival
de Cine de Zurich.
REFLECTOR
David France (EUA) es un reconociodo periodista que ha escrito sobre el SIDA desde 1982.
Es tambin uno de los ms conocidos cronistas de la epidemia. En los aos noventa cubri
para el New York Times noticias sobre la enfermedad; hasta el 2003 trabaj en Newsweek
como editor en jefe de investigaciones y ahora es editor invitado de GQ y la revista New York.
Su trabajo ha sido en varias ocasiones premiado y ha servido como fuente de inspiracin
para pelculas como Our Fathers. Actualmente prepara una historia sobre el SIDA que se
publicar bajo el sello de Alfred A. Knopf en 2013.
30
David France (USA) is an award-winning journalist who has been writing about AIDS since 1982.
Today he is one of the best-known chroniclers of the epidemic, having worked at the New York
Times, where he was AIDS newswriter in the 1990s; Newsweek, where he was senior editor
for investigations until 2003; and now GQ and New York magazine, where he is a contributing
editor. His work has inspired several films, most recently the film Our Fathers. He is now working
on a history of AIDS, to be published by Alfred A. Knopf in 2013.
RF
Elena Fortes
A heart-wrenching yet inspiring documentary that tracks the triumphs and travails of the ACT-UP (AIDS
Coalition To Unleash Power) movement and the later TAG (Treatment Action Group) in their struggle
to achieve a major breakthrough in the treatment of HIV. The prejudice and indifference that pervaded
despite AIDSs rising death toll during the Reagan and Bush administrations finally prompted a group of
young, self-taught activists to bring attention to the research into drugs that could control the virus and
mitigate the fatality rate. The race to identify an effective treatment became for them a race to defy their
own death, as many of the group leaders were themselves struggling against the virus. Their victory in
overturning the inhumane policies of powerful corporations, bypassing legal barriers and pharmaceutical
interests in order to bring more effective treatments into the hands of the public, constituted a milestone
in the history of activism.
ACT-UP became a paradigm of grassroots activism and creative political protest. Its members extravagant acts have inspired numerous movements, most recently the Occupy demonstrations across the globe.
(In)famously draping a giant condom over the house of Jesse Helms the leading conservative who opposed civil rights, feminism and gay rights ACT-UP protested the Republican senators refusal to approve
funding for research and treatment for AIDS, which he believed to be Gods punishment for homosexuality.
David Frances deftly crafted film is also a testament to his own perseverance and diligence, as he
sifted through more than 700 hours of his own footage and footage collected from protesters since 1982.
How to Survive a Plague will without a doubt stir viewers political conscience and bring forth the activist
within, as it conveys a lesson of empowerment that reminds us of our capacity to collectively shape our
own history.
REFLECTOR
Este extraordinario documental narra las iniciativas y los logros de TAG (Grupo de accin por el tratamiento) y ACT-UP (la Coalicin contra el SIDA para liberar el poder), en su lucha por un tratamiento
mdico adecuado para el VIH. Durante el gobierno de Reagan y de Bush, el prejuicio y la indiferencia
reinaban. El nmero de muertes por el SIDA era alarmante. La situacin provoc que un grupo de jvenes activistas demandaran la investigacin y el desarrollo de medicamentos para controlar el virus y
prevenir ms decesos.
Para estos jvenes, autodidactas en materia de medicina, la bsqueda de un tratamiento efectivo se
convirti en una carrera contra el tiempo y la muerte, pues muchos de ellos libraban su propia batalla
contra el virus. Su victoria constituye un hito en la historia del activismo: lograron combatir las polticas
inhumanas de poderosas corporaciones a pesar de las barreras legales y los intereses de las farmacuticas y conseguir tratamientos ms efectivos para el pblico.
ACT-UP se convirti en un ejemplo de activismo y protesta poltica creativa. Las arriesgadas acciones
de sus integrantes han inspirado a numerosos movimientos sociales alrededor del mundo, por ejemplo,
al movimiento Occupy. En un acto irreverente, ACT-UP envolvi con un condn gigante la casa de
Jesse Helms, el lder republicano que se opona a los derechos civiles, al feminismo y a los derechos
de los homosexuales. De esta forma protestaron contra la negativa del senador a aprobar los fondos
necesarios para la investigacin y el tratamiento del SIDA, enfermedad que para l era un castigo divino
dirigido a los homosexuales.
Esta pelcula, dirigida con maestra por David France, es tambin una prueba de su perseverancia y
diligencia. France seleccion material de sus ms de 700 horas de grabacin y de otras filmaciones de
protestas a partir de 1982. Cmo sobrevivir una plaga sin duda estremecer la conciencia poltica de
los espectadores y les revelar al activista que llevan dentro. Es una leccin de empoderamiento que
nos recuerda nuestra capacidad colectiva para transformar la historia.
31
Contacto | Contact
Doc & Film International
13 rue Portefoin75003
Pars, Francia
T: + 33 1 42 77 56 87
www.docandfilm.com
Festivales | Festivals
TIFF, Festival de Cannes, Festival de Cine de Londres, DocLisboa, Cindcouvertes, Festival Internacional de Cine de Ro
de Janeiro, Festival Internacional de Cine de Morelia, Festival Internacional de Cine de Vancouver, Image+Nation Festival
Internacional de Cine LGBT de Montreal.
REFLECTOR
Sbastien Lifshitz (Francia, 1968) comenz su carrera cinematogrfica con el corto Il faut
que je laime. En 1995 realiz un documental sobre Claire Denis y en 1998 complet la pelcula
Open Bodies, seleccionada para el Festival de Cannes y el Festival de Cine de ClermontFerrand, y galardonada con el Premio Jean Vigo y el Premio Kodak para mejor cortometraje.
En 2000 dirigi Come Undone, su primer largometraje. En 2001 su documental-road movie,
The Crossing, fue seleccionado para la Quincena de Realizadores en Cannes, y en 2004 su
pelcula Wild Side gan un premio Teddy en el Festival de Cine de Berln.
32
Sbastien Lifshitz (France, 1968) began his film career in 1994 with the short Il faut que je
laime. In 1995 he made a documentary about Claire Denis and in 1998 he filmed Open Bodies,
which was selected for the Cannes and Clermont-Ferrand festivals and won the Prix Jean Vigo
and the Kodak Award for Best Short Film. In 2000 he directed Come Undone, his first full-length
feature. In 2001 The Crossing, his documentary-road movie, was selected for the Directors Fortnight in Cannes and his feature Wild Side won the Berlin Film Festivals Teddy Award in 2004.
RF
Mara Fortes
A deftly crafted documentary by Sbastien Lifschitz, Les invisibles captures the compelling stories of
elderly gay men and women who have made their lives in the periphery of the conventional narratives and
political agendas that make up the official account of gay liberation. Lifschitzs subjects, the invisible
ones, are not traumatized individuals, permanently scarred by an intolerant society and forced into closeted lives or condemned to recede into the obscurity of aging and sexless existence. It is not victimhood
that defines them, but a genuine joie de vivre, a remarkable determination to live joyfully and love openly.
This is the political edge of Lifschitz film. These candid testimonies come from people who are neither
represented in the official history of gay strugglea narrative usually punctuated by traumanor in a contemporary political agenda attached to emulating heteronormative structures (e.g. gay marriage and gay
adoption), nor in the youth-and-beauty-obsessed values of mainstream gay culture. Some of them have
led quiet lives, married and raised families; others joined the militant causes of May 1968, made a career
in politics or chose to revel in the idylls of rural life. Their personal journeys evoke the collective struggle to
defy prejudicethey grew up under the weight of Catholic morality and the pathologizing gaze of psychiatric science. But their heroism lies less in their subversion of normative views than in their extraordinary willfulness to be happy against all odds, to retain a lightness about living that can carry them over all hurdles.
Lifschitzs bold choice of Cinemascope makes for a visually stunning experience, allowing places, objects and archives to be animated by the memories and musings of his eloquent protagonists. Respectfully
remaining off-screen, the director creates an atmosphere of candor and intimacy that invites us to appreciate the quiet and quotidian rhythms of beautiful lives led otherwise and elsewhere.
REFLECTOR
Los invisibles, conmovedor documental de Sbastian Lifshitz, rene las historias de hombres y mujeres
homosexuales mayores que construyeron sus vidas al margen de la historia oficial de la liberacin homosexual. Los sujetos de Lifshitz, los invisibles, no son individuos traumatizados de por vida, alienados por
una sociedad intolerante; no vivieron recluidos ni fueron condenados a refugiarse en el celibato durante
la vejez. Tampoco es la victimizacin lo que los une, sino una verdadera joie de vivre y una excepcional
determinacin para vivir libremente.
Esto constituye el ngulo poltico del filme de Lifshitz: evidenciar los testimonios de personas que
hasta ahora no haban sido representadas en la versin oficial de la lucha homosexual y cuya experiencia
no corresponde a la visin trgica que caracteriza gran parte de esta historia. Sus intereses resultan
diferentes a los de la agenda poltica contempornea, que emula estructuras heterosexuales convencionales (como el matrimonio y la adopcin gay), y sus valores son ajenos a los de la cultura gay prevalente
obsesionada por la juventud y la belleza. Algunos de estos hombres y mujeres decidieron casarse, tener
una familia y vivir tranquilamente; otros se abocaron al espritu colectivo de protesta y liberacin de
Mayo del 68 para emprender causas sociales, otros ms iniciaron una carrera poltica o simplemente
disfrutaron de una idlica vida rural.
Sus historias de vida evocan la lucha colectiva por desafiar los prejuicios, oponindose al yugo de
la moral catlica y a la mirada patologizante de la psiquiatra. A pesar de que han logrado subvertir las
normas sociales, su herosmo destaca ms en su extraordinaria voluntad de ser felices sin importar las
circunstancias y en mantener la claridad en momentos difciles.
Lifshitz decidi, acertadamente, filmar la pelcula en formato Cinemascope. El resultado es una
experiencia visual deslumbrante: las memorias y cavilaciones de los protagonistas animan los lugares,
objetos e imgenes de archivo. Sin que su presencia sea evidente, el director crea una atmsfera ntima
que nos invita a apreciar los ritmos silenciosos y cotidianos de estas vidas radiantes, construidas de
otra manera y en otra parte.
33
Contacto | Contact
Esther Devos
Wild Bunch
99, rue de la Verrerie
75004 Pars, Francia
T: +33 1 5301 5020
Festivales | Festivals
Festival de Cannes, RIDM, Festival Internacional de Cine de Tokyo, Festival Internacional de Cine de Ro de Janeiro, Festival
Internacional de Cine de Vancouver, Festival de Cine de Telluride.
REFLECTOR
Raymond Depardon (Francia, 1942) comenz a tomar fotografas a los doce aos. En 1960
se uni a la agencia parisina Dalmas como reportero. En 1966 cofund la agencia Gamma.
En 1974, adems de su carrera como fotgrafo, empez a dirigir documentales, y en 1978
se incorpor a Magnum. Por su trabajo fotogrfico y cinematogrfico, ha recibido importantes reconocimientos. Considerado uno de los fotoreporteros ms importantes del mundo,
ha realizado dieciocho pelculas y publicado cuarenta y siete libros. Claudine Nougaret
(Francia, 1958), productora, directora y sonidista, ha trabajado para directores como Alain
Resnais y Eric Rohmer. Ha participado como productora y sonidista, adems de codirectora,
en varias pelculas de Depardon.
34
Raymond Depardon (France, 1942) began taking photographs at the age of twelve. He left
for Paris in 1958, and two years later he joined the Dalmas agency as a reporter. In 1966 he cofounded the Gamma agency. Alongside his photography career, he began to make documentary
films in 1974, and in 1978 he joined Magnum. Both his photographic work and documentaries
have received important awards. Considered one of the most prominent figures in photojournalism,
he has made eighteen feature-length films and published forty-seven books. Claudine Nougaret
(France, 1958) is a producer, director and sound engineer. She has worked for Alain Resnais
and Eric Rohmer, and has been the producer and the sound engineer, as well as co-director, of
many of Depardons films.
RF
Antonio Zirin
To see the photographic work of Raymond Depardon is enough to become an admirer. Seeing his cinema
adds another dimension to his work: his inquisitive eye extends in time and acquires duration and movement.
To watch Journal de France, his most recent film in which he reviews his own career path as a photographer
and filmmaker, represents a sublime experience for his fans. For those who do not know him, this film is
without a doubt the best way to delve into the work of one of the most important image-makers of our day.
Depardon and his wife Claudine Nougaret, with whom he has worked for more than twenty-five years
he with the camera and she recording soundtravel around France in a small van for four years while he
depicts the landscape with an old large-format camera and she writes a detailed diary. At the same time
they summarize the most significant moments of their artistic biography. The trip through France becomes
an excuse to undertake a journey to the past.
They dust off copious film material, most of it unpublished, taking us back to 1962 when at the age
of twenty Depardon roamed the streets of Paris, film camera in hand. They calmly take us to numerous
countries and historic scenarios that marked the direction of the second half of the twentieth century. His
eyes seem to capture everything. He has documented the history of mankind over the last fifty years in all
its diversity and complexity with an auteur sensibility, a sharp social conscience, a strong political commitment and a profound respect for people.
The result is an exceptional autobiographical essay, a singular portrait of Depardon, narrated by Nougaret and co-directed by both, that combines film with photography and fiction with documentary. Journal
de France is a loving, intimate film. Depardon casts upon himself the same honest and sober gaze present
through all his work. In this film we discoverbehind the camera and beyond the artista man as lively and
restless as he is modest and calm.
REFLECTOR
Conocer la obra fotogrfica de Raymond Depardon es suficiente para ser su admirador. Apreciar su
cine aade otra dimensin a su trabajo: su mirada inquisitiva se extiende en el tiempo, adquiere duracin
y movimiento. Ver Diario de Francia, su ms reciente pelcula, en la que hace un recuento de su propia
trayectoria como fotgrafo y cineasta, representa una experiencia sublime para sus aficionados. Pero
tambin, para quien no lo conoce, esta pelcula es sin duda la mejor forma de adentrarse en la obra de
uno de los ms grandes creadores de imgenes del mundo contemporneo.
Junto con su mujer, Claudine Nougaret, con quien ha trabajado por ms de veinticinco aos, l en
la cmara y ella en el sonido, recorren Francia durante cuatro aos l retratando el paisaje con una
cmara y ella elaborando un minucioso diario, recapitulando de paso los momentos ms significativos
de su carrera. El viaje por Francia se convierte en un pretexto para emprender tambin una excursin
por su pasado.
Desempolvan gran cantidad de material flmico, en buena parte indito, y as nos transportan a las
primeras andanzas de Depardon, a sus veinte aos, con una cmara de cine por las calles de Pars, en
1962. Nos conducen por numerosos pases y escenarios histricos que marcaron el rumbo de la segunda
mitad del siglo XX. Sus ojos parecen haberlo visto todo, ha documentado la historia de la humanidad
en los ltimos cincuenta aos, en su vasta diversidad y complejidad, con sensibilidad de autor, aguda
conciencia social, fuerte compromiso poltico y profundo respeto por la gente.
El resultado es un excepcional ensayo autobiogrfico, un singular retrato protagonizado por l, narrado
por ella, codirigido por ambos, que mezcla cine y foto, ficcin y documental. Diario de Francia es un
relato amoroso, ntimo, libre de vanidad o protagonismo, en el que Depardon proyecta sobre s mismo
aquella mirada franca y serena presente en toda su obra. A lo largo del filme descubrimos, detrs de la
cmara, ms all del artista, a un hombre tan inquieto e incansable, como modesto y tranquilo.
35
Contacto | Contact
Matt Cowal
Arianne Ayers
Magnolia Pictures
Estados Unidos
T: +1 212 9246701
publicity@magpictures.com
Festivales | Festivals
IDFA, Sundance, Silverdocs, Hot Docs, Festival Internacional de Cine de Karlovy Vary, Festival Internacional de Cine de Ro
de Janeiro, Festival de Cine de Estocolmo, Festival Internacional de Varsovia, Festival Internacional de Cine de Mar del Plata,
Festival Internacional de Cine de Reikiavik.
REFLECTOR
36
REFLECTOR
RF
Cost: No man can say, was how the headlines described Xanadu, the colossal mansion in Citizen Kane, in
which a mans dream home became his prison rather than his refuge. In The Queen of Versailles, a documentary about the Siegel family and their project to build the largest home in America, a similar situation
occurs. However, in this case we do know the cost: 100 million dollars. And its for sale.
The owner of this new faux Versailles, David Siegel, known as the king of the timeshare, does not just
sell yearly weeklong vacation properties: he likes to think that he offers the opportunity to feel what it is like
to be rich. He sets the stage for his customers to act out their fantasies of living the good life, even though
this simulation was bought on cheap credit that they could not actually afford.
Director Lauren Greenfield captures the humor in the overabundance of the Siegels lifestyle: the exaggerated quantities of clothing, servants and even children, as well as their compulsion to accumulate even
more. Theirs is the epitome of the consumerist creed of quantity not quality. When the 2008 economic crisis
hits, the contradictions of this world of fake wealth and buying on credit are revealed. Suddenly, despite his
vast fortune, Mr. Siegel has no cash and his palace sits in ruins.
Although it is an unfortunate turn of events for the Siegels, the film shows their struggle to adjust to
their new situation and their appalling lack of self-sufficiency with a compassionate and comic tone. When
Jackie and David become characters we cannot help but sympathize, despite our disgust at his illegal dealings or her obscene consumerism. The Siegels financial troubles are magnified in scale, but their story is a
cartoon-like reflection of the situation many less-affluent American face after the economic crisis, as they
struggle to hold on to a lifestyle to which they have grown accustomed yet that they can no longer afford.
Meghan Monsour
El precio: nadie puede adivinarlo. As describieron los titulares a Xanadu, la colosal mansin de Ciudadano Kane, pelcula en la que la casa de ensueo de un hombre se convierte en su prisin, en lugar de su
refugio. Algo similar ocurre en La reina de Versalles, documental sobre la familia Siegel y la construccin
de su hogar, la casa ms grande de Estados Unidos. Sin embargo, en este caso s sabemos el precio:
cien millones de dlares. Y est en venta.
Al dueo de esta imitacin del palacio de Versalles, David Siegel el rey de los tiempos compartidos,
le gusta pensar que no slo vende propiedades para vacacionar, sino que adems brinda la oportunidad
a sus clientes de experimentar qu se siente vivir como rico. Siegel monta el escenario para que hagan
realidad su fantasa de opulencia, a pesar de que pagan por una ilusin que no podrn solventar.
La directora, Lauren Greenfield, capta con humor la vida excesiva de la familia: las cantidades exorbitantes de ropa, el trato a la servidumbre, los caprichos de los nios y su consumismo compulsivo. Ellos
representan el credo consumista de cantidad, no calidad. Cuando llega la crisis econmica de 2008, se
revelan todas las contradicciones de este mundo de riqueza falsa; a pesar de su vasta fortuna, el seor
Siegel no tiene liquidez y su palacio permanece inconcluso.
Aunque se trata de un desafortunado cambio de suerte para los Siegel, la pelcula muestra, en un tono
compasivo y cmico, su lucha por adaptarse a la nueva situacin, as como su atroz incapacidad para
ser autosuficientes. Finalmente simpatizamos con Jackie y David Siegel, a pesar de nuestro desagrado
por los negocios ilcitos de l o por el obsceno consumismo de ella. Sus problemas financieros son
exagerados, pero su historia casi caricaturesca refleja la situacin de muchos estadounidenses menos
adinerados, que se aferran a una vida que ya no pueden costear.
37
Contacto | Contact
Jennifer Mair
NFB
T: 416-954-2045
C: 416-436-0105
j.mair@nfb.ca
Festivales | Festivals
TIFF, Festival Internacional de Cine de Ro de Janeiro, Festival de Cine del Atlntico, Festival de Nuevo Cine de Montreal,
Festival de Cine de Venecia, Festival Internacional de Cine de Estocolmo, Festival de Cine de Abu Dhabi, Festival de Cine de
Telluride.
REFLECTOR
Sarah Polley (Canad, 1979) debut como directora en 1999. Escribi y dirigi Away from
Her (2007), pelcula que cosech una larga lista de premios, y el drama romntico Take This
Waltz (2011). Como actriz, Polley ha participado en pelculas de directores importantes como
Isabel Coixet, David Cronenberg, Atom Egoyan, Terry Gilliam, Hal Hartley, Wim Wenders y
Michael Winterbottom. Stories We Tell es su primer documental.
38
Sarah Polley (Canada, 1979) made her directorial debut in 1999. She wrote and directed
Away from Her (2007), which garnered a long list of awards, and the romantic drama Take This
Waltz (2011). As an actress, she has appeared in films by such directors as Isabel Coixet, David
Cronenberg, Atom Egoyan, Terry Gilliam, Hal Hartley, Wim Wenders and Michael Winterbottom.
Stories We Tell is her first documentary.
REFLECTOR
RF
Marie-ve Parenteau
Muchas de las recientes producciones documentales a nivel mundial se caracterizan por la tendencia o
necesidad de contar historias propias, por un fuerte inters hacia los temas familiares, y por un deseo de
investigar nuestros orgenes personales y de entendernos a nosotros mismos a partir de lo que nos rodea.
A qu se debe esta necesidad de conocer de dnde venimos, quines somos, precisamente en
estos momentos? Refleja un deseo de diferenciarse de los dems en medio de una unificacin cultural y social cada vez mayor? O responde a una necesidad de reafirmar la conciencia que tenemos
de nosotros mismos y reforzar nuestra identidad? Detrs de nuestra bsqueda de individualidad, hay
indudablemente una bsqueda de cierta verdad, frente a las constantes discrepancias que suelen surgir
en torno a la memoria colectiva.
Para enfrentar las dudas que siempre ha tenido acerca de su historia personal, Sarah Polley, reconocida actriz de pelculas como My Life Without Me (de Isabel Coixet) y realizadora de otras cintas como
Away From Her (2006) y Take This Waltz (2011), se da a la tarea de entrar en la intimidad y memoria
de cada uno de sus familiares y amigos para reconstruir su historia.
Haciendo uso de varios mtodos narrativos desde la lectura en voz alta de un guion escrito por su
padre, pasando por la recopilacin de los archivos familiares de pelculas Sper 8, hasta la recreacin
de ciertas escenas, Polley descubre y enfrenta una desconcertante verdad acerca de su identidad.
La pelcula se convierte en una especie de catarsis familiar, en una memoria muy ntima y original de
una familia tan particular como universal, pero sobre todo, se vuelve una herramienta que la llevar a un
proceso de liberacin personal.
Stories We Tell, una innovadora pelcula aclamada por el pblico a nivel internacional en importantes festivales de cine, se incorpora este ao a nuestra seccin Reflector como una propuesta fresca y
representativa de las ms recientes producciones canadienses.
39
PULSOS
Contacto | Contact
Bamb Audiovisual
T: +52 55 5536 4156
info@bambu.tv
www.bambu.tv
Festivales | Festivals
Festival Internacional de Cine de Morelia, Festival Internacional de Cine de Monterrey, DocsDF, Baja Festival Internacional de Cine.
PULSOS
Emiliano Altuna(Argentina, 1978) and Carlos F. Rossini (Argentina, 1976) created Bamb
Audiovisual in 2004, an independent production company specialized in the development of documentaries and fiction. Altuna directed Seguir siendo and co-directed El ciruelo with Rossini. Diego
E. Osorno (Mexico, 1980) is a journalist and writer, author of Nosotros somos los culpables. La
tragedia de la guardera ABC and Pas de muertos: crnicas contra la impunidad, among others.
42
Al norte de una enorme nacin, hay un pueblo digno de cualquier utopa: una aldea perfecta, bendecida
con cascadas, ros y fuentes de oro. En sus escasos metros cuadrados, sus pocos habitantes viven
felices y despreocupados. El rey que los protege posee el castillo ms deslumbrante, la ms distinguida
coleccin de arte y las evidencias de sus ms pomposas relaciones. Cerca de este reino, protegido por
los ms fuertes y valientes gladiadores, acecha la oscuridad: un mundo hostil, violento y peligroso. Para
defender su aldea, el rey hace uso legtimo de las mismas fuerzas que oscurecen el mundo exterior,
logrando as proteger a sus ciudadanos y ofrecerles una vida digna. Mientras tanto, en el reino utpico, los
habitantes han dejado de desarrollar sus actividades cotidianas; los espacios pblicos estn vacos, cada
vez hay menos convivencia y todo el mundo sospecha de su vecino. Los sentimientos generales oscilan
entre la negacin, el miedo y la desconfianza. La respuesta del reino utpico a la violencia desencadena
una violencia ms aguda en el lado oscuro.
El alcalde, segundo largometraje documental de la dupla Rossini-Altuna esta vez junto a Diego
Enrique Osorno, es un retrato de Mauricio Fernndez Garza, controvertido alcalde de San Pedro Garza
Garca y personaje radical e impredecible, cuyas ideas y estrategias han desatado fuertes polmicas
a nivel nacional. San Pedro, localizado en Monterrey, Nuevo Len, es uno de los municipios ms ricos
de Amrica Latina.
