#Berlinale Talent Campus

[keanu-reeves-net]

Keanu on Berlinale Talent Campus!

[panchiscox]

Last Acting Reel Muki Sabogal from Muki Sabogal on Vimeo.

mukisabogal.com IG: @mukisabogal muki.sabogal@gmail.com

Muki Sabogal: Actuó y protagonizó seis largometrajes y más de treinta cortometrajes y videoclips. “VIDEOFILIA” película en la que fue protagonista y segunda asistente de dirección y producción, ganó el Tiger Awards del Festival de Cine de Rotterdam 2015 y se exhibió en más de cuarenta países, representando al Perú para la postulación a los Premios Oscar 2017. Actuó en diez obras teatrales en teatros como La Plaza, el Centro Cultural de la Católica y el MALI. Estuvo dos años y medio con el Grupo Teatral YUYACHKANI actuando y aprendiendo en sus laboratorios internacionales 2010-2012. Terminó la carrera de actuación en el TUC PUCP y viajó becada al Acting Studio del Berlinale Talents Campus, Berlín 2014 y BAFICI, Buenos Aires 2016. Se ha seguido formando en talleres relacionados a actuación para cine, danza contemporánea, folklórica y butoh, yoga y tai chi, circo y clown, música y canto, performance y vestuario, edición y dirección de cine. Dirigió cinco videos de corte experimental y videoarte y realizó múltiples performances escénicas en la vía pública y espacios de arte.

[maniacinema]

Adrian Jonathan : Melihat Lanskap Luas dari Perspektif Kritik Film.

Saya sedikit kesal ketika teman-teman saya melontarkan ledekan “Emangnya kritik film itu gunanya apa sih?”. Ingin saya cabik-cabik mukanya, namun tentu saya urungkan niat itu. Sepertinya sudah menjadi hal umum bahwa kritik film kurang diminati di Indonesia. Hal ini bisa dilihat ketika ada lokakarya membuat film dan mengkritik film, tentu lokakarya mengkritik film akan jauh lebih sedikit ketimbang membuat film. Atau sederhananya, ketika saya minta untuk anda menyebutkan pembuat film Indonesia, tentu anda akan lancar menyebutkan nama besar seperti : Joko Anwar, Mouly Surya, Hanung Bramantyo atau yang lebih senior, Garin Nugroho.

Namun, Ketika saya meminta anda untuk menyebutkan nama-nama kritikus film Indonesia, tentu nama besar seperti : Permata Adinda, Afrian Purnama, Eric Sasono, Intan Paramaditha atau yang lebih senior seperti JB Kristanto tidak ada di pikiran anda. Hal ini membuat saya bingung dan mempertanyakan mengapa kritik film di Indonesia kurang diminati? Padahal jika ditilik lagi, kritik film berperan penting dalam ekosistem perfilman. Karena saya ingin menggugurkan rasa penasaran saya, saya mengajak Adrian Jonathan untuk membahas kritik film dalam spektrum yang lebih luas mencakupi ekosistem, literasi dan kebijakan-kebijakan lainnya.

 Adrian Jonathan sendiri adalah salah satu pendiri Cinema Poetica—kolektif kritikus, jurnalis, peneliti, dan pegiat film yang berfokus pada produksi dan distribusi pengetahuan tentang sinema untuk publik.  Dari 2007 sampai 2010, mondar-mandir sebagai pengurus program di Kinoki, bioskop alternatif di Yogyakarta. Sempat terlibat di filmindonesia.or.id sebagai anggota redaksi, Festival Film Solo sebagai kurator, dan Berlinale Talent Campus 2013 sebagai kritikus film. Saat ini aktif menulis dan meneliti tentang perfilman Indonesia, serta mengadakan lokakarya kritik film di berbagai kota. 

Simak wawancara Mania Cinema bersama Adrian Jonathan berikut ! 

Mulai dari pertanyaan paling fundamental, Apa itu kritik film?  Soalnya masih banyak yang salah paham mengenai kritik film.

Aku pribadi sebenarnya tak yakin apakah jawaban aku benar atau tidak. Aku juga masih belajar, sih. Tapi dari yang aku baca dan hasil diskusi teman-teman forum lenteng, cinema poetica, rumah film dan yang lain, akhirnya semuanya punya tafsirnya sendiri mengenai apa itu kritik film. Jadi, pada akhirnya aku selalu mencoba mengulik pada posisi pengkritiknya sendiri dalam melihat pijakan atau perspektifnya dalam mengkritik. 

Jika kita lihat secara umum, kritik film adalah tanggapan terhadap suatu film melalui tahap intepretasi dan evaluasi. Itu masih umum banget ya, kalau misal kita lihat di beberapa buku kajian film, salah satu contohnya dari filsuf Stanley Cavell yang bilang bahwa kritik itu adalah upaya manusia untuk membagi pleasure. Ketika membagikan pleasure, setidaknya ada 3 aspek yang terjadi : aspek testimonial, aspek retorikal dan aspek evidensial/pembuktian. Pendapat Stanley Cavell mengenai ini aku banyak yang setuju. Tapi, kalau aku baca dan teliti lagi, manusia pada umumnya memiliki hal yang berbeda dalam  menganggap pleasure/ kesenangan tersebut.  

Tiap manusia memiliki perbedaan kebutuhan yang dipengaruhi oleh latar belakang sosial, kelas, geografis dan lain-lain. Apa yang dianggap pleasure oleh masyarakat kelas menengah kebawah tentu berbeda dengan pleasure oleh masyarakat kelas menengah keatas. Itu baru kalau kita bicara soal menonton film sebagai pleasure, belum soal kebutuhan menonton film yang lain seperti untuk terapi, fandom, dan lain-lain. Ketika mengetahui bahwa kebutuhan orang terhadap film itu beragam, aku  menyimpulkan bahwa kritik film itu adalah uji kelayakan. Dan nilai “kelayakan” ini berhubungan erat dengan kebutuhan kita sebagai manusia, karena kebutuhan bisa menentukan nilai layak kita terhadap suatu film. 

Nilai kebutuhan ini cukup kuat kaitannya dengan perspektif kita dalam mengkritik sebuah film. Mengkritik film sebagai kebutuhan pengisi waktu tentu akan berbeda dengan mengkritik film sebagai produk pengetahuan. Aku bisa mengambil kesimpulan bahwa kritik film adalah uji kelayakan yang memiliki metode dan standarnya sendiri, di mana standarnya di sini setidaknya berhubungan erat dengan kebutuhan kita terhadap film. 

Jadi, apakah kritik film itu penting? Jika penting, seberapa penting kah?

Tergantung penting untuk apa dulu nih, haha. Karena kepentingan itu sendiri ada ranah tertentu. Secara personal, kritik film penting untuk menajamkan tanggapan kita terhadap suatu film. Kritik sebenarnya cara yang bagus untuk memetakan respon kita terhadap suatu film. Misalnya ketika aku menonton The Act Of Killing (2012) aku merasa terganggu, dan perasaan yang membuat aku terganggu ini kemudian bisa dielaborasi lagi dengan pertanyaan “mengapa sih aku merasa terganggu oleh film ini?”, “di adegan mana yang buat terganggu?”. Dengan begitu aku dapat menajamkan respon terganggu-ku terhadap film tersebut, dari cara-cara sederhana ini dapat diketahui kenapa aku merasa terganggu oleh film tersebut.

 Di sisi lain, seringkali aku menjumpai orang yang menyukai sebuah film, mengatakan bahwa film yang ia tonton bagus, tapi pas ditanya kenapa dia suka dan dimana letak bagusnya film itu, dia kesulitan untuk menjawab. Nah, fungsi kritik film di ranah personal adalah bagaimana gagasan dan respon kita terhadap film bisa ditajamkan lagi dan memiliki landasan jelas.  Kalau dalam ranah komunal atau masyarakat banyak, kritik film bisa mengidentifikasi kecenderungan-kecenderungan yang terjadi dalam masyarakat. 

Hal ini bisa dilihat saat film Tilik (2018) digemari banyak orang. Satu hal yang aku baca terhadap kejadian tersebut adalah kerinduan masyarakat akan kedekatan cerita yang jarang terjadi dalam khazanah sinema Indonesia. Orang-orang menganggap bahwa realita ibu-ibu naik truk adalah hal yang dekat dengan mereka, tampaknya hal itu yang menghubungkan mereka dengan film tersebut. Dapat dilihat juga dari tanggapan penonton bahwa mereka gagap menghadapi ketimpangan kota dan desa. Jadi ya kritik film penting untuk melihat cerminan sesungguhnya dari suatu masyarakat dalam menanggapi suatu peristiwa yang ada. 

Selain menjadi cerminan suatu masyrakat, kritik film juga berfungsi menjadi suatu catatan sejarah. Jika membahas sejarah, ia tak hanya berkutat pada preservasi film secara fisik. Tetapi sejarah juga membahas bagaimana respon atau gagasan masyarakat mengenai sesuatu hal pada zaman tertentu. Di era pandemi ini aku cukup sering mengulik dan membeli Koran-koran lama yang berasal dari zaman kolonial dan membaca ulasan filmnya. Aku menemukan bahwa di era itu, film yang dianggap ‘layak’ adalah film yang membahasakan ‘Indonesia’, sangat nasionalistik ketika secara konsep tidak ada negara ‘Indonesia’, yang ada Hindia Belanda.

 Bisa dilihat bahwa era tersebut memiliki pijakan kritik film politis yang pada tahun 40-50an sudah berbeda pijakannya, begitu juga dengan tahun selanjutnya. Apalagi di era internet sekarang, pijakan  terhadap kelayakannya udah beda dan beragam banget. Itu semua kan disimpan dalam Koran, kliping, video, tulisan dan lain-lain. Ini jadi salah satu akses untuk mengetahui sejarah berpikir masyarakat. 

Jika membahas soal kritik film dalam perspektif yang luas, maka kita akan membahas soal “Ekosistem”. Menurut Adrian sendiri, apa itu Ekosistem film?

Kita bisa mulai membedahnya dari kata “Ekosistem”. Kalau dari istilah ilmu biologi, Ekosistem adalah bagaimana suatu lingkungan dianggap sebagai suatu entitas yang terdiri dari banyak komponen, yang interaksinya membentuk sebuah kelanggengan atau keberlangsungan di dalam lingkungan itu sendiri. Jika kita mengadopsi cara berpikir ini ke kebudayaan, maka kurang lebih cara kerjanya akan sama. Salah satu produk kebudayaan yaitu film, bisa dilihat dari cara pikir yang sama. Film terdiri dari beberapa komponen dan pelaku yang interaksinya memiliki dampak terhadap kelangsungan film itu sendiri. Dampak yang paling mudah dilihat adalah dampak  materil. Hasil dari dampak ini berupa produksi, distribusi, dan eksebisi. Dampak materil itu sendiri adalah hal utama di suatu ekosistem film. Pada umumnya, dampak ini bersifat terukur dan bisa dihitung dengan angka atau statistik. Contohnya seperti jumlah film yang beredar di bioskop, jumlah film yang diproduksi, jumlah tiket bioskop yang terjual pada tahun tertentu dan lain-lain. 

Namun, film tidak hanya dinilai dalam sifat materil nan terukur, ia juga bersifat abstrak nan immateril yang nilainya tidak bisa diukur. Contoh sederhananya ketika kamu menonton film dan merasa sedih, apakah kesedihanmu bisa diukur dalam rupiah atau jumlah lainnya? Atau ketika kamu menonton film Mother Dao, the Turtlelike (1995) yang sarat akan pengetahuan mengenai Indonesia di zaman kolonial, apakah nilai pengetahuan itu bisa diukur dalam jumlah rupiah atau jumlah lainnya? Tentu jawabannya adalah tidak, karena pengetahuan dan emosi adalah dua hal kompleks yang tidak bisa dinilai dalam angka dan statistik. Jika kita mempertimbangkan hal bersifat immaterial seperti arsip, apresiasi dan pendidikan dalam suatu ekosistem film, maka perspektifnya akan luas dan menyeluruh. Jika ke-enam aspek ini, yaitu : produksi, distribusi, eksebisi, apresiasi, pendidikan dan pengarsipan berjalan dengan baik, maka ekosistem film pun akan berlangsung dengan baik pula.

 Ini baru mengenai ekosistem perfilman, yang mana ekosistem perfilman sendiri tidak berdiri tunggal, ia merupakan bagian dari ekosistem yang lain. Contohnya, ekosistem film adalah bagian dari ekosistem transportasi publik. Karena tanpa ada sistem transportasi yang baik, orang-orang tidak mudah mengakses ke bioskop. Aku pernah buat riset soal ini di tahun 2015-2016an yang membahas bagaimana ketimpangan penonton di daerah Jabodetabek. Kendatipun, hal ini terjadi sebelum maraknya OTT seperti Netflix dan lainnya menjamur di layar gawai kita, ini merupakan sebuah fakta yang pernah terjadi. Di saat itu, 80 % orang menggunakan kendaraan pribadi untuk mengakses bioskop. Tidak heran akhirnya terjadi ketimpangan penonton, karena kebanyakan bioskop di negara ini dirancang dengan logika untuk orang yang memiliki kendaraan pribadi. Saat itu, sedikit sekali bioskop yang langsung terhubung dengan stasiun kereta atau bis. Jadi, tidak heran kenapa saat itu penonton film Indonesia terbilang sedikit karena akses transportasi ke bioskop yang tidak merata. Ini baru bicara mengenai pengaruh ekosistem perfilman ke ekosistem transportasi publik, belum lagi yang lain. Ekosistem film memiliki lapisan sistem yang cukup kompleks dan berkelindan ke ekosistem lainnya. 

