Mini Van Alternatives

I think a filmmaker / artist should always be himself, but he never forgets where he stands. Does not ignore the social and political reality, nor does a blind eye to injustice, abuse, and inequality in any level and in individual areas of life.

No matter what you say postmodernism (or rather, the posvanguardia) activism artists is almost inherent. In one way or another rebellion is an artistic requirement, the claims a reference standard and context (historical or not), an essential element in the creation, treatment with either a direct or indirect.

artists, most boast a mythical image of marginal visionaries of a better world by showing the worst of our miserable reality. At all times have been iconoclastic positions (the Most times parricide), challenging the political, academic and moral of his time confronting the reactionary pro-establishment, that patronage geriatric arbitrary and prejudiced about almost everything, and are an open invitation to dissent.

formal Every revolution was born from a position contrary to the provisions, which concerns not only technology, but the thinking, ethics / aesthetics, a way of being, doing and being. Those concerns to look 'differently', to undermine the rules and conventions is an attitude typical of the artist, regardless of its importance in history.

Without the need to be a political artist, the artist in politics, because it expresses and shares a vision of the world. More with the artists considered 'the future' prophetic those beings were ahead of his time with the feet on the ground and head in heaven or hell, depending on the case.

short, the filmmaker who makes art (do the filmmakers really?) Always seeks to do things differently as a result of having a disagreement and a way of thinking and seeing the world.

I can not imagine Apitchapong Weerasethakul, I understand the filmmaker / artist of the decade , in a subdued and suitably aligned attitude in a situation that merits the indignation. As evidence of this, a word of good Api:

"In Uncle Boonmee ... I wanted to do a tribute to the past, my past films. There is a recurring theme throughout the film is the theme of the reunion of the characters, of memory and low memory ... and all that, there is a political awareness of where it was filmed northwestern Thailand. There are two clearly distinguished, but there is talk of a film that has already passed. I hope my next movie is focused on explaining or developing a socio-political issue and go deeper into the currency of my country. " (Interview by Gloria Fernandez, November 2010.)

It should be noted that genius Thai name of art and true freedom, constantly challenging the dictatorship of his country, as an active member of the Free Thai Cinema Association. Besides, what better activity than the production of beautiful pictures Thai censorship can not hide, even hard-working regardless of their intentions cave.

(If you understand Thai, or you want to work to translate into google, this is the link of movement: http://freethaicinema.blogspot.com/ )

Jean Luc Godard , a filmmaker reference for many generations, both for its continued violations formal as his political position, denouncing the abuses of his government in the Algerian war, the subordinate position of France to the war in Vietnam, as well leading the demonstrations in Paris May 68 that it had canceled the Cannes Film Festival that year, being also part of the movement for the creation of the Palestinian nation, the civil rights struggles of African ancestors, denouncing the war and massacres of all flags, as occurred in the nineties in the Balkans, that, without their period of political activism in the group Dziga Vertov.

And being as the living legend, has the luxury of arrochar the Cannes Festival in more than one occasion, despite the honors and invitations to all, as a matter of "principles ". Needless to say, rice tossed him an honorary Oscar.

A pearl: the great French-Swiss director donated money in September this year for the legal defense of James Clement, a Frenchman fined 20 000 euros for downloading 13, 788 MP3 audio files through BitTorrent. Godard at the time said: "It's not where you take things, is where you take them ... I am against Hadopi (coyright French law on the Internet), obviously. Intellectual property does not exist ... "

Lelouch, Godard, Truffaut, Malle and Roman Polanski in meeting adjourned at Cannes Festival join the protests of May 68.

Tomas Gutierrez Alea , the great command to roll Titón comrades ICAIC (Cuban Institute of Cinematographic Art and Industry) of the Stalinist dictatorship of Fidel Castro, among other things, policy interventions to the themes and film treatment and the censorship that resulted in the Institute. The commitment to art and consciousness is more than that may have the power or the powerful, whatever political banner.

Buñuel and his confrontations Open the Franco regime and the clergy complicit Visconti, Rosellini and other face of Italian neorealism Italian Fascism and German (despite starting his career under fascism, Rosellini was never loyal to driving, and kissed his hand. The Visconti for his film Ossessione 1942 is considered the first neo-realist film to denounce the excesses of fascism, the censored to remove half of the footage and ban until 1976 the international exhibition), Kieslowski and fighting the system Polish communist, Jan Svankmajer provocative almost incendiary Czech regime, Costa Gavras and commitment to social struggles of most people, the Dardenne brothers and his criticism of the inequalities in the Europe of the millennium, a path that also passes Bruno Dumont, Laurent Cantet , among many other great filmmakers in the world.