Este trabajo nos obliga a plantearnos una serie de preguntas sumamente importantes: Cules han
sido los costos y las consecuencias de construir una burbuja social de esta ndole? Representa una
solucin combatir el crimen generando ms crmenes? Es utpico creer en ciudades libres de violencia
donde cada uno pueda circular libremente, disfrutar y convivir? Sin duda, El alcalde nos coloca en esta
ambigedad, plantea cuestionamientos imprescindibles para imaginar el futuro de nuestro pas y ofrece
puntos de partida para generar una reflexin profunda en torno a nuestra sociedad actual.
PULSOS
Marie-ve Parenteau
To the north of a big nation sits a town with utopian aspirations: a perfect village, blessed with waterfalls,
rivers and fountains of gold. Its few inhabitants live happily and carefree in its limited square footage. The
king who protects them owns a stunning castle, the most distinguished art collection and objects that reflect
his most powerful relations. He lives surrounded by the strongest and bravest gladiators. However, hostility,
violence and danger lurk in the surrounding darkness. The king legitimately uses the same forces that
obscure the exterior world to defend his village and thus has managed to protect his citizens and offer them
a dignified life. Meanwhile, the people surrounding this utopian kingdom have ceased their daily activities.
Public spaces are disappearing, social interactions diminishing and suspicion among residents growing.
General feelings oscillate between denial, fear and suspicion. Every response from the utopian kingdom to
the surrounding chaos unleashes a more violent reaction from the dark side.
The Mayor, the second full-length documentary from the duo Rossini-Altuna in collaboration with Diego
Enrique Osorno, is a portrait of Mauricio Fernandez Garza, the controversial mayor of San Pedro Garza Garca. Located in Monterrey, Nuevo Len, San Pedro is one of the wealthiest municipalities of Latin America.
A radical and unpredictable figure, Fernandez Garzas ideas and strategies have unleashed controversy
across the country.
This film obliges us to ask a series of deeply important questions: What are the costs and consequences
of building a social bubble of this nature? Is fighting crime with more crime a solution? Is it truly utopian to
believe in cities without violence, where people can freely circulate, enjoy life and live together? Without a
doubt, The Mayor places us in the middle of this ambiguity and raises necessary questions about Mexicos
futuregenerating new ways to reflect upon these matters.
PUL
43
Contacto | Contact
FLORES NEGRAS
Mxico D.F.
diario3voces@gmail.com
Festivales | Festivals
Festival Internacional de Cine de Morelia, DocsDF.
PULSOS
Otilia Portillo Padua (Mexico, 1979) studied architecture at the University of Cambridge and
the Architectural Association. She co-directed the short film Tzolkin (GuatemalaMexico, 2001),
a short documentary about religious syncretism in Guatemala as well as the feature-length documentary Heaven Mirrors Everything (GuatemalaMexico, 2006). She was awarded a fellowship
from Mexicos National Fund for Culture and Arts in 2010 to start Three Voices and participated
at the Berlinales Doc Station. She won the 2011 DocsDF-Churubusco Docs in Progress Award
to finish the film.
44
Diario a tres voces presenta un detallado acercamiento al amor tal y como lo experimentan tres
mujeres de distintas generaciones. Dejando a un lado el sentimentalismo y los tpicos clichs de las
historias de amor, Otilia Portillo Padua filma a sus sujetos mientras hablan cndidamente sobre los
hombres que amaron.
Nora, una mujer de mediana edad, se enamor, la aburrieron las rutinas del hogar y la maternidad,
encontr consuelo en un peculiar curandero urbano y, finalmente, se reinvent; Monserrat, una adolescente de la generacin Facebook para quien el amor ocurre rpidamente y siempre en pblico,
habla de su atraccin por dos chicos mientras ofrece un discurso sofisticado sobre los estereotipos
de la belleza y los roles de gnero; Aldegunda, el personaje ms entraable de la pelcula, describe
al amor de su vida un hombre que le dio a su hija y luego se fue con otra, mientras navega entre
sus recuerdos en la vspera de su cumpleaos nmero noventa. Aldegunda, al combinar una dosis
del tanque de oxgeno con generosas cantidades de cerveza y tequila, transmite un aire de estrella
de rock, a la vez que acepta tranquilamente que la vida y el amor son cosas del destino.
Utilizando hbilmente ciertos cdigos cinematogrficos para confrontar la versin idealizada y
monumentalizada del amor, Portillo crea una meditacin compleja del espacio y del color, inspirada
por los melodramas tecnicolor de Douglas Sirk de los aos cuarenta y cincuenta. Las animaciones
cursis le otorgan un tono irnico. El discurso de cuento de hadas se convierte en la base de una
arquitectura de fantasas y un contrapunto al amor ordinario.
Diario a tres voces tuvo un gran xito en el Festival Internacional de Cine de Morelia y DocsDF,
prueba de su impacto en los espectadores, precisamente porque no es un ostentoso pronunciamiento
sobre la naturaleza del amor, solo un honesto recuento del mismo, tal y como lo han experimentado
ciertas personas en ciertos momentos de la vida.
PULSOS
Mara Fortes
Three Voices presents a studied approach to love as experienced by women of three different generations. Forgoing sentimentality and the usual clichs attached to love stories, Otilia Portillo Padua records
her subjects as they speak candidly about the men they loved.
The middle-aged Nora fell in love, got bored when she receded into the routines of house-wifedom
and motherhood, found solace in a peculiar urban healer, and finally reinvented herself. Monserrat, a
teenager of the Facebook generation for whom love happens fast and always in public, recalls her crush
on two guys while delivering a remarkably sophisticated discourse on beauty stereotypes and gender
roles.Aldegunda, the films most endearing character, describes the love of her lifea man who gave
her her daughter and then left her for anotherwhile she shuffles through the memories that keep her
company as she approaches her ninetieth birthday.Alternating whiffs of her oxygen tank with generous
doses of beer and tequila, Aldegunda channels a bit of rock-star attitude, while quietly accepting that
life and love are simply a matter of destiny.
Expertly drawing on cinematic codes to contrast the idealized and monumentalized version of love
that mediates human relationships with the reality of its transience, Padua creates a complex meditation
on space and color, inspired by Douglas Sirks technicolor melodramas of the 1940s and 50s. Cheesy
animation sequences have an ironic effect, as the veneer of fairy-tale love easily becomes the architecture
of fantasies and the counterpoint to everyday love.
Three Voices screened at the Morelia International Film Festival and DocsDF to wide acclaim. This is
proof that the film strikes a powerful chord in its viewers, precisely because it is not a grand pronouncement about the nature of love but simply an honest account of it, as experienced by certain people at a
certain moment in their lives.
PUL
45
ELEVADOR | ELEVATOR
Mxico | 2012 | Espaol | Color | 72
Contacto | Contact
Hatuey Viveros
hatueyviveros@hotmail.com
Adrin Ortiz Maciel
T: +52 (1) 55 34 41 1304
adriansucoaf@yahoo.com
Festivales | Festivals
Festival de Cine de Cracovia.
PULSOS
Adrin Ortiz (Mexico, 1976) studied screenwriting and filmmaking in Madrid, Spain, and
in Guadalajara, Mexico. In 2009 he graduated from the film school Centro de Capacitacin
Cinematogrfica with a major in film direction. He is currently working on a new documentary
project and on the script for his first feature film.
46
PULSOS
PUL
Un amable saludo rutinario seguido de una conversacin trivial; se aprieta un botn y en pocos
segundos las puertas de la caja metlica vuelven a abrirse para dar paso a los inquilinos que salen
y entran del elevador. Quienes permanecen dentro, las y los elevadoristas del Centro Urbano Presidente Alemn, ven pasar el tiempo con actitud serena dentro de estos cajones transportadores.
Elevador, primer documental de Adrin Ortiz, involucra al espectador en mltiples viajes
verticales a travs del testimonio y la memoria rescatada de la interaccin entre los pasajeros
y operadores del emblemtico multifamiliar. Este edifico, construido para los trabajadores de la
administracin pblica federal en la primera mitad del siglo XX, y cuyo diseo corri a cargo del
arquitecto Mario Pani, tuvo el propsito de integrar en un mismo espacio tanto comercio como
vivienda y recreacin, erigindose as en un smbolo de la modernidad en la capital mexicana.
Con el paso de los aos, la imagen de este monstruo de cemento y ladrillo que alberga a
cinco mil personas es recordado por sus elevadoristas y habitantes, quienes lo mismo platican de
su oficio que evocan varias historias personales. Un tema recurrente es el cambio que signific
la falta de apoyo federal en la administracin y mantenimiento de los condominios. Si con este
multifamiliar se logr un aparente ascenso de la clase burcrata en la escala social, los elevadoristas dan testimonio del eventual descenso de este grupo en la nunca fcil convivencia vecinal.
Jonathan Martell
A kind, routine greeting is followed by a trivial conversation. A button is pushed and in a few seconds
the doors to the elevator open and give way to the tenants entering and leaving. Those who remain
inside, the elevator operators of the President Alemn Urban Housing Complex, pass the time within
this transportive metal box calmly.
Elevator, the first documentary from Adrin Ortiz, takes the viewer on multiple vertical trips
through testimonies and memories recovered from the interaction between passengers and operators of this emblematic apartment complex. The building, built for federal administration workers
in the first half of the twentieth century and designed by architect Mario Pani, was intended to
integrate commerce, living and recreation in the same space. With such a design, it was a symbol
of modernity in Mexicos capital.
Over the years, elevator operators and residents, who discuss their roles in the withdrawal of
federal support for the administration and maintenance of the apartment complex, remember this
cement and brick monster, home to 5,000 people. If the public housing complex allowed federal
workers to ascend the social ladder, the elevator operators attest to their eventual descent amid
their never-easy coexistence with tenants.
47
INORI
Japn | 2012 | Japons | Color | 73
Contacto | Contact
Shinji Kitagawa
Nara, Japn
T: +81 (0) 904847 2923
T: +81 (0) 74295 5780
kitagawa@nara-iff.jp
Festivales | Festivals
Festival de Cine de Locarno, Viennale, Festival Internacional de Cine de Nara, Festival Internacional del Cine de Morelia, Festival
Internacional de Cine de Ro de Janeiro, Festival de Nuevo Cine de Montreal, Baja Festival Internacional de Cine, Festival de
Cine de Derechos Humanos de Croacia.
Pedro Gonzlez-Rubio (Mxico, 1976). Su iniciacin en las Artes Visuales fue a los dieciseis aos, cuando viva en Nueva Delhi. Estudi Ciencias de la Comunicacin en la ciudad
de Mxico antes de asistir a la Escuela de Cine de Londres. En 2005 codirigi Toro Negro.
Durante su estada en la pennsula de Yucatn realiz su debut individual como director con
Alamar (2009), ganadora de ms de quince premios internacionales. Inori, su ltima pelcula,
fue producida por la cineasta japonesa, Naomi Kawase, para el proyecto NARAtive 2012.
PULSOS
Pedro Gonzlez-Rubio (Mexico, 1976) began his work in visual arts at the age of sixteen
while living in New Delhi. He studied communications in Mexico City before attending the London
Film School. In 2005 he co-directed the documentary Toro negro. During his time in the Yucatan
Peninsula, he completed his directorial solo debut Alamar (2009), which received more than fifteen
prizes worldwide. Inori, his latest film, was produced by Japanese filmmaker Naomi Kawase for
the project NARAtive 2012.
48
Los temas de las pelculas de Pedro Gonzlez-Rubio han transitado de lo srdido a lo sublime. En Toro
negro (2005) film junto con Carlos Armella la historia de un peculiar torero maya, violento y alcohlico,
y la relacin destructiva que mantena con su pareja. Ambos cineastas fueron invitados por Alejandro
Gonzlez Irritu para hacer el making-of de Babel (2007). En Alamar (2009) Gonzlez-Rubio captur
la conmovedora historia de un pescador que emprende con su hijo pequeo un viaje de despedida a
travs de parajes martimos surrealistas, logrando escenas memorables, llenas de ternura y nostalgia.
El nuevo documental de Gonzlez-Rubio, producido por Naomi Kawase, se titula Inori, que en japons
significa oracin o rezo. Se trata de un refinado y sutil ensayo audiovisual en torno a una pequea aldea
japonesa escondida en la montaa, habitada por una comunidad de ancianos; un lugar en el que aparentemente no sucede nada.
Con una mirada paciente e inquisitiva, capta los ritmos de la naturaleza, se deja llevar por su lenta
cadencia; el viento sopla tranquilo, el tiempo se desliza en medio de los rboles. Poco a poco descubrimos la vida espiritual de sus pobladores, hasta obtener un retrato abstracto pero ntimo de su mundo.
Gonzlez-Rubio observa con inters y respeto las costumbres y los rituales, siempre atento al detalle
etnogrfico en la cocina, los rezos o la medicina tradicional. Vemos imgenes de un puente colgante,
smbolo recurrente, metfora del umbral que separa la realidad exterior de esta aldea de ensueo.
Inori puede verse como una meditacin cinematogrfica y antropolgica sobre la vejez, sobre la
cultura tradicional y la vida cotidiana en una de las pocas comunidades que permanecen relativamente
aisladas del resto del mundo. Es una excelente expresin del nuevo cine contemplativo y multisensorial,
de la afortunada articulacin de estrategias documentales con la libertad creativa de las artes visuales,
que provocan en el espectador una experiencia esttica y una reflexin intercultural.
PULSOS
Antonio Zirin
The themes of Pedro Gonzlez-Rubios films range from the sordid to the sublime. He co-directed with
Carlos Armella Toro negro (2005), a film about a peculiar Mayan bullfighter, both violent and alcoholic, and
his destructive relationship with his partner. Alejandro Gonzlez Iarritu later invited both Gonzlez-Rubio
and Armella to direct the making-of of Babel (2007). In Alamar (2009), Gonzlez-Rubio captured a
moving story about a father and his young son who embark on a farewell journey together through surreal
maritime settings, resulting in memorable scenes of tenderness and nostalgia. Inori, which means prayer
in Japanese, is Gonzlez-Rubios new documentary, produced by Naomi Kawase. The film is a refined and
subtle audiovisual essay about a small Japanese village hidden in a mountain, inhabited by a community of
elderly people, a place where aparently nothing happens.
With a patient and inquisitive eye, the director captures natures rhythms and is carried away by its slow
cadence; the wind blows and time slips through the trees. Little by little, we discover the spiritual life of the
villagers, arriving at an abstract yet intimate portrait of their inner world. With interest and respect, GonzlezRubio observes their customs and rituals, always attentive to ethnographic detail in their food preparation,
prayers and traditional medicine. We see images of a suspension bridge, a recurrent symbol and a metaphor
of the threshold that separates exterior reality from this dream village.
Inori can be watched as a cinematographic and anthropological meditation about old age, traditional
culture and everyday life in one of the few communities that remains relatively isolated from the rest of
the world. It is an excellent expression of the new multisensory and contemplative cinema as well as the
favorable articulation of documentary strategies with the creative freedom of the visual arts, all of which
provoke an aesthetic experience and intercultural reflection in the viewer.
PUL
49
Contacto | Contact
Jorge Snchez Sosa
Producciones Amaranta
Rep. de Uruguay 52, Centro
Mxico, D.F.
jsanchezsosa@yahoo.com.br
Festivales | Festivals
Festival Internacional de Cine de San Sebastin, IDFA, DOK Leipzig, DocsDF, Festival de Cine de Guadalajara.
PULSOS
Mercedes Moncada (Spain). Born into a Spanish-Nicaraguan family, Mercedes Moncada spent
half of her life living in both countries before moving to Mexico. She is a trained sociologist with
experience in journalism and field research. In 1996 she became acquainted with film production,
and she has since worked on several documentaries and narrative films such as La pasin de Mara
Elena (2003), Historia de dos hermanosEl inmortal(2005) andLa sirena y el buzo (2009).
50
PULSOS
PUL
Palabras mgicas (para romper un encantamiento) es una pelcula que evoca todos los sentidos.
En uno de sus trabajos ms poderosos y personales, Mercedes Moncada indaga en sus recuerdos de los eventos que ocurrieron despus de la revolucin sandinista en Nicaragua en 1979,
cuando, en palabras de la directora, cada uno de nosotros era la mejor versin de s mismo.
Desafortunadamente, la brutalidad de la dictadura de Somoza fue reemplazada rpidamente por
la corrupcin y la demagogia de algunos lderes sandinistas, quienes traicionaron el espritu de
la revolucin y los corazones de quienes creyeron en ella.
Moncada entreteje sus propias memorias con material de archivo e imgenes deslumbrantes
y sugerentes del paisaje que dan testimonio de su propio desencanto. Traza sorprendentes
paralelos histricos con el contexto social contemporneo, en secuencias extraordinarias de
montaje e imgenes de protestas actuales, que son prcticamente idnticas. A travs de esta
introspeccin flmica, Mercedes Moncada registra el desvanecimiento de los ideales que avivaron
la lucha por la liberacin y logra una reflexin catrtica sobre la naturaleza cclica de la historia.
El contaminado lago de Managua se convierte en un trasfondo metafrico del estancamiento
y la miseria que han permeado en el pas, del podrido legado de los regmenes corruptos y del
peso de las memorias acumuladas de Moncada. Es tambin un recordatorio del carcter monumental y eterno de la naturaleza, que contrasta con la existencia efmera del hombre.
Elena Fortes
Magic Words (To Break a Spell) is a film that addresses all the senses. It is one of Mercedes
Moncadas most powerful and personal works and perhaps her most ambitious. She revisits her
memories of the sequence of events that followed the triumph of the 1979 Sandinista Revolution
in Nicaragua, when, as Moncada puts it, each of us was the best version of ourselves. Then she
meditates on the subsequent dissolution of the ideals that fueled the struggle for liberation in
the first place. The brutality of the Somoza dictatorship was soon replaced by the corruption and
demagoguery of power-hungry Sandinista leaders, who betrayed the spirit of the Revolution and
the hearts of those who believed in it.
Moncada weaves together her own recollections with archival footage and haunting images of
the landscape that speak to her own experience of disillusionment. By drawing striking parallels
to the contemporary social climate and brilliantly matching scenes from the past to the arsenal of
images from present-day protests, she effects a cathartic reflection on the cyclical nature of history.
The polluted Managua Lake serves as a backdrop and a metaphor for the stagnation and misery
that have permeated the country, the rotten legacy of corrupt regimes and the weight of her own
accumulated memories. It is also a reminder of the monumentality and timelessness of nature, which
contrasts and bears witness to our ephemeral existence and shortsightedness.
51
Contacto | Contact
Diego Gutirrez
eldespacho@gmail.com
www.partsofafamily.com
Ventas internacionales
Deckert Distribution
Marienplatz 1, 04103
Leipzig, Alemania
T: +49 341 215 66 38
info@deckert-distribution.com
Festivales | Festivals
Festival Internacional de Cine de Morelia.
Diego Gutirrez (Mxico, 1966) es cineasta, artista visual y fotgrafo. Estudi en la Escuela
Nacional de Artes Plsticas en Mxico y tambin en la Real Academia de Artes Visuales y el
Binger Filmlab, ambos en los Pases Bajos. En 1998 fund El Despacho, una iniciativa que
relaciona a artistas visuales con personas de otras disciplinas para desarrollar proyectos
de cine documental por medio de procesos formativos ldicos. Gutirrez ha colaborado
con artistas como Kees Hin y Yael Bartana, entre otros. Asimismo, ha recibido numerosos
reconocimientos nacionales e internacionales.
PULSOS
Diego Gutirrez (Mexico, 1966) is a filmmaker, visual artist and photographer. He studied visual
arts at the National School of Arts in Mexico as well as at the Royal Academy of Visual Arts and
the Binger Filmlab, both in the Netherlands. In 1998 he founded El Despacho, an initiative that
seeks to bring together individuals from several disciplines to develop an alternative way of making documentary films by means of playful formative processes. Gutirrez has collaborated with
artists such as Kees Hin and Yael Bartana, among others. He has received various national and
international awards and distinctions.
52
PUL
Elena Fortes
Parts of a Family is an eloquent and powerful portrait of the relationship between director Diego Gutirrezs
parents, who belong to a certain upper class rarely portrayed in contemporary Mexican cinema. They share
an enormous house on the outskirts of Mexico City despite hardly being able to bear each other. Gutirrez
follows them as they go about their daily activities, encouraging them to reflect upon their lives. His mother,
who devoted her life to taking care of the house and children, is now relegated to her solitude, nostalgic for
the happiness that marked her early years. His father, a retired doctor, is now absorbed writing his memoirs
and feels reborn at 80, claiming to never have been happier.
In an attempt to single out the traits and events that led to their distancing, Gutirrez intertwines archival
footage of family history and fragments of the couples daily life with the Aztec legend of the two lovers
who became volcanoes. In contrast to the volcanoes that overlook the house, bound together forever by
geography and legend, Diegos parents seem to be bound only by inertia and the walls of their house.
Extreme close-ups, fragmented shots, and split screens emulate and reinforce their broken relationship.
Commonplace objects disrupt the frames further separating husband and wife. But the films sophistication
goes well beyond visual construction. Words are let out in bits, emotions are suspended in tension, and
uncomfortable silences guide the films narrative, interrupted only by crushing remarks.
Parts of a Family is a visual and narrative accomplishment as well as a generous, open-hearted work of
family history brilliantly put together in parts through intimate moments that are both profoundly moving
and quietly devastating. Ultimately, it forces us to reflect upon our own mythical notions of love and the
apparent trivialities that bind human relations.
PULSOS
Partes de una familia es un retrato impactante y elocuente de la relacin de los padres del director Diego
Gutirrez. La pareja pertenece a cierta clase alta, rara vez retratada en el cine mexicano contemporneo.
A pesar de ser incapaces de soportarse, los dos comparten un casern en las afueras de la ciudad de
Mxico. Gutirrez los sigue en sus actividades cotidianas, invitndolos a que reflexionen sobre sus vidas.
La madre, quien dedic su vida al cuidado de la casa y de los nios, vive relegada en su propia soledad
y la nostalgia de su juventud. El padre, un doctor retirado, se dedica a escribir sus memorias y asegura
que a sus ochenta aos nunca haba sido tan feliz.
En un intento por definir los hechos y eventos que los distanciaron, el director entreteje fragmentos
de la vida diaria de la pareja y del archivo flmico de la familia con la leyenda mexica de los dos amantes
convertidos en volcanes. En contraste con el Popocatpetl y el Iztacchuatl que observan la casa, unidos
eternamente por la geografa y la leyenda, los padres de Diego parecen estar juntos por inercia y porque
los limitan las paredes de su residencia. Primeros planos extremos, tomas desarticuladas y pantallas
divididas emulan y reafirman su relacin fracturada. Objetos irrumpen en el encuadre separndolos an
ms. Sin embargo, la complejidad de la pelcula va ms all de su construccin visual. Las palabras se
revelan en fragmentos, las emociones quedan suspendidas en tensin y los silencios incmodos guan
la narrativa de la pelcula, que se interrumpe solo por puntuales y devastadores comentarios.
Partes de una familia es un logro visual y narrativo, as como una generosa y sincera obra sobre la
historia de una familia, compuesta en partes, a travs de momentos ntimos que son profundamente
conmovedores y estremecedores. Nos obliga a reflexionar sobre nuestras propias nociones mticas y
romnticas del amor y las aparentes trivialidades que atan las relaciones humanas.
53
Contacto | Contact
El Egipto Americano
593 Glendale Blvd.
Los ngeles, CA 90026
Estados Unidos
T: +1 213 413 1333
jesselrn@gmail.com
sandra.rozental@gmail.com
PULSOS
Sandra Rozental (Mexico, 1979), Ph.D. in social anthropology, has worked as a researcher and
curator of anthropology and popular culture museums. This is her first documentary, based on a
decade of archival and anthropological research. Jesse Lerner is a filmmaker, writer and curator.
His short films and features have received many awards at international film festivals and have
been featured at the Museum of Modern Art in New York and the Sidney Biennale, among other
venues. As a curator he has organized exhibitions for important national and international museums.
54
La piedra ausente combina de manera novedosa una reflexin antropolgica, surgida de la investigacin exhaustiva de Sandra Rozental, con una narrativa ldica y transgresora caracterstica de la obra
del cineasta Jesse Lerner. El documental sigue la trayectoria de una piedra a travs de la historia y
el paisaje mexicano. Se trata de uno de los objetos ms emblemticos de la identidad nacional: un
enorme monolito que representa una deidad prehispnica de la lluvia. El monolito, que durante siglos
permaneci en San Miguel Coatlinchan un pueblo en el Estado de Mxico, fue declarado patrimonio
nacional y trasladado al Museo Nacional de Antropologa en 1964. Su llegada fue acompaada de una
gran tormenta que inund la urbe.
La pelcula nos transporta a un episodio poco conocido de la historia contempornea de Mxico:
la expropiacin de una piedra y los conflictos que suscit. Se reconstruye el proceso de imposicin,
confrontacin, resistencia y eventual asimilacin de un pueblo que luch por defenderla hasta que
intervino el ejrcito. El relato polifnico se construye a partir de los recuerdos y la vida cotidiana de los
pobladores actuales de Coatlinchan, e incluye adems entrevistas con clebres arquitectos, arquelogos
y autoridades responsables de la operacin, y la cobertura de los medios de comunicacin de la poca.