Apa peran kritik film dalam ekosistem film?

Dari perspektif umum, aku bisa baca dua hal tentang peran kritik film terhadap ekosistem film. Pertama, ia bisa menjadi tanggapan atau reaksi publik terhadap film. Hal ini tentu erat kaitannya dengan bagiamana publik menerima suatu film. Reaksi penonton bisa berfungsi sebagai dua hal : pertama, ia bisa menjadi evaluasi terhadap pembuat film. Bahan evaluasi ini bisa menjadi gambaran bagi pembuat film tentang bagaimana anggapan publik terhadap filmnya. Entah akhirnya pembuat film itu menerima atau menolak tanggapan tersebut, ia tetap menjadi bahan evaluasi atas reaksi publik terhadap filmnya. 

Kedua, seperti yang sudah ku sebut tadi, ia bisa menjadi cerminan bagaimana masyrakat merespon terhadap suatu peristiwa. Meminjam istilah dari J.B Kristanto yang berkata bahwa kritik film adalah sebuah “pertukaran pengalaman”. Setiap penonton atau kritikus pasti memiliki tafsirnya sendiri terhadap suatu film. Karena kritik film adalah menukarkan pengalaman menonton kita terhadap orang lain, dengan cara yang tidak langsung kita sudah berinteraksi melalui kritik tersbeut. Aku jadi ingat perkataan Guy Debord, ia berkata bahwa “Tontonan adalah relasi sosial antar berbagai orang, yang dimediasi oleh gambar/image”.

Nah, aku rasa kritik film cara kerjanya seperti itu juga, ia merupakan interaksi dari satu individu ke individu lainnya dalam bentuk tulisan atau pertukaran gagasan. Mengenai pertukaran gagasan, kita akan bicara bagaimana masyarakat menerima atau terbuka terhadap gagasan baru akan standar kelayakan yang berbeda. Jika misalnya, masyarakat kita terbuka akan standar-standar kelayakan baru dan berbeda, aku rasa akan menjadikan kita masyarakat yang lebih demokratis.

 Aku cukup khawatir ketika melihat bagaimana respon masyarakat terhadap standar kelayakan yang berbeda pada kasus film Tilik (2018) kemarin yang terlihat sangat fasis.Dalam menghadapi perbedaan standar kelayakan atau gagasan, harus dihadapi dengan santai,sih, tak perlu bertindak fasis seperti itu. Perbedaan standar kelayakan atau gagasan itu normal dan tidak apa-apa untuk diperdebatkan, tapi tentu dengan cara yang santai dan tidak fasis. Di sini, kritik film juga penting untuk “labaratorium” kebersamaan kita dalam menghadapi reaksi penonton yang berbeda-beda.

Kedua, kritik film penting di ekosistem film sebagai perspektif penonton. Dalam ekosistem film, Kritik berada di irisan antara pendidikan dan apresiasi. Kritik film memang merupakan tanggapan subjektif namun ia juga memiliki metodologi yang sudah terverifikasi oleh ilmu pengetahuan. Dua elemen ini yang membuat kritik film berfungsi untuk menantang atau menguji kembali pendapat atau subjektivitas penonton terhadap segala estetika, pengelolaan gambar dan tutur yang ada pada film. Sehingga, tercipta sebuah perspektif penonton dari hasil pengujian terhadap subjektivitas tadi. 

Sayangnya, hal ini belum terlalu banyak dibahas di Indonesia mengingat kurikulum pendidikan Indonesia yang masih berada dalam ranah sempit. Kurikulum pendidikan di Indonesia mengukur literasi hanya sampai tahap baca-tulis, jika kamu sudah bisa membaca dan tulis, kamu disebut sudah berliterasi. Namun, aku rasa itu belum cukup mengingat medium audio visual yang kian mudah diakses. Aku rasa literasi akan audio visual harus ada. Karena audio visual memiliki cara kerja sendiri dalam memahami makna dari suatu gambar dan suara. Ini kalau kita bicara pada urusan politik yang lebih luas. Namun, perspektif penonton berhubungan dengan bagaimana cara mereka memahami suatu olahan gambar. 

Ekosistem perfilman kian berkembang dan beberapa daerah di luar Jakarta sudah mengembangkan ekosistem film di daerahnya sendiri. Apakah kritik film penting dalam spektrum suatu daerah?

Aku rasa tetap penting, karena melihat produksi audio-visual oleh masyarakat di luar Jakarta semakin pesat. Produk audio visual dari luar Jakarta seperti serial web, film atau film pendek cukup banyak diproduksi beberapa tahun belakangan ini. Contohnya, perfilman Makassar yang beberapa tahun belakang cukup pesat produksinya. Belakangan ini mereka merilis film “Jalangkote Rasa Keju” yang sangat kental dengan budaya Makasar. Karena maraknya produksi audio-visual tersebut, seharusnya ada mediator atau penengah antara masyarakat dan pembuat film. Kritik film penting untuk menjadi mediator dalam merespon cerminan realitas yang hadir dalam produk audio-visual tersebut.

 Contoh kasusnya di ekosistem film Yogyakarta yang cukup pesat. Kritik film penting untuk mempertanyakan dan menguji lebih dalam mengenai cerminan akan realitas dari masyarakat Yogyakarta. Apakah masih relevan memandang Yogyakarta dalam perspektif angkringan, rindu, dan kenangan? Padahal realitanya, misalnya, ada ketimpangan yang terjadi di Yogyakarta. Nah, di sini peran kritikus film jadi penting untuk menguji kembali akan cerminan realitas yang ada di Yogyakarta tersebut. Hal serupa juga berlaku untuk daerah lain, kendati metodologinya berbeda.  

Bagaimana kondisi kritik film di perfilman Indonesia saat ini?

Mulai merangkak dan nampak geliatnya sih, kalau menurutku. Apabila dibandingkan dengan dulu, saat aku baru mengembangkan Cinema Poetica dengan beberapa temanku, itu masih sedikit sekali. Mungkin sejumlah media internet yang bisa disebut seperti Jurnal Footage dan Layar Perak. Itupun tidak berapa lama kemudian, situs Layar Perak sudah tidak aktif. Kalau di sisi akademisi ada Jurnal Imaji dari Institut Kesenian Jakarta atau Cleo dari Yogyakarta. Lebih dari itu, dari sisi media cetak dipegang oleh Kompas dan Tempo.  Bisa dibayangkan betapa sepi skena kritik film pada saat itu. Kalau sekarang sih udah lumayan beragam, dari lintas medium dan lintas latar belakang. Publik pun mudah untuk menulis ulasan film di akun blog pribadi dan media sosial lainnya. Dari media seperti Tirto dan Kumparan cukup aktif dalam menulis ulasan film. Dan aku senang ketika ada kritik film yang menggunakan perspektif atau kebutuhan dari kelompok tertentu. 

Contohnya ada Arisan  Newsletter yang menggunakan perspektif gender perempuan dalam kritik filmnya. Atau, ada teman-teman dari Aceh dan Padang yang menggunakan perspektif kotanya terhadap kritik filmnya. Meski begitu, fakta bahwa substansi dari kritik tersebut harus dievaluasi dan diperbaiki tidak bisa kita tampik. Masih banyak sekali ulasan film di blog pribadi yang belum terstruktur dengan benar. Cinema Poetica pun juga perlu mengevaluasi substansi dari apa yang dikritisi di situs tersebut. Namun ini jadi tanggung jawab bersama untuk terus menguji dan mengevaluasi ketajaman analisa kritik film setiap individu dan kelompok. 

Jika membahas kritik film, maka kita juga akan memabahs soal literasi film. Apa itu literasi film?

Simpelnya, Literasi film adalah kemampuan dalam memproses informasi lewat medium audio- visual. Nah, kalau aku elaborasi lagi, apa sih yang dianggap sebagai Informasi? Apakah hanya yang diungkapkan secara tulisan atau oral saja yang bisa disebut informasi?  Di Indonesia, cukup rumit  membicarakan soal literasi film. Karena, apa yang dianggap informasi oleh masyarakat umum  masih sebatas apa yang bisa dilihat, padahal informasi tidak hanya terbatas pada penglihatan inderawi.

Contohnya, ketika suatu film dirubah gambar dan suaranya, maka akan menciptakan informasi yang baru.  Informasi baru ini akan mengubah makna dari film aslinya. Penjabaran ini menjelaskan bahwa film atau medium audio visual dapat dimanipulasi dan menghasilkan informasi baru. Masyarakat Indonesia masih gagap memproses informasi seperti ini. Masyarakat masih menganggap bahwa apa yang terlihat secara empiris adalah informasi yang benar. Sehingga masyarakat belum bisa melihat lebih luas dari segi konteks dan hal yang mendukung informasi tersebut.

Bagaimana peran Kritik Film terhadap literasi film?

Tentunya sangat berperan. Seperti yang sudah disebutkan tadi, salah satu fungsi kritik film adalah mencoba untuk membagi interpretasi atau tanggapan penulis akan suatu film. Dalam penulisan kritik film yang baik, penulis diminta untuk tidak hanya menjabarkan apa yang tampil di dalam layar, tetapi juga diminta untuk menjabarkan apa yang tidak tampil di layar yang berupa konteks film. 

Contohnya bisa dihilat di tulisan Raksa Santana soal serial The Queen’s Gambit (2020). Di tulisan tersebut, Raksa tidak hanya menjabarkan apa yang terjadi di layar ;orang-orang bermain catur. Namun, ia juga menjabarkan apa yang tidak ada di layar berupa konteks film. Konteks film tentang bagaimana upaya Beth Harmon untuk membela keberpihakan hak kelompok terpinggirkan, relasi sejarah perang dingin dan lain-lain. Literasi film hadir saat bagaimana menjaga koherensi antara apa yang ada di layar dan tidak ada di layar bisa menjadi suatu kritik argumen yang utuh. Jadi ya saling berkelindan satu sama lain. 

Apa relasi dari kritikus film dan pembuat film?

Aku rasa kritikus dan pembuat film itu bagaikan saudara kandung. Mereka lahir dari rahim yang sama, yaitu film. Sebagai anak, tentunya kritikus dan pembuat film harus memahami Ibu mereka. Pemahaman akan film ini, tertuang dalam bentuk literasi film. Tentunya, kritikus dan pembuat film harus mempelajari cara kerja dari literasi film. Hal yang menjadi perbedaan antara kritikus dan pembuat film hanya pada metodologi dan hasil akhirnya.

 Jika pembuat film memiliki metode membuat film, kritikus film memiliki metode untuk merespon film tersebut. Dan jika hasil akhir pembuat film berupa tayangan atau film, kritikus film berupa ulasan, esai yang mediumnya bisa lewat siniar atau tulisan. Hal yang agak konyol adalah ketika ada orang yang menganggap bahwa salah satu dari pekerjaan tersebut lebih superior dari satu sama yang lain. Padahal, baik kritikus film maupun pembuat film lahir dari titik pijak yang sama, jalan hidupnya saja yang berbeda.  

Mengapa jumlah peminat kritik film lebih sedikit?

Masalah utamanya mungkin di unsur materialitasnya. Jika dibandingkan dengan membuat film, apa yang kamu investasikan dengan apa yang kamu hasilkan, hasilnya nampak dan jelas. Kamu belajar tata kamera, tata suara, naskah dan lain-lain menghasilkan sebuah produk film berbentuk film seluloid atau hardisk. Kalau kritik film, proses investasinya sedikit abstrak. Kamu menonton ratusan film dan membaca beberapa buku hanya untuk satu tulisan, logika matematika dan hasil materialnya tidak jelas. 

 Belum lagi, melihat bagaimana negara ini tidak terlalu menghargai produk-produk intelektual seperti kritik film. Dan masyarakat Indonesia yang tidak gemar membaca dan menganggap bahwa kegiatan menulis tidak membutuhkan usaha yang lebih. Padahal, investasi dalam menulis kritik film itu cukup banyak dan kompleks. Hal ini membuat lingkaran pengetahuan lainnya seperti jurnalistik dan akademik juga sedikit sulit untuk berkembang. Padahal, di Indonesia, kritik film berada pada dua ranah itu, media dan publikasi ilmiah. 

 Selain itu, perfilman Indonesia pernah mengalami krisis produksi pada tahun 1960-an dan 1990-an. Hal ini membuat kegiatan kritik film sangat sepi karena film yang ingin dikritisi pun jumlahnya hanya segelintir. Wajar kemudian jumlah atau minat terhadap kritik film sedikit, karena diskusi akan film Indonesia itu hanya sedikit. Perfilman Indonesia baru mulai stabil di tahun 2005. Baru mulai beberapa tahun belakangan aku rasa kegiatan kritik film mulai diminati oleh publik, itupun setelah beberapa tahun kondisi perfilman stabil. 

Kritik film di Indonesia berupa 50 persen aktivisme dan 50 persen hobi. Hanya sangat segelintir dari ranah professional atau bahkan menganggap kritik film sebagai mata pencaharian. Beberapa nama dari ranah professional mungkin mba Leila Chudori dari Tempo dan Aulia Adam dari Tirto. Mereka pun terdaftar sebagai jurnalis, bukan kritikus film. Kritik film di Indonesia hampir tidak memiliki nilai komersil. Aku sendiri kaget saat aku menulis untuk Criterion dibayar sepuluh kali lipat ketimbang media besar di Indonesia. Padahal tulisan yang aku buat untuk Criterion, usaha dan investasinya sama ketika aku menulis untuk Cinema poetica atau media lainnya. Dari sini bisa terlihat bagaimana kejomplangan valuasi akan kritik film di dua negara ini.

