Fire and maternity
- Outside the Official Section, fire has been one of the elements that has been repeated, related to pyromany in O that burns, and raised as an accident in the Chilean film Ema. In the case of Oliver Laxe's film, fire enters the painting, while Paul Larraine's film falls outside of it. In both cases, however, the issue is directly related to the main conflict. An aesthetic object like fire makes the image attractive thinking cinematographically.
Macrostructures and relationships with their environment have also been developed in more than one film. On the one hand, Urpean Lurra explores the memory and dreams of those who lived the struggle against the Itoiz reservoir. The film Giraffe, which is premiered in the Zabaltegi-Tabakalera section, focuses on the tunnel to be joined by Denmark and Germany. The milieu of l'horizon tells us about the impossible ways of exploiting a more global land and increasingly difficult rural life.
In any case, the theme that has been repeated in most departments has been motherhood, or the relationship between parents and children. Lucy + Linn is a film that contrasts normative and irresponsible motherhood, exploring the margins this experience has in the lives of women. In the same sense, the protagonist of the film Ema, previously mentioned, seeks his own way of conforming a family in which his mother cannot fit into the hegemonic model. Private fiction is a work in which Andrés Di Tella pays homage to his parents, retrieving the letters that were written and trying to understand their relationship. The short film Ama de Mateo talks about the complicity between mother and child, but also about the difficulty of understanding each other. In the film Diu jiu tian chang are reflected the parents trying to fill the gap left by the baby they have lost. Finally, as far as Argentina is concerned, Good intentions are told the story of three brothers who have a separated father who develops as an autofiction biography. The theme invites us to reflect from different points of view on the bridge between these relations and cinema. One can think of how he combines the time of the filmmaker with that of the mother (father), and if that has weight when choosing the subject. In this case, it is also important that relationships be universal: in short, we are all (being) mothers and fathers, children, grandparents and grandmothers... and we know some of the issues that this entails.
In one way or another, the themes that are repeated always attract attention, as the director takes the main axes of the creative process for months and years. It is better for them to be the subjects they are going through, at least initially. In the end, you may not want to know more about it. Or yes, and in a second they will delve into the topic discussed in the first. In any event, it will have to be seen whether or not next year will change the issues we have seen this year. It can be a sign that the interests of society change. Meanwhile, to reclaim life beyond the screen.
Salda edo zopa bero batekin alderatzen du bere zinema; soila eta konplexua aldi berean. Ez hain estimatua azukrez eta kimikaz jositako garai posmodernootan, baina aterpe bital bat eskaintzen duena. Cannesko jaialdian gozo hartu zuen kritikak zein publikoak O que arde filma... [+]
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Takashi Miike Audition filmari esker ezagutu genuen, 1999. urtean. Plural horrek badu maiestatikotik –nik bederen orduan izan nuen Miikeren berri estreinako aldiz–, baina plural normala ere izan daiteke, susmoa baitut ez direla guti Miike beldurrezko filmen bidez... [+]
Bi irabazle garbi eta zenbait tendentzia utzi ditu Donostiako Zinemaldiaren 67. edizioko palmares ofizialak.
Zinemaldiaren sari-banaketak bi pelikula nabarmendu ditu besteen gainetik: Paxton Winters zuzendari brasildarraren Pacificado-k irabazi du pelikula onenaren Urrezko Maskorra eta beste bi sari ere lortu ditu: Bukassa Kabengelek jaso duen gizonezko aktore onenarena eta argazki... [+]
Jada hiriarekin sinbiosi bat gertatzeko bidea har zezakeenean amaituko da astebete luze iraun duen zinemaldia. Akaso suitzar aktore batek Bagerak banatutako kanpotarrentzako euskara hiztegian ikasitako hitzak buruz esateko gai izan da gaur, edo abortuaren aldeko argentinar... [+]
Zinemaldia bere helmugara iristen. Ia film guztiek izan dute beren lehen emanaldia, eta haietako gehienek, medioetan kritika. Ikuslegoak, beraz, ez du ausaz jokatzen jada. Behin baino gehiagotan entzun ditut ondokoak esaten: "Hau ondo jartzen dute, ondo egongo da" edo... [+]
“Batzuetan gertatzen da, film bat amaitzen den lekuan segitzen duela hurrengoak, programatzaileek edo zoriak Zinemaldiko film guztiak josita metafilm erraldoi bakar bat egin nahi izan balute bezala”. Harkaitz Canok atzoko zutabean idatzitako esaldi horri bueltaka... [+]
Zinemaldiaren seigarren eguna eta azken txanparen hasiera da. Asteazken honetan gauza harrigarri bat gertatu da: badakizue nola filmen aurretik jazz musika dirudienaren nota batzuk entzuten diren, zinemaldiko leit motiv antzera? Eta jendeak txalo egiten duen, erritmoa... [+]
Eguneko eta segur aski Zinemaldi osoko “baina zer ostia?” momentua bizi ahal izan dugu La hija de un ladrón filmaren prentsaurrekoan.
Euriak hasi eta bukatu du eguna, tartean eguzkia atera bada ere. Zinemaldia guztiz donostiartu da, auzo berri bat sortzeko prest egongo balitz bezala. Zinemazaleari pazientzia agortzen hasi zaio: nahiago du pintxoak jatera joan Abuztuak 31ra filma aspergarri bat ikusten gelditu... [+]
Beti deitu izan didate arreta Zinemaldia jarraitzen duten atzerriko korrespontsal eta kritikari batzuek. Konkretuki, adinean aurrera samar joanak dauden horiek. Beraien ile zuriak, ibiltzeko modu zahartritikoak, bazkalosteko paseetan egiten dituzten zurrungatxoak. Siesta horien... [+]
Iritsi da zinemaldia bere meridianora. Hiritarra ohitu da zinemazaleen itxurara, eta ikuslegoa aretora. Bat baino gehiago lo aurkitu dut emanaldietan, inguruarekin konfiantza hartuta edo. Zuzendariei galderak egitea ere ohiko bihurtzen ari da. Beste egun bat, saioetan.