Adems de la filmacin en 16 milmetros y animaciones realizadas por el colectivo Viumasters, los
directores mezclan material de archivo de toda ndole, haciendo gala de una extraordinaria recopilacin
iconogrfica. La irreverencia del lenguaje audiovisual revela las discrepancias y contradicciones que
existen entre la historia oficial y las memorias personales a nivel local. Los autores nos presentan su
versin extraoficial sin la solemnidad y rigidez que suelen acompaar a la historia y las ciencias sociales;
lanzan una mirada crtica a los usos y los juegos de poder en torno al patrimonio cultural; y confrontan
la historia aprovechando la maleabilidad del pasado y la ambigedad del presente.
PULSOS
Antonio Zirin
The Absent Stone combines, in a novel way, anthropological reflection based on Sandra Rozentals exhaustive
research with a playful and transgressive narrative that characterizes the work of filmmaker Jesse Lerner.
The documentary follows the journey of a stone through Mexicos history and landscape. This is not just any
stone but one of the most emblematic objects of national identity: an enormous monolith that represents a
pre-Hispanic rain deity. The monolith, which was located for centuries in San Miguel Coatlinchana town in
the State of Mexico was declared national patrimony and moved to the National Museum of Anthropology
in 1964. Its arrival was accompanied by a severe storm that flooded the metropolis.
The film transports us to an unexplored episode of modern Mexican history: the expropriation of the stone
and the conflicts it provoked. It reconstructs the process of imposition, confrontation and resistance, as well
as the eventual defeat of the town, which had fought to defend it until the army intervened. The polyphonic
account is built from the memories and everyday life of Coatlinchans inhabitants as well as from interviews
with well-known architects, archaeologists and authorities in charge of the operation and its media coverage.
In addition to the 16mm footage and a series of animations made by the collective Viumasters, the directors mix a myriad of archival material, creating an extraordinary iconographic compilation. The irreverence of
this audiovisual language reveals the discrepancies and contradictions that exist between the official story
and local, personal memories. The authors introduce us to their unofficial version without the solemnity and
strictness that tend to accompany history and the social sciences. Instead, they critically approach the power
games that seek to control cultural patrimony. They confront history, taking advantage of the malleability of
the past and the ambiguity of the present.
PUL
55
QUEBRANTO | RUIN
Mxico | 2012 | Espaol | Color | 95
Contacto | Contact
MIL NUBES CINE
Roberto Fiesco
T: +52 55 5598 9060
robfiesco@yahoo.com
RUTA 66
Hugo Espinosa
hugoespinosa@att.net.mx
Roberto Fiesco (Mxico, 1972) estudi en el Centro Universitario de Estudios Cinematogrficos (CUEC) y en la Escuela Nacional de Arte Teatral, ambas en Mxico. Varias de las
pelculas en las que trabaj como productor recibieron premios en distintos festivales del
mundo. Adems de impartir clases de produccin en el CUEC, ha publicado diversos artculos
y ensayos sobre cine. Fue becario en dos ocasiones del programa Jvenes Creadores. Su
cortometraje David (2005) gan el premio al mejor cortometraje en el Festival Internacional
de Cine de Morelia.
pulsos
Roberto Fiesco (Mexico, 1972) studied at the CUEC film school and at the National School
of Theatre, both in Mexico. Many of the movies in which he has worked as a producer have
received awards in different international film festivals. In addition to teaching production at the
CUEC, he has published various articles and essays about cinema. He has twice received the
Young Creators Fellowship. His film David (2005) won the prize for best short at the Morelia
International Film Festival.
56
BECA
Jonathan Martell
Transgender actress and ballerina Coral Bonelli inhabits a world of memories; she reminisces
about her childhood and adolescence as Fernando Garca Pinolito alongside her actress mother
Lilia Ortega. Reflecting on their intertwined lives, mother and daughter recall Corals promising yet
fleeting artistic career as an urban and child actor in the Jorge Fons film Caridad. It is impossible
to contemplate Corals life without recognizing doa Lilias strong presence. Even in her 80s she
maintains an enviable mischief and lucidity.
In Quebranto, Roberto Fiesco uses theatrically staged scenes to expose an ephemeral, glorious
past where identitys heavy burden leads Coral to actively seek liberation, beyond the successes and
failures of a thankless career. It is a moving testimony of two women who have endured a series of
losses: an absent father, a family broken by the death of a son in the 1985 earthquake, a distant
relationship with a sister and Fernandos trans identity.
From stardom to prostitution, the heartbroken voices of these two actresses reveal a destiny
apart from dreams. They now struggle to overcome the prejudices and nuances of a society that
refuses to understand that when making decisions in life, happiness is what matters.
57
Contacto | Contact
Joaqun del Paso
T: +48 515636380
joaquindelpaso@gmail.com
Festivales | Festivals
Festival de Cine de Cracovia, Festival Internacional de Cine de Morelia.
Joaqun del Paso (Mxico, 1986). Director y cinefotgrafo. En 2007 complet sus estudios
de direccin y guion en el ICAIC en La Habana. Actualmente estudia en la Escuela de Cine
de Lodz. Sus cortometrajes y documentales han sido presentados en festivales internacionales. Jan Pawel Trzaska (Polonia, 1983). Director, cinefotgrafo y fotgrafo graduado de la
Escuela de Cine de Lodz y la Academia de Fotografa de Varsovia. Ha trabajado como director
y director de fotografa en documentales, cortometrajes, programas de televisin y videoclips.
pulsos
Joaqun del Paso (Mexico, 1986) is a film director and cinematographer. In 2007 he completed
coursework in Film Directing and Scriptwriting at the State Film School in Cuba. He is currently
studying at the Film School in Lodz. His short feature films and documentaries have been presented
at film festivals worldwide. Jan Pawel Trzaska (Poland, 1983). A graduate of the Film School
in Lodz and the Academy of Photography in Warsaw, Trzaska is a film director, cinematographer
and photographer. As a director and director of photography he has worked on documentaries,
short feature films, TV programmes and video clips.
58
PULSOS
PUL
Un hombre suea con el fin del mundo, con el da en que una enorme nube negra cargada de
lluvia se acerque amenazante hacia l y su familia. En medio de esa apocalptica oscuridad que
convierte su sueo en pesadilla, abrazar a su esposa e hijos para esperar con resignacin lo
que tenga que suceder.
A travs de un discurso audiovisual casi minimalista, construido con imgenes de la vida
cotidiana en la poblacin rural de San Juan Ixtaltepec, Oaxaca, los documentalistas egresados
de la Escuela Nacional de Cine de Polonia, el mexicano Joaqun del Paso y el polaco Jan Pawel
Trzaska, retratan el infructuoso esfuerzo de sus pobladores por advertir a las autoridades gubernamentales sobre el grave peligro de deslaves que amenazan con destruir su comunidad
durante la temporada de lluvias.
A pesar de este trgico panorama, el trabajo de Trzaska y Del Paso consigue exponer con
sutileza momentos bellos de una realidad permanente en la regin de la sierra mexicana, donde
a la carencia de recursos con los que sobrevive esta comunidad mixteca, se suman el miedo y
la desesperanza de sus habitantes, quienes desde el anonimato imploran un estudio geolgico
de la zona de riesgo, en cuyo resultado confan encontrar la argumentacin para ser reubicados.
Mientras esperan la ayuda, el desastre es inminente.
Jonathan Martell
A man dreams of the end of the world, of the day when a dark rain cloud will approach and threaten
him and his family. In the middle of this apocalyptic darkness that turns his dream into a nightmare,
he holds onto his wife and children, waiting for the inevitable.
Through a minimalist audiovisual discourse constructed with images of everyday life in rural San
Juan Ixtaltepec, Oaxaca, the Mexican filmmaker Joaqun del Paso and the Polish filmmaker Jan Pawel
Trzaska, both graduates of the Polish National Film School, portray the rural communitys unsuccessful
efforts to warn local authorities of the oncoming threat of landslides that the rainy season brings.
Despite this tragic story, Tzaska and Del Pasos work succeeds at subtly exposing the beautiful
glimpses of the reality of the Mexican sierra. The inhabitants of the Mixtec community conduct an
anonymous geological survey of the area, hoping to justify their relocation to safer grounds. In the
meantime, they must survive with limited resources and in a state of constant fear and anxiety. They
wait for assistance, in spite of the imminent disaster.
59
Ambulante Beyond fosters and promotes independent productions in order for new
filmmakers from all over Latin America to tell their stories from a unique cultural
perspective and style.
61
CAMPO 9 | FIELD 9
CHIBALKAN
Ayudar para ser ayudado, as es como Vctor Ceballos concibe su labor: la preparacin de un remedio
herbolario contra la mordida de serpientes venenosas
que aprendi desde nio como parte de una sabidura
ancestral y secreta que se ha heredado en la familia
Ceballos de generacin en generacin.
campeche
62
YUCATN
ambulante ms all
Evelia, Andrs and Tony have two things in common: their parents work the land and part of their
lives revolve around the CECYT, a high school with
terminal technical degrees that do not correspond
with the realities of their rural communities. This
documentary takes on the incompatibility between
the technical programs, which are the only options
for these young people, and the reality of their rural
environment. It also shows us the frustrations that
arise when the opportunities you need to grow as
a person are not available.
campeche
campeche
63
KOLTAVANEJ
Mxico | 2012 | Espaol | Color | 19
chiapas
64
YUCATN
ambulante ms all
EL NAIL
Mxico | 2012 | Tseltal | Color | 28
chiapas
chiapas
65
SANJUANA
Mxico | 2012 | Espaol | Color | 28
TRAMAS Y TRASCENDENCIAS
RESILIENCE
Guatemala | 2012 | Espaol | Color | 12
YUCATN
66
guatemala
67
ambulante ms all
OBSERVATORIO
A series of cutting-edge documentaries from around the world that inspire new forms
of thinking about and interpreting reality.
ARGENTINIAN LESSON
Contacto | Contact
Katarzyna Wilk
Krakow Film Foundation
ul. Basztowa 15/8a
| 31-143 Cracovia, Polonia
T: +48 12294 69 45
katarzyna@kff.com.pl
Festivales | Festivals
RIDM, Silverdocs, Plus Camerimage, Dokufest Kosovo, Festival Internacional de Cine Noruego, Festival Internacional de Cine
Documental Encuentros del Otro Cine.
OBSERVATORIO
Wojciech Staron (Polonia, 1973) es director y fotgrafo de cine. Graduado del departamento de cinematografa de la Escuela de Cine de Lodz, Staron ha filmado ms de veinte
documentales y largometrajes de ficcin. Es miembro de la Academia Europea de Cine y de
la Sociedad Polaca de Cinefotgrafos. Su debut como documentalista fue con la pelcula The
Siberian Lesson (1998), galardonada en Amsterdam (IDFA) y el Festival de Cine de Cracovia,
entre otros. Recibi el premio Oso de Plata en la Berlinale 2011 por su trabajo como director
de fotografa en la pelcula El premio, dirigida por Paula Markovitch.
70
Wojciech Staron (Poland, 1973) is a cinematographer and film director. A graduate of the
Cinematographic Department at the Film School in Lodz, he has shot over twenty documentaries
and feature-length fiction films. Staron is a member of the European Film Academy and Polish
Society of Cinematographers. He made his documentary debut with The Siberian Lesson (1998),
which won awards in Amsterdam (IDFA) and the Krakow Film Festival, among others. He received
the Silver Bear Award at Berlinale 2011 for his cinematography in El premio, directed by Paula
Markovitch.
Una joven polaca llega a la taiga rusa, en la Siberia de los exiliados y deportados, para dar clases de
polaco. Enviada por el gobierno de su pas para resarcir un vnculo atravesado por guerras y crisis econmicas, con ella tambin viaja su novio, Wojciech Staron, director y cinefotgrafo. l captura y recrea
las experiencias de la maestra en este territorio de vidas estoicas y frugales, en el documental titulado
The Siberian Lesson (1998). Varios aos ms tarde, ya casados y con hijos, viajan a Argentina. El motivo es el mismo, ensear la lengua a grupos de exiliados polacos y sus descendientes; el resultado, el
conmovedor documental Leccin argentina.
Si bien ambos documentales estn relacionados, el punto de vista cambia. En el primero, la maestra
es el centro, mientras que en el segundo es el hijo de ocho aos, Janek, a quien seguimos de cerca.
Con estas dos obras Staron ha creado una amorosa genealoga cinematogrfica de su familia, en la que
imagen y sensacin componen un engranaje perfecto gracias a su destreza como cinefotgrafo que
muestra cmo cada traslado por el mundo se torna un aprendizaje complejo.
El pueblo de Azara irrumpe en la cmara de Staron como un espacio en donde la pobreza y la naturaleza han creado una decadencia casi lrica. A su llegada, Janek conoce a Marcia, una nia argentina
de ascendencia polaca. Con la cmara siempre a la altura de los ojos de los nios, vemos dos entendimientos y experiencias del mundo entremezclarse. Observamos a Marcia trabajar para ganar ms dinero;
a Janek explorar el nuevo territorio. A Marcia la niez le confiere una dulzura apabullante y los problemas
de los adultos, una sabidura precoz; su energa y decisin contrastan con el humor ms silencioso de
Janek. Ms all de la cercana relacin entre los nios, este encuentro con la pobreza de Marcia y con
el mundo que la rodea es todava un rumor en Janek, una pregunta en ciernes.
Finalmente, Leccin argentina tambin es un retrato excepcional de dos familias en circunstancias
distintas pero que buscan lo mismo: una mejor configuracin del mundo que habitan.
OBSERVATORIO
Lorena Gmez Mostajo
A young Polish woman arrives in the Russian taiga, the Siberia of exiles and deportees, to teach Polish.
Sent by her countrys government to mend a bond fractured by wars and economic crises, she travels
with her boyfriend, the director and cinematographer Wojciech Staron. In the documentary The Siberian
Lesson (1998) he, in turn, captures and recreates the teachers experiences in this land of stoicism and
frugality. Several years later, now married and with children, the couple travels to Argentina. The purpose is
the same: to teach the language to groups of Polish exiles and their descendants. The result is the moving
documentary Argentinian Lesson.
Although the two documentaries are related, the point of view is different. In the first film the teacher is
the focus, while in the second, the protagonist is their eight-year-old son Janek, whom we follow closely.
With these two pieces, Staron has created a loving cinematic genealogy of his family, where image and
feeling meld perfectly, thanks to his cinematographic prowess, and reveal how each journey across the
world becomes a complex learning process.
The town of Azara emerges through Starons lens as a space where poverty and nature have created an
almost lyrical decadence. Upon arriving, Janek meets Marcia, an Argentinan girl of Polish origin. The camera
remains at the childrens eyelevel, revealing how two different experiences of the world intermingle. We see
Marcia working to earn more money and Janek exploring the new territory. Childhood endows Marcia with
an overpowering sweetness, but the adults troubles bring her precocious wisdom. Her energy and determination contrast with Janeks silent mood. Janek is just beginning to understand Marcias poverty and the
world in which she lives. Argentinian Lesson is an extraordinary portrait of two families enduring different
situations but sharing a purpose: to find a better configuration of the world they inhabit.
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Contacto | Contact
Finlay Pretsell
SDI Productions Ltd.
finlay@scotdoc.com
T: +44 131 6515873
Festivales | Festivals
CPH:DOX, Festival Internacional de Cine de Edimburgo.
OBSERVATORIO
Maja Borg (Suecia, 1982) es una artista visual y directora de cine cuya obra desdibuja los
lmites del documental, la ficcin y el cine experimental. Borg estudi Cine y Televisin en la
Escuela de Arte de Edimburgo. Ha dirigido pelculas para la televisin y ha recibido comisiones
de varias instituciones tanto en el Reino Unido como en Suecia. En 2007 realiz Ottica Zero
(2007), trabajo aclamado y exhibido internacionalmente y que dio origen al desarrollo de su
primer largometraje, Future My Love. Ha colaborado con otros cineastas, principalmente
con Anna Linder y Carl-Henrik Svenstedt, como directora de fotografa y editora. Vive en
Glasgow, Escocia.
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Maja Borg (Sweden, 1982) is a visual artist and film director working across documentary, fiction
and experimental film. Borg studied film and television at Edinburgh College of Art. She has made
films for TV and has been commissioned by various funding bodies in the United Kingdom and
Sweden. In 2007 she made the widely acclaimed and exhibited short Ottica Zero, which gave
rise to her first feature, Future My Love. She has also collaborated as director of photography
and editor with several filmmakers, notably Anna Linder and Carl-Henrik Svenstedt. She lives in
Glasgow, Scotland.
Despus de cinco aos de diligente labor, la artista y cineasta sueca Maja Borg presenta un sorprendente
primer largometraje: un oportuno, fascinante y potico documental que, como en la mayora de sus
cortometrajes, desafa los gneros al unir elementos de ficcin y no ficcin. Futuro mi amor ofrece una
sofisticada contemplacin del mundo en que vivimos un mundo que canibaliza sus recursos y cuya
economa monetaria ha puesto en bancarrota nuestras esperanzas y valores.
Borg comenz a trabajar el proyecto en 2007, poco antes de que la crisis econmica provocara una
conmocin alrededor del mundo. Su indagacin result acertada: hizo preguntas puntuales y reuni las
opiniones de los diseadores e ingenieros que han dedicado su vida a imaginar un planeta sustentable. La
capacidad de Borg para abstraer su experiencia ntima del amor hacia la problemtica socio-econmica
constituye un original punto de entrada a su complejo argumento.
El filme sobrepone la amenaza de un mundo en pleno modo autodestructivo en la historia de un
rompimiento, mezclando estilos autobiogrficos y ensaysticos dentro de una obra no dogmtica, reflexiva, reveladora y profundamente conmovedora, que cuestiona nuestro apego a polticas y sistemas
que agotan nuestros recursos econmicos y emocionales. Sus secuencias, elegantemente construidas,
presentan una evocadora cinematografa en Sper 8, material de archivo, as como entrevistas con
notables pensadores. El anlisis de Borg rehye el idealismo ingenuo; constata la necesidad de llevar
a cabo un gran esfuerzo colectivo para rehabilitar el pensamiento utpico, provocar un cambio positivo
y alcanzar una economa basada en los recursos. Futuro mi amor rescata los hilos de un mundo en
jirones y los entrelaza en una plataforma nica que cuestiona de manera diferente y ve hacia adelante,
recordndonos que el cine es una tecnologa visual pero tambin visionaria. Ms que disear un nuevo
mundo feliz, la tarea se convierte en desafiar a este nuevo mundo.
OBSERVATORIO
Mara Fortes
After five years of diligent work, Scotland-based Swedish artist and filmmaker Maja Borg presents a stunning first feature: a timely, riveting and poetic documentary (though like most of her short films, it defies
genres and enlists fiction and nonfiction elements to suit her chosen subject matter). Future My Love offers
a sophisticated contemplation of the world we live in, a world that is cannibalizing its resources and whose
monetary-based economy is bankrupting our hopes and values.
Borg began working on this project in 2007, shortly before the economic crisis sent shockwaves around
the globe. Her inquiry turned prophetic: she asked urgent questions and collected the insights of designers
and engineers who have devoted their work to imagining a sustainable planet. The directors capacity for
abstracting her intimate experience of love from the current socio-economic problematic constitutes an
original point of entry into its complex intellectual argument.
The film transposes the threat of a world in self-destructive mode onto the story of a break-up, mixing
autobiographical and essayistic modes into a non-dogmatic, reflexive, insightful and profoundly moving
piece that questions our attachment to the policies and systems that deplete our economic and emotional
resources. Its elegantly constructed sequences feature haunting Super 8 cinematography, archival material
and interviews with notable thinkers. Borgs analysis eschews nave idealism. She is aware that rehabilitating utopian thinking, catalyzing positive change and creating a sustainable economy requires widespread
collective effort. Future My Love picks up the strands of a fraying world and weaves them into a unique
platform for raising different questions and looking ahead, reminding us that cinema is both a visual and a
visionary technology. Rather than designing a brave new world, the task becomes braving up to the new world.
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LEVIATHAN | LEVIATN
Reino UnidoFranciaEstados Unidos | 2012 | Ingls | Color | 87
Contacto | Contact
arretetantecinema@gmail.com
www.arretetoncinema.org
Festivales | Festivals
TIFF, IDFA, RIDM, CPH:DOX, Festival de Cine de Locarno, Festival de Cine de Nueva York, FIC Valdivia, AFI Fest, Viennale,
Festival Internacional de Cine de Vancouver, Festival Internacional de Cine de Chicago, Festival de Cine de Sevilla.
OBSERVATORIO
Lucien Castaing-Taylor y Vrna Paravel son cineastas, artistas y antroplogos que trabajan
en el Laboratorio Etnogrfico Sensorial de la Universidad de Harvard. Su trabajo es parte de
las colecciones del Museo de Arte Moderno de Nueva York y del Museo Britnico, y ha sido
exhibido en el Instituto de Arte Contemporneo de Londres, el Centro Pompidou, el Museo
de Arte de Berln, entre otros espacios. Entre las pelculas previas de Paravel se encuentran
Foreign Parts (con J.P. Sniadecki), Interface Series; y de Castaing-Taylor, Hell Roaring Creek,
The High Trail (2010), Sweetgrass (con Ilisa Barbash) e In and Out of Africa (con Barbash).
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Lucien Castaing-Taylor and Vrna Paravel are filmmakers, artists, and anthropologists, who
are part of the Sensory Ethnography Lab at Harvard University. Their work is in the permanent
collection of the Museum of Modern Art, New York, and the British Museum and has been exhibited at Londons Institute of Contemporary Arts, the Centre Pompidou and the Berlin Kunsthalle,
among other venues. Paravels previous films include Foreign Parts (with J.P. Sniadecki), Interface
Series, and Castaing-Taylors Hell Roaring Creek, The High Trail, Sweetgrass (with Ilisa Barbash)
and In and Out of Africa (with Ilisa Barbash).
Leviatn, un nuevo y premiado documental dirigido por Lucien Castaing-Taylor (Sweetgrass) y Vrna
Paravel (Foreign Parts), es a la vez una mirada al mundo violento de la pesca comercial y una impresionante fusin de belleza y horror. La pelcula retoma el antiguo relato de los pescadores y el mar; sin
embargo, el avasallador lenguaje cinematogrfico de los directores inyecta a la historia una experiencia
emocional y sensorial que desafa nuestra percepcin de lo familiar y cuestiona las estrategias del cine
documental y etnogrfico.
Filmado por completo a bordo de un barco pesquero en la costa de New Bedford, Connecticut (el
pueblo portuario en Moby Dick de Melville), la cmara se mueve continuamente entre los cineastas, los
pescadores, los peces, el barco y el mar, lo que cambia constantemente el punto de vista de la pelcula.
Los efectos visuales de esta colaboracin crean una desorientacin gloriosa que nos deja, a nosotros
los espectadores, sin aire y preguntndonos dnde estamos y quines somos. De pronto nos encontramos volando de cabeza al lado de las gaviotas; movindonos violentamente en la cubierta junto a los
peces moribundos en espera de ser eviscerados; descuartizando la pesca del da hbilmente pero sin
cuidado; y siempre, en el fondo, sentimos la presencia ominosa del mar, su peso sobre nosotros, y al
bblico Leviatn acechando en las profundidades.
Leviatn es la ltima pelcula del Laboratorio Etnogrfico Sensorial de la Universidad de Harvard (SEL,
por sus siglas en ingls), en donde Castaing-Taylor se desempea como director y Paravel, como profesora. SEL apoya obras innovadoras de no ficcin que combinan el arte, el documental y la antropologa,
y que a la vez rechazan las convenciones de estas disciplinas. Leviatn es un ejemplo impresionante de
este hbrido de ideas. Por su planteamiento y forma se trata de un documental liberador. Pero tambin es
liberador para el espectador, puesto que cuando estamos en el cine, nos olvidamos de nuestra realidad
actual: dejamos de estar en el aqu y el ahora, y estamos all, a bordo del barco, inmersos en la lucha
del hombre contra la naturaleza.
OBSERVATORIO
Meghan Monsour
Leviathan, a new award-winning documentary directed byLucien Castaing-Taylor (Sweetgrass) and Vrna
Paravel (Foreign Parts), is both a glimpse into the violent world of commercial fishing and a breathtaking
fusion of beauty and horror. The film speaks of the age-old tale of the fisherman and the sea, yet the directors forceful cinematographic language injects it with an emotional and sensory experience that challenges
our perception of the familiar and questions the strategies of documentary and ethnographic filmmaking.
Filmed entirely aboard a fishing boat off the coast of New Bedford, Connecticut, the port town in Melvilles
Moby Dick, the camera continuously shifts between the filmmakers, fishermen, fish, ship, and sea, constantly
changing the films point of view. The visual effects of this collaboration are gloriously disorienting, leaving
us the viewers gasping for air and wondering where and who we are. We are at once flying upside-down
with seagulls, thrashing around the deck with dying fish waiting to be gutted, and butchering the days catch,
skillfully yet without care. And always in the background, we feel the ominous sea weighing down upon us,
the biblical Leviathan lurking in its depth.