 Aku tidak ingin membandingkan, hanya saja aku ingin memberi contoh bahwa bagaimana negara lain menghargai pekerjaan menulis kritik film. Hal ini membuat kritik film tidak dianggap berkelanjutan secara finansial oleh kebanyakan orang. Intinya, matrealistik yang abstrak, kurang dihargai kritik sebagai produk intelektual, latar belakang historis akan krisis film dan ketidakjelasan akan keberlanjutan finansial adalah beberapa alasan mengapa kritik film kurang diminati. 

Bagaimana menciptakan ekosistem film dan literasi film yang sehat?

Kalau membicarakan ekosistem yang sehat, sebenarnya kita harus merujuk ke ranah pendidikan, khususnya pendidikan audio-visual. Kalau misalnya masyarakat sudah terdidik dengan baik dengan pengetahuan akan literasi audio-visual yang mumpuni sejak dini, Maka akan menghasilkan penonton film yang kritis dengan argumennya. Dengan begitu, tanggapan penonton akan jauh lebih kredibel dan bisa dipertanggungjawabkan. Pembuat film pun akan diuntungkan dengan tanggapan atau respon yang kredibel terhadap filmnya. Memang, kedengaran utopis. Namun, jika kita ingin mengambil langkah yang lebih realistis, bisa mulai dari membangkitkan solidaritas kita sesama dari ranah komunitas, industri atau apapun itu. 

Solidaritas yang dimaksud adalah bagaimana di dalam suatu komunitas, industri atau yang lain bisa saling berbagi pengetahuan akan film. Hal yang bisa dicontoh, dari teman-teman komunitas Forum Lenteng yang membuat program “DVD Untuk Semua”. Di program ini, Forum Lenteng mengalihbasahakan film-film penting dari penjuru dunia ke subteks Bahasa Indonesia. Hal ini penting untuk distribusi pengetahuan yang lebih luas lagi agar tidak menimbulkan ketidakmerataan pengetahuan film. Atau yang lain, upaya aku dan teman-teman Cinema Poetica dalam menerjemahkan artikel film di dalam rubrik terjemahan. Distribusi pengetahuan film itu cukup penting, sayangnya negara tidak terlalu acuh akan hal tersebut. 

Berharap sama negara tidak ada habisnya. Hal paling maksimal yang bisa kita lakukan adalah menggunakan privilege yang kita punya. Dengan privilege inilah kita manfaatkan menjadi sebuah karya, dan karya tersebut bisa diakses oleh banyak orang. Itu dulu sih yang bisa kita lakukan selain solidaritas komunal yang tadi sudah disebut. Ya, intinya, berusaha dengan apa yang bisa diusahakan.

Diwawancarai dan ditulis oleh : Galih Pramudito

Desain oleh : Hotman Nasution

Galih Pramudito

Salah satu pendiri Mania Cinema. Pernah aktif di komunitas Sinelayu dan menjadi juru program Palagan Films di Pekanbaru. Kebanyakan waktunya ia habiskan untuk menonton, membaca, makan, selebihnya melamun. Saat ini tengah menyelesaikan studi Ekonomi Islam di UII Yogyakarta.

[sherifawadmeetingvenus]

Cinema After Corona: with filmmaker Costas Chrysanthou, Cyprus

By Sherif Awad

(adsbygoogle = window.adsbygoogle || []).push({});

Costas Chrysanthou was born in Nicosia in 1979. In 2005, he was awarded the Bachelor in Arts from the Northern Film School (Leeds Metropolitan University). Since 2007 he holds the title Master in Arts in Film and Moving Image Production of the Northern Film School as Director/Producer. During his master degree studies, his films “Ode to Joy” and “The Odds” were selected and presented in various international film festivals. The short film “Ode to Joy” was distributed via Heritage International HM Entertainment in Australia. On his return to Cyprus in 2007, he has directed and produced a short film called “A Clock’s Dream” and a short documentary called “Dreams of Memory” both funded by the Cypriot Ministry of Education and Culture. Both films are currently displayed online from Culture Unplugged and the European Independent Film Festival online channel. Since October 2007 he is serving as submission judge in the European Independent film festival in France. Since February 2010 he is alumni of the Berlinale Talent Campus. In June 2013 he was selected as one of the 5 shortlist finalist, out of 180 entries for the Euroshotrs 2013 pitch with his idea “Travelling makes you younger”.

His latest short film The Lighthouse moves between reality and dreams as an old dying blacksmith tries to fulfil his long-time goal of building a lighthouse on a hill overseeing his village. Enters a young and curious boy who helps him while visiting his grandmother.

In our series of Cinema After Corona, Costas Chrysanthou joined us live to talk about status of filmmaking in Cyprus after the COVID-19.

source https://www.sherifawad-filmcritic.com/2020/07/Costas-Chrysanthou.html

[nataliej-animation]

Great Women Animators (Additional)

http://greatwomenanimators.com/

So I was searching again for women in animation, and I came across this website. It is so amazing to see a huge list of female animators. I don’t know why I haven’t come across this website before! Not only does it show you the name of the animator and where she comes from, but also the animation she specialises in and giving examples of her work or links to her website/portfolio. 

The irony here is, I’M FINDING BLACK WOMEN!!! Not even on purpose, but accidentally. 

Ebele Okoye

Ebele Okoye is a German 2D animation film maker of Nigerian descent based in Berlin. After a Design-study stint at the University of Applied Sciences Duesseldorf, and a traineeship at the West German Broadcasting Corporation, WDR, Ebele Okoye furthered in Animation at the International Film School Cologne . Upon graduation in 2004, she worked as a studio animator before going independent with own films as well heading international Co-productions one of which is “Anna Blume” winner of the 2007 Robert Bosch Foundation Promotional Prize for Animation. Also a two time winner of the African Movie Academy Awards (AMAA) in the category Animation, Ebele does a lot of mentoring for young Animators and animation enthusiasts from the sub Saharan African region. Aside running the Facebook group and online community “The Animation Club Africa”, she is the founder and co-ordinator of Shrinkfish Media Lab (smedLAB), a very young audiovisual training initiative focusing on young artistic talents in the West African region.

Jessica Ashman

Jessica Ashman is a BAFTA in Scotland award winning animator, artist and arts educator. In 2014 she graduated from the Royal College of Art with a MA in Animation and her work has been supported by Animate Projects, Jerwood Visual Arts Bursary, Arts Council England, UK Film Council and Channel 4’s Random Acts. Jessica’s films have been exhibited in over 60 film festivals internationally, including The Edinburgh International Film Festival, London Short Film Festival and Encounters Short Film Festival. Jessica has also been selected for the Berlinale Talent Campus, Edinburgh International Film Festival Talent Lab and B3 Media’s Talent Lab. As well as creating moving image work, Jessica also engages in arts education, teaching her practice at Goldsmiths, The University for the Creative Arts, University of Hertfordshire and Arts University Bournemouth, as well as running arts workshops for the ICA, Tate Modern and the Wellcome Trust. Commercially as a director, Jessica has created content for clients such as the Sky One, BBC, Channel 4, Asda and Heart FM.

Marjane Satrapi

Marjane Satrapi (born 22 November 1969) is an Iranian-born French graphic novelist, cartoonist, illustrator, film director, and children's book author. atrapi became famous worldwide because of her critically acclaimed autobiographical graphic novels, originally published in French in four parts in 2000–2003 and in English translation in two parts in 2003 and 2004, respectively, as Persepolis and Persepolis 2, which describe her childhood in Iran and her adolescence in Europe. Persepolis won the Angoulême Coup de Coeur Awardat the Angoulême International Comics Festival. In 2013, Chicago schools were ordered by the district to remove Persepolis from classrooms because of the work's graphic language and violence. This incited protests and controversy. Her later publication, Embroideries (Broderies), was also nominated for the Angoulême Album of the Year award in 2003, an award that her novel Chicken with Plums (Poulet aux prunes) won. She has also contributed to the Op-Ed section of The New York Times. Comics Alliance listed Satrapi as one of 12 women cartoonists deserving of lifetime achievement recognition. Satrapi prefers the term "comic books" to "graphic novels."[15] "People are so afraid to say the word 'comic'," she told the Guardian newspaper in 2011. "It makes you think of a grown man with pimples, a ponytail and a big belly. Change it to 'graphic novel' and that disappears. No: it's all comics."

The Brumberg Sisters

(Not women of colour, but I thought they’d be interesting to add)

Valentina and Zinaida Brumberg, Jewish sisters who became known as the “Grandmothers of Soviet Animation” for their contribution to the field of animated fairy tales within the Soviet Animation studio Soyutzmultfilm. Died age 76 and 82

Michelle Kranot

Beginning their career in animation, Michelle and Uri Kranots’ work has expanded beyond the traditional: their art straddles experimental genres and unfamiliar mediums, fusing handmade crafted images and new technologies into contemporary experiences. Their current work continues to test the frontiers of immersive art and moving images. The Kranots are the founders of TinDrum, an animation production company and the producers and creative directors of ANIDOX, focused on development and production of animated documentaries. Part of The Animation Workshop in Viborg Denmark, where they hold various key positions. The Kranots first gained recognition with films such as Black Tape, Hollow Land, How Long, Not Long and most recently, the VR film installation Nothing Happens . They have been honored with the top industry awards for their work, including the Fipresci Prize at Annecy International Animation Film Festival, The Oscar® Academy Award Shortlist and the Danish Statens Kunstfond award for the performing arts. In recent years, the Kranot have focused on collaborative projects using cross-media innovations to enhance emotional human storytelling, exposing the depth and beauty in the things – physical and intangible – that connect us all. Originally from Israel, Michelle and Uri live in Viborg where they are raising their three sons.

Makiko Futaki

Makiko Futaki (June 19, 1958 – May 13, 2016) was a Japanese animator best known for her work at Studio Ghibli for more than thirty years. Futaki, who joined Studio Ghibli in 1981, worked on all of Hayao Miyazaki’s animated feature films, beginning with Nausicaä of the Valley of the Wind in 1984. Her best known Studio Ghibli’s productions include My Neighbor Totoro (1988), Princess Mononoke (1997), Spirited Away (2001), which won an Academy Award for Best Animated Feature, and Howl’s Moving Castle (2004). Her last film credit was Hiromasa Yonebayashi’s When Marnie Was There (2014), which is Studio Ghibli’s final feature film to date. In 1981, Takahata and Hayao Miyazaki, the co-founders of Studio Ghibli, hired her to work on their film, Nausicaä of the Valley of the Wind (1981), which began her thirty-year relationship with the studio as a freelance animator. Makiko Futaki died from an unspecified illness at a hospital in Tokyo on May 13, 2016, at the age of 57.

Jane Cheadle

Jane Cheadle was born in Johannesburg, South Africa. She studied Philosophy at the University of Cape Town and Animation at the Royal College or Art. She lives and works in London.

Regina Pessoa

Regina Maria Póvoa Pessoa Martins (born 16 December 1969) is a Portuguese animator.  She graduated in painting from University of Porto in 1998 and during her time as a student took part in different animation workshops, having participated in Espace Projets (Annecy, 1995) with the short A Noite, which she would finish in 1999. In 1992 she started working in Filmógrafo - Estúdio de Cinema de Animação do Porto, where she collaborated as animator in various films. Her short Tragic Story with Happy Ending is the most awarded Portuguese film ever. Her short animated film, "Kali, the Little Vampire" was awarded the Hiroshima prize at the 2012 Hiroshima international animation festival, the "1st Prize Animated Short Film – CHICAGO INTERNATIONAL CHILDREN’S FILM FESTIVAL 2013", "The Golden Gate Award for Best Animation Short - 56th SAN FRANCISCO INT. FILM FESTIVAL 2013", "40TH Annie Awards Nomination in the Best Animated Short Subject Category 2013", Nomination for the Cartoon d’Or 2013.

[jonathanwysocki]

Jonathan Wysocki is a queer writer, director, and producer of independent films.

His most recent short, the experimental documentary INSTITUTION, is currently screening on the festival circuit.

His last feature, the award-winning coming-of- age festival hit DRAMARAMA, is distributed in over 20 countries. The semi-autobiographical film is loosely based on his past as a teenage drama nerd.

Wysocki is a Fellow of the Sundance Screenwriters and Directors Labs as well as an Advisor for Sundance Co//ab. His short, A DOLL’S EYES, screened at 50 festivals on 6 continents and was translated into 8 languages. Previous award-winning shorts include ADJUST-A-DREAM, ALIBI NATION, THE VESSEL PITCHES, and THE WAY STATION.

Film accolades include 30 film festival jury or audience awards, the Sundance Lynn Auerbach Screenwriting Fellowship, the Stanley Kramer Award, the James Bridges Award, and two Annenberg grants.

Previously, Wysocki worked as a feature programmer for the LA Film Festival, as a producer on the features THE HAMMER and THRASHER ROAD, and for major studios such as MGM and ABC.

Wysocki is a UCLA alumnus, a Project Involve Fellow at Film Independent, a Berlinale Talent Campus alum, and a Clinical Assistant Professor of Film Production at Loyola Marymount University. Prior academic appointments include Chapman University, Occidental College, and Cal State Long Beach. A Southern California native, he resides in East Los Angeles with his husband José and their diva cat Lucía.

Contact IMDB

[aftocdn]

Καλαμάτα:Αφιέρωμα στις «Γυναίκες μπροστά και πίσω από την κάμερα»

Το αφιέρωμα, που τιτλοφορείται «Γυναίκες μπροστά και πίσω από την κάμερα», θα φιλοξενηθεί στην πόλη της Καλαμάτας την Κυριακή (8 Μαρτίου), Παγκόσμια Ημέρα της Γυναίκας, στις 7.00 μ.μ. στο Κέντρο Δημιουργικού Ντοκιμαντέρ (Μπενάκη 11).

