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| '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:
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| '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.
"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.
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.
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.
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.
Apichatpong Weerasethakul: Mysterious Nature.
Hou Hsiao Hsien : The story as an excuse.
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.
Naomi Kawase: Life is a ghost.
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| What time is it there? Tsai Ming Liang |
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
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.
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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.
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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.
Tsai Ming Liang: The weather, solitude and watches.
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.
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."
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.
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.
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| 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).
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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.
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| '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 " .)
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.
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| 'Funny ha-ha 'by Andrew Bujalski |
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.
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| "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."
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| 'There Will Be Blood "Paul Thomas Anderson |
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.
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| 'In the City of Sylvia "Jose Luis Guerin |
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.
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| '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. |
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| "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.
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| 'Sinmute' Ana and Javier Bellido | Balcázar
" 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.
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