Leviathan is the latest film to come out of Harvards Sensory Ethnographic Laboratory, where CastaingTaylor is the director and Paravel is a faculty member. The SEL supports innovative nonfiction works that
combine art, documentary and anthropology, while at the same time rejecting the conventions of those
disciplines. Leviathan is a stunning example of this hybrid of ideas. In its approach and form, it is a liberating documentary, yet it is also liberating for the viewer. As spectators, at least for the time that we are in
the cinema, we forget our present reality; we are no longer in the here and now, but we are there, onboard,
sensorially immersed in the struggle of man versus nature.
OBS
75
Contacto | Contact
Min-Chul Kim
himinchul@gmail.com
Catherine Le Clef
cat@catndocs.com
Festivales | Festivals
IDFA, RIDM, Hot Docs, Silverdocs, Tribeca, Sheffield Doc/Fest, Plus Camerimage, Festival Internacional de Cine de Nueva
Zelanda, Festival de Cine One World.
OBSERVATORIO
Seung-Jun Yi (Corea del Sur) es uno de los directores ms reconocidos en la escena del
cine documental en su pas. Ha dirigido ms de una docena de documentales, entre los que
destaca Children of God (2008), pelcula sobre la difcil vida de un grupo de nios que viven
en un crematorio de Catmand, Nepal. El documental gan el premio Netpac en el Festival
Internacional de Cine de Chonju y el premio Telly por la mejor cinematografa. Se present en
Hotdocs y en varios festivales internacionales. Seung-Jun siempre se ha enfocado en la vida
de las minoras invisibles; ste se ha vuelto su estilo cinematogrfico distintivo.
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Seung-Jun Yi (South Korea) is one of the most renowned Korean directors in the world documentary scene. He has directed over a dozen documentaries, notably Children of God (2008),
which captures the moments of harsh lives of children living at the crematorium in Kathmandu,
Nepal. The film won the Netpac award at the Chonju International Film Festival and the Telly Award
for best cinematography, and it has been presented at various international festivals including
Hotdocs 2009. Seung-Juns interest has always focused on the life of so-called unseen minorities.
This has become his signature style of filmmaking.
Para Young-Chan el mundo comienza en la punta de los dedos, se revela en pulsaciones y temperaturas,
en pliegues y texturas, en oquedades y relieves. Para l, este es un nuevo planeta de una temporalidad
indescifrable, cuya exploracin solamente puede ocurrir en un ritmo pausado, con una cadencia distinta
a la nuestra. Young-Chan se define como un astronauta, figura que usa como metfora de su ceguera
y sordera que lo hacen vagar por el mundo en constante descubrimiento. Hay algo poderoso en sus
manos y todava ms en su imaginacin; escribe poesa, una novela est en el horizonte de sus deseos
y se encuentra montando una obra de teatro, que l mismo escribi, sobre un hombre ciego. Esta vida
interior y su alegra de vivir se originaron gracias a la presencia y al amor de su pequea esposa, SoonHo, quien tambin sufre una discapacidad.
La complicidad entre Young-Chan y Soon-Ho es retratada con detalle. Parece que el director nos
empuja a mirar de cerca para aprender a tocar, a recordar superficies. Soon-Ho se comunica con YoungChan poniendo sus dedos sobre los de l y presionando a intervalos. Esta forma de hablar resulta tan
poderosa como el sonido de las palabras. Ciego y sordo debido a una fiebre en la niez, l aprendi a
hablar antes de que el mundo se silenciara. As, no duda en aprender un nuevo idioma, hebreo, con la
ayuda de Soon-Ho. La presencia de ella ha desencadenado un mundo de hallazgos: la suave firmeza de
los rboles y, por primera vez, el mar. El poder de estas escenas nos obliga a imaginar la sensaciones
que Young-Chan est experimentando.
Con elegancia y recogimiento, el director coreano Seung-Jun Yi registra el caso de un hombre que
sobreviene difciles obstculos de manera ejemplar, y nos muestra la singular experiencia del mundo de
un grupo de personas invisibles para las pantallas cinematogrficas y sociedades enteras. Gracias a
la generosidad y ayuda de Young-Chan y Soon-Ho, este documental nos abre las puertas a un mundo
distinto, al planeta del caracol.
OBSERVATORIO
Lorena Gmez Mostajo
For Young-Chan, the world begins at ones fingertips: it is revealed in pulsations and temperatures, folds
and textures and raised or hallowed surfaces. For him, this is a new planet of indecipherable temporality,
whose discovery can only occur at a paused rhythm and a cadence different from our own. Young-Chan
describes himself as an astronauta metaphor he uses to note how his blindness and deafness make him
wander through the world in a constant state of discovery. There is something powerful in his hands and
something even greater in his imagination. He writes poetry, hopes to someday write a novel and is currently
staging a play he wrote about a blind man. He owes his rich life and vitality to the company and love of his
wife, Soon-Ho, who is a little person.
Young-Chan and Soon-Hos relationship is portrayed in quiet rhythms. The director seems to encourage
us to take a closer look at the details, to learn to touch and remember surfaces. Soon-Ho communicates
with Young-Chan by placing her fingers over his and pressing them at intervals, a form of speaking that is
as powerful as the sound of words. Left deaf and blind due to a childhood fever, Young-Chan learned to
speak before his world went silent. And so, with the help of Soon-Ho, he does not hesitate to learn a new
language, Hebrew. Her presence has uncovered a world of revelations: the gentle firmness of the trees and,
for the first time, the sea. These scenes are poignant and prompt one to imagine the different sensations
Young-Chan is experiencing.
With elegance and a tasteful restraint, Korean filmmaker Seung-Jun Yi recounts the history of a man
who has courageously overcome difficult obstacles and gives us a glimpse of a unique world that usually
remains unnoticed. He introduces a group of individuals who are often invisible on the big screen and in
society at large. Thanks to the generosity of Young-Chan and Soon-Ho, this documentary opens the doors
to a different world: to the Planet of Snail.
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TCHOUPITOULAS
Estados Unidos | 2012 | Ingls | Color | 81
Contacto | Contact
Jim Dobson
Indie PR
Estados Unidos
T: +1 323 896 6006
jim@indie-pr.com
Festivales | Festivals
SilverDocs, Hot Docs, SXSW, Festival de Cine Independiente de Ashland.
OBSERVATORIO
Bill y Turner Ross (EUA) se graduaron del Savannah College of Art and Design. Los documentales, largometrajes de ficcin y cortometrajes multimedia de Bill Ross han sido seleccionados para distintos festivales como el Festival de Cannes y el Festival Internacional de Cine
de Seattle. Bill Ross tambin ha trabajado como profesor de cine en primaria y secundaria.
Turner Ross ha trabajado en los departamentos de arte de largometrajes producidos por
grandes estudios como Dj Vu, Skeleton Key, My Own Love Song e Idiocracy, as como
para varias pelculas independientes. El primer largometraje documental de los hermanos,
45365, fue galardonado en distintos festivales.
78
Bill and Turner Ross (USA) both graduates from the Savannah College of Art and Design. Bill
Ross documentary, fiction and multi-media short films have been featured at festivals including
Cannes Film Festival and the Seattle International Film Festival. Bill Ross has taught filmmaking
to students at the elementary and secondary level. Turner Ross has worked in the art departments
of studio features such as Dj Vu, Skeleton Key, My Own Love Song, and Idiocracy, as well
as a handful of independent features. Their first feature length-film, 45365, received awards in
many film festivals.
Tchoupitoulas, el segundo largometraje documental dirigido por Bill y Turner Ross, toma su nombre de
una calle en Nueva Orleans que corre paralela al ro Misisipi y de un famoso grupo de indios del Mardi
Gras de los aos setenta, los Tchoupitoulas Salvajes. El ttulo expresa gran parte de la trayectoria narrativa de la pelcula: al otro lado del ro, en la ciudad, en medio de la fiesta, inmersos en la msica. Los
destellos iridiscentes se tornan un tema recurrente a medida que nos desplazamos entre los msicos
de la calle Decatur, entre la cacofona visual y auditiva de las tiendas en Canal Street y por los cabarets
y el desenfreno de Bourbon Street.
Sin embargo, este clsico viaje nocturno por la ciudad del pecado se relata desde una perspectiva
inesperada. Captura el resplandor de las luces de nen, de las farolas y del fuego que baila en los ojos
vidriosos de tres chicos que pasean solos por la noche. Los hermanos Ross, al querer hacer una pelcula
que reflejara sus propios recuerdos de la ciudad, encontraron sus lter ego en los hermanos Zanders. Al
caer la tarde, William, un chico precoz de once aos, Bryan de quince y Kentrell de diecisis, abordan,
con su perro Buttercup, el ferry rumbo al barrio francs. Conforme el cielo se oscurece y la ciudad se
ilumina, comienza la hazaa artstica de mezclar la realidad documental y la ficcin, equiparando el asombro
que provocan los deseos juveniles de los chicos (poder volar, hacer la mejor fiesta en una alberca que
jams haya habido) con su equivalente en la decadencia adulta (ostras crudas, herona, Mardi Gras).
El extraordinario trabajo de cmara y edicin trazan y desdibujan las fronteras que separan los espacios para todo pblico de aquellos para las fantasas adultas. En esta pelcula de contrastes sombra
y luz, ruidosas bandas de metales y harmnicas solitarias, casinos y bolsillos sin un cntimo, pecado
e inocencia observamos a los tres chicos precoces navegar con agilidad por el umbral que separa
ambos mundos.
OBSERVATORIO
Misha Maclaird
Tchoupitoulas, the second feature documentary directed by Bill and Turner Ross, takes its name from both
a street in New Orleans that runs parallel to the Mississippi River and a famous group of Mardi Gras Indians
(The Wild Tchoupitoulas) from the 1970s. The title conveys much of the films narrative trajectory: across
the river, into the city, through the revelry and immersed in music. Colorful flares of reflected light become
a recurring theme as we move through the visual and aural cacophony of the shops on Canal Street, the
burlesque shows and debauchery of Bourbon Street and the musicians on Decatur.
But this classic nocturnal journey through the so-called City of Sin is told from an unexpected perspective. It catches the sparkle of neon signs, street lamps and fire dancing in the glassy eyes of three young
boys out on their own for the night. The Ross brothers, wanting to make a film that reflected their own
childhood memories of this city, found alter egos in the Zanders brothers. As the sun goes down, a precocious eleven-year-old William, fifteen-year-old Bryan and sixteen-year-old Kentrell, with their dog Buttercup,
board a ferry headed toward the French Quarter. As the sky darkens and the city lights up, the film sets out
on its artistic feat of mixing documentary reality with the constructs of fiction, placing the wonderment of
the boys youthful desires (pizza, being able to fly and throwing the biggest pool party ever) alongside the
equivalent in grown-up decadence (raw oysters, heroin, Mardi Gras).
The camera work and editing skillfully establish and then break the boundaries that divide the citys
all-ages public space from the private rooms of adult fantasy. In this film of contrastsbetween shadow
and light, thumping brass bands and melancholy harmonicas, casinos and penniless pockets, sin and innocencewe watch and listen as the three boys, already wise beyond their years, deftly navigate the threshold
between those worlds.
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Contacto | Contact
Films Boutique
Kpenicker Strasse 184
10997 Berln, Alemania
T: +49 30 695 378 50
www.filmsboutique.com
info@filmsboutique.com
Festivales | Festivals
TIFF, Doclisboa, Festival de cine de Locarno, Festival de cine de NY, Festival de cine de Vancouver, Festival de cine de Valdivia.
OBSERVATORIO
Joo Rui Guerra da Mata (Mozambique) y Joo Pedro Rodrigues (Portugal) se conocieron diecinueve aos atrs, y en 1995 trabajaron juntos por primera vez en un proyecto
cinematogrfico. En 1997, Guerra protagoniz el primer cortometraje de Rodrigues. Desde
entonces Guerra ha sido el director de arte en todas la pelculas de este ltimo, colaborando
tambin en el guion. Joo Rui Guerra dirigi el cortometraje China, China (2007), antes de
coescribir To Die Like a Man (2009) dirigida por Rodrigues. Graduado de la Escuela de Cine
de Lisboa, Joo Pedro Rodrigues trabaj de 1989 a 1996 como asistente de direccin y
editor. Su cortometraje Parabns (1997) recibi una mencin especial en el Festival de Cine
de Venecia, y su pelcula Odete gan numerosos premios, incluyendo la mencin especial
Cinmas de Recherche en la Quincena de Realizadores de Cannes.
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Joo Rui Guerra da Mata (Mozambique) and Joo Pedro Rodrigues (Portugal) met nineteen
years ago and worked together in cinema for the first time in 1995. In 1997, Guerra starred in
Rodrigues first short. From then on, Guerra was the art director in all of Rodrigues films, working
also on the scripts. Joo Rui Guerra directed China, China (2007), a short, before co-scripting
Rodriguess To Die Like a Man (2009). Joo Pedro Rodrigues graduated from the Lisbon Film
School and from 1989 to 1996 worked as an assistant director and editor. His short Parabns
(1997) received a special distinction of the Jury at the Venice Film Festival, and his film Odete
won several awards, including a Cinmas de Recherche Special Mention at the Directors Fortnight in Cannes.
Cmo retratar una ciudad enigmtica? En La ltima vez que vi Macao los codirectores Joo
Pedro Rodrigues y Joo Rui Guerra da Mata mezclan documental y ficcin para llevar a sus
espectadores en un viaje por el pasado colonial de Macao y su actual transicin.
Una carta en la que Candy vieja amiga, travesti y cantante de un club nocturno pide auxilio
a Joo Rui Guerra da Mata, es la causa del regreso de ste ltimo a Macao, una ciudad en la
que no ha estado desde hace treinta aos. Este viaje imaginado, reminiscente de Sans Soleil, la
pelcula ensayo de Chris Marker de 1983, pronto sufre un giro inesperado. A su llegada a Macao,
Guerra da Mata se da cuenta rpidamente de que cosas raras y escabrosas estn ocurriendo y
de que la vida de su amiga corre un verdadero peligro. Una serie de crpticos correos electrnicos
y mensajes de voz no contestados nos guan en un juego de pistas por la ciudad. Descubrimos
que all el tigre es rey, y rara la persona que habla portugus. Este no es el mismo Macao que
Joo Rui Guerra da Mata dej cuando era nio.
Esta pelcula, parte film noir parte cine ensayo, hace referencia al filme Macao de Josef von
Sternberg y Nicholas Ray de 1952, y nunca designa o nos obliga a creer que hay un protagonista
nico. Debido a que la mayor parte del drama ocurre fuera de la pantalla, el espectador puede
contemplar el paisaje en ruinas de la excolonia portuguesa. Tan crptica como la ciudad y tan
simblica como Candy, quien vive bajo amenaza y en un estado de transicin, La ltima vez que
vi Macao se convierte en algo ms que un diario de viajes; es un potico retrato de la ciudad y
su riqueza histrica.
OBSERVATORIO
Brenda Contreras
How do you capture the portrait of an enigmatic city? In The Last Time I Saw Macao co-directors
Joo Pedro Rodrigues and Joo Rui Guerra da Mata combine documentary and fiction to take their
viewers on a journey of Macaos colonial past and transitioning present.
Prompted by a letter of distress from his old friend, a transvestite nightclub singer named Candy,
we follow the story of Joo Rui Guerra da Matas return to Macao, a city he has not been to in thirty
years. This imagined journey, reminiscent of Chris Markers 1983 essay film, Sans Soleil, soon takes
an unexpected twist. Upon his arrival to Macao, Guerra da Mata quickly realizes that strange and scary
things are occurring and his friends life is in real danger. A string of cryptic emails and unanswered
phone messages guide us on a scavenger hunt through the city. Here we discover that the tiger is
king and rare is the person who speaks Portuguese. This is not the same Macao he left as a child.
Part film noir, part essay film, with references to Josef von Sternbergs and Nicholas Rays
1952 film Macao, this film never settles on a protagonist. The majority of the drama is played out
off-screen so that the viewer can take in the deteriorating landscape of the former Portuguese
colony. As cryptic as the city is and as symbolic as the transitioned and endangered Candy is, The
Last Time I Saw Macao becomes more than just a travelogue. It sets itself as a poetic portrait of
a city and its rich history.
OBS
81
This section is devoted to films on human rights and freedom of speech as well as
censored films and filmmakers
Contacto | Contact
Independent
32 Tavistock Street
Londres, WC2E 7PB
Reino Unido
T: +44 (0) 20 7257 8734
mail@independentfilmcompany.com
Festivales | Festivals
Sundance, Festival Internacional de Cine de Berln, Hot Docs, Festival Internacional de Cine de Helsinki,
Festival Internacional de Cine de San Francisco.
84
Tras aos de registro que arrojaron ms de cien horas de material, la periodista y documentalista Alison
Klayman rene hbilmente elementos de la vida, obra y activismo de Ai Weiwei, el artista contemporneo
chino con mayor reconocimiento a nivel internacional y con una extraordinaria presencia en las redes
sociales. A partir de 2008, la directora sigue al artista en momentos clave como las Olimpiadas de Beijing
y el desastroso terremoto de Sichuan. Despus del trgico evento, que el gobierno chino pretendi encubrir para no afectar el desarrollo de los Juegos Olmpicos, Ai Weiwei quiso hacer justicia a las vctimas.
El artista public en su blog los nombres de cinco mil estudiantes que murieron debido a las malas condiciones de la escuela construida por el gobierno; accin que llev a las autoridades chinas a cerrar su blog.
Ai Weiwei: nunca se arrepiente nos acerca al trabajo del artista mientras prepara importantes exhibiciones, entre ellas la Tate Modern en 2010, ao en que la represin de las autoridades chinas se increment.
Ai Weiwei fue golpeado y su estudio destruido. A travs de secuencias de su activismo intercaladas con
escenas de sus procesos creativos, descubrimos tambin aspectos de su vida personal y ciertos secretos
de familia: conocemos a su madre, a su esposa y al hijo que tuvo con otra mujer. El documental termina
en 2011, despus de su repentina desaparicin y confinamiento forzado durante ms de dos meses.
Ai Weiwei, smbolo de la lucha contra la opresin, no puede salir de China. Sin embargo, su activismo a
travs de Twitter contina intensamente, reclutando miles de seguidores por todo el mundo.
Ai Weiwei utiliza su carisma e ingenio para movilizar a la gente y denunciar los excesos del control
y la censura en China, siempre dispuesto a enfrentar dignamente las consecuencias, sin arrepentirse.
Ganadora en varios festivales, esta pera prima de Alison Klayman nos ofrece un acercamiento privilegiado a una figura ineludible del arte poltico y liberador de nuestros tiempos.
Marie-ve Parenteau
After years of filming that yielded more than one hundred hours of footage, the journalist and documentary
filmmaker Alison Klayman has skillfully brought together elements of the life, work and activism of Ai Weiwei,
a contemporary Chinese artist who is widely recognized on an international level and has an extraordinary
presence in social networks.
Beginning in 2008, the director followed the artist during key moments, such as the Beijing Olympics
and the disastrous earthquake in Sichuan. After the tragic event, which the Chinese government tried to
cover up so as to not affect the development of the Olympic Games, Ai Weiwei wanted justice for the victims. The artist published the names of the five thousand students who died due to the poor conditions of
the government-constructed school on his blog, an act that brought Chinese authorities to close his site.
Ai Weiwei: Never Sorry brings us closer to the artists work during his preparation for important exhibits,
including one at the Tate Modern in 2010, a year in which repression from Chinese authorities increased:
Ai Weiwei was beaten and his studio destroyed. Alternating between sequences of his activism and his
creative processes, we also discover aspects of his personal life and certain family secrets: we meet
his mother, his wife and the son he had with another woman. The documentary ends in 2011, after his sudden disappearance and forced confinement that lasted over two months. Ai Weiwei, a symbol of struggle
against the oppression that exists in his country, does not currently have a passport. He is a prisoner in his
own country; however, his activism through Twitter continues.
Ai Weiwei uses his charisma and inventiveness to mobilize the people and denounce the excess of
control and censorship in China, always willing to face the consequences with dignity and without regret.
Awarded at numerous festivals, this debut film from Alison Klayman offers us a privileged approach to a
figure of undeniable importance within contemporary art and politics.
DC
85
Contacto | Contact
Engstfeld Film GmbH
Gocherstrae 15a
50733 Colonia, Alemania
T: +49 0221 120510
info@engstfeldfilm.de
Festivales | Festivals
TIFF, IDFA, DOK Leipzig, Festival de Cine de Locarno, Festival Internacional de Cine de Varsovia, Festival Internacional de Cine
de So Paulo, Festival Internacional de Cine de Estocolmo, Festival de Cine de Cambridge.
Marc Wiese (Alemania) ha filmado documentales para la televisin y el cine, a nivel mundial,
durante ms de quince aos. Ha trabajado en varias zonas de guerra como Bosnia, Palestina
e Irlanda del Norte. Wiese ha recibido numerosos premios internacionales por sus pelculas.
Su filmografa incluye Death By Delivery (2001), Radovan Karadzic: Most Wanted? (2004),
WarkidsYouth In Palestine (2005), KanunBlood For Honour (2007) y The Picture of the
Napalm Girl (2010).
Marc Wiese (Germany) has been shooting documentaries for television and cinema around the
world for more than fifteen years. He has worked in war zones such as Bosnia, Palestine, and
Notrthern Ireland among others. He has received numerous international awards for his films.
His filmography includes Death By Delivery (2001), Radovan Karadzic: Most Wanted? (2004),
WarkidsYouth In Palestine (2005), KanunBlood For Honour (2007) and The Picture of the
Napalm Girl (2010).
86
Shin Dong-Huyk naci y creci en Campo 14, un campo de concentracin de mxima seguridad en
Corea del Norte que alberga ms de 200 mil reclusos, principalmente disidentes y presos polticos.
Adems del trabajo forzado, los prisioneros deben acatar reglas muy estrictas: tienen prohibido comunicarse con los otros, emitir opiniones o escoger una pareja; el incumplimiento de esto implica tortura o
ejecucin pblica inmediata. Tambin estn obligados a denunciar a otros presos as sean sus propios
familiares cuando pretenden escapar o sublevarse; de lo contrario, son ejecutados junto con ellos.
Sometido durante las primeras dcadas de su vida a esta explotacin fsica y psicolgica, Shin DongHuyk milagrosamente logra escapar y experimentar por primera vez la libertad. Es entonces cuando el
documentalista alemn Marc Wiese realiza con l una serie de entrevistas en las que narra detalladamente
su historia, que ilustra con sugerentes animaciones y una fotografa sumamente evocativa. Wiese contrasta
su historia con testimonios de autoridades del campo que confiesan los crmenes de lesa humanidad
que se cometen all. El documental registra la transformacion del protagonista en un activista que viaja
por el mundo denunciando los abusos del gobierno de Corea del Norte.
No obstante, lejos de vivir este proceso como una liberacin, para Shin Dong-Huyk la adaptacin a una
realidad completamente distinta resulta tan complicada que, al poco tiempo, sorprendentemente, anhela
su vida anterior. Sin duda, este documental nos obliga a replantear el concepto de libertad. Realmente
nos hace ms libres actuar segn nuestra propia voluntad? Este caso nos obliga a reconsiderar nuestras
necesidades bsicas y los lmites a los que un humano puede llegar sin perder la vida.
Campo 14 es un trabajo histrico e ineludible, proveniente de un pas hermtico; uno de los escasos
testimonios que existen de las atrocidades y violaciones a los derechos humanos que se cometen en
estos campos de terror y muerte.
Marie-ve Parenteau
Shin Dong-Huyk was born and raised in Camp 14, a maximum-security concentration camp in North Korea
that houses over 200 thousand inmates, mainly political dissidents and detainees. In addition to forced labor,
the prisoners must deal with very strict rules: they are prohibited from communicating with others, voicing
opinions or choosing a partner. Defiance of these rules results in torture or immediate public execution.
They are also obliged to report on other prisonerseven their own relativeswhen they try to escape or
revolt; if they do not, they risk being executed alongside them.
Sentenced to this physical and psychological exploitation during the first decades of his life, Shin
Dong-Huyk was miraculously able to escape and experience freedom for the first time. It is at this point
that the German documentary filmmaker Marc Wiese carries out a series of interviews with him, carefully
reconstructing his story with provocative animations and evocative photography. These elements are balanced by testimonies from authorities confessing the atrocious crimes they committed in the camp. The
documentary bears witness to how the protagonist becomes an activist and travels the world reporting on
the abuses of the North Korean government.
Nevertheless, far from experiencing this process as liberation, adapting to a completely different reality
ends up being difficult for Shin Dong-Huyk. All of a sudden, he shockingly begins to yearn for his previous life. This documentary addresses complex notions of liberty. Does the option to act on our own free
will really makes us freer? This case forces us to reconsider our basic needs and the limits we are able to
reach without losing our life.
Camp 14 is a historic and unforgettable work from a hermetic country. It is one of the few testimonies that
exist of the unimaginable horrors and violations of human rights that are committed in these death camps.
DC
87
campesinos | peasants
CHIRCALES | BRICKMAKERS
Festivales | Festivals
Festival Internacional de Cine de Oberhausen,
Festival de Cine de Tampere, Festival de Cine de Grenoble.