Το Φεστιβάλ Δράμας αγαπά τις γυναίκες δημιουργούς και το αποδεικνύει και έμπρακτα, προβάλλοντας μια επιλογή ξεχωριστών ταινιών με αφορμή την Παγκόσμια Ημέρα της Γυναίκας, σε εννέα πόλεις της Ελλάδος, στο πλαίσιο του επιτυχημένου θεσμού «Το Φεστιβάλ Δράμας Ταξιδεύει».

Το αφιέρωμα θα πραγματοποιηθεί ακόμα σε Δράμα (5 και 8/3), Αθήνα (9/3), Νέο Ηράκλειο Αττικής (10/3), Λεωνίδιο (8/3), Κυπαρισσία (7/3), Πάτρα (8/3), Λάρισα (10/3), Χανιά (8/3) και Ιεράπετρα (8/3).

Αντιπροσωπευτικές των θεματικών τάσεων που τα τελευταία χρόνια απασχολούν τους δημιουργούς ταινιών μικρού μήκους, οι ταινίες του αφιερώματος θίγουν θέματα όπως η μοναξιά, ο έρωτας, η γυναικεία κακοποίηση, τα παιδιά ως τραγικά θύματα της φτώχιας, η οικογένεια ως ασφυκτικός μηχανισμός καταπίεσης, ο φανατισμός.

Η Είσοδος στις προβολές είναι ελεύθερη.

ΟΙ ΤΑΙΝΙΕΣ

Ουρανία – Δέσποινα Κούρτη | 16’ | 2017 Η Ουρανία είναι μια μεσήλικη γυναίκα που έχει παραμελήσει τον εαυτό της. Η εμφάνιση ενός άγνωστου νεαρού θα τη βοηθήσει να ξαναβρεί τη γυναικεία φύση της. ΔΕΣΠΟΙΝΑ ΚΟΥΡΤΗ Γεννήθηκε στην Ρόδο. Μετακόμισε στην Αθήνα, όπου σπούδασε Νομικά. Παράλληλα σπούδασε Κινηματογράφο στο NY College. Η πτυχιακή της ταινία, «Η κούκλα», συμμετείχε στο Διαγωνιστικό Τμήμα Ελληνικών Ταινιών μικρού μήκους στο 20ο Διεθνές Φεστιβάλ Κινηματογράφου της Αθήνας Νύχτες Πρεμιέρας.

Εκτορας Μαλό – Η τελευταία μέρα της χρονιάς – Ζακλίν Λέντζου | Μυθοπλασία | 25’ | 2018 Η τελευταία μέρα της χρονιάς ξημερώνει κάτω από το φεγγάρι, ενώ η Σοφία βλέπει ένα όνειρο και δεν το λέει σε κανέναν: περπατώντας στην έρημο, μαθαίνει πως είναι άρρωστη. Υποκρίνεται ότι δεν την νοιάζει. Μήπως έχασε την καρδιά της; ΖΑΚΛΙΝ ΛΕΝΤΖΟΥ Γεννήθηκε στην Αθήνα το 1989. Είναι σεναριογράφος/σκηνοθέτης της οποίας η δουλειά περιστρέφεται γύρω από μη παραδοσιακές οικογενειακές δομές και τις συνέπειές τους, την ενηλικίωση και το όνειρο. Η κινηματογραφική της γλώσσα συμπεριλαμβάνει την ανακάλυψη ποίησης σε- φαινομενικά- κοινότυπες συνθήκες, καθώς και συγκεκριμένη διαχείριση του χρόνου.

Αννα και Φαίδρα – Ελίνα Πάνικ | Μυθοπλασία | 20’ | 2019 Η Άννα είναι μια τριαντάχρονη ηθοποιός που θέλει να τραβάει τα βλέμματα. Η Φαίδρα είναι μια τριαντάχρονη γυναίκα που δεν ξέρει πώς είναι να σε κοιτούν, αφού γεννήθηκε τυφλή. Όταν η Άννα γνωρίζει τη Φαίδρα στο πλαίσιο έρευνας για τον επόμενο ρόλο της, θα βρεθεί απέναντι στο πρώτο άτομο στη ζωή της που δεν μπορεί να την κοιτάξει. Αυτή η συνειδητοποίηση θα στείλει τις δυο γυναίκες σε ένα περίπλοκο μονοπάτι έντασης, δυναμικής και, τελικά, συμφιλίωσης. ΕΛΙΝΑ ΠΑΝΙΚ Γεννήθηκε στην Αθήνα. Σπούδασε κινηματογράφο και γερμανική φιλολογία στην Αθήνα και το Βερολίνο. Έχει εργαστεί ως art director και ενδυματολόγος σε γερμανικές και ελληνικές κινηματογραφικές παραγωγές. Το 2010 με την ταινία «Η απόγνωση της Μιμης» συμμετείχε στο Berlinale Talent Campus. Η ταινία της «Ο καθρέφτης του λόρδου Πατσόγκ» κέρδισε μνεία καλύτερης φωτογραφίας στο Φεστιβάλ της Δράμας.

La Ultima Hija / Η τελευταία κόρη – Εύη Καραμπάτσου | Ντοκιμαντέρ | 21’ | 2018 «Ποια είναι μάνα;… Οποιαδήποτε… Οποιαδήποτε… Θα μπορούσα να είμαι η μητέρα της… Και η Aurora θα μπορούσε να είναι κόρη μου… Δεν την υποδέχθηκα ζωντανή, αλλά νεκρή… Όμως, είναι το ίδιο…» ΕΥΗ ΚΑΡΑΜΠΑΤΣΟΥ Γεννήθηκε στην Αθήνα. Σπούδασε Σκηνοθεσία στην Σχολή Σταυράκου. Οι ταινίες της έχουν διακριθεί με αρκετά βραβεία στην Ελλάδα και στο εξωτερικό.

Testing Greta – Abbie Lucas | Μυθοπλασία | 11’ | 2017 Η ταινία «Testing Greta» είναι μια ασυνήθιστη, γεμάτη ανατροπές ιστορία ενδοοικογενειακής βίας, ειπωμένη με έναν ιδιαίτερο και ανατρεπτικό τρόπο. Έχοντας στοιχεία τόσο κωμικά όσο και τραγικά, αφηγείται την ιστορία μιας δυναμικής γυναίκας που στιγμιαία σπάει, αποκαλύπτοντας τη φρικτή αλήθεια της ιδιωτικής της ζωής, πριν ξαναφορέσει την λαμπερή μάσκα της. H ταινία είναι αφιερωμένη σε όλες τις γυναίκες που με τον ένα ή τον άλλο τρόπο έχουν υπάρξει σιωπηλά θύματα κακοποίησης. ABBIE LUCAS Είναι σκηνοθέτης θεάτρου και κινηματογράφου. Οι πρόσφατες δουλειές της περιλαμβάνουν: Μια ασπρόμαυρη διαδικτυακή σειρά, «A Quick Fortune», η οποία προβλήθηκε σε φεστιβάλ σε όλο τον κόσμο, μεταξύ των οποίων το Raindance στο Λονδίνο. Μια κωμωδία, «Wrong Direction», με επίσημη συμμετοχή στο London Independent Film Festival του Λονδίνου και στο Φεστιβάλ Κινηματογράφου του Carmarthen Bay (BAFTA Cymru qualifying). Μια νέα σειρά σκετς κωμωδίας που ονομάζεται «12 Sketches in a London House».

Υπνοβατώντας – Μέλισσα Αναστάσι | Μυθοπλασία | 19’ | 2018 Σε ένα απομονωμένο αγρόκτημα, ένα έφηβο αγόρι πρέπει να βοηθήσει τη μητέρα του να γλιτώσει απ’ τον φανατικό πατριό του, καθώς η αφοσίωσή του και η αντίληψή του για τον έξω κόσμο δοκιμάζονται. ΜΕΛΙΣΣΑ ΑΝΑΣΤΑΣΙ Είναι βραβευμένη σκηνοθέτις/σεναριογράφος που εργάζεται πάνω σε πληθώρα ειδών, όπως ταινίες, ντοκιμαντέρ, βίντεο κλιπ και διαφημίσεις. Οι μικρού μήκους ταινίες της έχουν προβληθεί σε μεγάλα διεθνή φεστιβάλ κινηματογράφου, μεταξύ των οποίων συγκαταλέγονται τα φεστιβάλ της Ουπσάλα, του Τάμπερε, του Σαιντ Τροπέ, του Όλντενμπουργκ, του Μπρίσμπεϊν, καθώς και τα Cannes Cinema Antipodes, Flickerfest και New Directors New York. Τα σενάρια μεγάλου μήκους ταινιών της έχουν μπει στην τελική λίστα επιλογών για το Sundance Lab, όπως και το Binger Film Lab στο Άμστερνταμ. Αυτήν τη στιγμή δουλεύει πάνω στο σενάριο της μεγάλου μήκους ταινίας “Bluebirds” με την υποστήριξη του Screen Australia και του Screen NSW.

Μοιράσου το άρθρο:

Source link

The post Καλαμάτα:Αφιέρωμα στις «Γυναίκες μπροστά και πίσω από την κάμερα» appeared first on Προκηρύξεις, διορισμοί, δημόσιο και άλλα νέα!.

source https://aftocdn.gr/%ce%ba%cf%8c%cf%83%ce%bc%ce%bf%cf%82/%ce%ba%ce%b1%ce%bb%ce%b1%ce%bc%ce%ac%cf%84%ce%b1%ce%b1%cf%86%ce%b9%ce%ad%cf%81%cf%89%ce%bc%ce%b1-%cf%83%cf%84%ce%b9%cf%82-%ce%b3%cf%85%ce%bd%ce%b1%ce%af%ce%ba%ce%b5%cf%82-%ce%bc%cf%80%cf%81/

[movies-yahoo-tw-yahoopartne-blog]

東南亞新銳聚焦勢不可擋：卡洛‧弗藍西斯科‧馬納塔、索拉育‧帕巴潘

台北電影節

台北電影節在今年「無畏，因為有所謂：東南亞新銳短片選」的節目規劃下，邀請了兩位東南亞新銳導演卡洛‧弗藍西斯科‧馬納塔(Carlo Francisco MANATAD)與索拉育‧帕巴潘(Sorayos PRAPAPAN)前來台北電影節與觀眾對話，並將放映兩位影人具有代表性的短片選集。

卡洛‧弗藍西斯科‧馬納塔擅長透過寫實的影像語言呈現荒誕的事件，作品充滿反差及突如其來的暴力。利用實驗電影的技法，並揉和個人的剪接專長，破壞、解構影像本身，達到快、狠、準的節奏之效，並透過聲音展現獨特的惡趣味。

索拉育‧帕巴潘的電影擅長用幽默又親切的故事諷刺社會時事與政治，他的短片風格影如其人，隨和、幽默，卻底蘊溫柔。他在導演工作之餘常擔任聲音技師此幕後要角，因此聲音在他的電影裡也一直扮演著重要的元素，時常刻意讓影像與聲音透露出矛盾的訊息，以達到更深刻的諷刺效果，讓他成為風格獨樹的導演。

台北電影節從去年將關注的焦點轉回鄰近的東南亞區域，在今年則延伸觸及該區域新導演在短片創作上的斬獲。東南亞導演在製作條件不完備、資源相對缺乏的背景下，動用預算較少的短片是想要踏入影像創作、成為導演的第一步。馬納塔與索拉育兩位導演都在累積了豐富的短片資歷後展開劇情長片的創作，在影壇大放異彩的未來指日可���。

龐克精神顛覆上位者！馬納塔用創作逆襲俗世常規 卡洛‧弗藍西斯科‧馬納塔是位菲律賓馬尼拉的導演與剪接師，遊走在群眾商業與獨立電影案之間，以大量的剪接作品著稱。從學生時期起的短片作品即受世界各地的影展矚目，曾屢次獲得盧卡諾、多倫多等影展選映，參與過釜山影展「亞洲電影學院」(Asian Film Academy)、柏林影展新銳營(Berlinale Talents Campus)。2017的剪接作品《小城二月》獲得短片金棕櫚獎，並入選世界電影基金計畫。目前正著手籌備個人的第一部長片作品《A Wrong Season》，講述一個家鄉被強烈颱風侵襲的故事。

《媽媽別B我》(Junilyn Has) 講述夜總會的年輕舞者裘妮琳總是因為舞步笨拙而遭到冷言相向，讓她有苦難受。一次，教宗探視風災重創地的來訪，特種行業被迫停業，媽媽桑逼著舞者速成「純」的攬客技能，這也讓裘妮琳跨出解放了自己的一步。

台北電影節

《臭妹仔大亂鬥》(Sandra) 是一本叛逆姊妹的交換日記！珊德拉和她的閨蜜，以及她們的女生宿舍生活！上一秒扯髮幹群架，下一秒手牽手一輩子當老婆。紀實平淡的敘事手法摻入有趣的實驗電影元素，看似真實、實則荒謬的影像語言書寫女性成長的過渡期。

台北電影節

《她在離職的那一天爆炸》(Jodilerks Dela Cruz, Employee of the Month) 呈現菲律賓勞工日復一日的掙扎，配樂由悠揚轉往狂放，烘托出底層小人物積怨爆發的劇烈反差。加油站即將倒閉，最佳員工在她上班的最後一夜，面對高漲的油價、囂張的奧客，像浩克般變身成嘶吼著死腔的龐克女！

台北電影節

《太空碎片如何拯救我的性生活》(Fatima Marie Torres and the Invasion of Space Shuttle Pinas 25) 把一對老夫老妻重新燃起的性慾毫無相關地歸因於太空船發射時墜落的碎片，兩人的性生活要美滿，究竟得靠太空碎片助興？還是吃威而鋼實在？

