In Mi nina mi vida a man and his giant stuffed bear move through the bustling crowds and noisy rides at an amusement park; it is as if he is not there and yet that seems to be the only place where he can divest his grief.
Secção: Cinema emergente
The director describes the film as being made of Voiceovers, stunts, remixes, [and] covers aesthetic resulting in something Diffuse, decentralized, peripheral, [and] drunk. Its theme as extemporaneous ‚Äòcoreochanchada.’ ‚ ‚ÄòChanchada’ being the name of a genre of Brazilian comedies, often musical, a name given by journalists and film critics of the 1930s, inspired in the Paraguayan Spanish slang and meaning “filth”, “mess”, “trash”, “trick”. Finally, a disclaim: Contains: artistic nude, discrete zoophilia and dance.
Yermén is a transsexual in her mid-thirties that works as a tarot reader, and lives in the emblematic low-income neighbourhood of La Victoria. Looking for a sex reassignment, she decides to try for a plastic surgery TV show, where she will meet an enigmatic immigrant who wants to get an operation to look like Naomi Campbell.
Ponto Morto is an on the road film that suddenly, on a desert route, comes across a car accident; from then on the trip takes a whole different course.
In Night For Day, the light runs on a horizontal continuous movement allowing a series of associations referring to the very essence of film.
A girl walks into a bar and starts telling jokes about her vagina and her boyfriend. But it turns out the joke’s on her: the boyfriend’s been sleeping with her friend, and he takes advantage of her public, extremely off-colour verbal antics to dump her. Basting in misery (she’s also about to lose her job) and alcohol (with a gay wing-man on hand to enable her), she attempts to find solace in family, friends, more stand-up, and ultimately a casual hook-up. What comes next represents a brave new frontier in comedy.
P3ND3JO5 is a title that in order to be heard must force its graphic nature and be pronounced Pendejos. According to its director, P3ND3JO5 is musical with ghosts and skaters. A cumbia-opera in three acts and a coda, for people to see as one continuous feature. It’s about faces / gazes / desire / love / drama / tragedy / shots / raw image in B&W 4:3.
The valley of the river Ave has been, for more than a century, a place taken by the industry. The past decades, however, have witness its decay imposed by the globalization’s impact on production and the rise of the Asian industries. Between ruins and working factories, the film travels down the river on a journey through the shores of the present, unravelling the traces of the past.
Sottoripa is a tribute to a neighbourhood in the historical centre of Genoa, Italy, made from a poem by Julian Stannard with an assemblage of scenes from films and documentaries from the 50.
From the photographs taken by Russell Lee in the rural America during the Great Depression, Square Dance, Los Angeles County, California, 2013 tries to recover the life and relationships of the people photographed following the emotions they raise.
Suzanne isn’t just the subject but also the troublesome centre of this ambitious and fascinatingly slippery family drama. Over several years the film follows the lives of Suzanne and her younger sister Maria, daughters of a widowed truck driver. Constantly surprising, the film makes a series of unexpected leaps in time, reminding us that real life never follows a straight narrative path.
Mary is a hardworking nurse who dreams of only one thing: changing her life around. She resents her husband for being an irresponsible and incapable of holding down a job. Leeward is an idealistic musician who fancies himself a misunderstood artist. When the bubbly young Lilas, a 19 year old French artist who’s trying to make it in New York, moves into the couple’s tiny Chinatown apartment, their already fragile balance is upset even further.
In this documentary de Cláudia Alves travels to India with two friends (a Brazilian and an Indian) looking for traces of a Colonial past. There she will come across different characters and through them she’ll understand what’s left of the Portuguese presence in India and the common history of the two countries. But in each encounter she will learn a new tale, a myth, so many ways of showing an idea and a country. These are the fantastic Tales on Blindness brought to us in fragments along the journey.
In Terra Infirma a still life painting becomes charged with motion as the earth is disturbed; gradually the images are destructed frame by frame, and eventually the paper erodes, as do the subjects within.
An elderly man from a middle-class family finds himself forced to pass the time with a new companion.
Sissi and Victoria are sisters. Whereas the younger is slowly emerging from the world of childhood, the elder tries in vain to be a grown up. In the room they share, Sissi is preparing for her gymnastic competition and Victoria has boys coming and going.
A luxury ski resort in Switzerland. 12-year-old Simon lives in the industrial valley below, with his jobless sister. Every day, he takes the ski-lift to the opulent ski world above, stealing equipment from the rich tourists. He loses his boundaries. Confronted with a truth he and his sister had both been escaping, he seeks refuge up above.
Chiara is 12. It’s her confirmation. The whole family crowds into the photomat booth for a commemorative portrait. But Chiara doesn’t feel very well.