Festivales | Festivals
DOK Leipzig.
Contacto | Contact
Marta Rodrguez
Crr 8 #6599 Apto. 101 | Bogot, Colombia | T: +57 1249 4316 | cinesmestizo@gmail.com | www.martarodriguez.org
88
Los documentalistas colombianos Marta Rodrguez y Jorge Silva son destacados exponentes del Tercer
Cine Latinoamericano, un cine poltico y de denuncia que tuvo su auge en los aos sesenta y setenta.
Comenzaron su trabajo conjunto con estas dos pelculas, que combinan una paciente mirada antropolgica y una aguda conciencia social sobre las problemticas de desigualdad y explotacin en Colombia.
Chircales aborda la historia de la familia Castaeda, dedicada a la elaboracin artesanal de tabiques
a las afueras de Bogot. Viven en pobreza extrema, en los llamados latifundios urbanos, oprimidos por
un sistema econmico que oscila entre un rgimen de servilismo feudal y un capitalismo an incipiente
pero ya salvaje. Desde una perspectiva marxista, Rodrguez y Silva develan la explotacin infantil, la dominacin poltica y la desigualdad social. La fotografa de Silva, en momentos surrealista, nos transporta
a la cruda realidad del chircal y a la vida cotidiana de los obreros.
Campesinos analiza el principal problema social colombiano: los usos y la distribucin de la tierra.
En colaboracin con el historiador Arturo Alape, la pelcula recupera la memoria de los campesinos sobre el trabajo extenuante y la esclavitud en las haciendas cafeteras en los aos treinta. A diferencia de
Chircales, este filme hace hincapi en el paso de la sumisin a la organizacin, mostrando a campesinos
sometidos, pero dignos y rebeldes.
Segn Rodrguez, el documental debe ser una plataforma de liberacin y de concientizacin tanto
para el espectador como para los sujetos participantes, as como una forma de recuperar y reconstruir
la memoria colectiva. Muestra de ello es la creacin del Sindicato Ladrillero despus del rodaje de Chircales, o la recuperacin de una historia acallada a partir de los testimonios recogidos en Campesinos.
Adems del anlisis de las condiciones materiales de la vida de sus protagonistas, hay en ambos filmes
una singular bsqueda esttica, que los convierte en obras clsicas de un cine documental revolucionario
en todos los sentidos.
The Colombian documentary filmmakers Marta Rodrguez and Jorge Silva are renowned exponents of Latin
American Third Cinema, a politically engaged filmmaking movement that peaked in the 1960s and 1970s.
They began their work together with these two films, which combine meticulous anthropological analysis
and a sharp social consciousness regarding inequality and exploitation in Colombia.
Chircales addresses the history of the Castaeda family, whose members are dedicated to artisanal
brickmaking in the poor suburbs of Bogot. They live in extreme poverty in the so-called urban estates,
exploited by an economic system that oscillates between feudal servitude and an incipient yet savage
capitalism. Rodrguez and Silva, using a Marxist framework, reveal exploitative child labor practices, political
domination and social inequality on the outskirts of Bogot. Silvas photography, at times surrealist, immerses
us in the crude reality of the chircal (small brick factory) and the daily life of its workers.
Campesinos analyzes the major social problem of Colombia: land use and distribution. In collaboration
with historian Arturo Alape, Rodrguez and Silva recover rural workers memory of slave-like conditions and
exhausting work in the coffee plantations during the 1930s. In contrast to Chircales, this film emphasizes
the transition workers made from submission to political mobilization, showing their exploitation but also
their rebellion and dignity.
According to Rodrguez, a documentary should be a platform for liberation and raising awarenessas
much for the viewers as for the subject participantsas well as a way to recuperate and reconstruct collective
memory. Evidence of this engagement is found in the creation of the brickmakers union after the making
of Chircales and the recovery of a suppressed history through testimonies collected in Campesinos. In
addition to an analysis of their protagonists material conditions, both films search for a singular aesthetic
that makes them classic works of the revolutionary genre in documentary film.
DC
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THESURVIVING
GATEKEEPERS
| LOS |GUARDIANES
PROGRESS
SOBREVIVIENDO AL PROGRESO
IsraelFranciaAlemaniaBlgica
Canad | 2011 | Ingls | Color| |2012
86 | Hebreo | Color | 95
Contacto | Contact
Dror Moreh Productions
1 Kikar Kedumim
Jaffa, Israel
oneshot@netvision.net.il
Festivales | Festivals
TIFF, IDFA, Festival de Cine de Nueva York, Festival de Cine de Telluride.
Dror Moreh (Israel) comenz su carrera como director de fotografa y se convirti en uno de
los cinefotgrafos ms destacados de Israel. Realiz la fotografa para varios documentales
galardonados en Israel. Desde hace unos aos se desempea como director de documentales
de tiempo completo. Entre sus pelculas destaca Sharon (2008), documental que trata sobre
las razones por las que el ex primer ministro de Israel, Ariel Sharon, acept implementar el
plan de retirada unilateral israel.
Dror Moreh (Israel) began his career as a director of photography and became one of Israels
leading cinematographers. He has worked as a cinematographer for many award-winning documentaries in Israel. Many years ago, Moreh began working full time as a director. His feature
documentary, Sharon (2008), explores the reasons behind Prime Minister Ariel Sharons agreement to implement the Gaza Disengagement Plan.
90
Los guardianes ofrece un singular y crudo recuento de la historia reciente de Israel, contada por seis
exdirigentes de la Agencia Israel de Inteligencia, el Shin Bet. Que el director, Dror Moreh, reuniera a
personajes de alto rango involucrados en una de las operaciones polticas ms complejas del mundo,
representa solo la mitad del logro de este filme. La honestidad brutal con la que estos hombres dan
su opinin sobre dcadas de agitacin poltica, constituye un potente mensaje. Qu es lo que lleva a
seis expertos en seguridad y patriotas ejemplares a revelar las acciones confidenciales de la ms alta
inteligencia israel? Por qu discuten las atroces tcticas antiterroristas desde la evaluacin de daos
colaterales hasta los asesinatos, mtodos de tortura y tcnicas cuestionables de interrogacin? Qu
los motiva a admitir sus errores, algunos muy publicitados, y afirmar al mismo tiempo que en la guerra
contra el terror no hay parmetros morales?
El aspecto ms perturbador del filme es que sus protagonistas coinciden en que el futuro no ser
brillante sino todo lo contrario; el extremismo de ambos bandos, la violencia extrema, las estrategias
polticas fallidas y la corrupcin generalizada van a aumentar todava ms. El agobiante pesimismo de
los participantes resulta sorprendente si se considera la eficacia del Shin Bet (responsable de frenar
el 90% de los intentos de ataques terroristas). Estos hombres son las nicas figuras pblicas de la
agencia que responden directamente al primer ministro, lo que los ha convertido en chivos expiatorios
de errores tcticos.
El filme combina entrevistas con un elaborado manejo de material de archivo y complejas simulaciones
y reconstrucciones. El fascinante testimonio de los lderes del Shin Bet ofrece una dimensin crtica y
nos obliga a reflexionar sobre un conflicto que ha tenido un fuerte impacto en la poltica global del ltimo
siglo. El filme, que ha sido seleccionado para competir por el scar, sigue provocando que los espectadores se retuerzan en sus butacas, ante la alarmante revelacin de los secretos de estado de Israel.
Mara Fortes
Riveting and raw in its delivery, The Gatekeepers offers a singular account of Israels recent history, as told
by six former heads of the Israel Intelligence Agency, the Shin Bet. Director Dror Moreh managed to bring
together the highest-ranking insiders to discuss one of the worlds most complex and polemical political
operations. This is half the films achievement; the urgency and brute honesty with which the men volunteer their opinion on decades of political turmoil is half the message. What drives six security experts and
exemplary patriots to reveal the confidential actions of Israels elite intelligence operation? To discuss the
unspeakables of counter-terrorist tacticsfrom assessing collateral damage and executing target assassinations to using torture and other interrogation techniques? To admit mistakes, some highly publicized,
while conceding that in the war against terror, there are no morals?
The films most disturbing message is that its subjects coincide on a tragic augury of the future: projecting escalating extremism on both fronts, more senseless violence, aimless political strategy and widespread
corruption. The interlocutors overwhelming pessimism is all the more shocking considering the efficacy
of the Shin Bet (responsible for deterring 90% of attempted terrorist attacks). These men are the only
public figures of the Shin Bet. They answer directly to the Prime Minister, which has also made them the
scapegoats for tactical errors.
The film balances interviews wth an elaborate use of archival material, simulations and reenactments.
The gripping testimonies of Shin Bet leaders adds a layer of critical analysis and reflection to a conflict that
has shaped global politics in the last century. It is timely and powerful in its impact, the ripples of which are
just beginning to be felt. The film has made the Oscar shortlist and continues to cause spectators to shift
in their seats, gasp and tense up at the alarming disclosure of Israels state secrets.
DC
91
Contacto | Contact
Independencia Distribution
29 rue Etienne Dolet
75020 Pars, Francia
distribution@independencia.fr
Festivales | Festivals
FID Marsella, BAFICI, RIDM, Fidocs Chile, DocLisboa, FICUNAM.
Sylvain George (Francia, 1968). Aunque cuando tena dieciocho aos decidi hacer cine,
no fue sino hasta los treinta y ocho que tom una cmara. Desilusionado con su profesin
de trabajador social, George se volc al cine para tocar temas que l consideraba cruciales
para la poca. Para l, el cine fue una mejor herramienta para posicionarse polticamente y
relacionarse con el mundo. Combinando hbilmente la esttica y la poltica, George se ha
convertido en un equipo de cine de un solo integrante. Su llegada al mundo cinematogrfico
ha sido significativa: estren su primer filme en 2009 y desde entonces ha recibido numerosos
reconocimientos y ha sido sujeto de retrospectivas.
Sylvain George (France, 1968). Although he decided to make films when he was eighteen
years old, Sylvain George didnt pick up a camera until he was thirty-eight. Disillusioned with his
job as a social worker, George turned to film to address subjects that he felt were crucial. For him,
cinema was a better tool for positioning himself politically and for relating to the world. Artfully
combining aesthetics and politics, George has become a one-man filmmaking team whose arrival
to the film world has been extremely powerful. His first film premiered in 2009, yet he has already
been the subject of numerous retrospectives and has received a number of prestigious awards.
92
En Que descansen en rebelin, el director francs Sylvain George nos transporta al corazn de la
lucha migratoria en Calais, Francia, puerto por donde cada ao miles de personas intentan ingresar a
Inglaterra. Con su cmara situada en la trinchera, George film durante tres aos la batalla cotidiana de
estos hombres en contra del Estado.
A travs de poticas imgenes en blanco y negro, integradas a un cine militante, experimental y realista,
atestiguamos la forma en la que los migrantes son forzados a sobrellevar sus vidas en pblico. Las rgidas
polticas de migracin los privan de su dignidad y derechos. El compromiso de George por revelar su
individualidad, en lugar de tratarlos como una categora, los libera de la opresin de los estereotipos y
subvierte el prejuicio social. Aunque su inclinacin poltica es evidente, el filme no cae en lo didctico o
lo sentimental. Los protagonistas nunca son retratados como vctimas para provocar un sentimiento de
compasin; el director otorga el mismo peso a la poesa de las imgenes y a la rebelin de los hombres
en contra de las crudas leyes discriminatorias.
En una de las escenas ms poderosas del documental, varios hombres se queman las palmas y las
puntas de los dedos para dejarlas irreconocibles. Las imgenes aluden a los rituales de algunas tribus
africanas en los que se provocan cicatrices para marcar la identidad. Sin embargo, los protagonistas
de Que descansen en rebelin laceran sus manos por la razn contraria, para borrar su identidad, el
precio a pagar por la libertad y un mejor futuro. A pesar de que este conflicto sucede en Francia, es
emblemtico de la lucha de millones de migrantes alrededor del mundo y un retrato de la realidad de
ser una no persona en un no lugar.
Meghan Monsour
In May They Rest in Revolt, French director Sylvain George takes us to the heart of the immigration struggle
in Calais, France, the port town through which thousands of immigrants attempt to enter England each year.
Over the course of three years, George filmed the men living there, positioning himself and his camera on
the frontline of their everyday battle with the state.
Through poetic black and white visuals and with a skillful blend of militant, experimental and vrite cinema,
we bear witness to how the immigrants are forced to live their lives in public. Strict immigration policies deny
them their dignity and deprive them of the most basic human rights. Georges commitment to revealing the
individuality of his subjects, rather than treating them as a category of immigrants, liberates them from the
oppression of stereotypes while subverting societal prejudice. Although his political stance is evident, the
film is neither didactic nor sentimental. Subjects are never portrayed as victims to provoke our pity; instead,
the film gives equal weight to the poetry of the images and the mens rebellion against the discriminatory
laws that have caused this terrible reality.
In one of the films most powerful scenes, we see several men burning their fingers and palms with
scorching hot nails in order to make their fingerprints unrecognizable. The images bring to mind some African
tribal rituals in which scarring is used to convey ones identity. Yet the men in May They Rest in Revolt scar
themselves for the opposite reason: to erase who they are. This is the cost of freedom and a better future.
Even though this particular conflict takes place in France, the film is emblematic of the struggles of millions of immigrants throughout the world and a reflection of the reality of being non-people in a non-place.
DC
93
WINTER,
GO AWAY!
| INVIERNO,
lrgate! AL PROGRESO
SURVIVING
PROGRESS
| SOBREVIVIENDO
RusiaCanad
| 2012||2011
Ruso | Ingls
Color || 79
Color | 86
Contacto | Contact
Rise and Shine
Schlesische Str. 29/30
10997 Berln, Alemania
T: +49 30 47372980
info@kloosundco.de
Festivales | Festivals
IDFA, DOK Leipzig, Festival de Cine de Locarno, Festival de Cine de Cottbus, Festival de Cine de Lisboa y Estoril, Festival de
Cine de Torino, Festival Internacional de Cine Watch Docs.
Los directores son graduados de la Escuela de Cine Documental y Teatro de Marina Razbezhkina y Mikhail Ugarovn:
Elena Khoreva, Denis Klebleev, Dmitry Kubasov, Askold Kurov, Nadezhda Leonteva, Anna Moiseenko, Madina
Mustafina, Sofia Rodkevich, Anton Seregin y Alexey Zhiryakov. Los diez filmaron, durante dos meses, las protestas
contra el gobierno ruso en tiempos de las elecciones presidenciales.
The directors are ten graduates of Marina Razbezhkina and Mikhail Ugarovs Documentary Filmmaking and Theater School:
Elena Khoreva, Denis Klebleev, Dmitry Kubasov, Askold Kurov, Nadezhda Leonteva, Anna Moiseenko, Madina
Mustafina, Sofia Rodkevich, Anton Seregin and Alexey Zhiryakov. Over two months they filmed the anti-government
protests during the Russian presidential elections.
94
En una Rusia que histricamente arrastra tendencias antidemocrticas, acostumbrada a vivir en la inmovilidad y aparentemente resignada a que la voluntad popular sea ignorada, las elecciones parlamentarias
de 2011 motivaron que, por primera vez en veinte aos, el descontento ciudadano generara una convulsin social de gran escala. Hubo numerosas denuncias de fraude ante unos comicios evidentemente
viciados, y el cinismo de algunos polticos provoc el enojo de la poblacin, que comenz a manifestarse
enrgicamente en las calles. Las protestas, que se prolongaran hasta las elecciones presidenciales de
marzo de 2012, estaban dirigidas principalmente al candidato Vladimir Putin, que en trece aos ha sido
ya dos veces presidente de Rusia y otras dos, primer ministro.
En medio de un crudo invierno, con temperaturas de hasta veinte grados bajo cero, vemos cmo
las calles de Mosc se llenan de jvenes activistas, de periodistas que intentan salvar las cortapisas
impuestas por las autoridades recelosas, y de artistas improvisados que recitan poesa caminando en
sentido contrario en medio de una calle atestada de trfico. Tambin somos partcipes del famoso acto
de las Pussy Riot, por el que sufrieron una desmedida represin por parte del sistema judicial. Mientras
tanto, dos hombres discuten sobre poltica mientras beben vodka en horas de trabajo, y concluyen que
los gobernantes se olvidan casi siempre del pueblo al que representan y que los verdaderos hroes son
otros; la nica figura rusa que ha merecido su respeto es el cosmonauta Yuri Gagarin.
Invierno, lrgate! es una vvida crnica de este perodo de liberacin, de las movilizaciones ms
intensas que se han suscitado en Rusia en la era postsovitica. Se trata de un excepcional documental
comisionado por el peridico independiente Novaya Gazeta, filmado por diez graduados de la Escuela de
Cine Documental y Teatro de Marina Razbezhkina y Mikhail Ugarov, que decidieron retratar el despertar
de una sociedad esperanzada ante la posibilidad de un futuro diferente.
Noemi Cuetos
In Russia, a country with anti-democratic tendencies, a lack of social mobility and with a population whose
will is regularly ignored, the 2011 parliamentary elections generated, for the first time in twenty years,
large-scale social unrest. There were numerous reports of fraud against the obviously corrupted elections,
and the cynicism of several politicians provoked public outcry. People protested energetically in the streets
through the March 2012 elections, directing their anger, above all, toward candidate Vladimir Putin who
over a span of thirteen years has served twice as president and prime minister.
In the middle of a harsh winter that registered temperatures as low as -20 C, we see the streets of
Moscow filled with young activists, journalists who try to overcome restrictions imposed by suspicious
authorities, and impromptu artists who recite poetry while walking against the flow of traffic. We become
participants of the famous Pussy Riot concert, which suffered violent repression from the judicial system.
Meanwhile, two men argue about politics while drinking vodka during their working hours. They conclude
that the politicians almost always forget their constituents and that other people are the true heroes. The
only Russian figure that has deserved their respect is the cosmonaut Yuri Gagarin.
Winter, Go Away! is a vivid chronicle of these months of liberation, a period marked by the most intense
mobilizations in Russia since the collapse of communism. It is an exceptional documentary commissioned
by the independent newspaper Novaya Gazeta and filmed by ten graduates of the Marina Razbezhkina
and Mikhail Ugarov School of Documentary Film and Theatre who decided to portray the awakening of a
generation searching for a different future.
DC
95
INJERTO
Experimental films and videos made by artists and filmmakers who depart from
the conventions of the genre.
La enormidad del caos requiere enormidad de medios artsticos para retratarlo y disolverlo.
Amos Vogel, El cine como arte subversivo
INJERTO
98
The enormity of chaos has necessitated enormity of artistic means to portray and dissolve it.
Amos Vogel, Film as Subversive Art
nized into five programs: On the one hand, we explore
the history of avant-garde cinema through some of
the cine-clubs favorite films, including LOpra-Mouffe
(Agns Varda), The Private Life of a Cat (Maya Deren &
Alexander Hammid) and Blood of the Beasts (Georges
Franju). On the other, we respond to the question of what
CINEMA 16 would program today. Prompted by the film
societys philosophy of subversion and experimentation,
we selected films that shock, that demand restless
contemplation, and that reinvent cinemas relation to
narrative, realism and illusionism. We chose films that
seduce and excite and films that sketch the architecture
of a different world. Featuring work by Naomi Uman,
Helen Hill, Barbara Hammer, Jennifer Reeves and
Marjorie Keller, among others, we hope to highlight the
legacy of CINEMA 16 in the contemporary cinematic
avant-garde.
This series is a long-awaited tribute and celebration of
the crucial role of film programming and the contributions
of CINEMA 16, particularly those of its founder, Amos
Vogel. CINEMA 16 understood that film could yield a
new consciousness of the worlda belief it cultivated
then, as AMBULANTE does today.
INJ
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99
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100
Duracin total: 66
This program is a compilation of Cinema 16 audiences and curators favorite films. Agns Varda
premiered LOpra Mouffe (diary of a pregnant
woman) in Amos and Marcia Vogels theater, and
the film became a staple of their programming.
The innocent The Private Life of a Cat, by the
great Maya Deren in collaboration with Alexander
Hammid, became a frequently cited film at the time,
after being censored for inappropriate content.
The Bed, by California filmmaker James Broughton,
is a celebration of naked bodies around a beda
delightful ode to freedom and very much a product
of the era of sexual liberation. Free Radicals, by
Len Lye, and The Room, by Carmen DAvino, are
two classics of Cinema 16 and examples of the
societys support for experimental animation.
INJ
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101
INJERTO
102
Sunday | Domingo
Dan Drasin | Estados Unidos | 1961 | Ingls | Blanco y negro | 16 mm | 17
Duracin total: 58
INJ
INJERTO
103
INJERTO
104
Neighbours | Vecinos
Norman McLaren | Canad | 1952 | Sin dilogos | Color | Animacin | 16 mm | 9
Duracin total: 56
Revolt, wonder, ecstasy, eroticism, destruction: this
series features cinemas most radical expressions
through the work of renowned avant-garde filmmakers and new directors. The films adopt dynamics of
contrast to animate and expose the human condition.
We explore the everyday horror of Parisian slaughterhouses in Georges Franjus poetic essay Blood
of the Beasts; we enter ominous atmospheres in
Fear of Blushing, a stunning example of hand-made
cinema by Jennifer Reeves; and enjoy Bruce Conners
explosive collage Cosmic Ray, a classic example
of found footage filmmaking. In Fireworks, a film
that shook the conservative establishment when
it premiered in 1948 and became the subject of a
long obscenity trial, we delve into a homoerotic and
sadomasochistic imaginary. In Neighbours, a short
parable made by renowned Canadian animator Norman McLaren, the passive-aggressive encounter
between two men transforms the idyll of suburbia
into a battlefield. Ximena Cuevas pays tribute to
Luis Buuel while registering post-September 11th
paranoia in her short piece Rehearsal for a Crime.
Bruce Baillie invites us on a meditative journey that
evokes nostalgia and delight, echoing McLaren in a
single tracking shot of a dilapidated fence in rural
America (All My Life).
INJ
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105
PROGRAMA 4: SEDUCCIONES
PROGRAM 4: SEDUCTIONS
INJERTO
Imagen cortesa de Electronic Arts Intermix (EAI), Nueva York. Carolee Schneeman, Fuses, 1967.
106
Removed | Borrado
Naomi Uman | Estados Unidos | 1999 | Ingls | Color | 16 mm | 7
Dyketactics
Barbara Hammer | Estados Unidos | 1974 | Sin dilogos | Color | 16 mm | 4
Fuses | Fusibles
Carolee Schneemann | Estados Unidos | 1967 | Sin dilogos | Color | 16 mm | 30
Rose Hobart
Joseph Cornell | Estados Unidos | 1936 | Sin dilogos | Color | 16 mm | 17
*Cortesa del Museo de Arte Moderno de Nueva York.
Duracin total: 67
INJ
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107
INJERTO
108
INJ
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109
sonidero
Film productions about different music trends, from documentaries with social and
political content to exhilarating concerts for thousands of avid fans.
111
Contacto | Contact
Zara Duffy
Insurgent Media
info@bewareofmrbaker.com
T: +1 347 844 9868
Festivales | Festivals
SXSW, Silverdocs, Festival Internacional de Cine de Londres, Festival Internacional de Seattle.
sonidero
Jay Bulger (EUA, 1982), exboxeador y exmodelo, realiz sus estudios en la Universidad de
Fordham. Despus de librar una batalla de dos aos contra el cncer, se dedic a dirigir y a
escribir. Desde entonces sus artculos han aparecido en Rolling Stone y la revista New York,
entre otras publicaciones. Ha dirigido comerciales para distintas bandas, sellos discogrficos y marcas. Para su artculo En busca de Ginger Baker, pas tres meses en Sudfrica
viviendo con Baker. El artculo y las numerosas horas de entrevistas que Jay grab, fueron
la premisa para Cuidado con el sr. Baker. En el verano de 2010 regres a Sudfrica para
completar la pelcula.
112
Jay Bulger (USA, 1982), former boxer and fashion model, attended Fordham University. After a
two-year bout with cancer, he dedicated himself to writing and directing and has since published
feature articles for Rolling Stone, New York magazine and many other publications. He has directed music videos and commercials for different bands, labels and brands. Bulger spent three
months living with Ginger Baker in South Africa for his article In Search of Ginger Baker, and
the numerous hours of interviews Jay captured on film became the premise for Beware of Mr.
Baker. In the spring of 2010, he returned to South Africa to finish the film.
Al momento de reflexionar sobre su vida, un hombre voltea a ver el camino recorrido, cuenta
sus logros y disfruta lo que ha cosechado. Pero qu pasa cuando a un hombre el mundo le
ha dado la espalda, ha vivido huyendo, autoexiliado, sin rastro de lamento? A sus setenta y tres
aos, Ginger Baker, legendario baterista de la banda Cream, considerado por muchos el mejor
del mundo, resume su momento actual con esta frase: Dios me est castigando por mi maldad,
dejndome vivo y con tanto dolor como le es posible.