In Peru, does anyone dare to confront them all as he did Tsai Ming Liang with " The Wayward Cloud ?. History tells us that the Government Information Office (GIO, an acronym in English), Taiwanese government body responsible for determining the publications and make editorial changes to films before they hit the screens, tried to qualify the film as "obscene" and tried to cut it (well, for the controversy over the musical scene in which Chen Shiang-Chyi, Lu Yi-ching perform an erotic dance around and over the statue of Generalissimo Chiang Kai-shek in the middle square of the National Palace Museum in Taiwan), to which the Malaysian filmmaker complained and threatened not to project on the island if it was not intended the film as he conceived it, to what which, the GIO was discredited worldwide (because the movie had just been recognized in several festivals, including Berlin) and finally gave. Indeed, after of disputes, the authorities in Tai Pei awarded a special prize to promote Tsai good image of the city, although no samples Tsai favorable tourist sights, cultural and Taiwan.

I rescue a phrase of the writer and independent filmmaker Alberto Fuguet :

"... When the ideas are vague, we need clear images. I personally do not think any artist should have any responsibility beyond their own history, character, aesthetics and ethics. I do not think it necessary or mandatory to help a reasons or others, or take over current and urgent issues. But then again ... amazing to see so irresponsibly aesthetics. "

(On May 68, written in May 2008).

is a fact that within each film in the world are spoiled predilections toward that fall within the standards required by each industry.

is inevitable that constitute neo-courtiers around power shift, but a true artist does, is complicated, if not unacceptable. There can be compatibility of interests between those who only seek God's womb and be stark and dismembered (or should) in each work of art.

; ... ... ... ... ... ... ... ... ... ... ....

These months saw with shame to many of the figures of national cinematography supporting a bill that gives more money to the distributors and exhibitors that saturate our hollywodense scrap boards, and In addition, each can mistreat a few movies that are released in theaters.

Question: Any filmmaker / artist would hand truth of a character like Carlos Raffo defending a law that benefits multinationals billboards polluting the world?

not forget that Raffo, whose infamous phrase triggered this post, is defending the dictator, murderer, traitor, thief, corrupt and corrupter of Alberto Fujimori. Or does not that count when you have a position? If up to Mr. Lombardi will start the idea was disgusting.

And even after the scandal unleashed by a scandalous approval of a bill scandal in the legislature, there were those who spoke and who stepped back in his support for the legislation, or group that drive human, together with other little sheepishly claiming not to lose the 'way', always 'respect to colleagues' or better to pass the matter by warm water, however, things were clear:

- It lied to the public stating that this law was agreed by the film community to benefit from it.

- It lied to the film community with pride when they said they were going to get more funding for domestic production, as the law eliminated the state's contribution to Conacine (holding the good will of the majors), apart from contributing to the filmmakers.

- It lied in the first instance by mentioning a benefit to the regional cinema of 20%, when in fact it was 3%.

- It lied and lied to mention that passing this law is the only alternative to obtain more funds for the cinema, then, if as we hope this bill is viewed by the executive, returns Congress, where it can get to develop a project that contains a real boost to the film. Enough of resignations by the tale of the 'lesser evil'.

Now, is innocent, naive or covert complicity? You can not openly support him do not know well, not anticipating consequences, and if you do, not just appealing to the 'good intentions', a term that is ridiculed by so much (ir) responsibility.

But, being understanding, say it is time for Peruvian film makers really do what they initially had to do, fight for the few state funds for the national film promotion increase, are decentralized and are channeled to the development of the country's film industry (Which does not mean strictly grow multiplex cinema in the country) without the decency to engage the artistic attitude and the personal challenge of being self-demanding, self-critical, and be aware that grants are initial support for any artistic career truth.

is gratifying to know that there are real artists who have cinched the real fight for the true development of national cinema. Good to know that they can look ahead without being accused of anything in this mess, that clean hands and collective interests prevail over the poses, the glories of paper and pocket happy with an empty soul.

For those who do, it is never too late, especially if you're an artist, a real one.

Thank You Church Letter

Tuku WAXT'ÄWINAKA

Haw Does A Cervix Feel On Your Period

what was seen: BALANCE OF A DECADE

'Syndromes and a Century "by Apichatpong Weerasethakul

This decade is marked for leadership of information technology and digital technology, which made the world away from Hollywood movies come to our country by different media, feeding the national scene and influencing the film is done with fewer resources and more enthusiasm.

movies I can not qualify as "good" or "bad" because it is not valid in the art dichotomy. Nor can assess whether a film works or not because that would be pragmatism reduced to pure statistical analysis and technical criteria. Let's say we talk about the value of the films, both for his contribution to cinema on narrative aspects, technical, expressive, and so on. and the risks it assumes, then, a movie that only dives into the waves of trends, or popcornmovie the sea does not deserve my respect and my appreciation or valuation.

