By Sebastian Pimentel
... The proposal by the duo Marcelo Quispe- is the path of realism "rohmeriano" focusing on the tension established between pairs , and sequences that function as drawings or flow units without interruption. 3 , is the continuation of a program initiated by 1 (2008) and 2 (2009). And we say, every episode or "long" is not a variant of a conversation between a claimant and an alleged, of two lovers in the process "oral" to join or separate.
Perhaps most interesting of the "system"-Marcelo Quispe (both members and group leaders to create kinesthetic) is the vocation of his philosophical and pragmatic project-lab: one as sequentially, as serial, as the title of each film. An endless work program around a theme that could be described almost as a formula: "the solitude of the couple," a paradox. This film can not end because you have re-done with all combinations of a limited number of items. Apparently, is to reach a virtual 100: with Marcelo Quispe and cinema has become a bit it was for Vertov in early twentieth century: a tool for work and study, a form of knowledge. Hence the fascination of this method.
If 1 refers to the kind of birth abortion of a couple who wanders in urban settings, placing the faces as a siege that allows different angles, 2 makes a turn to "outside "begins as a documentary about a day on the banks of the Lima Centre ending at the party where, again, the same Quispe assumes the lead role. Then, we al director, como a Linda Soto , empezar, cada uno por su lado y en paralelo, su propia rutina solitaria, aunque desde dos clases sociales diferentes. Como es de preverse, ambos se encontrarán. Un aspecto interesante de la serie se refuerza: la escucha de la conversación se enturbia por el ambiente, casi como se enturbia la visión de los rostros por la navegación de la cámara alrededor del entorno próximo. Sin embargo, la “negociación” final entre la pareja de 2 , en un parque, podría ser lo menos convincente de una propuesta que no llega a sentirse íntima: esta vez la soledad no tuvo contrapunto mayor.
3 returns to the project, a force that had lost perhaps 2. Now, at night, a camera pans, with that style kinesthesia systematic project, the park benches. Thus, the film is structured as a network of small films together conceptually, and found that all couples display a micro-oral and dramatic live show. The new wave, Dogme 95, and all free cinemas have continuity in 3 , with attractive partners now are many and the film becomes a more electric, funny, violent, even documentary in the case histories Featuring Quist. While not all have the same dynamic level of naturalness and fluency, another attraction is that no court in this visual evolution, a kind of tour de force on several pairs-universes in a city where the sound cosmos interfered show makes its secret. Becomes a very contemporary question, forced by 3 , but interview and 1 2 : What happens when the fictionalization of life itself loses its illusory contours in the free flow of oral and documentary form registered precarious?
But if we had to choose, we are left with most needy, technically speaking, and concentrated 1. Quispe itself there as leading suitor, placed, in a sequence of talks and "sets" on location, of their attempts: Aguinaga Greece. The process takes the mystery and expectation by the addition of another central theme of modern cinema: time. The long dialogue sequences start in chronological order, in a reduced time span (including on the street, including a coffee house them in a plot), to swap the order of time, so that the viewer has to participate in reconstruction process that has led the relationship, taking also the various signs and "data" that proliferate in the enlarged talks. Our preference is to say, choose one criterion: the level of tension between the characters, and the degree of complexity that is becoming their relationship, from beginning to end. It's more like a love story unfinished, or indefinite three and, perhaps, to retain a greater emotional power.
By Sebastian Pimentel