Jay Bulger, intrpido y tenaz documentalista, nos presenta la vida de este egocntrico genio
de la batera en un relato audiovisual construido mediante numerosas imgenes de archivo
inditas de la vida de Baker a lo largo de ms de cuarenta aos de trayectoria. Figuras picas,
como Eric Clapton, Jack Bruce, Art Blakey y Fela Kuti acompaan la historia de Ginger Baker.
A travs de sus testimonios se consolida como una figura fundamental en la transformacin
musical de finales del siglo XX.
En este relato bifurcado entre Baker y aquellos que lo han conocido, viajamos por el mundo
siguiendo los pasos del polmico baterista, desde California hasta Sudfrica, desde sus inicios
en el jazz hasta su autodestruccin social. Observamos su bsqueda por innovar su sonido, no
parte de parmetros previos, sino que impone los propios como un reto a sus sucesores. Este
trabajo provocar en el espectador complejas sensaciones, empata, admiracin, desagrado y
repulsin, que le harn comprender la vida enloquecida del virtuoso Ginger Baker.
sonidero
SND
Judith Guzmn
In a typical moment of retrospection, a man turns back to see the path taken, remembers his achievements and enjoys what he has accomplished. But what happens to a man when the world has
turned its back on him? A man who lives in self-imposed exile, with no regrets, secluded from life?
At the age of seventy-three, Ginger Baker, the legendary drummer of the band Cream, summarizes
his current moment with this phrase: God is punishing me for my past wickedness by keeping me
alive and in as much pain as He can.
The intrepid and determined documentary filmmaker Jay Bulger presents us with the life of this
egocentric percussion genius in an audiovisual story created through numerous images of unpublished archival material that represents more than forty years of Bakers career. Epic figures such
as Eric Clapton, Jack Bruce, Art Blakey and Fela Kuti accompany the story of Ginger Baker, and
through their testimonies he is portrayed as a fundamental figure in the musical transformation of
the end of the twentieth century.
This is a twofold story about Baker and those who knew him from his beginnings in jazz to his
social self-destruction. We follow the steps of this controversial drummer traveling the world, from
California to South Africa, on his search to innovate his sound. Rather than abiding by the rules of
his predecessors, he challenges them by imposing his own. This documentary will elicit a complex
set of emotions empathy, admiration, displeasure and repulsioninviting us into the wild life of the
virtuoso Ginger Baker.
113
Contacto | Contact
James Dobbin
Omniverse Vision
10 South Molton Street
Londres W1K 5QJ
Reino Unido
T: +44 207 499 0088
jd@omniversevision.com
www.omniversevision.com
Festivales | Festivals
Snar Festival Internacional de Msica Avanzada y New Media Art de Barcelona.
sonidero
Adam Smith dirigi el drama de poca Little Dorrit, ganador de un Emmy, los primeros
episodios de Doctor Who con Matt Smith y varios captulos de la innovadora serie Skins. Su
trabajo visual para los Chemical Brothers ha sido descrito previamente en la prensa como
una suerte de Alicia a travs del espejo intergalctica (Times) y como si Henri Matisse y
Pablo Picasso hubieran hecho animacin para MTV (Dallas Morning News). Actualmente se
encuentra desarrollando proyectos cinematogrficos con Scott Free, Film Four y el Instituto
de Cine Britnico.
114
Adam Smithhas previously directed the Emmy Award winner period dramaLittle Dorrit, the
firstDoctor Whoepisodes with Matt Smith and several episodes of the ground-breaking seriesSkins. His visual work forTheChemical Brothershas been described alternately as looking
like a sort of intergalacticAlice Through the Looking Glass (Times) and as if Henri Matisse
and Pablo Picasso did animation for MTV (Dallas Morning News). He currently has film projects
in progress with Scott Free, Film Four and the BFI.
Cuando estamos en un espectculo musical en vivo, una parte de lo que somos desaparece.
La mgica combinacin de sonido, noche y desenfreno nos seduce; abandonamos nuestros
cuerpos y nos dejamos llevar por los ritmos que los msicos en el escenario nos ofrecen. As es
como este documental presenta su narrativa eclctica: ms all de contar una historia, nos hace
vivir una experiencia colectiva.
Rodeados de espectadores desconocidos, dejamos de ser nosotros mismos y nos volvemos presas de una serie de momentos nicos que configuran la noche. Enfocamos ojos
y odos en el mundo imaginario que los Chemical Brothers nos proponen. El ttulo del filme,
Dont Think, refleja la emocin provocada por el concierto de este do britnico en el festival Fuji Rock 2012, en Japn. Lejos de transmitir informacin, este documental genera miles
de sensaciones en el espectador, incitndolo a mover la cabeza, marcar el ritmo con el pie
o incluso bailar en su asiento, animado por los sonidos que emanan de la pantalla. Filmadas
en un vvido formato HD, destellantes imgenes psicodlicas y sofisticados efectos visuales
nos hacen surfear entre la masa humana congregada en plena veneracin de esta gran fiesta.
Por momentos, seguimos de cerca al pblico asistente, incluso afuera del concierto.
El director Adam Smith quien ha trabajado como artista visual con los Chemical Brothers
desde hace dieciocho aos apuesta por recrear cinematogrficamente este momento catrtico
de la msica electrnica. Con veinte cmaras que documentan tanto el concierto como la multitud
entregada devotamente a los msicos, Smith consigue un filme sumamente estimulante que nos
ofrece una experiencia transformativa y multisensorial en medio de payasos, robots y tigres que
deambulan por el lugar.
sonidero
SND
Judith Guzmn
When we step into the atmosphere of a live music show, a part of ourselves vanishes. The magic
combination of sound, nightlife and self-abandon entices us; we shed our bodies and dissolve into
the rhythms set by the musicians onstage.This is how this documentary presents its eclectic narrative: beyond telling a story, the film invites us to live a collective experience.
Surrounded by unknown spectators, we cease to be ourselves and become prey to a series of
unique moments that make up the night.We focus our eyes and ears on the imaginary world The
Chemical Brothers create.The films provocative title, Dont Think, captures the thrill of a concert
by this iconic British duo during the Fuji Rock Festival in Japan.Far from being a mere factual account, the documentary induces a myriad of sensations, prompting viewers to nod their heads, tap
their feet, and dance in their seat, animated by the sounds bursting from the screen.Shot in lush
high-definition format, its dazzling psychedelic images and sophisticated visuals send us surfing
through the masses congregated in veneration of this great party.At times, we follow the concertgoers closely, even outside the show.
Director Adam Smitha visual artist who has worked with The Chemical Brothers for eighteen
yearsdelivers a masterful cinematographic recreation of this epic moment in electronic music
history. Using twenty cameras that register both the action onstage and the audiences devotion
to the music, Smith achieves a captivating film that offers us a multi-sensory and transformative
experience amongst the clowns, robots and tigers that roam the venue.
115
Contacto | Contact
Visit Films
173 Richardson Street
Brooklyn, NY, 11222
Estados Unidos
T: +1 718 312 8210
info@visitfilms.com
www.visitfilms.com
Festivales | Festivals
Silverdocs, Festival de Cine de Tribeca, Festival Internacional de Cine de San Francisco, Festival Internacional de Cine de Dubai,
Festival de Cine de Filadelfia, Festival de Cine de Traverse City.
sonidero
116
Ramona S. Diaz (Philippines) has filmed Spirits Rising, a documentary about the role of women
in the 1986 People Power Revolution in the Philippines; Imelda, her first feature-length film about
the former First Lady of the Philippines; and The Learning, a documentary film that chronicles the
sacrifices several Filipino teachers make in Baltimore. Her movies have received many awards
and have been funded by Sundance and ITVS.
Siendo todava un nio, Arnel Pineda perdi a su madre, se qued sin casa, se vio obligado a dormir en
las bancas de un parque y a cantar en sitios impensables para poder comer. Sin embargo, para Arnel,
la msica no solo ha sido su modo de subsistencia, ha sido su motor en la vida. Tras ms de veinticinco
aos de carrera, despus de probar suerte con mltiples bandas en su pas natal, Arnel es finalmente
descubierto por la industria musical estadounidense.
En 2007, la legendaria agrupacin Journey buscaba un vocalista para la grabacin de su nuevo lbum
y la consecuente gira. Una casualidad hizo que Neal Schon, guitarrista principal, encontrara en YouTube
un video de Arnel interpretando temas de la banda. Arnel no solo proyectaba un gran talento sino que
lograba emular la peculiar voz de Steve Perry, protagonista de las canciones ms exitosas del grupo.
Decidieron invitarlo a hacer una audicin a pesar de que viva en Manila, Filipinas. Arnel logr cautivar a la
banda y rpidamente se integr al conjunto como vocalista. Este documental lo sigue de cerca mientras
intenta adaptarse no solo a la banda, a sus compaeros y a la gira, sino a un estilo de vida completamente
diferente como estrella de rock en Estados Unidos.
Dont Stop Believin relata el cuento de hadas que ha vivido Arnel desde entonces, y a la vez retrata
el choque entre dos mundos diametralmente opuestos. Nos muestra la fragilidad del xito y lo fcil que
es caer una vez que se llega a la cima. En palabras del propio Arnel, pierdes, ganas, ganas, pierdes;
as es la vida.
Al igual que en Imelda (2003), la documentalista Ramona S. Diaz vuelve a poner la mirada en el
auge de una figura filipina y lleva al espectador de la mano de Arnel en su trato cotidiano con la fama.
Al mismo tiempo, nos invita a disfrutar de la msica de Journey, la banda creadora de uno de los temas
ms descargados en la historia de iTunes, mismo que le da ttulo a este filme.
sonidero
SND
Julieta Cuevas
When Arnel Pineda was a child, he lost his mother and was left homeless. He was forced to sleep on a park
bench and sing in unimaginable places in order to eat. Yet music, for Arnel, has been not only his means
of subsistence but also his life motivation. After more than twenty-five years trying his luck in numerous
bands in his native country, Arnel was discovered by the U.S. music industry.
In 2007 the legendary group Journey was looking for a lead singer for the recording of their new album
and their subsequent tour. By chance, the lead guitarist Neal Schon found a YouTube video of Arnel singing some of the bands songs. Arnel not only seemed to have great talent but also managed to emulate
the peculiar voice of Steve Perry, the lead singer of the bands most successful songs. They decided to
invite him for an audition despite the fact that he lived in Manila, Philippines. The band loved Arnel, and he
soon became their lead singer. This documentary follows him closely as he attempts to get along with his
bandmates and adapt to both life on tour and lifestyle of a rockstar in the United States.
Dont Stop Believin tells the fairy tale Arnel has lived and depicts at the same time the clash of two
completely different worlds. It shows us the precaciousness of fame and how easy it is to fall once one gets
to the top. In Arnels own words, You lose, you gain, you gain, you lose; thats how life is.
As in Imelda (2003), documentary filmmaker Ramona S. Diaz focuses on the success of a Philippine
figure and immerses the viewer in Arnels daily struggle with celebrity. She simultaneously invites us to
enjoy the music of Journey, the band that wrote one of the most-downloaded iTunes songs of all timethe
same song that provides the title of this film.
117
Contacto | Contact
Elodie Dupont
The Festival Agency
14 rue des Jeuneurs
75002 Pars, Francia
T: +33 95 490 4863
Festivales | Festivals
CPH: DOX, In-Edit Festival Internacional de Cine Documental Musical de Barcelona, Festival Internacional de Cine de Melbourne,
Festival de Cine de Miln, Festival Internacional de Cine de Vancouver, Distrital, Festival de Cine de Taipei Golden Horse.
sonidero
118
Pierre-Henry Salfati started his film career in the 1980s. In 1989 he finished Tolrance, starring
Rupert Everett, a film for which he obtained a Cesar nomination for best first feature. In 1995 he
filmed his twelfth feature narrative Zadoc et le bonheur. A few years after, Salfati switched from
fiction to documentary. In 1998 he directed his first documentary, a film about great twentiethcentury pianists. His filmography includes The Jazzman from the Gulag (1999), Golem, Golems
(2002), The Ninth (2004) and Talmud (2007), the last three made for television.
Al cabo de una investigacin de ms de tres aos, Pierre-Henry Salfati revive en este documental
a uno de los cantautores franceses ms emblemticos de la dcada de los setenta.
En esta ntima y biogrfica pelcula, Serge Gainsbourg, rodeado siempre de bellas mujeres
su fuente de inspiracin, nos habla en primera persona, sin reconstrucciones de su pasado
ni voice over. Se trata de un artista inclasificable que incursion en casi todas las vertientes del
campo musical, desde su debut con la chanson franaise, influido por su mentor, el escritor
Boris Vian, pasando por el rock (Rock Around the Bunker), el reggae (La Marseillaise) y el jazz.
El documental, retrato profundo y conmovedor de este verstil artista, compuesto por diversos
materiales de archivo, entrevistas, conciertos, imgenes y videos de sus amigos y vida familiar,
nos acerca a Gainsbourg; o l mismo se nos acerca, gracias a un hbil trabajo de recopilacin
y edicin. Con una profundidad nunca antes lograda, revisamos y compartimos sus orgenes, su
juventud, la relacin con las mujeres y su padre, sus deseos, as como sus propias reflexiones
en torno al xito en su carrera.
Gracias a este talentoso trabajo de Salfati, Serge Gainsbourg vuelve para guiarnos a lo largo
de su vida y su prolfica obra. Un apasionado y logrado montaje, as como el valioso legado de un
personaje trascendente, permite sumergirnos en las facetas ms ntimas de este artista francs
que sin duda permanecer siempre vivo.
sonidero
SND
Marie-ve Parenteau
Pierre-Henry Salfati brings one of the most emblematic French singer-songwriters of the 1970s in
his documentary, Gainsbourg by Gainsbourg: An Intimate Self-Portrait.
In this intimate biographical film, Gainsbourg speaks to us in first person; there are no voice-overs
or reconstructions of his past. Gainsbourg was an unclassifiable artist who dabbled in diverse musical genresfrom his debut work in chanson franaise, influenced by his mentor Boris Vian to rock
(Rock Around the Bunker), reggae (La Marseillaise) and even jazz. He was constantly surrounded
by beautiful women, who served as a source of inspiration.
The film, composed of different archival materials such as interviews, concerts as well as images and videos of his friends and family life, is a profound and moving portrait of a versatile artist.
Through skillful compilation and editing, the documentary provides an up-close and personal portrait
of Gainsbourg. With unprecedented access, we learn about his origins, his youth, his relationship
with women and his father, his desires and his reflections on his professional success.
Thanks to Salfatis brilliant work, Gainsbourg returns with his own voice to guide us through his
life and prolific career. A passionate and well-assembled montage, as well as a valuable legacy of a
transcendent figure, the film allows us to immerse ourselves in the most intimate facets of an artist
who will undoubtedly live on.
119
Contacto | Contact
MILESTONE FILMS
PO Box 128
Harrington Park, NJ 07640
Estados Unidos
T: +1 201 767 3117
milefilms@gmail.com
www.milestonefilms.com
Festivales | Festivals
Festival Internacional de Cine de Berln, Festival Internacional de Cine de Edimburgo, Festival Internacional de Cine de San
Francisco, Festival Internacional de Cine Lone Star.
sonidero
Shirley Clarke (EUA, 1919-1997) fue una de las cineastas ms importantes del movimiento
cinematogrfico de posguerra en Nueva York y la nica mujer en firmar el manifiesto del New
American Cinema en 1961. Clarke estudi danza con Martha Graham y cine con Hans Richter.
Inspirada por las ideas de Maya Deren sobre el movimiento natural del hombre como una
forma de danza, Clarke film Paris Parks (1954). Entre sus pelculas destacan Skyscraper
(1958), The Connection (1962) y Portrait of Jason (1967), considerada su obra maestra.
Resulta sorprendente que a pesar de su influencia en varias generaciones de cineastas, hasta
ahora su obra no ha sido reconocida en el canon de la historia del cine.
120
Shirley Clarke (USA, 1919-1997) was one of the most important filmmakers of the post-war
American film movement; she was the only female to sign the New American Cinema manifesto
in 1961. Clarke studied dance with Martha Graham and film with Hans Richter. Influenced by
Maya Derens ideas about seeing natural human movement as a form of dance, Clarke filmed
Paris Parks (1954). Among her most notable films are Skyscraper (1958), The Connection
(1962) and Portrait of Jason (1967), this last one considered her masterpiece. Acknowledged
by dozens of filmmakers as a major influence, the most shocking aspect of her career is her lack
of recognition in the canon of fim history.
Hasta dnde una equivocacin puede trascender sus propios lmites y con el paso del tiempo volverse
una revolucin? Ornette: Made in America, la ltima pelcula que la clebre cineasta independiente
neoyorquina Shirley Clarke realizara antes de morir, nos acerca, a travs de una propuesta visual inusitada
para su poca, al mundo de Ornette Coleman, controvertido saxofonista y pionero de la msica free jazz.
La lectura equivocada que Ornette hizo de la clave del comps por un tercio y la consecuente confusin
de la nota do por la, fue un elemento importante de la potente semilla que durante la dcada de 1960
sentara las bases de una propuesta sonora agresiva y elocuente. Adems de contribuir al desarrollo
posterior del jazz, la msica de Ornette influy en la escena del punk rock y en el surgimiento de figuras
clave como Steve McCay y Lou Reed, por mencionar solo algunas.
Ms all de una apologa de este msico revolucionario, el filme es una suerte de ensamblaje y
recreacin de su vida y su pensamiento. La mayor parte del documental se concentra en la segunda
etapa de su amplia carrera musical al lado de su hijo, el baterista Denardo Coleman, y de Prime Time,
la agrupacin que lider por aos. Las escenas nos transportan a Fort Worth, Texas, ciudad natal de
Ornette, y al Caravan of Dreams, un bar de jazz hoy desaparecido en cuyo escenario William Burroughs
recitaba sus poemas. En 1973, el legendario poeta beatnik y Coleman hicieron un viaje a las montaas
del norte de Marruecos para convivir con los aclamados Master Musicians of Jajouka; fue tal el impacto
que los Jajouka causaron en Ornette que con los aos colaboraran en varios proyectos musicales.
Es importante pensar en el free jazz de Ornette como algo ms que msica. Adems de su fuerza
expresiva, es un reflejo de la bsqueda intrnseca de aquello que Ornette llamaba el ciclo humano, un
espacio sonoro en el que la imaginacin de cada ser encuentra su propia sintona.
sonidero
SND
Anah Luna
At what point does a mistake transcend its own limits and, as time goes by, become revolutionary? Ornette:
Made in America, the last film the famous New York filmmaker Shirley Clarke would make before her death,
presents a unique visual discourse to familiarize us with the world of Ornette Coleman, the controversial
saxophonist and pioneer of free jazz. Coleman misread the key by a third, which resulted in confusing the
C key for the A key. This one mistake planted the potent seed that during the 1960s became the basis of an
aggressive and eloquent musical style that, in addition to contributing to the development of jazz, influenced
punk rock and key musicians such a Steve McCay and Lou Reed, to name a few.
Rather than being a straightforward biopic, the film is an assemblage and recreation of his life and
thought. Most of the documentary focuses on the second period of his lengthy musical career, a period in
which he played alongside his son, the drummer Denardo Coleman, and was the leader of the band Prime
Time. The film takes us to the musicians hometown of Fort Worth, Texas, and its since-closed jazz bar
Caravan of Dreams, where the beatnik William Burroughs used to read his poems. In 1973 the legendary poet and Coleman took a trip to the mountains of northern Morocco to live with the acclaimed Master
Musicians of Jajouka. Their influence on Coleman was so strong that he collaborated with them on various
musical projects over the years.
It is important to think of Colemans free jazz as something that transcends music. In addition to being
an expressive force, free jazz is valuable as an intrinsic reflection of what Coleman called the human cycle,
a soundscape in which the imagination of each person finds its own harmony.
121
PAUL
SIMON: UNDER AFRICAN SKIES
MAJA BORG
Estados Unidos | 2012 | Ingls, afrikans, zul | Color, blanco y negro | 101
Contacto | Contact
@Radical.Media
435 Hudson Street
New York, NY 10014
Estados Unidos
T: +1 212 462 1500
Festivales | Festivals
Sundance, SXSW, Festival de Cine Documental Full Frame, Festival de Cine de Sidney, Festival Internacional de Cine Documental
Sudafricano Encounters, Sundance Londres, World Cinema Showcase, Festival Internacional de Cine de Santa Barbara.
sonidero
Joe Berlinger. Aclamado director cuya obra incluye los documentales Brothers Keeper,
Paradise Lost y Metallica: Some Kind of Monster. Ganadora de varios premios Emmy, la
serie Paradise Lost de HBO ayud a generar un movimiento mundial para liberar a los Tres
de West Memphis de injustas condenas por homicidio. Crude, filme sobre la contaminacin
de la selva amaznica por petrleo, gan numerosos reconocimientos. Berlinger ha recibido
premios del Directors Guild of America, as como de los Independent Spirit Awards, entre
otros. Asimismo, ha dirigido y producido cinco temporadas de la aclamada serie Iconoclastas.
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Joe Berlinger. Acclaimed director of the documentaries Brothers Keeper, Paradise Lost, and
Metallica: Some Kind of Monster. His multiple Emmy-winning Paradise Lost series for HBO
helped spawn a worldwide movement to free The West Memphis Three from wrongful murder
convictions. Crude, a film about oil pollution in the Amazon Rainforest, won numerous awards.
Berlinger has also received multiple awards from the Directors Guild of America and the Independent Spirit Awards, among others. In addition to his feature documentary work, Berlinger directed
and produced five seasons of the acclaimed series Iconoclasts.
Paul Simon regresa a Sudfrica para conmemorar los veinticinco aos de la grabacin y la gira mundial
de Graceland, disco que obtuvo el Grammy al mejor lbum del ao en 1987 y vendi millones de copias
por todo el mundo. Simon se reencuentra con los msicos que participaron en esta aventura, recuerdan el
pasado, reaniman su amistad y ensayan para presentarse en vivo nuevamente, un cuarto de siglo despus.
Graceland es un disco clsico que impact a varias generaciones e influy en diversas corrientes
musicales, trazando el destino de la produccin musical en la era global. Es resultado de un experimento artstico intercultural novedoso para su poca: se fusionaron genuinamente tradiciones musicales
distintas pop norteamericano con ritmos africanos creando un sonido nuevo y una revolucin en el
gusto popular. Es una obra significativa tambin por el contexto histrico y poltico en que se gest,
marcado por la lucha contra el apartheid en Sudfrica y el boicot cultural impuesto por la ONU contra el
gobierno racista, mismo que Simon desafi, generando una enorme controversia en torno a su proyecto.
Eventualmente, Graceland sera reconocido por el propio Mandela como un factor clave para la apertura
cultural y la liberacin de los sudafricanos.
En Paul Simon: Under African Skies, el aclamado documentalista estadounidense Joe Berlinger
nos permite conocer de cerca la historia detrs de este emblemtico lbum; revela los pormenores de
su grabacin y el proceso creativo de cada una de las canciones, permitindonos revivirlas y constatar
su vigencia. Escuchamos a figuras como Paul McCartney, Philip Glass, David Byrne y Peter Gabriel,
cuyos testimonios rinden homenaje al disco, a los artistas involucrados y a quienes lucharon por la
transformacin de Sudfrica. Este documental nos muestra cmo algunas obras se arraigan firmemente
en la memoria colectiva y se adentran en la dimensin poltica del arte sobre todo la msica como
un potente instrumento de liberacin.
sonidero
SND
Antonio Zirin
Paul Simon returns to South Africa to commemorate the twenty-fifth anniversary of the recording and
world tour of Graceland, an album that has sold millions of copies worldwide and won album of the year
at the Grammys in 1987. A quarter-century later Simon reunites with the musicians that participated in
the adventure. They remember the past, rekindle their friendship and rehearse for their reunion concert.
Graceland is a classic album that has influenced several generations and diverse musical currents, prefiguring the path for musical production in the global era. It is the result of an intercultural artistic experiment
innovative for its time. It fused distinct musical traditionsAmerican pop and African rhythmscreating a new
sound and revolutionizing popular taste. It is also a significant work because it emerged within the historical
and political context of the struggle against apartheid in South Africa and the UNs cultural boycott against
the racist government. In making Graceland Simon challenged the boycott, generating controversy over
his project. Eventually, Graceland would be recognized by Mandela himself as a key factor in the cultural
opening of South Africa and the liberation of its people.
In Paul Simon: Under African Skies, the acclaimed American documentary filmmaker Joe Berlinger
shares with us the story behind this emblematic album. He reveals the details of its recording and the creative
process of each song, allowing us to relive them and recognize their significance. We hear from musicians
such as Paul McCartney, Philip Glass, David Byrne and Peter Gabriel, whose testimonies pay tribute to the
album, the artists involved and to those who struggled for social change in South Africa. This documentary
shows us how some works are firmly rooted in collective memory and penetrate the politics of artabove
all, musicas a potent instrument of liberation.