Without further ado, here is the balance:

'Three Monkeys "by Nuri Bilge Ceylan

THAT THE NEW WINE:
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we very, very little , to distributors in the country. But the alternative market, internet, and especially many film societies have left us to see and value the best world cinema (the film is being rewritten now more than ever), bringing complete filmographies authors during this decade have become essential.

I must admit that much of the work of this balance was provided by the cycle program, from October this year, the film society Cayetanno Heredia University, " Ten films for a decade ", which are presented (the cycle continues until December 20, 2010) a fine selection including" Werckmeister harmonies "by Béla Tarr (Hungary, 2000) " A place on earth" by Artur Aristakisian (Russia, 2001), " My Winnipeg, Guy Maddin (Canada, 2007)," Youth up "by Pedro Costa (Portugal, 2006 ), "Three times " by Hou Hsiao-hsien (Taiwan, 2005). " What time is it there?" By Tsai Ming-liang (Taiwan, 2001), "Shara " by Naomi Kawase (Japan, 2003), " World" by Jia Zhang-ke ( China, 2004).

I'll stop a time when authors who have marked forever the history of cinema, which has welcomed this decade.

What time is it there? Tsai Ming Liang

Apichatpong Weerasethakul: Mysterious Nature.

I can not put aside my subjectivity and excited to write that I think the filmmaker of the decade. I come in just to have won the last Cannes Palme, Apichatpong's cinema has been the most daring, personal and universally beautiful thing I have seen to date. His naturalism is not just a statement of the beautiful scenery, sound so thorough, but the acting management, their performances seem drawn from documentary, a camera hidden in the characters interact with them without altering their almost wild.

"Mysterious object at noon" (2000) is a statement of a cinema that is written while recording, built jointly with the complicity of the public, whom the director interview, to test on the creation of the myth, a theme so prevalent in the films of Thai. " Blysfully yours" (2002) is a poetic reproach traditional cinema academic sequence shots contemplative, and moving (literally) the audience inside the characters and their sites. Communication and relationships beyond language, skin, body, and the forest as a metaphor for change and desire for change. It is also a subtle treatment of a thorny political issue like immigration due to internal conflicts. "Tropical Malady " (2004) is the perfect film in many senses, a diptych that meets fiction and documentary, reality and myth, history and metaphor, town and country, love and abandonment ... "Syndromes and a Century " (2006) is a lesson contemporary film, there is little to understand and analyze as there are so few traces of the story and much to sensory perception. We look forward to Uncle Bomm Many historical Recalls past lives, which I imagine will come through the same channels with the arrival of their other films, which we saw this year in a series planned by the film society " open eyes" of the UTP .

Apichatpong Weerasethakul

Hou Hsiao Hsien : The story as an excuse.

Hsiao Hsien Hou (HHH) has no qualms about difficult things to the public, yet does so much for those who dare to see complete some of his works. Not someone who takes an encyclopedia of the history of Taiwan and put to film reenactments. Theirs is to show the feelings of the time, the internal details, often in effect. In any case, is the story of relationships, views from different eras. So, a couple of early century, during the Japanese occupation, one of the 60's during the Cold War, or one of the disappointed, and more postmodernist than ever, 2000, are recreated with a contemporary look that stops in the eternal feelings. A visual storyteller invisible but omniscient and omnipresent, who is not afraid to touch us first, then disappointed. That makes HHH in " Three Times" (2005), his most acclaimed film.

should be noted that HHH gave us his most mature work this decade, and "Millennium Mambo " (2001) introduces us to this, our era of permanent love of existential questions that not noisy, but which, however, lead to a search for "something." Uprooting not restless, but moves his characters, makes them meet, get away, retreat, and become one again, almost as if the same process. The plot has as much as historical, since it is going into the emotional world of the characters, meticulously recreated in order to generate a "natural" environment (a big word, I find another, and if I find, then, what else da!), suggestive and full of color.

Hou Hsiao Hsien

In "Café Lumiere " (2003), a pregnant girl wants to live their own way (not that I have as defined, of course) and a boy love with her, which, however, does not say a peep about it. HHH amazes us with a brief narrative, distant, with sequences where the lightness levels and timing are cornerstones of life, because that happens in movies HHH, are lives filmed, released through cups of coffee, buses, and trains. After closer to Japan (Cafe Lumiere was to be a tribute to Ozu Yazujiro 3 directors, but only end up taking HHH), the Taiwanese record in France "Le Voyage du Ballon Rouge" (2007), a simple story full subtleties, which brings us to the life of a puppeteer single mother, a child listening to Brel, a filmmaker Taiwanese does nanny, and a red balloon that follows. Among domestic exploration and inner-city, we can delve into the life of the protagonists that runs quiet, a little bohemian Parisian apartment.