將社會評論轉化為影像 索拉育的人道實踐 另外一位焦點影人索拉育‧帕巴潘(Sorayos PRAPAPAN)是位來自泰國曼谷的獨立電影製作人、聲音技師與擬音師。泰國國立法政大學的影像專業畢業後，擔任阿米查邦·韋拉斯塔古(Apichatpong Weerasethakul)獲得坎城影展金棕櫚獎的《波米叔叔的前世今生》(Uncle Boonmee Who Can Recall His Past Lives)的製作助理。並曾為納瓦波坦榮瓜塔納利(Nawapol Thamrongrattanarit)《愛情悄悄來過》(36)處理聲音。2015年獲選鹿特丹影展巴爾斯基金(Hubert Bals)，目前正在發展首部長片作品《Arnold Is a Model Student》。

《別讓太太不開心》(Boonrerm) 是索拉育短片中最沉重的作品，道出泰國家庭幫傭普遍遭受的非人待遇。年輕幫傭隨傳隨到、全年無休，甚至被要求爬進大狗籠，或到回收場裡把隨手丟掉的食譜找回來⋯⋯

台北電影節

《泰國大媽去影展》(Auntie Maam Has Never Had a Passport)講述在《別讓太太不開心》軋了一角的曼阿姨，她平時從事足體養生工作，為了與索拉育一同出席歐洲影展，才發現出國這件事惹人煩心又開銷昂貴，她會如何應對呢？

台北電影節

《瑞士來的禮物》(A Souvenir from Switzerland)表露了索拉育對於音畫關係的興趣。索拉育在瑞士與來自阿富汗的導演朋友碰面，友人的當前身份竟是難民。瑞士絕景與兩人的聊天內容讓反差逐漸加大⋯⋯

台北電影節

《油線胖小子》(Fat Boy Never Slim) 突顯了泰國兵役制度的沉痾，並藉由角色形象反差營造幽默氛圍。泰國役男通過體能測驗、修滿軍訓課三年就能免役，兩個胖小子看到虐兵影片後發現體能測驗就在隔天，他們能夠通過嗎？

《大收音師》(Death of the Sound Man)是導演索拉育的無奈自嘲，收音師是製作電影的重要幕後功臣，卻不為人所重視。本片在呈現收音師工作的同時，也冷不防朝泰國政府開了一槍！

2018第20屆台北電影節即將於6月28日至7月14日，在臺北市中山堂、光點華山電影館、新光影城、剝皮寮歷史街區盛大展開。選片指南暨套票首賣會於6月3日登場。

台北電影節

展前搶先推出「MRTaipei電影院」，5月26日將在四個不同的捷運站舉辦短片放映，大湖公園站早上11點放映2012台北電影獎最佳短片《我愛恰恰》，南京復興站下午2點放映黃信堯《大佛普拉斯》的前身《大佛》，中山站誠品R79下午4點放映2017台北電影獎最佳導演呂柏勳的作品《野潮》，大安森林公園站晚上7點半放映2015台北電影獎動畫類入選作品《七點半的太空人》。當日(5/26)晚上另在松山捷運站舉行馬拉松跨夜場，將徹夜放映3部和台北電影節頗有淵源的作品，包括2015台北電影節秒殺狂片《維多莉亞》(Victoria)、2013台北電影獎最佳導演詹京霖作品《狀況排除》、與一部導演與男主角將會出席放映的神秘影片，將從捷運末班車離駛開始至首班發車結束，免費入場，歡迎大家一同來捷運站看電影，感受不同的觀影體驗。

※不加入Y!電影粉絲團，你就悶了！

[dyspla]

DYSPLA International Moving Image Festival, 14th-18th March at The Crypt Gallery

DIMIF, with the support of Arts Council England, will exhibit the work of over 30 dyslexic and neurodivergent filmmakers from 14-18th March 2018 at the Crypt Gallery in Kings Cross, London, so do not miss your opportunity to witness the work and participate in the first-ever festival that will investigate the theme of the Dyslexic Aesthetic.

CLICK TO BUY TICKETS

We are very excited to welcome our incredible DIMIF filmmakers and our Award Winners. The work they produce is a massive contribution to the dyslexic/neurodivergent creative community.

We are proudly celebrating not only neurodiversity, but also other types of diversity:

Researchers on the AHRC-funded project ‘Calling the Shots: Women and Contemporary UK Film Culture’ have found that women made up just 14% of directors and 7% of cinematographers on UK films from 2003-15.

Of those women, only 10% of directors and 4% of cinematographers were of Black, Asian, or Ethnic Minority identity, making only 1% of all directors and only 3% of all cinematographers BAME women.

*Thank you to WFTV for providing an article on this research.

In the light of these findings, DYSPLA is proud to celebrate the fact that 2/3 of our award-winners are representatives of the BAME community, and that one of these is a woman.

The festival itself is a novelty, presenting the films in a way that will blur the lines between traditional film festivals and the art gallery experience. DYSPLA loves to challenge their audiences and this festival will challenge how the films are experienced and how the audience can/will interact with the films.

The Themes 

Our films explore themes of birth, life and death, and the fight for existence. 

How do we as humans deal with tragedy, corruption, inequity, prejudice, moral issues, ethics? 

These are the universal questions in all of DYSPLA work and in true DYSPLA fashion, we echo the stories of under-representation in our society.

MEET THE AWARD-WINNING FILMMAKERS

Mike Forshaw - Saturday (2015)

“As someone who was only diagnosed with dyslexia whilst at university, I strongly believe that open conversation is vitally important to raise public awareness and understanding for a condition that many people still do not fully understand. This event will hopefully provide an excellent opportunity to discuss how my dyslexia has shaped me as a director and why my diagnosis was so liberating.”

Born and raised in Liverpool, Mike studied film at Northumbria University before moving to London to study Fiction Direction at the National Film & Television School. His graduation film premiered at the BFI London Film Festival, and his shorts have screened at the numerous UK and international film festivals.

In 2013, Saturday was awarded a top prize during Nisi Masa’s European Short Pitch, and the film premiered at Sundance Film Festival in 2015. In 2014 Mike was selected for TorinoFilmLab’s AdaptLab workshop and is currently developing his first feature, King of Grain, with Agile Films.

Featured Film - Saturday (2015)

“A fictional account of how the Hillsborough stadium disaster – which claimed the lives of 96 Liverpool supporters – unfolded for one family back home in Merseyside.”

Although Saturday is very much linear and lucid in its style, director Mike Forshaw manages to incorporate some non-linear and dream-like, subtle, foreshadowing elements into the story. The film offers a fresh view on a well-documented national tragedy, by placing the focus well away from the actual event - creating emotional microcosms representative both of the direct violence of Hillsborough and the ignorance that led to it, as well as of the massive impact the tragedy had on its community.

MEET THE AWARD-WINNING FILMMAKERS

Emma Allen - Ruby (2013)

Emma Allen resides between Sri Lanka and London. She’s an internationally recognised artist that is entirely self-taught and produces work in a broad range of different mediums.

A maker at heart, and combines painting, body-painting, animation, sculpture, sewing and even light in her work. Despite such breadth her work has a clear focus on the human condition, and how it interacts with nature.

She’s best known for her body-paint animation work which has been exhibited all over the world, received millions of views online, and press coverage in print and online and featured as TV news stories in 12 countries.

Her work manages to combine critical acclaim with mainstream appeal, attracting audiences in many countries around the world. Emma is not afraid to tackle big issues with her work and through the course of it has helped a number of charities, worked with refugees, prisoners and founded her own arts charity for disadvantaged children in Sri Lanka.

Featured Film - Ruby (2013)

“An animated self-portrait exploring the idea of rebirth and illustrating the transfer of energy from one incarnation to another.”

Ruby is a stop-frame mixed media short film which encapsulates our festival’s themes of birth, life and death in a literal way - depicting the process of ageing, dying and being born again in a series of representative face-paints. It explores the wider context of how we as humans fit into nature and the universe. It also touches on ideas of belief and religion, spirituality, the supernatural, and life after death.

MEET THE AWARD-WINNING FILMMAKERS

Lemohang Jeremiah Mosese - Behemoth: Or the Game of God (2015)

Lemohang Jeremiah Mosese is an award-winning Lesotho/South African filmmaker and artist. He has worked as writer, director, cinematographer and editor since 2007, and currently spends most of his time between Lesotho, South Africa and Berlin. His work ranges from feature length to short films and image films to music videos.

Two of Mosese’s short films, Mosonngoa (2014) and Behemoth: Or the Game of God (2015) have been screened at over a hundred film festivals, including: Clermont Ferrand International Film Festival; Raindance International Film Festival; Kinodot Film Festival; Festival del Cinema Africano; d’Asia e America Latina; as well as the Durban International Film Festival and L’Étrange Festival.

Mosese is also an alumnus of the Berlinale Talent Campus (2011) and Focus Features Africa First (2012), as well as the Realness Screenwriting Residency (2017).

Mosonngoa won him the ‘Best Short Film’, as well as the special award ‘Premio Associazione Sunugal’ in Milan in 2016. Behemoth: Or the Game of God has won ‘Best Short Film’ at the Kinodot Film Festival in 2016; the ‘Signs Award’ at Festival International Signes de Nuit Student Jury Prize in 2016; and the ‘Special Jury Prize’ at Moscow International Experimental Film Festival in 2016.

In January 2013, Mosese co-funded Mokoari Street Productions - a film and video production company, working on projects in Lesotho, South Africa and Berlin.

Featured Film - Behemoth: Or the Game of God (2015)

“An itinerant preacher declares to his followers: their God is in the coffin he is dragging along.”

Mosese manages to convey a very strong political rhetoric into Behemoth that touches upon themes of corruption, poverty and power - symbolised by a key referent in the film - money; and the control that it holds over people. Biblical language is used throughout; “I am the javelin in the hand of Cain”, shouts the preacher; “And I have come to bring you either life or death”. The apex of the film serves to illustrate the people’s hypocrisy and greed, which go against the very tenets of the religion they seek to protect so fiercely: “Have you lost your souls?” - cries out our preacher.

                       Stan Brakhage (Special Mention)

James Stanley Brakhage (January 14, 1933 – March 9, 2003), better known as Stan Brakhage, was an American non-narrative filmmaker. He is considered to be one of the most important figures in 20th-century experimental film. His work is often noted for its expressiveness and lyricism.

Over the course of five decades, Brakhage created a large and diverse body of work, exploring a variety of formats, approaches and techniques that included handheld camerawork, painting directly onto celluloid, fast cutting, in-camera editing, scratching on film, collage film and the use of multiple exposures. Interested in mythology and inspired by music, poetry, and visual phenomena, Brakhage sought to reveal the universal in the particular, exploring themes of birth, mortality, sexuality, and innocence.

Featured Film - Window Water Baby Moving (1959)

“The film documents the birth of the director's first child, Myrrena, by his then-wife Jane Brakhage.”

*Image Courtesy of the Estate of Stan Brakhage and Fred Camper.

The graphic imagery of Window Water Baby Moving carries with it a shock value which makes the work frank, honest and powerful. The non-sequential, non-narrative style of the film instead offers us something very visceral, instinctive and primal in conveying the miracle that is childbirth. Expectation, pain, joy, wonder and love all intertwine on screen in scenes leading up to, during, and after the birth.

*Many thanks to Lux, for their support and co-operation in providing us with the footage of Window Water Baby Moving.

      ALL FILMS WILL BE SCREENED CONTINUOUSLY                                       THROUGHOUT THE FESTIVAL

TICKETS ARE LIMITED - BUY YOUR TICKETS NOW!

Listing Information*

Awards Ceremony, Gala & Gin Reception: 14th March, 7:30 PM - 10:00 PM, £30.00

Industry Panel Discussion: 15th March, 7:30 PM - 9:30 PM, £10.00

Daily festival screenings: 15th March, 1-7 PM; 16th-18th March, 1-8:30 PM, £5.00

*All tickets will include £1 booking fee. Tickets are an extra £5.00 on the door.