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Contacto | Contact
Samantha Soto
Sony Pictures Classics
550 Madison Avenue, 8th Floor
New York, NY 10022
Estados Unidos
T: +1 212 833 8842
samantha_soto@spe.sony.com
Festivales | Festivals
Sundance, Festival de Cine de Tribeca, Sheffield Doc/Fest, Festival Internacional de Cine de Mosc, Festival Internacional
de Cine de Karlovy Vary, Festival de Cine de Sarajevo, Festival Internacional de Cine de Durban, Festival Internacional de Cine
de Guanajuato, Festival Internacional de Cine de Melbourne, Nordisk Panorama, IDFA, Panorama de Cine Europeo.
sonidero
Malik Bendjelloul (Suecia, 1977) ha dirigido documentales durante doce aos, principalmente sobre msicos. En 2001 film el primer documental sobre Kraftwerk, el grupo alemn
pionero de la msica electrnica. Ha realizado series de documentales sobre la historia del
heavy metal, as como documentales sobre Bjrk y Sting, entre otros. Bendjelloul tambin
ha trabajado como director y productor creativo para Kobra, programa de cultura de la
televisin sueca. Asimismo, ha dirigido videos musicales y comerciales, adems de disear
y dirigir secuencias de ttulos para varios programas de televisin suecos.
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Malik Bendjelloul (Sweden, 1977) has been directing documentaries, primarily about musicians,
for twelve years. In 2001 he directed the first ever documentary about the German electronic
music pioneers Kraftwerk. He made a documentary series about the history of heavy metal as
well as several documentaries about Bjrk and Sting, among others. Bendjelloul has worked as
the director and creative producer for Swedish Televisions cultural show Kobra. He has also
designed and directed title sequences for several Swedish TV shows and has directed music
videos and commercials.
De qu depende que un artista sea famoso y popular o pase completamente desapercibido? Sin duda
entran en juego mltiples factores, as como una buena dosis de azar. Buscando a Sugar Man, el primer
largometraje documental del sueco Malik Bendjelloul, narra la singular historia de Sixto Rodriguez, quien
curiosamente corri con ambas suertes. Poeta y compositor de origen mexicano-americano, personaje
oscuro y enigmtico, profeta urbano de bajo perfil, cantaba canciones simples pero profundas, con
letras complejas, llenas de irona y una sutil pero aguda crtica social. Segn los productores que lo
descubrieron cantando de espaldas al pblico en un bar de mala muerte en Detroit, tena tanto talento
y potencial como Bob Dylan.
No obstante, sus canciones fueron completamente ignoradas en Estados Unidos, donde se estima
que no vendi ni diez copias de los dos lbumes que grab a principios de los aos setenta. Tras su
aparente fracaso, Rodriguez desapareci sin dejar huella, sin imaginar que un disco suyo llegara a
Sudfrica, donde varias de sus canciones se volveran grandes xitos con un impacto rotundo en toda
una generacin, convirtindose incluso en himnos de las protestas contra el apartheid. En la historia de
la msica en Sudfrica, segn especialistas, Sixto Rodriguez ocupa un sitio ms importante que Elvis
Presley. Todo esto sin que el propio Rodriguez se enterara hasta pasados treinta y cinco aos.
Este aclamado y multipremiado filme, al mejor estilo de un thriller documental, relata los pormenores
de la investigacin detectivesca que condujo al resurgimiento de un artista desconocido. Buscando
a Sugar Man es una clara muestra de cmo el arte, en este caso la msica, puede cobrar vida propia,
liberarse de su autor, trascender su contexto y su poca; puede olvidarse y luego reaparecer con diferentes significados, ya sea al otro lado del mundo o varias dcadas ms tarde.
sonidero
SND
Antonio Zirin
Why do some artists become famous and popular while others go completely unnoticed? There are undoubtedly
many factors involved, including a good dose of chance. Searching for Sugar Man, the first documentary by
Swedish filmmaker Malik Bendjelloul, narrates the unique story of the dark and enigmatic Sixto Rodriguez,
who, strangely enough, suffered both fates. A MexicanAmerican poet, composer and low-profile urban
prophet, Sixto Rodriguez sang simple yet profound songs with complex lyrics full of irony and a subtle but
incisive social critique. According to the producers, who discovered him in a Detroit dive bar singing with
his back turned to the public, he had as much talent and potential as Bob Dylan.
Nonetheless, his songs were completely ignored in the United States, where it is estimated that he sold
fewer than ten copies of each of the albums he recorded in the early 1970s. After his apparent failure,
Rodriguez vanished without a trace. For close to thirty-five years he was unaware that one of his records
soon arrived to South Africa where many of his songs became huge hits, had an enormous impact on an
entire generation and served as inspiration for protests against apartheid. In South Africas music history,
according to experts, Sixto Rodriguez is more important than Elvis Presley.
In the best style of a documentary thriller, this acclaimed and award-winning film tells the story of the
detective work that led to the revival of an unknown artist. Searching for Sugar Man is a clear example of
how art, in this case music, can take on a life of its own, be liberated from its author, transcend its context
and time, and be forgotten, only to reappear with different meanings on other side of the world decades later.
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AMBULANTITO
Program of short documentaries and animations for the young and not so young.
Alouette
Norman McLaren, Ren Jodoin | Canad | 1944 | Sin dilogos
| Animacin | 2
Norman McLaren y Ren Jodoin crearon esta versin animada de la popular cancin francesa usando recortes de
papel. La letra de la cancin baila en la pantalla alentando
a la audiencia a cantar a coro.
Norman McLaren and Ren Jodoin created this animated
version of the popular French song, using single-frame
animation and paper cutouts. The lyrics dance on the
screen, encouraging the audience to sing along.
AMBULANTITO
amb
The Cow Who Wanted To Be A
Hamburger | La vaca que quera
ser hamburguesa
Bill Plympton | Estados Unidos | 2010 | Sin dilogos |
Animacin | 6
128
Fiesta Brava
Steven Woloshen | Canad | 2011 | Sin dilogos |
Animacin | 4
Interlude | interludio
Joost van Veen | Holanda | 2005 | Sin dilogos | Blanco y
negro | 2
129
AMBULANTITO
amb
130
Seccin dedicada al cine que se mira y se piensa a s mismo, que cuestiona sus lmites
y alcances, que experimenta con el medio y el mensaje.
This section is dedicated to self-reflexive films that question their own boundaries and
scope, and experiment with both medium and message.
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EMAK BAKIA BAITA | LA CASA EMAK BAKIA | THE SEARCH FOR EMAK BAKIA
Espaa | 2012 | Espaol, euskera, francs, italiano | Color, blanco y negro | 84
Contacto | Contact
Oskar Alegria
info@oskaralegria.com
T: + 34 687 525 928
EMAK BAKIA
Francia | 1926 | Sin dilogos | Blanco y negro | 16
enfoque
Oskar Alegria (Spain, 1973) started working as a professional journalist in Madrid for Canal Plus
and CNN+ news. He has worked as a scriptwriter for cultural programs and as a coordinator of
TV segments dedicated to literature for Telemadrid and Euskal Telebista channels. He teaches
documentary screenwriting at the University of Navarra for the masters degree in Audiovisual
Screenwriting. He writes travel chronicles for El Viajero, a suplement of El Pas. He is the author
of a photo art project named Visible Cities.
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Dejndose llevar por la obsesin de ponerle una zancadilla lingstica al tiempo, Oskar Alegria quiso crear
una pelcula a partir de una expresin vasca fuerte y casi violenta: emak bakia (djame en paz). As inicia
un viaje en busca del azar que descubre grupos de msica alternativos, tiendas vintage francesas y colectivos artsticos ochenteros a los que el trmino bautiz en euskera. Pero sobre todo busca la casa, causa
y consecuencia de este documental, que fue escenario en 1926 de la pelcula Emak Bakia de Man Ray.
Inspirado por el mismo espritu libre que guiaba la obra del cono del cine surrealista de los aos
veinte, la pera prima del director navarro recorre la costa de Lapurdi (Pas Vasco francs) sin marcarse
un rumbo fijo. La intencin es clara y declaradamente anrquica: contar su historia en curvas, de forma
desordenada y sin atajos. Es precisamente esa imperfeccin deliberada la culpable de que la bsqueda
se sienta real y emocionante. No hay artificios ni pretensiones. Se trata de un cine accidental y mgico en
el que los personajes encuentran la cmara de manera natural. Fotografas que se miran por el reverso,
manos de plstico cmplices del viento cortejando servilletas, y princesas rumanas nonagenarias que
coleccionan sellos y figuras de elefantes y son primas de Nabokov.
La casa Emak Bakia revela un profundo amor por la lengua y por el cine, y celebra el accidente como
aliado imprescindible del realizador a la hora de documentar. El cineasta se pregunta a dnde van las
palabras viejas cuando mueren y como deca el escritor gallego lvaro Cunqueiro por qu muchas
de las cosas enterradas no estn muertas, en una pelcula tan introspectiva como extravagante que l
mismo define como un cmulo de resurrecciones.
En este singular filme, el documental contemporneo se reencuentra con el cine experimental y las
vanguardias artsticas de hace un siglo. Al igual que Man Ray, y como un homenaje a l, Oskar Alegria
tambin quiso que le dejaran en paz y cre un cine-poema arrtmico, hecho a trompicones y maravillosamente impecable en su imperfeccin.
133
ENF
Noemi Cuetos
Driven by the obsession of tripping time through language, Oskar Alegria decided to create a film inspired by
the forceful Basque expression: emak bakia (leave me alone). Thus begins a journey in search of chance
that leads us to alternative music bands, French vintage stores and 1980s artists collectives baptized by
the Euskera expression. But the Spanish directors main search is for the house that is the cause and
consequence of his documentarya house that served as the setting for Man Rays 1926 film Emak Bakia.
Drawn to the same free spirit that characterized the icon of 1920s surrealist cinema, Alegrias first feature traverses the Lapurdi coast (Basque Country in France) without settling on a fixed route.The intention
is clear and avowedly anarchic: to tell its story in detours, in no particular order, and without short cuts. It
is precisely this deliberate imperfection that turns the search into something that feels real and exciting. There is no artifice or pretention. It is cinema at its most accidental and magical; the characters find
the camera naturally. Photographs that are looked at backwards, a plastic hand flirting with a wind-blown
napkin, and a nonagenarian Romanian princess who collects seals and elephant figures and happens to
be Nabokovs cousin.
The Search for Emak Bakia reveals a profound love for language and cinema and celebrates the
accident as a filmmakers essential ally in the effort to document. The filmmaker asks himself where do old
words go when they die and why many buried things are not dead, as the Galician writer Alvaro Cunqueiro
said. It is a film so introspective and extravagant that he himself defines it as a gathering of resurrections.
In this singular film, contemporary documentary meets experimental cinema and century-old artistic
vanguards. Like Man Ray and as tribute to him, Oskar Alegria wanted to be left alone, and he created an
arrhythmic film poem, made in fits and starts, that is marvelously impeccable in its imperfection.
LOVE | AMOR
Estados Unidos | 2003 | Ingls | Color, blanco y negro | 20
Contacto | Contact
Kristen Fitzpatrick
kfitzpatrick@wmm.com
Festivales | Festivals
Festival de Cine de Adelaide, Festival Internacional de Cine de Mujeres de Dortmund.
enfoque
Tracey Moffatt (Australia, 1960) is highly regarded for her formal and stylistic experimentation
in film, photography and video. Her work draws on the history of cinema, art and photography
as well as popular culture and her own childhood memories and fantasies. She studied visual
communications and worked as a director on documentaries and music videos for television in
the 80s. Her work appears as a surprising mix of the indeterminate and the brutally precise, the
timeless and the contemporary. The result is a taut, sometimes disturbing body of work.
134
135
Antonio Zirin
ENF
Contacto | Contact
Direccin: Sophie Fiennes
P GUIDE LTD
Direccin de fotografa: Remko Schnorr
Mount Pleasant Studios
Edicin: Ethel Shepherd
51-53 Mount Pleasant
Londres WC1X 0AE
Guion: Slavoj iek
Reino Unido
Sonido: Steve Fanagan
T: +44 020 3119 1008
Msica: Magnus Fiennes
thepervertsguide@gmail.com
Produccin: Martin Rosenbaum, James Wilson, Katie Holly
Compaas de produccin: P Guide LTD, Blinder Films, Bord Scannn Na Hireann/The
Irish Film Board, Film4, British Film Institute Film Fund, Rooks Nest Entertainment
Festivales | Festivals
TIFF, CPH: DOX, Festival de Cine de Londres, Muestra Internacional de Cine de So Paulo, Festival Internacional
de Cine de Estocolmo, Doc NYC, Festival de Cine de Torino.
Sophie Fiennes empez a filmar pelculas en 1998. Ha sido reconocida por su particular ojo
analtico y su gran sentido de la forma cinematogrfica. Fiennes suele emprender proyectos de
colaboracin cinematogrfica; sus pelculas, por lo tanto, son poderosos retratos de algunos
de los ms icnicos individuos de hoy. Sus filmes se han exhibido en cine, televisin y festivales
alrededor del mundo. Su filmografa incluye Because I Sing (2001), The Perverts Guide To
Cinema (2006) y Over Your Cities, Grass Will Grow (2010). Recientemente, complet su
primer corto de ficcin titulado First Row Orchestra.
enfoque
Sophie Fiennes began making films in 1998. She is widely acclaimed for her unique analytical eye and strong sense of cinematic form. Fiennes often employs a collaborative approach to
filmmaking. Her films therefore also act as powerful portraits of some of todays most iconic
individuals. Fiennes films have screened in theaters, on television and in festivals around the
world. Her filmography includes Because I Sing (2001), The Perverts Guide to Cinema (2006),
Over Your Cities and Grass Will Grow (2010). She has recently completed her first short film
entitled First Row Orchestra.
136
Seis aos despus de The Perverts Guide to Cinema (2006), una fascinante interpretacin psicoanaltica de algunos clsicos del cine, el filsofo Slavoj iek y la documentalista Sophie Fiennes vuelven a
emprender una travesa cinematogrfica, pero esta vez con el ojo puesto en la ideologa.
Segn iek, la sociedad solo demanda pequeos cambios al sistema pero no cuestiona la gran
estructura. No nos detenemos a pensar en cmo la ideologa influye en nuestras acciones, creencias e
incluso en nuestros sueos. Esta crtica a la sociedad contempornea es un rasgo esencial y constante en
la obra de iek, uno de los intelectuales ms famosos y polmicos de la poca, que rescata y replantea
radicalmente el pensamiento de autores clsicos.
A lo largo del documental, iek explica su concepto de ideologa, las tecnologas que la ejercen y los
efectos, conscientes o no, que tiene sobre cada persona. Las pelculas por las que iek discurre son los
escenarios de la disertacin. Fiennes recrea las locaciones de varias escenas emblemticas desde un
bote salvavidas en Titanic hasta la cama del personaje de Robert De Niro en Taxi Driver y ubica all a
nuestro protagonista, quien reflexiona sobre y a partir de las pelculas, con gran lucidez y extraordinaria
soltura. En algunos casos, iek enaltece la genialidad de los cineastas; en otros, se burla de los directores que en sus filmes sucumbieron a las recetas de Hollywood y perpetuaron la ideologa dominante.
Pero no solo se vale del cine para ilustrar el funcionamiento de la ideologa en nuestros das; tambin
analiza acontecimientos histricos, obras musicales e incluso campaas publicitarias.
Al ver La guia de ideologa del pervertido, el espectador no solo recordar varios momentos clave
en la historia del cine y conocer de primera mano las ideas de iek sobre la ideologa; tambin disfrutar del personaje en la pantalla, de su peculiar acento, sus constantes ademanes y su caracterstico
sentido del humor.
137
ENF
Julieta Cuevas
Six years after The Perverts Guide to Cinema (2006)a fascinating psychoanalytic interpretation of a
number of classic moviesphilosopher Slavoj iek and documentary filmmaker Sophie Fiennes team up
again to embark on a cinematographic journey, this time with their lens set on ideology.
According to iek, society demands small changes in the system but rarely questions its overarching
structure. We never pause to think of how ideology influences our actions, beliefs or even our dreams. This
profound critique of contemporary society is an enduring and essential motif in ieks work, which, along
with the philosophers efforts to rescue and re-invigorate the thought of classic authors, has made him one
of the most celebrated and polemical intellectuals of our time.
In this documentary, iek explains his concept of ideology, the technologies that sustain it and the effects
conscious and unconscious it has on individuals. The stage for his argument is comprised of the films
he analyses. Fiennes recreates the locations of various iconic filmsranging from a lifeboat from Titanic to
Robert De Niros bed in Taxi Driverand situates our interlocutor in the midst of familiar scenes, where he
reflects freely and insightfully on the nature of ideology. His discourse, however, is not restricted to cinema:
he uses the films as a springboard to examine historical events, musical pieces and even publicity campaigns.
In watching The Perverts Guide to Ideology, viewers will not only recognize key moments in film history
and have first-hand access to ieks theorizing but will also enjoy ieks character onscreen: his peculiar
accent, quirky gestures and idiosyncratic sense of humor.
Contacto | Contact
HanWay Films
24 Hanway Street
Londres, W1T 1UH
Reino Unido
T: +44 0 207 290 0750
Festivales | Festivals
CPH:DOX, Festival de Cine de Edimburgo, Festival de cine de Telluride, Festival de Cine de Torino, Festival
Internacional de Cine de Bratislava, Festival Internacional de Cine de Morelia.
Mark Cousins (Irlanda) es guionista, director y curador. Recibi una licenciatura en Estudios
de Cine y Medios y otra en Bellas Artes por la Universidad de Stirling, donde ahora es acadmico honorario. En 1991 inici una colaboracin de cinco aos con el Festival Internacional
de Cine de Edimburgo, primero como programador y despus como director. Ha impartido
clases sobre historia del cine y sus escritos han sido publicados en varios idiomas. Cousins
ha realizado una docena de documentales sobre arte y poltica, y trabaja como consultor de
estrategias para cine.
enfoque
Mark Cousins (Ireland) is a film writer, director and curator.He received a degree in Film and
Media Studies and Fine Art from the University of Stirling, where he is now Honorary Lecturer.
In 1991 he began a five-year collaboration with the Edinburgh International Film Festival,first as
a programmer then as director. He has lectured on film history, published internationally, made a
dozen documentaries on arts and political themes, and consulted on film strategy.
138
Cuando Mark Cousins present su pelcula en el Festival de Cine de Telluride en 2012, cont
que un amigo le sugiri de broma que debera nombrar el proyecto Qu es este amor llamado
cine? Efectivamente, lo que anima su ltima pelcula es una pasin contagiosa por el cine que
tambin est presente en su trabajo como escritor, crtico y cineasta. Este diario de viaje cinematogrfico, ensayo, poema, cuaderno de apuntes (que Cousins describe como una improvisacin
despus de su pica pelcula de quince horas, The Story of Film) fue filmado en tres das con
una videocmara flip. En un viaje por las calles de la Ciudad de Mxico (con paradas en Escocia,
Morelia y el suroeste de Estados Unidos), Cousins rememora la felicidad, la soledad, la gente, los
lugares, el baile, el sueo y los gozos que la urbe provoca. Su compaero de viaje e interlocutor
elegido, Sergei Eisenstein (a quien entrevemos gracias a una fotografa que el director sostiene
en frente de la cmara), provee el punto central de reflexin durante la caminata por la Ciudad
de Mxico. El dilogo de Cousins con Eisenstein y la fascinacin del director sovitico por Mxico transforman el annimo paisaje citadino en una escena de intercambios ntimos, donde la
gente y las cosas que normalmente se esfuman en las texturas de cada da, hacen una emotiva
meditacin sobre el cine y la naturaleza de la felicidad.
Realizada con un presupuesto de veinte dlares, la esttica low-tech de la pelcula no es un
obstculo para la destreza de Cousins: sus secuencias, de cuidadosa elaboracin y ritmo preciso,
crean una sensacin de espontaneidad al tiempo que revelan una intuitiva mirada para la composicin, la gente y los lugares. La msica de PJ Harvey, Johnny Cash y Bernard Hermann establecen
el tono de un viaje que nos invita a permanecer abiertos a la posibilidad de nuevos encuentros.
139
ENF
Mara Fortes
When introducing his film at the 2012 Telluride Film Festival, Mark Cousins mentioned that a friend
had jokingly suggested he ought to call the project What is this love called film? And indeed,
what animates his latest film is the contagious passion for cinema that runs through his work as a
writer, critic and filmmaker. This cinematic travelogue, essay, poem and diary of sorts (what Cousins
describes as an ad-lib to his previous and epic fifteen hour film The Story of Film) was shot over
three days with a Flip camera. Taking us on a journey through Mexico City streets (with stops in
Scotland, Morelia and the U.S. Pacific Southwest), Cousins reminisces about happiness, solitude,
people, places, dancing, sleeping and the ecstasies they evoke. His chosen travel companion and
interlocutor, the Soviet director Sergei Eisenstein, whom we glimpse throughout in a laminated
photograph held by the filmmaker, provides a central node of reflection in the walking tour of Mexico
City. Cousins dialogue with Eisenstein and his famed fascination with Mexico de-familiarizes and
transforms the anonymous cityscape into a scene of intimate exchanges, where the people and
things that normally recede into unremarkable textures of the everyday index a moving meditation
on cinema and the nature of happiness.
Made with a budget of twenty USD, the films low-tech aesthetics do not detract from Cousins
directorial prowess. Its carefully crafted and expertly paced sequences retain a sense of spontaneity while revealing an intuitive eye for composition, people and places. A soundtrack featuring PJ
Harvey, Johnny Cash and Bernard Hermann sets the tone of a journey that invites us to be open
to the chance of new encounters.
Contacto | Contact
Marija Knezevic
Taskovski Acquisitions
acquisitions@taskovskifilms.com
Festivales | Festivals
IDFA, RIDM, Visions du Rel, Dokufest Prizren, Festival Internacional de Documentales de Santiago, FIC Valdivia,
DMZDocs Festival Internacional de Cine Documental de Korea, Festival Internacional de Cine de Taiwan.
Carlos Klein (Chile, 1972) estudi cine en Chile, Cuba y el Reino Unido. En 1994 particip
en el taller Cmara en San Diego de los Baos, y de 1995 a 1996 estudi en el London
College of Printing and Distributive Trades. Ha recibido sendos premios en el Festival Internacional de Documentales de Santiago: por su cortometraje documental Ibycus: un poema de
John Heath-Stubbs (1997) y por su primer largometraje documental, Tierra de Agua (2004).
Klein vive en Santiago de Chile donde tambin se dedica a la msica.
enfoque
Carlos Klein (Chile, 1972) studied filmmaking in Chile, Cuba and London. In 1994 he took part
in the workshop Camera in San Diego de los Baos, and from 1995 to 1996 he studied at
the London College of Printing and Distributive Trades. His documentaries Ibycus: a poem by
John Heath-Stubbs (1997) and Tierra de Agua (2004) have received awards at the Santiago
International Documentary Film Festival. He lives in Santiago, Chile and also works as a musician.
140
El documentalista chileno Carlos Klein nos muestra el proceso creativo del cineasta ruso Victor Kossakovsky famoso por sus experimentos documentales, durante la filmacin de su ms reciente pelcula
Vivan las antpodas!
Kossakovsky expone a cuadro su premisa esencial sobre el cine documental: la vida es mucho
ms que la verdad, desafiando de inicio el registro minucioso que realiza Klein sobre l y su trabajo. El
encuentro entre ambos cineastas logra ser en s una metfora de las antpodas que tanto inquietan a
Kossakovsky, no solo por sus orgenes diametralmente opuestos ruso y chileno, sino sobre todo por
sus distintas formas de concebir el cine. Este dilogo, no siempre armnico, nos invita a reflexionar acerca
de las fronteras difusas entre la ficcin y el documental, y sobre cmo se abren mltiples posibilidades
en la expansin de los lmites de estos gneros.
El espectador se involucra en la catarsis flmica y personal de ambos directores. Por un lado, el documental captura la sensibilidad de Kossakovsky y su insistencia en hacer del cine algo extraordinario,
restaurando nuestra capacidad de asombrarnos con una araa o seducindonos con un camino cubierto
de nieve, elevando el poder de la imagen ms all de las palabras. Por otro lado, revela el espritu reflexivo y autoreflexivo de Klein, quien nos hace partcipes de los pormenores y el proceso de una singular
pelcula; nos muestra los cambios de lente y la limpieza del mismo, recordndonos que siempre existe
una cmara de por medio en nuestra experiencia con las imgenes.
Donde vuelan los cndores es ms que el retrato de un importante cineasta contemporneo y que el
making-of de uno de los documentales ms premiados y aclamados de los ltimos aos; es un excepcional ensayo audiovisual sobre el cine mismo, una road movie de escala global cuyo hilo conductor es
la pasin del documentalista por el mundo.
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ENF
Karla Castro
Chilean documentary filmmaker Carlos Klein shows us the creative process of Russian filmmaker Victor
Kossakovskyfamous for his documentary experimentsduring the production of his latest film Long Live
the Antipodes!
Speaking directly to the camera, Kossakovsky reveals his take on the essence of documentary cinema:
life is much more than truth, thus challenging from the start the thorough register Klein makes of his life
and work. The encounter between the two filmmakers becomes a metaphor for the antipodes that fascinate
Kossakovskynot merely because of their diametrically opposed origins (Russian and Chilean) but because
of their radically different ways of understanding cinema. This dialogue not always harmonious invites us
to reflect on the blurred boundaries between fiction and documentary and on the ways in which expanding
the scope of these genres opens up numerous possibilities.