Nuri Bilge Ceylan : Who said the Postal movie is not beautiful?.

movies I have seen most successful photography (and digital! ... Great lesson for the fundamentalists of celluloid), with these contrasts and cuttlefish as sublime, often dark and melancholy, but always effective. The short films of the Turkish filmmaker can not ignore in this decade. Confidence, hope and love broken, that is the environment Nuri Bilge characters, capturing the complexity of their relations in a minimalist, intimate, always seen from the everyday.

"Uzak" (2002) explores the gap between human beings, despite the blood ties or emotional. It is a delight to watch this movie because Turkish director makes every shot a work of art in itself. " Iklimer " is a portrayal of a contemporary couple, who have so little in common and are not happy living together or apart. While in "Üç Maymun " explores the fractured family, where members are united, but each brings into play the (in) stability of the family with dangerous acts, which appear to have noble goals and collective benefit, in this strange way of loving without each other.

Nuri Bilge Ceylan

Naomi Kawase: Life is a ghost.

Cinema Naomi Kawase is related to grief and loss; the ways of how to revive life after death, not his own but of someone we loved, perhaps more than ourselves. The water purifier is always an element of either the suffering or memory not exceeded. His documentaries, so personal and experimental, stripped to the filmmaker ("The issue is me" said in an interview with Aaron Gerow) with his particular vision of life, the sky, land and hell.

personal debt I have to review his films, but talk about the movies I see, thanks to powder blue (almost all his films there). " Heaven wind, fire, water, earth "(2001), documentary exorcise his past of parental abandonment, death of her father and her adoption by her grandmother, which also showed in" Birth and maternity " (2006), an earnest film rawness, which links the death of his grandmother and the birth of their first child, something that reveals the magnificent "Shara " (2003), a fiction (although that definition has no relevance no sense in Kawase's films) which is almost an ethnographic study. In "Forest of mourning " (2007) shows 2 people generationally apart, a young nurse whose son drowned, and a senile man who lost his wife, together in a nursing home, and are inevitably related by pain, penetrating to inner peace in the forest, which serves as a platform to bid farewell to their loved ones.

Naomi Kawase

Tsai Ming Liang: The weather, solitude and watches.

A role in many situations of a story told in several films, but these are strictly sequelae. " What time is it There "(2001) I presented the work of the Taiwanese, and introduced me to the vicissitudes of Hsiao-Kang, who starred in all films of Tsai Ming (played by actor Lee Kang-Sheng), could not have better.

could say I had an epiphany after this film, which has marked my life and my vision of cinema. 2 people who barely know ("She" performed since then by Chen Shiang-Chyi), are linked by death, by time, by ghosts and above all, loneliness. After playing with the expectations of a sequel to this wonderful short film " The Skywalk Is Gone "(2002), in which 2 characters do not specify the desired reunion, is" Goodbye Dragon Inn "(2003) an ode to classic cinema almost extinct and the nascent film full of visual possibilities (in fact is a metaphor of the grandfather who takes his grandson to his first feature film).

Re back to the 2 lonely characters in " Taste Watermelon" (2005), this time against a backdrop of drought, watermelon and pornography; combination disengages as well as love and sex. " I Do not Want to Sleep Alone " (2006) change of context, this time is homophobia and forced migration, which together is the best way to tolerate the misery. I am waiting to see " Visage" (2009), which adds to the universe Truffaut films that influenced him so much (even mentioned in the film the actor Jean-Pierre Léaud as Antoine Doinel old).

Tsai Ming Liang

Time and space play against me, but I can not fail to mention the films of Aki Kaurismaki's Finnish , discussed in cycle of the cinema Barranco, the European film festival and the Festival east of Lima, who also served as important places to find works of great bills like the Romanians Christian Mungiu, who could see the honors "4 Months, 3 Weeks and 2 Days "and" Occident ", Corneliu Porumboiu, Cristi Puiu and unforgettable film" Death of Mr. Lazarescu "or Cristian Nemescu and the outstanding" California dreamin '. " Bruno Dumont and beauty of the ordinary, often found in the great "29 Palms", "Life of Jesus" and "Flanders." Pedro Costa , with his unique style of direct cinema "Bones" and "Youth in place," Nicolas Klotz and his film as ambitious as the very title "La Question humaine", the interesting "Du Levander" Roy Swedish Anderson, is also remarkable Aristakisian Arthur, unclassifiable filmmaker with only 2 features (one of them "A Place on Earth", 2002) has installed his work at the forefront of film, and while we're at it, mention the Anglo docudramas Peter Watkins, which although belonging to other decades (The Comunne, 1999, great work 6 hours), we saw this decade thanks to the paradise of powder blue.

