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CYCLE JUNE / JULY 2010: "A NEW FILM PERUANO"

The national cinema during the last decade, has made a movement of avant-garde filmmakers, who reap the economic benefits, formal digital video technologies Homemade editing, and the proximity of developments film through the internet and the alternative market, have built their own language, according to new independent global trends. These films, which have the recognition of an important sector of local and international criticism, even hidden from mainstream audiences, in this cycle show in order to broaden the debate on the need for a new national imagery and contemporary national cinema .

Therefore, the Cultural Department of the Technological University of Peru presents cycle film called " CINE PERUANO NEW " dedicated to show self-financed production of youth groups and national filmmakers, those who opt for an experimental film language, close to the avant-garde contemporary art, presenting formal proposals and innovative narratives.

Each film will be presented by Eduardo Quispe and commentary by film critic Mario Castro Cobos . After the screening of "3", Wednesday July 7, 2010 , will be held on conversatorio "The need of a new film in Peru . The panelists will be the directors Juan Daniel Fernández , the Collective kinesthesia, and Mario Castro Cobos, in an interaction with the audience.

We leave programming. Admission is free.

* On Thursday 17 June and 01 July there is no projection.

Thursday, 03 June - 7:30 pm

"Reminiscences"

Address: Juan Daniel Fernández.

Country: Peru
Duration: 80 min.
Year: 2010

Synopsis:

Movie is based on neurological experience suffered by the director. The memory of John Daniel and not hers, following an accident in early 2009, fell into a state of amnesia that can only be cured by watching home videos and pictures of your dreams by joining reminiscent. Reconstructed in this way what could be his memory and identity. Months later he would meet too many memories film, product images captured by different cameras, are seen through three generations of a film that ranges from autobiographical documentary and experimental digital editing.

Thursday, June 10 - 7:30 pm

"Behind the Sea"

Address: Raul Del Busto
Country: Peru
Duration: 99 min.
Year: 2005

Synopsis:

More than a pending trial, "Behind the Sea" is a disturbing presentation of time after the decision. Three people have chosen something, or have been chosen for something. The three characters await something that will come from the sea, as evidence of a powerful entity. The film is about the uncertainty of waiting and overwhelming, which leads to reflection, places the viewer in the place of the portrait, which looks without being seen to the three characters, as he sits contemplating the sea.

Thursday, June 24 - 7:30 pm

"The Actors"

Address: Omar Forero

Country: Peru
Length: 109 min.
Year: 2006 Synopsis

A couple of theater students fall in love, a woman suffers a sudden illness, a guard (watchman) lives her solitude, and an old amateur actor ago his dream of performing in public. Each story follows its own way and some come together in unexpected ways.

Wednesday, 07 July - 7:30 pm

"3"

Address: Jim and Eduardo Marcelo Quispe
Country: Peru
Duration: 68 min.
Year: 2010 Synopsis

A city, a park, any one time. The film portrays a group of young Lima, who talk about their lives, their interests, achievements, disappointments, disappointment, the commonplace, the privacy of each, showing worlds apart by the benches and sidewalks, but related by the space-time in the park, approaching to a microscopic view of a generational reality which the protagonists do not quite understand and adapt. The film oscillates between naturalistic fiction and documentary. It was recorded in one take sequence.

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REASONS FOR A NEW CINE PERUANO

LO ECONOMIC

is inconceivable that in a country where the minimum wage (S /. 550) is a quarter of the basket (S /. 2.112), where the budget for education is less than 3% of GDP, where there is no film school, which annually releases national film business does not reach double digits, with an audience away (or rather disappointed) of the rooms to be a Peruvian film with a Programming billboard and airwaves saturated with stupefying Hollywood productions and the like, and that there is no clear policy to support the production, distribution and exhibition of films away from CONACINE criterion, is thought to create a film industry.

Do we need an industry in a country of such conditions?

If so, what are the criteria of production for this industry?

Who would shape their policies and what his mode of support?

Who would support, and why, taking into account the background?

state grant competitions are hiding in the low budget in a country where not given accounts of the money invested in films of low artistic, educational, and is also commercially a failure.

Exceptions do not make the rule.

can not speak of a Peruvian film off the success of Claudia Llosa isolated or Hector Galvez, nor can one speak of successful negotiations for entirely personal achievements. No dawn to open the window.

Should I keep waiting occur only in 35-mm celluloid, and through a production company that "has experience in the middle?

How many 35 mm cameras on the media and how much use without rolls and technicians that know how to use?

THE SOCIAL AND CULTURAL

If 99% of commercial releases are foreigners, and that percentage almost everything is made in the USA, instilling the American way, extolling their policy, culture, economic model, its heroes and criminals, we have only to live in a colonial cultural.

No images themselves, and assume imported.