The Crypt Gallery, Euston Rd, King’s Cross, London, NW1 2BA Closest national rail and underground stations: King’s Cross & Euston

[breakslda]

Talent Campus • #berlinale #berlinale2018 #portopostdoc #portopostdoc2018 (em Berlinale - Berlin International Film Festival)

[efe-es1405-yahoopartner-blog]

Martinessi: "La Berlinale da la máxima visibilidad a una película pequeñita"

Gemma Casadevall Berlín, 17 feb (EFE).- El cineasta paraguayo Marcelo Martinessi acudió a la Berlinale como representante de una cinematografía aún "desconocida", la de su país, y consciente de que el festival puede dar "la máxima visibilidad" a "Las Herederas", su primer largometraje y una de las diecinueve aspirantes al Oso berlinés. "El cine paraguayo está apenas empezando a visualizarse. La Berlinale puede ser la gran plataforma de despegue para una película hecha a escala humana, pequeñita", afirmó el realizador a Efe, tras el estreno de su filme, anoche, en el Berlinale Palast. "Las herederas" no solo es su debut al frente de un largometraje, sino también la primera película con la que Paraguay acude a la competición del festival internacional de cine europeo. "Paraguay es un país aún invisible, cinematográficamente, pero que tiene muchas cosas que contar y deseos de poder hacerlo", prosiguió Martinessi, nacido en Asunción en 1973 y que en 2013 participó en el Talent Campus de la Berlinale, un foro destinado a jóvenes talentos del cine. Su película narra la historia de dos mujeres, Chela y Chiquita -interpretados por Ana Brun y Margarita Irún-, quienes tras décadas viviendo en pareja deben separarse por tiempo indefinido, mientras venden pieza a pieza muebles y cubertería de la casa que heredaron. La dominante Chiquita tiene que ir a la cárcel, acusada de estafa, lo que precipitará la emancipación de Chela, convertida en taxista oficiosa de un grupo de señoronas y de la hija de una de esas clientas, Angy (Ana Ivanova). "Es una película donde los hombres son meros comparsas, mientras que es la mujer la que teje todas las fibras", apunta Martinessi, quien tomó esos personajes "de los ecos en que me moví en mi infancia, entre madre, tías, abuelas y tantas voces femeninas". De la cárcel que es la casa que se cae a pedazos pasa Chiquita a conocer "la vida mucho más libre en prisión", mientras que Chela se redescubre a sí misma, fuera del dominio de su compañera. Su filme quiere ser el reflejo de un Paraguay "que en 2012, cuando hubo una oportunidad de cambio, decidió volver atrás", explica Martinessi, en alusión al golpe y proceso político que derivó en la destitución del presidente Fernando Lugo. "Fue un terrible dolor. Comprobé que las razones que llevaron a ese golpe procedían de una elite que quería mantener a toda costa sus privilegios", prosiguió el cineasta, cuyo filme recrea la clase social de las señoronas, dominada por el chisme y el pudor. "Tuve así la oportunidad de acercarme a mi país, a mi mundo, a mi sociedad y de comprobar que, además de heredar casas o muebles, heredamos prejuicios y limitaciones, como si éstos fueran enfermedades hereditarias", argumenta. La respuesta ante esa situación no puede proceder del "mero cambio de caras" de sus políticos o de las elecciones como las que tendrán lugar el próximo abril en Paraguay, sino del "corazón de la sociedad", en que la mujer tiene ese "rol fundamental". "Mi papá tenía diez años cuando (Alfredo) Stroessner llegó al poder. Yo tenía 16 cuando se fue", argumenta el director, acerca del militar y político que entre 1954 y 1989 presidió el país. "Toda esa generación repica aún en nosotros, el sistema de la dictadura se reproduce en casa, la represión se mete en tu cama. Es mucho lo que nos queda por superar", considera Martinessi, feliz de haber podido mostrar algo de esa sociedad en Berlín. "Las herederas" en una película de producción múltiple -con participación de Paraguay, Uruguay, Brasil, Francia, Noruega y Alemania-, con aporte del programa de ayudas de la Berlinale a las cinematografías periféricas. Fue la primera representante de América Latina en la competición de la LXVIII edición de la Berlinale, cuyos premios repartirá el próximo día 24 el jurado presidido por el director alemán Tom Tykwer. El otro filme latinoamericano a concurso es la mexicana "Museo", interpretada por Gael García Bernal e interpretada por Alonso Ruizpalacios, quien en 2014 presentó en Berlín su debut como director, "Güeros", que ganó el premio a la mejor ópera prima. EFE

[thelondonfilmschool]

“LFS is just this mixture of people that brings this energy which holds in its center cinema itself” - Jiajun (Oscar) Zhang

Jiajun (Oscar) Zhang (above third left) graduated from the MAF program this year and has recently taken part in the Asian Film Academy, which takes place every year in Busan in South Korea.

AFA, similar to the Berlinale Talent Campus and Serial Eyes programmes, is “an educational program hosted by Busan International Film Festival, Busan Film Commission and GKL Foundation to foster young Asian talents and build their networks throughout Asia.” Over the past 12 years, 289 alumni from 31 countries have taken part, along with world-renowned directors such as Béla Tarr, Jia Zhangke, Hou Hsiao-hsien and Lee Chang Dong, participating in a program which includes short film production, workshops and special lectures. The two short films completed by attendees are then officially presented at the Busan International Film Festival. 

We spoke to Oscar having just completed the programme to find out how he found his way to London Film School, what he learnt from his time here and at AFA, and where he’s headed to next…

Sophie McVeigh: Could you tell me a little bit about your background before coming to LFS?

Oscar Zhang: I was born in China, in Shanghai. It’s a big city and I was interested in cinema since I was 14,15 years old. As a lonely teenager I naturally got drawn into cinema, like a lot of us! Then I studied at university, a media subject, and I started making short films at that point. That got me started... travelling to small festivals around the world, and I thought, wow, this is really a career that I could do. After that I started working as a commercial director, to make a living for about two years. I got really tired of it, so I thought maybe it was time to stop. By that time, I was working with a bunch of guys who had studied in London and came back to China, and they told me there was a good film school called the London Film School. They said if I wanted a change of atmosphere I should consider going there.

S.M: What made you want to come to Britain, over say the US or schools in Asia?

O.Z: I guess because a lot of my friends, they’d graduated from UK universities and they came back and worked in the industry. I was living with a bunch of older boys at the age of 18, 19, and they were telling me about life in the UK every day, so it seemed natural for me to go there.

S.M: How did you find adapting to life in London when you first arrived?

O.Z: It’s super different to Shanghai, the system and how everything works, and my English wasn’t perfect when I arrived. I couldn’t understand all of the classes at first. That’s what I most regret because I realised the stuff I missed could have been very important! But later on, it got better and better and I started to get the most out of it, lecture-wise and making friends.

S.M: Did you always want to specialise in directing?

O.Z: So, at LFS we have six terms and we make films each term, but you have to pitch to be a director. I was kind of lucky, I did five times directing out of six terms. I think I optimised my chances in school as a director! So, I think I can call myself a major in directing (laughs). I was always writing my own scripts too for all those terms.

S.M: Can you tell us a bit about your graduation film, which has been chosen to screen in the Showcase in December?

O.Z: It’s a film that’s actually inspired by one of my colleagues in my class. She’s from Taiwan and she’d been living in Shanghai all her life. The political situation between Taiwan and mainland China is kind of sensitive. There’s actually 800,000 immigrants in my city but they don’t have a proper identity. So, what I heard from this girl, she was complaining to me one day as we were walking in Covent Garden, just chatting. She said, “I don’t know what to do when I go back to China, because I grew up there, but they don’t really want me for any jobs when they see my identity as a Taiwanese. It’s hard for me to get a working certificate, but if I go back to Taipei I don’t have any friends there so it’s gonna be hard as well. I’m really in a state of limbo.” That inspired me to make a film focused on a character like that. So, my main character is a teenage Taiwanese girl working in Shanghai. She’s living with her family and there’s an emotional story around the relationship between her, a teacher and a younger boy. This was the film I submitted to get accepted to the AFA (Asian Film Academy).

S.M: Can you tell us a bit more about that?

O.Z: It’s a selective group that takes part for one month and it’s like a platform. You have the most prestigious directors in Asia. All the candidates are from Asian countries, it’s one or two candidates from each country, and they select 24 people and you make two short films there and attend a bunch of lectures. They will be in this sort of Busan Film Festival family from that moment, so you get to be part of it and to submit your film later. There’s also a pitching session to pitch our first feature script idea. Luckily, I got the first prize for that so they’re sending me to LA next year for further pitches to producers and stuff like that. The film I pitched was one of the ideas that I submitted with my application to LFS. It was an idea that had been in my head for a long time which focuses on contemporary Chinese society issues. One thing I liked the most about the experience was that it’s this dream like place, that gathers all the filmmakers from across the region. And the moment you leave the platform after spending almost a month with all these people sharing the same kind of dream… at one point, I felt like all of these people had been like a family before, you know - a filmmakers’ family just like the people I met at LFS. We belonged to the same unknown planet, and were sent to this world to create something. But then, after we die or before we were born, we would be always together, as a family, and we would meet each other in that place after death, a place that belongs to all worthy filmmakers. That’s the kind of crazy dream idea I got after this emotional experience there!

S[4] .M: Are the issues in contemporary Chinese society something that you’re focusing on at the moment in your filmmaking?

O.Z: Yeah, in a way I am doing that. But, at the same time, as I look at all the films that I’ve done, including the ones at LFS, I realise that most of them aren’t really about social issues that much. They are in the background, but I was mainly interested in relationships between people rather than the hardcore social issues.

S.M: What did you like about living in London?

O.Z: It was just party after party (laughs). I met a lot of people that I thought were strange at first, in terms of my culture, but as it went on I realised they were very interesting and inspiring. Not just people from Britain, actually, I was influenced by people from all over the world. It’s just this mixture of people that brings this energy which holds in its centre cinema itself. This kind of turned me into a hardcore cinephile! That was the most life-changing event that’s ever happened to me. And the BFI (British Film Institute) as well. The BFI is the place me and my cohort mostly slept (laughs). We went there very early in the morning and we came out after the last screening finished, when we didn’t have classes. You don’t have to buy tickets, it’s free. Me and my colleague actually collected the tickets and there were hundreds of them. I think we made our school fees back! The films they screened there were invaluable.

S.M: What was the most important thing that LFS taught you?

O.Z: I think I’d divide it into two parts. The tutors that I encountered were two or three of the most important in my life. They were there back in the day of the early British film movement. Their experience, their knowledge, the insights they gave me – they gave me a lot, and they opened me up, to put it simply. For example, one of the tutors would show Westerns films, like the films of John Ford that I would never have touched because Westerns are nothing to do with my culture, I was super not interested in Westerns! But he analysed the film and the way he turned it into a useful strategy for us to learn as directors was just very precious for me. The tutors were great. The other part is that I learnt the most from my colleagues at the school. I had the luck to have the best cohort I’ve ever seen! We were a big bunch, 36 or something of us from 30 different countries, but strangely we bonded very well together. They were all very passionate people. We would go for drinks and not stop talking about film. When we graduated some of us were still working together and making films together. After leaving I’ve visited three different countries to meet LFS colleagues. I guess I learnt my life’s lesson from these people.

S.M: Do you think that international influence has had an effect on your filmmaking?

O.Z: Absolutely. One of my colleagues, Keenen and I were talking about what the next wave is going to be – you know there was French New Wave, Italian Neo-Realism, all this. So, we were thinking, what’s gonna be the next one? And he told me what’s going to happen is that it’s not going to be regional waves anymore, it’s going to be a global one. As you can see, how the internet brings us together, how this school brings us together. We are really becoming a world family, this film society. And as we experienced in the school, when I make a film I would have 15 non-Chinese people on-board and we worked perfectly fine. So that enabled me to think about being a global filmmaker. My next feature project, I was thinking it will be collaborating in Korea, I’ve got something else that I’ll shoot in London, another in Malaysia… so that’s what the school brought me, the courage to become a filmmaker that will make films globally.

S.M: What are your plans for the coming year?

O.Z: Me and some other colleagues have decided to meet regularly somewhere and make small independent film that really don’t cost very much. The next one we’re going to do is in Seoul, South Korea, next year. At the same time, I will work on scripts both for indie films and the Chinese film industry. I’ll be in the US for a year at some point. At the moment, I’m really into super low-budget shoots. Anywhere I go, I have my camera and sound-recording equipment. We’ve got a cohort in the States, so we’ve been talking about working together there.

S.M: What advice would you give to someone who’s been accepted to LFS, to help them make the most of their time here?

O.Z: I think the reason why we were a very conscious cohort was that we had good tutors who told us the truth and kept us sober. My most critical advice is, in any circumstance, be aware of your work and always reflect on that. We are here in film school to learn. Open your heart to a lot of things. And also, don’t rush your career. In my experience it’s better to wait and perfect your skills than rush into stuff. 

FOLLOWING (27:11 mins, 2017)

Writer-Director: Zhang, Jiajun Producer: Gong, Yingqing Production Designer: Pyun, Heeyoung Cinematographer: Marranghino, Vincenzo Assistant Director: Testa, Julien Camera Assistant: Walsh, Paisley Sound Editor: Chim, Terence

Interview: Sophie McVeigh | Photos: Annual Show by Katie Garner, Group Selfie by Putri Purnama Sugua, Film Poster of FOLLOWING

[tortulcarla]

Museo Rosa Galisteo

Directora:Analía Solomonoff

Rosa Futura 2017 - coordinación y curaduría: Carla Tortul

facebook:

Nota de prensa

Catálogo

Publicado el: 12-10-2017

CON LA PROYECCIÓN DE "LO PICTÓRICO" SE REANUDA EL CICLO "VER" EN EL MUSEO

“VER: Panoramas de la creación audiovisual” se enmarca en la plataforma Rosa Futura, iniciativa del museo de la capital provincial. El ciclo se extiende hasta diciembre. Entrada libre y gratuita.

“Fui a Capadocia y me acordé de ti” de Larissa Figueiredo será uno de los audiovisuales en exhibición en el ciclo VER en el Rosa Galisteo.El Museo Provincial de Bellas Artes “Rosa Galisteo de Rodríguez”, dependiente del ministerio de Innovación y Cultura y la Bienal de Imagen en Movimiento (BIM) presentan en Santa Fe “VER Panoramas de la Creación Audiovisual Latinoamericana”. La cita es en la sala didáctica del museo, ubicado en calle 4 de Enero 1510, el día jueves 19 de octubre a las 17h con la exhibición del programa “Lo pictórico”.

La proyección es abierta a todo público, con entrada libre y gratuita. Se invita especialmente a estudiantes y docentes de escuelas de arte, cine y afines. El ciclo se exhibe una vez al mes y culmina en diciembre. El mismo se enmarca en la plataforma Rosa Futura iniciativa del museo que vincula arte, ciencia y tecnología.