The filmographies of authors, like Jean Luc Godard ("Praise to Love," "Our music"), Alain Resnais ("Coeurs"), Manoel De Oliveira ( "A talking picture", "Belle Toujours"), Michael Haneke ("Code Unknown", "The piano teacher," "Hidden") and Claude Chabrol missing ("A Girl Cut in Two", " The Bride honor "), Eric Rohmer (" Triple Agent "), Ingmar Bergman (" The image makers, "" Saraband ") have shown clearly in the end of their careers, leaving intact or often exceeding its mark in the production of genius masterpieces.

'Notre musique' by Jean Luc Godard

The other Asian film is most interesting in recent times, because apart from the work of previous managers reviewed, I'll stick with "Last Life in the Universe" by Thai Pen-Ek Ratanaruang , his countryman Ekachai Uekrongtham and the documentary / fiction "Pleasure Factory", so the work of Chinese director Wang Bing with the demanding "Chronicle of a Chinese woman, which recalls the contemplative one level of" Shirin "Abbas Kiarostami , Jia Zhang-ke , and his film" The World "Wang Quan'an and" Tuya's Wedding, "Hong Sang-soo with" Woman on the Beach "and the film that surprises every filipino again. From I've seen, I stress to Brillante Mendoza with his hyper play "Serbis."

Interesting also the work of the crest of the new Asian wave, but notable ranked something like film, Zhang Yimou ("House of Flying Daggers," "Hero," " The Curse of the Golden Flower "," National Treasure "), Kim Ki Duk (" Spring, summer, autumn, winter, spring, "" 3-Iron, "" Breath "), the nightmares of Park Chan-Wook ("The trilogy of revenge ", which highlights" Old boy "), Takashi Miike (" Visitor Q "," Gozu "," Izo, "" Audition "), Kyoshi Kurosawa (" Bright Future "," Cure "" Tokyo Sonata "), Tsukamoto Shynia , which among other works took up the revolutionary saga" Tetsuo "principally Won Kar Wai (memorable are" In the spirit of love "," 2046 "" My Blueberry Nights " .)

'Funny ha-ha 'by Andrew Bujalski

American film highlight the movement "The New Talkies: Generation DIY" (wrongly called "mumblecore" or "slackavettes" / mix of "lazy" and "Cassavetes "father of American indie film), who have redefined the production model, through a digital theater, produced and distributed by their producers (hence the term DIY = Do It Yourself" ... I'll write in depth about this movement has occurred to me some sympathy, having an ethical and aesthetic proximity) in which directors Joe Swanberg ("Kissing on the Mouth", "LOL", "Hannah Takes the Stairs"), Mark and Jay Duplass ("Baghead," "The Puffy Chair"), Andrew Bujalski (Funny Ha Ha "," Mutual Appreciation "," Beeswax "), Aaron Katz (Quiet City," "Dance Party USA"), among others scoff at the independent film industry (yes, because There is also that in gringolandia industry), using minimal resources, working equipment and exchanging roles, and other profanities, which skip all the unions and bureaucracies own studies.

In terms of the indies, the outrageous "American Astronaut" Cory McAbee, the crude "Tarnation," Jonathan Caouette , the sweet farce "Exit Through the gift shop "by Banksy, the simple, bittersweet " Old Joy "Kelly Reichart, and the unclassifiable" GoGo such "by Abel Ferrara.

"Serbis" by Brillante Mendoza

And as is almost impossible to ignore the movies Major League (not so best), this decade showed us the "new" masters of contemporary cinema gringo, as Paul Thomas Anderson ("Punch Drunk Love," "Bloody Oil"), Cohen Brothers ("The Man Who Was not", "No Country for old "), David Lynch (" Mulholland Drive "," Inland Empire "), Jim Jarmusch (" Coffee and Cigarettes, "" Broken Flowers "), Sofia Copola (" Lost in Translation "), Wes Anderson ("Rushmore," "Life Aquatic", "Darjeeling Limited"), Michael Mann ("Public Enemies"), James Gray ("The night belongs to us" "Two Lovers"), Gus Van Sant ("Gerry," "Elephant", "Last Days," Paranoid Park ") among others, using the star system to give us gems that remain for posterity. Likewise, this decade has shown us the best David Cronenberg from "Crash", with "A History of Violence" and "Eastern Promises."

'There Will Be Blood "Paul Thomas Anderson

The Latin American cinema, Jose Luis Guerin with" Under Construction "and exquisite film "In the City of Sylvia" in July Wallowitz with "Smoking Room" and "The Chair", a film show live, fresh, non-narrative proposals full of inspiring ideas and visual approaches. In our continent must mention José Luis Torres Leiva , a young Chilean director to look mature, thoughtful, metaphysical observer, who can show the beauty of the ordinary to the threshold Kantian. As examples: "No Place Nowhere" and "Heaven, earth and rain." The visionary director Lucrecia Martel Argentina, possesses a unique, unclassifiable, a sweet and sour transgressor, who joined the filmmakers of the future Olimpo, are undeniable evidence that "The Swamp", "The Holy Girl" and "The Headless Woman."