Under the same principle governing the pseudo art and cultural industries in Peru, using native code in a foreign structure, no identity, no personality, no eigenvalues, more closely associated external sensitivity (not surprisingly, the level of racial contempt that exists in the country) to a look inside. Without having our own way, the donkey will always be tied to the door of the dance. And even in provinces want to imitate (the worst) Hollywood.

What can be expected if consumer's ideal image of cinema is that of a guy sitting next to her friend / girlfriend / etc. Watching a movie gringa, descriptive comments mumbling between every handful of popcorn that spreads in your mouth?

Aesthetics / Ethics

And not just talking about influences, as a personal language is always influenced by global, if not an absence of substance. Movies soulless, empathy with almost any kind of audience. Films are full of clichés gastadísimos of repetidísimos gags, predictable in a sweltering, improbable, of (mal) mounted television, theatrical performances, full of moralizing and false tears of clothes.

are films that have not taken art as a way to find the best way to show the history, philosophy, reality. Have failed in their attempt to show universes, worlds, landscapes, urban or rural, personal or collective, naturalistic or realistic.

have left the previous outrages just being gentrified, superficial gaze explained narratives that do not move, do not inspire, and worse, do nothing, neither the language nor society, nor the public .

A NEW FILM

If there has been industry means that there was no cinema?

The film exists with or without industry, movies are there. There is no tradition, or this is a very poor. Its shortcomings, discussed earlier, lead to the need for a new cinema, a cinema that is not made in any parameter of the old. Only you can save the film breaking.

The art is for it to say and unsay, to move forward and not stagnate. An artist is never conservative, always somehow have to innovate, otherwise its rationale loses value and meaning.

Cinema of Peru lived modernity, art was nonexistent. Until now.

then arises a movement that has not demonstrated, but overlaps. The principles and reasons for making films, and his search for a personal language, free of conventions, the grouped separately from the old.

So Fernando Montenegro, Rafael Arévalo, Juan Daniel Fernández , Raúl Breast , the collective kinesthesia (Marcelo Eduardo Quispe and Jim), among others, are building a platform individually and simultaneously. They are the product of necessity, lack of wealth and the opportunities given by the cheapening of new technologies, access to information from the global cinematic landscape over the Internet, the approach to film the new (and not so new) global trends in the market through "informal" (blessed are you, Powder Blue), and especially the generational experiences, thereby generating the birth of a new cinema, new directors, whose traditions are themselves, they have not asked a penny to CONACINE, despite being in the right, they are public funds that should be better utilized.

alejadísimas His proposals are far from done in these parts, are risky for the experimental and artistic. Their independence is beyond the self-financing, is a way of being and doing, a philosophy, a lifestyle, a certainty to make the film in which they believe, to satisfy a need for expression, to create, to say something new, the most novel and why not personal as possible. Opening a channel for dialogue with the audience closer to understanding this reality, not just studying or looking at it as a phenomenon. Speak the truth, your truth, share and tell the freshness of a new era, enjoying a freedom that that is not accountable but only the self-imposed, to transcendence and honesty.

(In those days, we will continue writing, interviewing filmmakers, posting videos and reviews of new cinema. In the meantime, I leave you with the link fragments Fernando Montenegro Deuna interview published in the Godard *

magazine

http://lacinefilianoespatriota.blogspot.com/2010/05/encierro-2009-de-fernando-montenegro.html * Source: cinephile is not patriotic. )

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messages of hope on railway children, trees and books

I have a child ... I guess so, he will someday. In fact, he always answered my assertions regarding my future wilderness with his eyebrow raised, frowning and head slightly tilted, in a gesture that touched the inquisitor questioning what is not understood. Then let go of his "daughter, you do not want to be a mother?". It is also true that ten years ago was so clear, became more turbid with time, but eventually the balance will tilt the dish fruitful. Atavistic issues, equally mixed-biology and culture, estrogen and fairy princess clock and Hollywood romantic comedy. However

tree as I see it much more difficult. Among other things, because we have nowhere to plant one and also because it would plunge the poor plant to certain death. She inherited her mother's ability to heal many things, but not precisely those who have the habit of photosynthesis.

The thing is, yesterday presented his first book and could not be with her. To say that my heart it made me think, well cheesy, a cathedral-sized lie I'm pragmatic, empirical and material and emotional not believe in transmigration. I can not say what they wanted most in the world because even this morning I had the feeling of being able to try different tricks and imaginative work that would have been more productive.

In any case, I've reread one of the seeds of "guest star"-Maribel, Lolo and a laptop that gave him years ago are some of the others, and I fly to thrill ( daughter whore , how well you write ) with its ability to transform a near-death experience in a handful of kisses or make 27 became my favorite number. And both then (when I first read or saw his name printed on proofs) and now I feel an overwhelming force that pushes me to say Choni, I love you and I'm proud of you .