DISCUSIONES ENTRE LO AUDIOVISUAL Y LA PINTURA

El programa “Lo pictórico” tendrá una duración de 52 minutos y está conformado por la siguientes obras: “Presque vu. Punta de la Lengua” de Cecilia Araneda; “Windmills” de Roberto Niño Betancourt; “Deshoras” de Toia Bonino; “S/T Cazadores” de Christian Delgado; “Abecedario/B” del Colectivo Los Ingrávidos; “Fragmentos de domingo” de Benjamín Ellenberger; “Fui a Capadocia y me acordé de ti” de Larissa Figueiredo; “Mi horizonte” de Carlos Ariel Marulanda Cortés; “16 Fragmentos de Buenos Aires” de Luis Migliavacca y “Vivimos en una duda permanente” de Germán David Vanegas Méndez En el programa se plantean las discusiones entre el audiovisual y la pintura como un problema instalado en la historia de la visualidad contemporánea. El cine que piensa la pintura, la televisión que reflexiona la cultura que proviene de lo pictórico, y los pintores que actualmente producen tomando como tema y motivo el cine o el video, son algunos de los cruces estimulantes que se dan por compartir un espacio en común: la bidimensionalidad.

Los audiovisuales reflexionan sobre el cuadro, la tela, los colores y las veladuras, pero con el deseo de ir más allá de esto. El conjunto invita a pensar pictóricamente las obras desde los matices, los pasajes, las cargas materiales y los tonos. Pensar el cine desde la pintura, sin que esto suponga una pérdida de la especificidad; simplemente para ampliar el campo retórico.

CICLO “VER” EN ROSA FUTURA Los programas de cine y video experimental que integran “VER Panoramas de la Creación Audiovisual Latinoamericana” están conformados por obras seleccionadas en las tres ediciones del Premio Norberto Griffa a la Creación Audiovisual Latinoamericana, que se otorga en el marco de la Bienal de la Imagen en Movimiento (BIM) dirigida por Gabriela Golder y Andrés Denegri, organizada por el Centro de Investigaciones en artes audiovisuales CONTINENTE, de la Universidad Nacional de Tres de Febrero, Argentina. Convocar desde Rosa Futura al programa VER, significa iniciar desde el museo una red de intercambios y conocimientos en torno al cine y al video experimental. Esta primera edición de actividades de Rosa Futura ha sido curada y coordinada por la artista visual Carla Tortul.

SOBRE LOS REALIZADORES Cecilia Araneda nació en Chile y reside en Canadá. Su obra se caracteriza por una experimentación con la materia cinematográfica, con las texturas y los colores de la película, elementos utilizados de forma simbólica para hablar del paso del tiempo y de su efecto en los recuerdos. Araneda fue objeto en 2010 de una retrospectiva en el Canadian Film Institute (Ottawa). Actualmente, es directora general del Winnipeg Film Group. Roberto Niño Betancourt nació en Colombia y es realizador audiovisual y director del largometraje documental “Soñadores en el hospicio” (2010), filmado en el Hospital Borda de la ciudad de Buenos Aires en colaboración conel Frente de Artistas del Borda. Actualmente, se encuentra cursando una maestría en cine y nuevos medios en la academia de artes NABA en Italia. Toia Bonino nació en Buenos Aires en septiembre de 1975. Egresó de la Escuela Nacional de BellasArtes Manuel Belgrano y de la Escuela Nacional de Bellas Artes Prilidiano Pueyrredón. Es Licenciada en Artes Visuales (IUNA) y Licenciada en Psicología (UBA). Christian Delgado es fotógrafo y cineasta. Fue seleccionado para desarrollar la instalación para el 10o aluCine Toronto Media Festival (Canadá, 2009) y realizó una exposición individual en el Museo de Bellas Artes de La Plata (Argentina, 2010). Colectivo Los Ingrávidos surge de la necesidad de desarticular la gramática audiovisual que el corporativismo estético-televisivo ha utilizado y utiliza para garantizar de manera eficaz la difusión de una ideología audiovisual por medio de la cual se mantenga un continuo control social y perceptivo sobre la mayoría de la población. Integrantes Davani Varillas, Guenia Varillas, Rosario Gonzales, Marina Herrera, Rodrigo Cerbón, Cristóbal Serrá, Antonio Jiménez, Ángel Linares, Oswaldo Varillas. Benjamín Ellenberger nació en Córdoba en 1983. Es realizador y montajista. Entre sus trabajos se encuentran Corte, Perforación y Tras la ventana. Ha sido invitado a participar en el 28o Festival Internacional de Cine de Mar del Plata y ha expuesto su obra en México, Brasil, Colombia, Chile y Perú. Dicta talleres de found footage y desarrolla un trabajo de investigación y archivo sobre cine doméstico.

Larissa Figueiredo nació en Brasilia y estudió literatura en la UnB, hizo una Maestría en Teoría de Cine en la Universidad Lumière Lyon 2, en Francia, Artes Visuales/Cine en la Haute École d’Art et Design de Ginebra, Suiza, donde tomó clases con artistas como Joana Hadjithomas y Khalil Joreige, Miguel Gomes, Mathieu Amalric y Albert Serra. En 2011 pasó 40 días en Tailandia durante un taller impartido por el artista Apichatpong Weerasethakul. En 2012 vivió en la Argentina, donde realizó un intercambio en la Universidad del Cine y participó en el Talent Campus Buenos Aires, vinculado a la Berlinale. En agosto y septiembre de 2012, participó de una residencia artística en Capadocia, Turquía, que dio como resultado, entre otros proyectos, el documental “Postales desde Kapadokya”, en producción, y el cortometraje “Fui a Capadocia y me acordé de ti”, exhibido en el 16º Festival de Cine de Tiradentes y en el 23º Festival Internacional de Cortometrajes de Río de Janeiro. Su primer largometraje, “El toro”, protagonizado por la actriz portuguesa Joana deVerona y producido por Tu i Tam Filmes, recibió recientemente el premio a la finalización del fondo suizo Visions Sud Est.

Carlos Ariel Marulanda Cortés es diseñador visual de la Universidad de Caldas (Colombia), especialista en video y tecnologías digitales y estudiante de la Maestría en Teoría del Diseño Comunicacional en la Universidad de Buenos Aires. Se ha desempeñado en el área del diseño audiovisual, en largometrajes y cortometrajes de ficción, publicidad, video experimental, videoarte, performances audiovisuales y VJ. Ha realizado exposiciones artísticas, individuales y colectivas, en espacios como el Festival Internacional de la Imagen en Manizales (Colombia), en el Salón Regional y en el Salón Nacional de Artistas en Colombia.

Luis Migliavacca estudió cine en la Universidad Nacional de la Plata, especializándose en dirección y cinematografía. Ha dirigido varios cortometrajes y ha sido premiado en distintos festivales entre ellos Bafici, Festival de cine de Mar del Plata, Festifreak, BIM, Semana del Cine Experimental de Madrid.

Germán David Vanegas Méndez es artista plástico y visual egresado de la Universidad Nacional de Colombia, en Bogotá, en la actualidad es estudiante de la Maestría de Lenguajes Artísticos Combinados del IUNA. Su trabajo mezcla técnicas como el video, el objeto, la escultura, la instalación y la performance. Ha expuesto en las muestras colectivas: Tesis (Museo de Arte Contemporáneo, Bogotá, 2014), Crecer, menguar (Palacio de Cultura Rafael Uribe Uribe, Medellín), Nudos de tiempo (Centro Creativo Textura, Bogotá, 2013), Semana Protósfera (Universidad Javeriana, Bogotá, 2012) y Equinoccio exploraciones (Matik Matik, Bogotá, 2012), entre otras.

[blueskymostar-blog]

Sarajevo Film Festival

The Sarajevo Film Festival is the premier and largest film festival in Southeast Europe, and is one of the largest film festivals in Europe. It was founded in Sarajevo in 1995 during the siege of Sarajevo in the Bosnian Independence War, and brings international and local celebrities to Sarajevo every year. It is held in August and showcases an extensive variety of feature and short films from around the world. The current director of the festival is Mirsad Purivatra, former CEO of the Bosnian branch of McCann Erickson.

The first Sarajevo Film Festival was held from October 25th to November 5th 1995. At that time, the siege of Sarajevo was still going on, and attendance projections were very low. However, a surprising 15,000 people came to see the films, of which there were 37 from 15 different countries. The festival grew at a remarkable pace now being the most prominent film festival in South-East Europe, attracting more than 100,000 people annually on all programs and screening hundreds of films from 60 countries.

The Sarajevo Film Festival is hosted at the National Theater in front of which the Festival Square and the red carpet are located, with screenings at the Open-air theater Metalac, Bosnian Cultural Center, and five other cinemas and projection locations around the city. The festival has been attended by celebrities such as Robert De Niro, Angelina Jolie, Brad Pitt, Emile Hirsch, Orlando Bloom, Daniel Craig, Danny Glover, John Malkovich, Morgan Freeman, Oliver Stone, John Cleese, Steve Buscemi, Michael Fassbender, Jeremy Irons, Bono Vox, Nick Cave, Coolio, Stephen Frears, Mickey Rourke, Michael Moore, Gérard Depardieu, Darren Aronofsky, Sophie Okonedo, Gillian Anderson, Kevin Spacey, Eric Cantona, Benicio del Toro and many others.

By 2001, the European Film Association made the Sarajevo Film Festival one of the eleven festivals that could nominate a film for the award of "Europe's Best Short Film". The 2001 winner of the Sarajevo Film Festival, Danis Tanović's No Man's Land, went on to win an Oscar in the United States. In 2004, the Best Movie Award was named "The Heart of Sarajevo".

Beginning with the 13th Sarajevo Film Festival in 2007 and in cooperation with the Berlin International Film Festival and Berlinale Talent Campus, the Sarajevo Talent Campus has been added to the festival. In 2014, Sarajevo Talent Campus gets a new name and at the 20th Sarajevo Film Festival it is named "Talents Sarajevo". Talents Sarajevo is an educational and creative platform for up and coming young film professionals, and has eventually come to be revered as the most prestigious film training event in the region.

The festival also features CineLink, a year-long project development program resulting in an annual co-production market during the festival dates. The CineLink Market each year presents about 10 finest regional projects for feature-length fiction films, also offering festival guests a special opportunity to meet with the assembled regional industry, with emphasis on young filmmakers, producers and directors presenting their latest projects, productions and works in progress, with highlights of the regional production presented to international distributors, TV-buyers and festival programmers, making CineLink the most important international market place for new features from Southeast Europe.

The first edition of CineLink, which was part of the 9th Sarajevo Film Festival was held in 2003. Of the 91 entries from across the region, a three-member jury, Philippe Bober, Behrooz Hashemian and Čedomir Kolar, producers whose films have won awards at all the major international film festivals such as Cannes, Venice, Rotterdam and Berlin, chose 6 winning, and the winners were: Bare Skin (The Abandoned) - Zlatko Topčić, Bosnian Pot - Vedran Fajković, Slowly - Nikola Mišić, Totally Personal - Nedžad Begović, Roses for Tosca - Branko Đurić, Simona Stražisar and Last Day - Namik Kabil.

 Programs

     Competition (feature, short and documentary)

   CineLink Industry Days

   Talents Sarajevo

   In Focus

   Kinoscope

   Tribute to

   Open Air

   Summer Screen

   European Shorts

   Children's Program

   TeenArena

   Avant Premieres

   Operation Kino

   Dealing with the past

   Humman Rights Day

   Sarajevo Film Festiavl Partnert Presents (Doha Film Institute)

   BH Film

 Talents Sarajevo

 Talents Sarajevo is a program launched in 2007, under the name Sarajevo Talent Campus, in co-operation with the Berlin International Film Festival and the Berlinale Talent Campus. Talents Sarajevo is an educational and networking platform for emerging film talents from South-Eastern European region (Azerbaijan, Bosnia and Herzegovina, Bulgaria, Croatia, Greece, Hungary, Kosovo, the Republic of Macedonia, Moldova, Montenegro, Romania, Slovenia, Serbia and Turkey).

Each year, more than two hundred applications are received, and only eighty are carefully chosen to attend a six-day training led by some of the most prominent film professionals in the world. In addition to meeting other filmmakers and film professionals, young filmmakers are introduced to the work of established film professionals, informed about current trends and issues in the industry, and introduced to the international filmmaking community.

[oxfordfilmfest]

Our Take 5 series helps us explore some of the films playing at the festival in advance. Join us as we meet Jonathan Wysocki, filmmaker and subject of A Doll's Eyes.

#1: In 140 characters or less, describe your movie and why someone should see it.

"A Doll's Eyes" is about how watching Spielberg's "Jaws" messed me up as a child. If you saw a movie as a kid you could never un-see, this is the film for you.

#2: Biggest lesson learned in getting the film made? Best part in getting the film made?

The biggest lesson I learned in making the film ended up being in the actual film itself! I thought I knew what I was doing when I started the exploration of my obsession with "Jaws," but I learned you never know what the artistic process is going to show you. This was also the best part in making the film: discovering things about myself that were kept hidden from view.

#3: Tell us about you. What is your movie making background?

I went to UCLA film school. As a filmmaker, I've made 5 award-winning short films that have played internationally. I was accepted into the Sundance Screenwriting and Directing Labs, IFP's No Borders, Film Independent's Project Involve, and the Berlinale Talent Campus. As a producer, I associate produced the Adam Carolla comedy "The Hammer," distributed by the Weinstein Company, and produced the upcoming indie feature "Thrasher Road." As you see, I love film!

#4 What do you want the Oxford Film Festival audience to know about your film that isn't obvious from its title or description?

The film is an essay film that is entirely made from recreations of the past and present. The formats include Super 8mm, Super 16mm, Hi8 video and HD video. If you lived through the early 80s, it will likely trigger a memory or two!

#5: What does the future hold in store for your film and for you?

The film will continue to make the festival rounds in the US and abroad, which is so exciting. I just want people to see it! And I am currently working on a feature project, so there is more to come. Social Media for your film.