The film draws the spectator into the personal and filmic catharsis experienced by the directors. On
the one hand, it captures Kossakovskys sensibility and his insistence on making cinema extraordinary: he
restores our capacity to be astonished by a spider, seduces us with a snow-blanketed road and elevates the
power of images beyond words. On the other hand, it reveals the reflexive and self-reflexive spirit of Klein,
who makes us privy to the details and process behind a singular film, showing us the ins and outs of lens
changes and cleaning and reminding us that there is always a camera mediating our experience of images.
Where the Condors Fly is more than a portrait of one of contemporary cinemas great masters and
more than the making-of of one of the most acclaimed and award-winning documentaries in recent years.
It is an exceptional film essay about cinema itself, a road movie of universal reach whose driving thread is
a documentary filmmakers passion for discovering the world.
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143
retrospectiva
144
Chris Marker (Francia, 1921-2012) comenz su carrera como parte del grupo de la rive
gauche francesa, paralelo pero independiente a la nouvelle vague. A lo largo de su vida,
colabor con cineastas de la talla de Joris Ivens, Alain Resnais, Agns Varda, Jean-Luc
Godard y Costa-Gavras.
Su trabajo se caracteriz por mantener una libertad total en cuanto a forma, contenido
y cometido, y por su firme compromiso poltico, que ha sido descrito como un canto a la
insumisin y a la rebelin en contra del cinismo de la sociedad. El suyo es un cine de ideas
que a menudo recurre al formato de video diario, por lo que se le atribuye la invencin del
documental subjetivo. A travs de sus ensayos flmicos salv del olvido las imgenes
de varias generaciones, preservando la memoria colectiva y mezclndola con la propia.
El espritu de una obra que pretende sacudir y cuestionar la mirada del espectador,
refleja a la perfeccin el concepto de liberacin, eje central de la programacin de la Gira
de Documentales 2013. Marker promueve una liberacin del lenguaje cinematogrfico y
concibe el cine como el arte de liberar las imgenes de un mbito particular, reinventando
su significado y cuestionando profundamente la verdad que contienen. El cine de Chris
Marker es un ejemplo brillante del documental libre y liberador.
Chris Marker (France, 1921-2012) began his career as a member of the French cinema group Left Bank, parallel
to but independent of the New Wave. During his career, he collaborated with important filmmakers such as Joris Ivens,
Alain Resnais, Agns Varda, Jean-Luc Godard and Costa-Gavras.
Chris Markers work was characterized by a total freedom of form, content and vision, as well as a strong political
commitment, and has been described as a song of disobedience and rebellion against societys cynicism. His cinema is
reflexive and speculative and often uses the video diary format of the video diary. A pioneer of subjective documentary,
Marker rescued from oblivion the images of many generations, preserving collective memory and mixing it with his own
in ellaborate film essays.
The spirit of an oeuvre that seeks to disrupt and question the spectators gaze perfectly reflects the concept of
liberation, a cornerstone of the program for Ambulante 2013. Marker promotes liberation through film language and
conceives cinema as the art of liberating images from a particular domain, thereby re-signifying them and posing profound
questions about the truth they contain. Markers work is a brilliant example of free and liberating documentary making.
RTR
145
... VALPARAISO
A VALPARASO
VALPARAISO
Dir. Joris Ivens | Guion: Chris Marker | Chile-Francia | 1965 |
Francs, espaol | 34
retrospectiva
Realizada en colaboracin con Joris Ivens, ...A Valparaso (1963) refleja la pasin de ambos cineastas por
su viaje a Chile. Los directores de la pelcula, quizs
atrados por la peculiar historia colonial de Valparaso,
rinden homenaje a esta pequea ciudad chilena con
humor, poesa y cierta melancola. El ambiente, la gente,
el clima y hasta la economa quedan plasmados en el
filme; Ivens y Marker logran transmitirnos su entusiasmo
por este lugar.
146
A.K.
Francia-Japn | 1985 | Francs, japons | 75
LA JETE
EL MUELLE
THE PIER
Francia | 1962 | Francs, alemn | 28
RTR
retrospectiva: chris marker
147
LE JOLI MAI
EL hermoso MAYO
BEAUTIFUL MAY
Dir. Chris Marker, Pierre Lhomme | Francia | 1963 | Francs
| 165
Pelcula restaurada por los Archivos Flmicos Franceses, en el marco
del plan de rescate de pelculas antiguas del Ministerio de Cultura.
retrospectiva
148
Originalmente un episodio de la serie francesa de documentales Cineastas de nuestros tiempos, Une journe
dAndrei Arsenevitch es un homenaje al cineasta ruso
Andrei Tarkovsky, y una reflexin de su vida y obra. Marker
trata de vislumbrar a Tarkovsky en sus pelculas, en un
intento por entender al misterioso director, entretejiendo
personajes y escenas de las pelculas del realizador ruso,
adems de tomas en video registradas durante los ltimos
das de su vida.
Originally an episode of the French documentary film
seriesCinastes de notretemps,Une journe dAndrei
Arsenevitchis a homage to the Russian filmmaker Andrei
Tarkovsky and a reflection on his life and work.Marker tries
to find Tarkovsky in his films in an attempt to understand
this mysterious director,interweaving characters and scenes
from Tarkovskys films, videoshot in the final days of his
life and Markers own observations.
LOIN DU VIETNAM
LEJOS DE VIETNAM
FAR FROM VIETNAM
Dir. Chris Marker, Joris Ivens, William Klein, Claude Lelouch,
Agns Varda, Jean-Luc Godard y Alain Resnais | Francia |
149
RTR
retrospectiva: chris marker
LEVEL 5 | NIVEL 5
retrospectiva
150
151
RTR
retrospectiva: chris marker
LE TRAIN EN MARCHE
EL TREN EN MARCHA
THE TRAIN ROLLS ON
El cine de Chris Marker ha resultado sumamente influyente e inspirador. Adems de mostrar sus pelculas
ms representativas, presentamos trabajos realizados
por otros autores, que con estilos diferentes rinden
homenaje y elaboran un retrato ntimo de este cineasta, y
nos permiten conocer mejor su enigmtica personalidad
y la complejidad de su obra.
Chris Markers cinema has influenced several generations
of filmmakers. Besides featuring his most representative
work, this retrospective includes films by various directors
who create intimate portraits of, and pay tribute to, the
renowned auteur. Their individual visions and different
styles offer a glimpse into Markers enigmatic personality
and the complexity of his work.
retrospectiva
152
RTR
153
imperdibles
156
Adems, en los once estados que conforman nuestro recorrido en esta edicin, habr auto-cinemas,
proyecciones especiales, cine a mano arte efmero
que reta la concepcin del cine como registro haciendo
uso de la tinta china o del bicarbonato de sodio para
dibujar historias en pantalla grande, paneles con
profesionales de la industria cinematogrfica, talleres
de produccin documental para nios, proyecciones
con musicalizacin en vivo, entre otros eventos.
Para no perderse ninguno de estos eventos, AMBULANTE contar con una amplia cobertura de las
actividades en distintos estados a travs de su plataforma en lnea (www.ambulante.com.mx), que podrn
ser vistos casi de manera simultnea.
IMP
imperdibles
With the hope of exploring the possibilities of the documentary genre and of expanding our conception and
understanding of documentary culture, Ambulante
decided to add, beginning with its 2011 edition, a series
of activities called IMPERDIBLES. These activities
complement the festivals program and stand out for
their original and varied approach to documentary film.
Given the success of previous editions, AMBULANTE,
for the third time in a row, renews its collaboration with
Vive Latino, the renowned Ibero-American Culture and
Music Festival, which will take place this year from
March 15th-17th at the Foro Sol in Mexico City. As
an added feature to this edition, the Ambulante Stage
will bring celebrated artists who will both curate and
present the films.
157
internacional
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159
161
162
163
Rafael Avia
El otro cine mexicano es aquel que rechazan
los medios. Es el cine sin glamour, sin estrellas,
sin la burocracia ni las posiciones triunfalistas
de las instituciones. Es un cine que sobrevive
por lo general sin apoyos oficiales y que surge
gracias al tesn, el entusiasmo y la inventiva
de jvenes directores que han encontrado en
el documental y en las nuevas tecnologas
digitales sin descartar el formato en 35
mm una manera de levantar proyectos en
la capital o el interior del pas. En el Mxico
del nuevo milenio, el cine documental se erige
como una alternativa inteligente ante las frmulas trilladas y los argumentos repetitivos
que ofrece la cartelera comercial.
En ese sentido Ambulante Gira de documentales aparece como una extensin de tal
libertad creativa, una suerte de cmplice que
ha crecido a la par de las propuestas cada vez
ms crpticas de un cine que ha alcanzado una
madurez y una especializacin en su propia
etapa de experimentacin. En esta ocasin,
la seccin Pulsos propone en la mayora de
sus relatos el inquietante uso de materiales
de archivo: el stock shot no slo como un ele-
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165
166
once a witness and an accomplice. He questions and observes, translates his own and his
parents despair into images, and he does it in
a way that is both impartial and tactful. The
luxurious, enormous house in which Gina
and Gonzalo live estranged, along with the
old babysitter and maid, are silent witnesses
to their indifference and mutual lack of interest for each other. It resembles a fortress,
surrounded by electrified gates with multiple
bedrooms and an impressive garden. This
fortress attests to the couples weariness and
their lack of communication, as in a home
movie imagined by Atom Egoyan. The young
filmmaker interweaves the metaphor of two
volcanoes in love, the Popocatpetl and Iztacchuatl, with his memory of what once existed:
a great love story.
Without crediting the myriad magazines
such as Cine Mundial or Cinescopio that they
integrate into their film, Jesse Lerner and
Sandra Rozental use the triumphalist images
that they recorded during the last phase of
president Adolfo Lpez Mateoss government
to tell the story of the absent stone from
San Miguel Coatlinchan, a town in the State
of Mexico. It is a disturbing and chaotic story
told from different angles but without focusing
on any specific one. The stone is actually the
colossal pre-Hispanic monolith representing
Tlloc, the god of rain, which was moved,
with much drama, to the National Museum
of History and Anthropology in Mexico City
in 1964. The Absent Stone documents the efforts of the residents of the village to recover
the monolith as well as their obsession with
the scores of replicas they have, the impres-
167
168
169
La imagen rebelde
injerto
170
171
172
173
Aparece despus el espacio de la subversin. La seleccin de estas pelculas encuentra su coherencia en temas sociales, polticos
y de gnero, pero su discurso no es terico
ni panfletario: la transgresin sucede en y a
partir de las imgenes. El crudo retrato de los
diversos rastros de caballos, vacas y becerros
en las afueras de Pars en Le sang des btes, de
Georges Franju (1949), consigue evidenciar
la paradoja entre la sangre fra de quienes
trabajan en esos lugares y los ros de sangre
hirviendo que manan de nuestros alimentos
diarios.
Un tema central en la reflexin de la imagen
liberada es, desde luego, la sexualidad, y a ella
est dedicado un bloque de Injerto. Destaca
el cortometraje Removed (1999), de Naomi
Uman, renovado acercamiento al material
pornogrfico de los aos setenta que la artista
intervino con un tratamiento de cloro para
remover las imgenes femeninas de las cintas.
Las manchas blancas movedizas censuran los
desnudos femeninos al mismo tiempo que
ridiculizan a los personajes masculinos que
dialogan y se excitan con algo que ya no est
all, que ya no existe. Fuses (1965), de Carolee
Schneemann, utiliza imgenes superpuestas
de una recmara y una ventana difuminadas
con colores ambientales y diversas texturas;
durante breves intervalos esos espacios revelan, a su vez, las imgenes de una pareja
heterosexual haciendo el amor. La mezcla
entre lo visible y lo invisible da a la pelcula
una energa ertica que no necesita palabras
para transmitir su mensaje.
Tal vez el programa ms peculiar de Injerto,
y tambin el que cuenta con las pelculas ms
174
175
Bernardo Esquinca
La msica salva. Se escuche en solitario o
como parte de una multitud, tiene la suficiente
energa para elevar el espritu por encima de
la miseria humana. Una expresin que no
slo dignifica a quienes se dejan llevar por
ella como seguidores, sino tambin a los que
la ejecutan. Aunque tarde, su recompensa
siempre llega. La msica es tan poderosa que
incluso puede tener un papel importante en
las revueltas sociales y contribuir, a su manera,
en la abolicin de la tirana. En pocas palabras,
la msica como religin sanadora. Esto es lo
que nos transmiten, en distintos niveles, las
pelculas que Ambulante Gira de Documentales
ha incluido en su seccin Sonidero.
Under African Skies (2012), de Joe Berlinger,
nos lleva por un viaje de veinticinco aos.
Cualquier melmano nacido en las dcadas
de los cincuenta y sesenta sabe quin es Paul
Simon y que Graceland representa uno de sus
trabajos clave. Pero quiz lo que no todos sus
fanticos saben o recuerdan con claridad es
cmo se hizo este disco, las implicaciones que
tuvo para su creador, y sus ecos en la debacle
del apartheid. Utilizando como pretexto la
176
177
178
179
180
181
El cosmonauta de la memoria
Retrospectiva Chris Marker
182
183
184
185
186
escrutar el presente desde un porvenir probable para prever su articulacin como pasado,
el hombre que se hizo llamar Chris Marker
se acord lo mismo de la guerra de Argelia
y su impacto en la ciudadana francesa (Le
joli mai, 1962) que de los movimientos que
modificaron la faz social en los aos sesenta
y setenta (el ambicioso fresco titulado Le fond
de lair est rouge, 1977). Se acord de Vrtigo
(1958), de Alfred Hitchcock, al grado de alojar
la escena rodada en el bosque de las secoyas
milenarias a las afueras de San Francisco en
un segmento de La Jete y de visitar las locaciones californianas de la cinta en Sans soleil.
Se acord del golpe de estado chileno de 1973
y le dio una vuelta de tuerca para reubicarlo
en una ciudad muerta e indescifrable que
remite al Pars posapocalptico de La Jete
(Lambassade, 1973). Se acord de tres maestros del cine y los homenaje con inteligencia
y profundidad en sendos retratos: Aleksandr
Medvedkin (Le train en marche, 1971, y Le
tombeau dAlexandre, 1993), Akira Kurosawa
(AK, 1985) y Andri Tarkovski (Une journe
dAndrei Arsenevitch, 1999). Se acord, lo que
es ms, de los objetos que el hombre crea slo
para obsequiarlos despus al abandono y los
rescat en Junkopia (1981), cortometraje que
se realiz mientras se filmaba la seccin de
Sans soleil dedicada a Vrtigo y que exhibe un
grupo de esculturas ajadas por la intemperie
en Emeryville Mudflats: cristalizaciones del
paso voraz del tiempo y de los recuerdos que
se lleva el olvido. Una imagen desoladora que
deviene metfora de la memoria humana y de
los cosmonautas que luchan por preservarla
contra viento y marea.
scene shot in the redwoods outside San Francisco into a scene of La Jete and visiting the
California locations in Sunless. He remembered
the 1973 Chilean coup dtat by reassembling
and setting it in a dead, indecipherable city
that evoked the post-apocalyptic Paris of La
Jete (The Embassy, 1973). He remembered
three film masters and paid homage to them
with deep and intelligent portraits: Aleksandr
Medvedkin (The Train Rolls On, 1971, and The
Last Bolshevik, 1993), Akira Kurosawa (AK,
1985) and Andrei Tarkovsky (One Day in the
Life of Andrei Arsenevich, 1999).
Furthermore, in Junkopia (1981), a short
he filmed while he was working on the Vertigo
section of Sunless, he remembered and rescued
the objects we acquire just to discard them,
in this case a series of sculptures corroded
by the elements in the Emeryville Mudflats:
crystallizations of the voracious passage of
time and the memories that oblivion takes
away. The sculptures provide a devastating
image, an image that becomes a metaphor of
human memory and the cosmonauts who try
to preserve it against all odds.
translations by
mariana carreo king
187
188
DIRECTORIO DIRECTORY
DIRECCIN | DIRECTION
Consejo Directivo Ambulante A.C.
Board of Directors Ambulante Org.
Comit de Programacin
Programming Team
Elena Fortes
Mara Fortes
Meghan Monsour
Marie-ve Parenteau
Antonio Zirin
Comit de Pre-Seleccin
Pre-Screening Team
Karla Castro
Brenda Contreras
Lorena Gmez Mostajo
Misha Maclaird
ADMINISTRACIN | ADMINISTRATION
Administradora | Administration
Roxana Alejo
Asistente Administrativa
Administration Assistant
Yvette Vergara
PROGRAMACIN | PROGRAMMING
Coordinadora de Programacin
Programming Coordinator
Meghan Monsour
Asistente de Programacin
Programming Assistant
Julieta Cuevas
Corresponsales de Programacin
Programming Correspondents
Mara Campaa
Josetxo Cerdn
Hussain Currimbhoy
Christine Davila
Denis de la Roca
Niklas Engstrm
Sean Farnel
Mads Mikkelsen
Veton Nurkollari
Garbie Ortega
COMUNICACIN | DEPARTMENT OF
COMMUNICATION
Coordinadora de Comunicacin
Communications Coordinator
Noemi Cuetos
Coordinadora Editorial
Editorial Coordinator
Lorena Gmez Mostajo
Coordinadora de Prensa
Press Coordinator
Icunacury Acosta
Mara Fortes
Garbie Ortega
PRODUCCIN | PRODUCTION
Coordinadora de Produccin
Production Coordinator
Jonathan Martell
Carolina Gmez
Coordinador de Invitados
Guest Coordinator
Coordinadora de Logstica
Logistics Coordinator
lvaro Ramrez
Marcela Hinojosa
Asistente de Invitados
Guest Assistant
Cristina Valle
189
Asistentes de Produccin
Production Assistants
Yamilet Garca
Karloz Byrnison
Delia Martnez
Baja California
Margarita Gonzlez
Nuevo Len
Coahuila
Irene Rojas
Guerrero
Natalia Velazco
Msica
Fabin Garca
Adolfo Gurrola
Chlo Roddick
Luciana Kaplan
190
Veracruz
Alejandra Peart
Chiapas
Jalisco
Judith Guzmn
Michoacn
Ariana Castellanos
Mayra Nuez
Oaxaca
Juan Robles
Requinto
Leona
Jarana 2a
Jarana 3a y Quijada
Zapateado
Locutor | Voice
Gael Garca Bernal
Animacin | Animation
Memoma (Juan Arriagada)
Armando de la Cruz
Coordinador Tcnico
Technical Coordinator
Puebla
Mariana Pelez
Leo Heiblum
Alegria, Oskar
101
Flaherty, Robert
40
Altuna, Emiliano
28
France, David
64
lvarez Medrano
103
Flor de Mara
127
103
103
92
Leonteva,
60
Nadezhda
Rivero Uicab,
Carlos R.
Franju, Georges
52
Frank, Herz
146
Anger, Kenneth
107
Gailiunas, Paul
30
Lifshitz, Sbastien
Baillie, Bruce
90
George, Sylvain
99
Lye, Len
86
Rodrguez, Marta
148
Bellon, Yannick
147
Godard, Jean-Luc
62
Magaa, Jaime
76
Ross, Bill
122
Bendjelloul, Malik
46
Gonzlez-Rubio,
144-149 Marker,
76
Ross, Turner
120
Berlinger, Joe
Pedro
103,126
McLaren, Norman
40
Rossini, Carlos F.
70
Borg, Maja
34
Greenfield, Lauren
101
Mekas, Jonas
52
Rozental, Sandra
101
Brakhage, Stan
107
Grey, Julian
132
Moffatt, Tracey
116
Salfati,
99
Broughton, James
78
Guerra da Mata,
92
Moiseenko, Anna
110
Bulger, Jay
Joo Rui
48
Moncada,
107
Callard, Andrea
50
Gutirrez, Diego
72
Castaing-Taylor,
104
Lucien
99
61
Chvez Carreo,
Eloi Antonio
127
101,118
Chomn,
Hammer, Barbara
Hammid,
92
Alexander
32
Hill, Helen
144,147
Ivens, Joris
61
Segundo de
26
Jarecki, Eugene
44
Clarke, Shirley
63
Jimnez Daz,
127
Cline, Edward F.
103
105
Rodkevich, Sofia
Lhomme, Pierre
78
Rodrigues,
Chris
Joo Pedro
Pierre-Henry
105
Mercedes
88
107
Lerner, Jesse
92
Carolee
Moreh, Dror
92
Seregin, Anton
Mustafina, Madina
74
Seung-Jun, Yi
Nougaret,
86
Silva, Jorge
Claudine
107
Siminiani, Len
Oliveros, Sara
112
Smith, Adam
Ortiz Maciel,
68
Staron, Wojciech
Adrin
62
Surez Aguilar,
Nstor A.
40
Osorno, Diego E.
Conner, Bruce
126
Jodoin, Ren
105
Painlev, Jean
Cornell, Joseph
127
Keaton, Buster
72
Paravel, Verna
136
Cousins, Mark
106
Keller, Marjorie
56
103
Cuevas, Ximena
92
Khoreva, Elena
126
Plympton, Bill
99
DAvino, Carmen
82
Klayman, Alison
36
Polley, Sarah
24
Dencik, Daniel
92
Klebleev, Denis
42
Portillo Padua,
32
Depardon,
138
Klein, Carlos
Raymond
147
Klein, William
99
Deren, Maya
92
Kubasov, Dmitry
114
Diaz, Ramona S.
92
Kurov, Askold
130
101
Drasin, Dan
106
Laboratorium
103
Reeves, Jennifer
134
Fiennes, Sophie
150
Lacuesta, Isaki
64
54
Fiesco, Roberto
147
Lelouch, Claude
147
Resnais, Alain
Otilia
63
Schneemann,
Concepcin
60
Torres Canul,
Glenny G.
56
Trzaska, Jan
Pawel
105
Uman, Naomi
99,147,150
Varda, Agns
127
Ramrez Guada-
84
Wiese, Marc
126
Woloshen, Steven
Ray, Man
92
Zhiryakov, Alexey
191
192
107
11 Thru 12
110
146
28
145
107
Coleccin de Florestine, La
144
A Valparaso
103
Cosmic Ray
144
... Valparaiso
126
144
A.K.
150
52
107
Daughters of Chaos
150
107
De 11 a 12
82
61
De tresuno
82
107
Despiste
40
Alcalde, El
42
103
All My Life
32
Diario de Francia
126
Alouette
127
132
Amor
101
Domingo
101
114
68
Argentinian Lesson
138
68
Argentynska Lekcja
56
146
Beautiful May
105
Dyketactics
99
Bed, The
44
Elevador
110
44
Elevator
102
130
Emak Bakia
105
Borrado
130
86
Brickmakers
150
101
Bridges-Go-Round
103
Ensayo de un crimen
122
24
99
Cama, La
24
84
147
86
Campesinos
103
Fear of Blushing
84
60
Field 9
60
Campo 9
126
Fiesta Brava
107
103
Fireworks
26
107
130
145
112
145
60
ChibalKan
107
Forgetfulness
86
Chircales
99
Free Radicals
61
32
Journal de France
103
Fuegos artificiales
146
105
Fuses
127
105
Fusibles
127
61
127
70
Future My Love
62
Koltavanej
61
78
70
Futuro mi amor
68
Leccin Argentina
116
147
Lejos de Vietnam
Self-Portrait
147
Level 5
88
Gatekeepers, The
72
Leviatn
62
72
Leviathan
88
Guardianes, Los
107
Lmites: 1 persona
62
107
134
147
Loin du Vietnam
99
Habitacin, La
101
116
He venido a decirle
132
Love
48
146
Hermoso mayo, El
150
107
90
36
40
Mayor, The
26
103
Miedo a sonrojarse
28
145
Muelle, El
63
63
Nail, El
46
Inori
103
Neighbours
127
Interlude
147
Nivel 5
127
Interludio
63
92
Invierno, lrgate!
149
30
Invisibles, Les
149
30
Invisibles, Los
127
One Week
30
99
Opra-Mouffe, L
101
99
pera Mouffe, La
116
99
118
145
Jete, La
48
146
Joli mai, Le
encantamiento)
193
50
148
Sans Soleil
50
Parts of a Family
130
120
122
86
Peasants
148
Sin sol
101
107
134
148
52
Piedra ausente, La
36
Stories We Tell
145
Pier, The
56
74
Planet of Snail
101
Sunday
74
148
Sunless
99
76
Tchoupitoulas
101
127
90
42
Three Voices
de guerres I)
103
Toda mi vida
149
Train en marche, Le
guerras I)
149
136
64
Tramas y trascendencias
54
Quebranto
149
Tren en marcha, El
34
101
Twenty-Four-Dollar Island
99
Radicales libres
78
103
Rayo csmico
78
148
146
103
127
Una semana
34
Reina de Versalles, La
146
148
126
105
Removed
144
Valparaiso
149
105
Vampire, Le
149
105
Vampire, The
149
105
Vampiro, El
149
150
64
Resilience
103
Vecinos
99
Room, The
99
105
Rose Hobart
136
54
Ruin
138
103
92
Winter, Go Away!
103
101
64
Sanjuana
90
194
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