Lisandro Alonso is perhaps the most dangerous director of this continent. Ascetic, transcendental, uncompromising genius. "Freedom" minimalist adventure that took him to the fore and Cannes, followed by "Los Muertos", a strange journey / key ritual in almost documentary, "Ghost" a tribute to Tsai Ming Liang, who is also self-tribute and less risky "Liverpool", yet maintains the strength of the images and time as the protagonist. The Mexican Carlos Reygadas is a particular filmmaker has the virtue of several filmmakers yet. "Japan", "Battle in Heaven" and "Silent Light" millimeter levels studied, with a neatness in handling visual, auditory and olfactory could say that even with showing us her unusual stories, directly accurate and aesthetically dazzling.

'In the City of Sylvia "Jose Luis Guerin

director Paz Encina to" Paraguayan Hammock " shows in a very limited time planes is no longer just a platform for a story, but it is also the narrator. Expected to transform the expectations, that does not change the weather, which immerses us in a small space in the sense of being just characters of the time, that the present forward to the future return of the past.

NATIONAL CINEMA:


Argentine films of this decade has shown that just needed a break, you can not continue to maintain a trivial and questionable production quality, expressive and aesthetic mainly. This break has started more or less films 'Festival-goers' (ie, films that show "what-the-European-want-see': Popular exotic, bravery, marginality, rot, miserabilism, cultural anachronisms, about cannibalism and a mixture of Glauber Rocha García Márquez) , as "Days of Santiago " Josué Méndez debut, " Madeinusa", "La Teta scared" by Claudia Llosa, and partly, though more sober " Paradise", the debut of Hector Galvez, and " October " of the Vega brothers, a version of Kaurismaki Lima. These films show an interest in a more personal, distinctive and considerable narrative references (not detract from, but try to bring their works to the great figures of world cinema), also showing complex characters and stories with context indicators, which seek to be triggers for social analysis, anthropological and political wrong or not. You can learn much of Peru in this decade (and especially the last 2 decades) through these films, both by the vision of the filmmakers, as the films themselves, valiéndoles recognition in major international festivals film.

'Beyond the Sea' by Raul Del Busto

But there is no denying that much of domestic production remained an "attitude" that shows a lack of artistic ambition, maybe trying to overcrowding, which can not be assured despite the apparent recurring formula, with a superficial treatment of deep themes improbable stories, dramatization of the staging, acting representation not convincing, television narrative, stories predictable with incipient expressive content, a series of short-term mistakes thematic issues (civil war, social and economic inequality, the Fujimori dictatorship, among others), climate impassive parsimonious rhythms, basic use of language, framing plans and regular become stifling extreme Aristotelianism that have come to alienate the public and disappointing finish to the critics. So you can see the film Lombardi, Tamayo, Durant, Pérez-Garland, Eduardo Mendoza, Fabrizio Aguilar , among others.

"Days of Santiago 'in Josué Méndez

But, not to see this decade as a depressing period, I will discuss the films that came out of the layout of both production treatment as artistic, technical and expressive, which stood out during this decade:

"Behind the Sea" (2005), Raul Del Busto is by far the best Peruvian film of the decade. Transcendental indebted to the filmmakers, Ozu, Bresson, among others, Del Busto shows currently unfinished characters frozen in time, when the moment is gone, and left them stranded. The sea as a symbol of the unattainable, as the existence undulating, the presence of what is and what never came; what is expected without being sure to come. Can reflect both this film, it is all a visual experience, aesthetic and spiritual.

Otherwise it is "SINMUTE " (2008), Anna Balcazar and Javier Bellido, has no plans to film the viewer, showing us a dark and disturbing nightmare, full of visceral moments, Freudian, Jungian , Lynchian, but not unpleasant, but through a remarkable low-key visual treat, with special attention given their support aesthetic digital, which is typical of the arts, a profession shared by both directors.

Balcázar

'Sinmute' Ana and Javier Bellido

" Actors" (2006), Omar Trujillo Forero is an unusual film made in the provinces, appealing to the sober narrative, fluid interpretations of "controlled spontaneity" with performances far from crude parliaments academicisms memorable or rigid, so that the caustic title of the movie is fun for others. Everyday, simple situations within the complexity of human beings, the loneliness, misunderstanding, isolation, initiation, the frustration, the reward in an open end.

more experimental, personal, self-referential and risky " Reminiscences" (2010) John Daniel Fernandez, is a trip down memory retrieval of the author, using familiar images of file, where the director is a neuro-editor of their own identity and memories.

films Rafael Arévalo " Alienated" (2008) and "squatted Kasa" (2010), are a conventional uncheck the tragicomic stories, realistic, specific to our cinema. Trashmovie and moving closer to the cult film, Arévalo shows impossible situations, with a taste for the irreverent and quirky, which is contagious. With his original solutions to problems of visual or audio record, I think most prominent the first than the second, which does not have the visual or narrative cogency of its predecessor, but nevertheless, be seen with sympathy.