Learn more at https://www.facebook.com/ADollsEyes/ or visit http://www.oxfordfilmfest.com for the schedule and tickets.

[festivalists]

Videophilia

Our Critic's Choice challenge might be over, but we keep on delving into the subject of film criticism and its many reincarnations, with a special focus on guerrillas and iconoclasts. This is why, to see the bigger picture, let's take one step back – our editor-in-chief Yoana Pavlova at last found the opportunity to talk to Juan Daniel F. Molero, former IFFR trainee and Berlinale Talent and most recently IFFR Hivos Tiger Award winner with VIDEOPHILIA (AND OTHER VIRAL SYNDROMES) / VIDEOFILIA (Y OTROS SÍNDROMES VIRALES) (2015).

For the last 120 years, cinema has been one of the most affordable and accessible drugs. Film festivals, especially in the age of social media, become more and more a shared narcotic delirium, where strangers enjoy the luxury of gathering together, physically, and then immersing in the same vision. What is particular for the Hivos Tiger Awards Competition at IFF Rotterdam is the fact that only the bravest and the most curious dare to take the trip. Its programming concept is to have the viewers transported to a place where they have not been before – not just geographically but also aesthetically, emotionally, ethically. Recent Tiger winner VIDEOPHILIA (AND OTHER VIRAL SYNDROMES) / VIDEOFILIA (Y OTROS SÍNDROMES VIRALES) (2015) went further, transporting the audience in a different dimension – some were ecstatic, others left the cinema hall furious. One must have the stomach for “Carlos Castaneda meets La Blue Girl”, especially when it is shot with a grain of messy Philippine style.

As for me, I recall meeting VIDEOPHILIA's director Juan Daniel F. Molero in 2010, again in Rotterdam where he was taking part in the Trainee Project for Young Film Critics, and he quickly became one of these people I connect to, first in person, then on Facebook, Twitter, Tumblr. Being the geek and the genre junkie I am, seeing VIDEOPHILIA did not turn into a “horror trip” (in the words of one of the personages), I enjoyed instead spotting the cosplay markers, or the Moebius comics, or the Netscape error message, or the small tributes to directors I admire – all this coming straight from the mind of another fellow junkie. After the end credits, I had the (delusional) feeling of a dialogue and went to bed imagining what the cinema of the Mayans and the Aztecs would have looked like (trippy). Yet, my ensuing conversation with JD is rather sober-minded.

Yoana Pavlova: I remember when I first read your short bio on the webpage of IFFR Trainee Project for Young Film Critics in 2010 – it said that you prefer video blogging to writing. During that same festival edition, you presented your experimental documentary REMINISCENCES / REMINISCENCIAS (2010) at the Signals sidebar – a film that explores your actual memory loss as a result of an accident and reveals how you overcame the problem by delving into found footage, public and intimate. Do you think that your inclination towards images instead of words became a trend after your physical trauma and REMINISCENCES, or it has been a natural predisposition?

Juan Daniel F. Molero: I have always been more related to images than words. As a child I grew up being extremely shy and studying at an English language school, so that combined with some speech impediments turned me into someone who understood more images than words, as I never learned Spanish or English appropriately. So I started an internal war against words and did not trust definitions, I still believe images are deeper and closer to truth, even more in our contemporary ever-changing times. With such a solitary and introspective early life, I became obsessed with finding the perfect translation of what happens inside our heads: thoughts, dreams, memories, fantasies, hallucinations, and subjectivity. And then I discovered that cinema with montage experiments could be the best way to express all of this, which I thought was forever locked inside us. Ever since I have been doing my psychonautic research on those fields, complemented with movies, books, and external trips. Maybe because I have never been to a psychologist… I feel like there is a virgin jungle to explore inside there and where you can find universal truth. Filmmaking is my therapy, as it helps me find my place in the world and connects me with others in a healthy organic way.

YP: The work on VIDEOPHILIA took a few years, and you were handling every stage of the pre-production, shooting, and post-production – which was the most difficult part?

JDFM: It was very hard to take off, but maybe I just had to be patient. I have had the film’s treatment since early 2011 (last time I was at Rotterdam as Press) and since then had been re-writing the script many times. Until I realized that it was not useful, so I decided to keep a summarized script, mainly structure and actions. That way I would not mislead my crew and cast with new ideas every day. So when I met the main actress, we just started shooting some screen tests based on scenes that ended up staying in the final cut, and we started shooting the film without even knowing. It was hard to understand that I was not doing a high-art film production, that it would look kind of trashy, even if I tried my best. But everything just started flowing the right way once I embraced that idea and identity. It is hard to forget what film schools and the industry have taught about how a film should be made. Our production method was very unprofessional, everything was entangled, but I think it had to be that way. That chaos and amateurism is a big part of the film… It is not something we should hide. We are even proud of it: our shitty camera movements, the dead pixels of our camera, the mumbling of the actors… It makes a lot of sense with where we come from and who we are. But we were mostly focused on doing something honest with ourselves and that did not bored people, because we want this film to be watched and not only by academics.

YP: Given the complex narrative and the fact that you had plenty of locations in Lima, did you let your actors improvize? How did you work with them? (I am even tempted to ask whether they actually tripped on the set)

JDFM: Yes, a lot of it was improvization based on guidelines and going with the flow, but the final cut is almost the same as the original script. All of them are (or became) my friends, and each character was adapted to best fit their personalities. An interesting fact is that all of them are creative beings: painters, poets, performers, writers, musicians, curators, artists, and filmmakers. I am very opened to a collaborative method of filmmaking, that is why I casted these people without doing a single casting, just getting to know their personalities and their creativity from hanging out or partying in Lima. Then I just imagined them like in dreams, where you see people you know playing different roles or how would they be in this other dimension where VIDEOPHILIA belongs. There was not much of pretending in this film, most of the reactions and states of mind can be considered real. I was always confusing them without telling them much about the characters or scenes, but that was good... It is a confusing film with confused characters. I did not want them to be sure of who they were, nobody knows. I think a lot of the work was to create a comfortable environment where they could feel at ease. Of course it helped having a reduced crew (usually three or four people) who where treated the same way as the cast. There was this feeling that we were not doing film, just fucking around with a camera and friends. But at the same time I had to make them feel they were not wasting their time and this was actually a movie. They are all mad people and I like them that way, I just wanted that thing that I enjoy about them to be projected into the screen. It was hard to balance the spontaneity of improvization with the fast pace of dialogues and scenes. But I think we found a nice point in between, thanks to their energetic performances and the heavy editing work.

YP: My favorite episodes in your film are the moving collages, to what degree are these visuals influenced by your work as a programmer / curator of experimental and avant-garde cinema? Or rather by your experience as internet user?

JDFM: I have always seen experimental cinema as an insanely rich database of techniques, if you do your research. Especially if you plan to transplant those techniques to narrative cinema. All these great filmmakers have been developing for decades what I call a cinematographic slang language (mainly because it is still not validated by institutions), but in this movie I am also combining it with stuff from video and net art. The glitchy collages have more to do with my previous work, this is the first time I am seriously working on fiction. But I am definitely influenced by the films I see when programming, I like to use different experimental techniques throughout the film to communicate ideas or feelings that really need them. I see these as any other film techniques – like a close-up, a transition, a wide shot, a pan, etc. We have to adapt to the new moving image language that is no longer only TV and film but now almost depends on our internet experience, which is a never ending collage of windows, pop-ups, avatars, banners, different time zones, languages, videos, music, news, interactions, codes, propaganda, etc.

YP: It seems to me that the early David Cronenberg and the early Richard Linklater are obvious influences for VIDEOPHILIA, what about the Japanese genre cinema that had an impact on you? Manga / hentai? Did you use any specific references in terms of visual and editing style?

JDFM: Yes, Cronenberg and Linklater must be the filmmakers I have liked for the longest time. Was lucky enough to discover them on my early cinephile teens. As well as the Asian cinema that I bumped into when downloading torrents of the "Top 10 most disturbing films". Takashi Miike, Shinya Tsukamoto, Sion Sono, and Park Chan-wook where important, when I started to get obsessed with cinema and decided to try to become a filmmaker. Maybe in those movies I found a mirror of the corrupted Peruvian culture. It really impressed me the way they dove into the dark waters and did loud, beautiful art with it. They were just being honest. But then, of course, I also have my soft side that is into Wong Kar-wai (my main inspiration for the free-form production method), Tsai Ming-liang, Hou Hsiao-hsien, Naomi Kawase, and Hong Sang-soo. Later I would discover filmmakers like Andrzej Żuławski, Roy Andersson, Iván Zulueta, Jarmusch, Álex de la Iglesia, Lars von Trier, Gregg Araki, Fassbinder, Leos Carax, Werner Herzog, Ulrich Seidl, Korine, Lynch... which where all combining different cinematic tastes in very successful ways. And that kind of guided me to try to search for my cinema somewhere in between all these different film styles I enjoyed equally. But I have to admit I am also in love with sci-fi literature: Ray Bradbury, William Gibson, Philip K. Dick, Asimov, and Burroughs. I was actually hooked by the cut-up technique when shooting the film and was focused on un-coding the external world. You can see that in the disruptive cuts in the film's structure. On the last few years I have gotten deeper into experimental and avant-garde cinema. I even had the chance to meet great underground filmmakers like Craig Baldwin, Ken Jacobs, and Saul Levine. Their aggressive editing styles and political aesthetics were important to find VIDEOPHILIA's ultimate identity. But there is also a lot of influence from the Lima tradition of seeing things. All my artist friends share a DIY way of creating constantly. I wanted this film to feel like their songs, poems, paintings and especially comics – like the work of Jorge Pérez-Ruibal, who helped me with early sketches for the characters' development. I wished my cinema could be closer to the raw, unpretentious, handcrafted art that he and others do without expecting much money or fame from it.

YP: Watching VIDEOPHILIA's protagonist Luz and her mysterious sister, never actually interacting with each other and living their own lives separately, made me wonder – do these personages sum up the choices young people in Peru have today? Going with the flow, choosing material and virtual reality, as opposed to getting socially disconnected, being involved into radical activism?

JDFM: It is hard to say. There are very few youngsters involved in radical activism. Sadly, after the Shining Path conflicts, to be a rebel in a political way is not cool anymore. There is no ideology we respect, only late capitalism of course. We have lost hopes on politics. But in the film Luz’ sister is from an older generation that may still be interested in anarchic activism. I think my Peruvian generation is more divided between nihilism, hedonism, and psychonautic spirituality. I think the characters of the film roam around all of this.

YP: Reflecting on the way you employed your life-story to construct REMINISCENCES and on the way you moved to the next level with VIDEOPHILIA, with the subjective camera shots plus the fact that the actress Muki Sabogal is your actual partner (if I understood correctly), it occurred to me that what you do as a filmmaker could be compared to the GHOST IN THE SHELL / KŌKAKU KIDŌTAI universe – you act both as a shell and a Puppet Master, your auteur cinema is highly immersive experience, where you serve as a peripheral device. How would you comment on that interpretation? Is this actually the direction in which you see your work evolving?

JDFM: It always gets freaky at one point when playing on the thin frontier between your life and your films. Muki became my partner after we shot the first screen tests. At first I did not think it was a good idea, as the future of VIDEOPHILIA was at stake. But then it was very natural, and it made a lot of sense. So it was not like I decided to put my girlfriend to act in this film. But at the end it does not really matter, because it ended up putting me in a very weird situation. It was, like you say, as if I had written my own destiny. I actually hoped that after watching REMINISCENCES (an explicit autobiographical portrait) people would not think VIDEOPHILIA is self-referential. It is just hard to separate yourself from your characters. I think it is a schizophrenic exercise or manifestation to write fiction. So it would be useless to identify myself with just one character. All of them represent a part of me, why hide it? As I said, I am actually trying to divide my more self-referential work from the hyper-fiction side. But then suddenly I could find myself living what I wrote a few years ago. You never know, maybe it is a curse or maybe they are visions.

YP: When we met in Rotterdam, I have to admit you looked surprisingly relaxed for a Tiger Competition contender, what were your expectations as a filmmaker, when you arrived at IFFR? What was your overall festival experience this year?

JDFM: It was amazing. Everything felt so familiar as I had been there twice before and already knew the theatres, some people, how the festival worked… It is a festival I respect a lot, mainly because we share this interest in language innovation and maintain a distance of all the glamour branded on fancy film festivals. I felt I was where I had to be. And that is VERY relaxing. I am very thankful to the festival for gambling with a film like mine. I think it is an award that goes to DIY filmmakers more than to Peruvians. It is a sign that you can still get some attention and recognition, shooting with almost no money but with a lot of pleasure. No matter where you are from.

YP: Last but not least, in your Screen Daily interview you mention about the plans to expand Tiempo Libre's activity (the cultural association that produced VIDEOPHILIA) and offer residence programs as well as co-operate with US organizations, could you please tell me a little bit more? Do you intend to focus mainly on the DIY filmmaking culture in Peru, probably on distribution as well, or you would rather opt for international collaborations?

JDFM: We are open to all of that. Right now, I am focused on regional co-productions with fellow Peruvian, Colombian, Ecuadorian, Bolivian, and Chilean filmmakers. There are no private film grants or institutions here, so I have a deep feeling that we need an alternative to state support. And right now the only thing we have in our hands is to collaborate among us. To create a film system that does not depend on grants but that could survive an economical crisis… like the one we had been living in for a long time. Now things are starting to change and suddenly Peruvians are on a period of stability. It is time to build!

If you are a film industry professional, you can watch VIDEOPHILIA (AND OTHER VIRAL SYNDROMES) on Festival Scope