" Closure" (2009), directed by Fernando Montenegro, uses the genre of suspense to speak of artistic endeavors by the recognition, where the ghosts are more internal reflections, as the artist's worst fear is that despite his efforts, his work will never get it considers deserved appreciation.

These films are made without patronage, without a pat on the back and with drive, with searches of originality and passion for film, something that seemed extinct in the last decades.

With such a scenario, is expected that 2011 is the emergence of digital media, as their authors rely on their own and only accountable to their own instincts, having at their disposal the interest begins to awaken this "soda", before such aesthetic aridity expression.

Quispe Eduardo Alarcón.

Pd I reserve comment on my own films, "1", "2" and "3", but mentioned at least respect those who collaborated with them, and did so with such passion and commitment that made me enjoy making them, and seeing them. Non-me navel, I think his work deserves to be featured on counts of which left us this decade.

Graduation Centerpiece

NEWS ON PLANTING PRO CINEMA AGAINST THE LAW OF SCANDAL

News published in RPP.

Monday, December 20, 2010

seedlings FILMMAKERS MAKE THE LAW AGAINST PRO CINEMA.

directors, producers and actors gathered at the front of the National Museum to demand the revision of the law recently passed in Congress.

Pro Cinema The controversial law, proposed by a commission headed by Congressman Carlos Raffo, which was approved a few days ago, was the reason that filmmakers, producers and actors gathered at the front the National Museum in San Borja, to raise their voices in protest against this law.

"We are here to demand the repeal of this law, which makes 10% of municipal tax for cinemas, the consumer who pays with his entry, is divided into three parts: one for production national, in a fund called Pro Cinema, one for the distributors and finally to the exhibitors, the movie theaters. This agreement is a private, voluntary and temporary. The distributors and exhibitors are not required to give that percentage, "Gamarra said Julia, a film producer to RPP Noticias.

also the writer Eduardo Adrianzén said the law harms "serious cinema national ", so called on all the filmmakers who support the law Pro Film to raise awareness about the negative effects it will bring.

"Carlos Raffo is the last person you should trust. The filmmakers who support this law probably have been surprised by this person. I find it very distressing, "he said.

Finally, the union represented by the Union of Cinematographers of Peru, called for the immediate resignation of the president of the National Film Board, Rosa Maria Oliart, accusing him of irregularities in its management.

To see the video and full story:


http://www.rpp.com.pe/2010-12-20-cineastas-realizan-planton-en-contra-de-la Legislative-pro-cinema-noticia_320757.html

News published in the online magazine 'number zero'

FILMMAKERS REQUIRE THE EXECUTIVE REVIEW "LAW PRO FILM

Monday 20 December 2010

By: Sofia Pichihua

Dozens of moviegoers organizations gathered today in the front of Museo de la Nacion, San Borja, to protest against the criticism 'Procine law. " The standard was approved on Thursday in Congress and has not yet been enacted.

However, since 2009, many critics felt that the legal initiative supported the interests of distributors and exhibitors over not the filmmakers or regional producers. That's not all. It is still unclear if it would eliminate the State's contribution to the promotion of the Peruvian cinema. Behind this, there are an odd combination: Congressmen Carlos Raffo (Force 2011) and Luciana León (APRA).

Christian Wiener, spokesman for the Union of Cinematographers of Peru, requested that the Executive refer the standard to be observed. "We are at the mercy of the goodwill of the Hollywood majors, who are boycotting the Peruvian films ... should rework a new project that benefits the regional directors," he said.

also stated that it should promote the training of directors and national directors.

Later, Wiener and other representatives of various organizations of independent filmmakers and producers coordinated a meeting with officials from the Ministry of Culture to bring their proposals.

Updated: At five in the afternoon, participants formalized their request to observe the rule to President Alan Garcia in a letter. In a conversation with Number Zero, Christian Wiener said at the meeting, the industry committed to protecting the state budget film projects. "We ask that the bill returns to Congress as to develop a new initiative from scratch with the direct assistance of the Ministry of Culture," he said.

Updated: Congressman Carlos Raffo published in your Twitter account in the office requesting that the Standing Committee approve the clarification of the standard. It matters not reserved resources to promote film projects through Conacine, as always (View PDF ).

can download the PDF of the standard adopted from here.

link: Alleged lobbying by the president of Conacine ( reviews emails published by journalist Jacqueline Fowks).

View photos of the encampment:

http://www.flickr.com/photos/44020415 @ N05/sets/72157625514383469/show /

http://www.numero-zero.net/2010/12/20/cineasta-exigen-que-ejecutivo-revise-criticada-ley-procine/

News magazine's virtual 'Sientemag'

WOULD ASK MINISTRY OF CULTURE WATCH LAW PRO CINEMA

Today in the front of the Museo de la Nacion, San Borja, met a lot of filmmakers and film lovers to demand the approval of the controversial Act or Law Raffo-Leon Procine.

This camp, which began at noon, the Ministry of Culture have come forward CONACINE the current budget, which means that the Ministry will request that the law is observed, as we said Pancho Adrianzén.

At five in the afternoon, participants formalized their request to observe the rule to President Alan Garcia in a letter.
Some voices in favor and against this law, link.


Learn more about it at this link (News of the journal number zero)
Wikicine: post office the president of Conacine, Rosa Maria Oliart, acting for and in coordination with distributors and exhibitors.




http://sientemag.com/ministerio-de-cultura-pediria-observar-ley-procine

published in the Daily News Perú21

FILMMAKERS CALL LAW OBSERVER PRO CINEMA

Tuesday December 21

CompartirEnviar.Un Peruvian group of filmmakers held a vigil yesterday at the front of the Museum of the Nation to express her opposition against the newly Swine Act passed, it only favors large film distributors.


"This law is a business for transnational corporations. It must rework a new project that will benefit regional filmmakers, "said Christian Wiener, spokesman for the Union of Cinematographers of Peru.

Participants in this measure claim the order was to observe this rule in a letter to President Alan García.
"We ask that the bill returns to Congress as to develop a new initiative from scratch, with the direct assistance of the Ministry of Culture," said Wiener.

http://peru21.pe/impresa/noticia/cineastas-piden-observacion-ley-procine/2010-12-21/292770

http://e.peru21.pe/102/impresa/pdf/2010/12/21/240960.pdf



News published in 'El Comercio'

THE STRUGGLE FOR PERUVIAN CINEMA: A PLANTING IN PROTEST BY LAW APPROVED

By: Rodrigo Bedoya Forno

The aftermath of the passage of the law Procine (which creates the bottom of the same name, which means that distribution companies will deliver the Peruvian film 3 , 33% of the entrances to the rooms) continues. At noon yesterday, a number of people related to film production (technicians, producers, filmmakers, regional directors, among others) did a sit in the front of the National Museum to ask for the observation of the law by the Executive.

The protest had a favorable response, a delegation led by Christian Wiener (president of the Filmmakers Union of Peruvian opposition to the project approved) and the documentary Francisco Adrianzén were received by Daniel Alfaro, advisor to the Ministry of Culture (whose offices are in the museum), which explained that the law, as it appears, remove the contributions of the State of Peruvian cinema. According to Wiener, the commitment the consultant was set as "matter of state" the budget for domestic production, so do not miss.

The demonstrators also rejected statements by Congressman Carlos Raffo, who sponsored the law Procine, who said that those who support this law are those who really make movies.

This afternoon, people from the CPU went to Government House to let President Alan Garcia a letter asking him to observe the law.

"SOLUTION IN SIGHT?


The truth is that, as it has been approved, the law leaves everyone unhappy, including those their support. A source close to the Film Producers Association of Peru (APCP, leading promoters of the law Procine), who preferred anonymity, acknowledged that the law is a mistake: it eliminates the State's contribution to Peruvian cinema. And so, the intention now is correct.

To that end, we have reached the Standing Committee of the Congress a request seeking to rectify the bill passed, adding support from the State established in the Law 26370, which governs the Peruvian cinema since 1994, amounting to U.S. $ 2 million suns.

The Standing Committee would have until the end of the year to approve the request for then the president can sign and thus the fund's contribution Procine start from 2011. If not (either because it falls on the agenda or because the request is denied), and the text still does not mention the amount the state would ask the same observation APCP project by the head of state.


The big problem is that the Standing Committee has no fixed date of installation. Some congressional sources say it could even be to do it next year, hampering the APCP plan can be made.

The UCP, in turn, demand the observance of the law, with the intention of create a new project that includes the Ministry of Culture. That order has been raised both at the meeting with Alfaro and in the letter to President García.

only thing clear is that the topic is still some time left. Hopefully, in the end, the ultimate beneficiary is the Peruvian cinema. Hopefully it gets.





http://elcomercio.pe/espectaculos/687451/noticia-lucha-cine-peruano-se -Do-planton-protest-law-approved