Javier Bellido and Ana Balcázar
Wednesday, October 6, 2010
Can A Migraine Go On For Days And Days
Machines. Make noise, it automatically moves in cycles locked in seconds that seem eternal by the cadence. Suddenly, a man.
The human condition that great universe that address artists, since it was considered as such, is the excuse of directors to enter fully into a dream experience and dark. Nothing more rugged than seeing a human being from the inside out.
The alienation is so simple, it is not simply cease to be or come to be something else or have a routine existence. The human condition has reached a metaphysical divide, an inevitable dehumanization. In any case, is the process which makes it complex and engaging.
From this experience we conclude that there is no escape, we are doomed to be spooky, to see and turn everything into a projection of our fears, justified or not. Nobody can give us the love enough to stop being monstrous.
SINMUTE The anonymous protagonist seems to get away with it. Scroll through arid roads, empty streets (which, however, are not inhabited), going back and forth with no apparent direction, locking themselves in an abandoned car. Any place is good to get away from each other same.
Coming home is introduced to a maze, the images evoke situations within the family, dinner, board games, finding in each room a key episode of David Lynch. Thus, the "loved ones" are categorized as archetypes, sinister and silent characters that represent the look sick man, the man who wants to run away, that wants to be what is not, nor can be.
All the memories are denigrated to the status of trauma, "You will always be mediocre," says one of these creatures, figure a tutor or teacher. It seems to be the phrase that started the film. The directors seem to respond "You see that no" with a careful visual treatment (considering the digital format), from whom transcendent film, the bizarre weather Ulmer, Lynch, and of course, the pictorial language in typically communicate filmmakers.
The film takes its own character, impresses his references inherent merit but beyond the formal. There is no story or a particular story. Its strength lies in the simple act of wandering, with no hope of being or appearing, but only appear.
The film takes its own character, impresses his references inherent merit but beyond the formal. There is no story or a particular story. Its strength lies in the simple act of wandering, with no hope of being or appearing, but only appear.
The film does not fit into a genre, but getting close. Looking at times be expressionistic, surreal, heavy metal music video, but to no avail. It remains a strange film, a treat for psychoanalysts, stimulating for digital filmmakers and moviegoers expect from our national local production more than what we have cinemas.
Then an interview with Javier Bellido, a director of the film .
Javier Bello: Definitely I think there are, but I believe that by two (for Ana and me), those references are unconsciously. We both quite like Lynch's films anyway.
What I can say is that all images have been built under the personal view of each and our need and interest of expressing through images. As know we are both painters, and one of the most important things when you peel it, was able to express our inner world, looking to load the images of metaphors and poetry.
C: What did you expect to achieve with SINMUTE?
JB: Primarily expressed through the images a series of feelings and sensations. Remove, capture these images in my head. All possible means where artistic expressions of interest to me. There are artists who work under a specific idea and that know very well what they want to communicate.
With the film does not seek to communicate something specific, we want to express ourselves as individuals, we work fairly intuitive, the end comes the reflection. On the other hand, I am interested that the viewer learns to see itself, with its own individuality, creativity, with their own world and that managers also sit on the fact that they saw her also create their own interpretations and help us to discover different meanings. Each person is free to find different interpretations according to his own sensibility.
C: Tell me about production details, how long did the filming, what was the mode of production, what was the budget, how many people was made up your equipment, were your friends, hire someone?
JB: Drive about two years, but it was seasonal, as is an independent film we had to take time to coordinate with people who acted, they were all friends of ours who acted voluntarily.
also had many delays. And we relied on things that are not used. When you paint you're just you and the support with the materials he used, however, depended here to start the camera is battery-time actors, whether it is day or night, but the biggest difficulty was having to accustomed to dealing with machines to save and protect what we were filming.
The budget for the film I think it might have been approximately eight suns. But the time to make the draft for the manufacture of the DVDs themselves spend two thousand suns. Never hire anyone, the only expenses were props.
C: As a visual artist (curiously Lynch also is), do you think this is a plus for someone who is dabbling in film language ?, in what way?
JB: Definitely yes, because you work with the image and also to the unconscious all the time.
C: There are many situations Freud, how premeditated was it?
JB: Like I said a moment ago, in our film, as well as how we express ourselves in art, nothing is "premeditated," it is actually quite spontaneous, it's like trying to listen sharply within.
C: Can you make some progress in your next project?
JB: I think you I can say that narrative is going to be quite similar, because I still continue with a series of similar concerns.
C: How do you see the local film scene? Do you consider that there is a need to move?
JB: More than that, I would say that would encourage people to realize that they must believe in themselves and sent to do things. To create your film, to express what "moves inside." For this is not needed a big budget. You need a camera to record and a machine where they can care for and edit what they shoot. That is all. Now for the digital cameras are not as expensive as years ago you had to get one to roll and was very expensive.
Wednesday, September 15, 2010
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MISES
YACHICHAWIN IRPIR CHHIJLLAWAYAPXI
By: Reynaldo Elias Rivera
Ajata Today Sciences Career Education elected a new director of career. In the election, there were two fronts, EDUS and IRA. The final tabulations are as follows:
EDUS 769 votes
IRA 348
Null votes 250 votes 117 votes
JANQ'UNAKA
TOTAL ; 1442 votes
candidates obtained the percentages shown below:
EDUS IRA
67.6% 32.3%
IRA leader Felipe Tancar said, addressing the audience: "We recognize the triumph of EDUS." Furthermore, the winner thanked his supporters and noted that there were no dirty war throughout the process: "The Race, as its name implies, is very polite," he said. "Zero groups", "It was a big surprise, the teachers' table," he continued, thereby showing their willingness to work for all, acknowledging that its success was due to student support and did not expect the support of teachers. The winner will be sworn in next Wednesday in the Honorable University Council (HCU).
Jichhurux Yatichawxat Yatxatawinak irpiriruw chhijllawayapxi machaq Park. PA tamaw utjarakïna, EDUS ukhamarak sutinakani IRA. Jaquwinakax akhamrak jakthapt'asiwayi:
EDUS 769 jaquwinaka
IRA 348 jaquwinaka
NULOS 250 jaquwinaka
JANQ’UNAKA 117 jaquwinaka
TOTAL 1442 jaquwinaka
Sapa patakatx akhamrak chhijllayasirinakax jikxatawayapxi:
EDUS 67,6 %
IRA 32.3 %
Lic. Felipe Tancara IRA p'iqichiripax park, jakhuw uñch'ukirinakarux "EDUSan atipawip jaysawayaptwa" sasaw sawayaraki. Maysatuqutx, atipir jilatax arkirinakapar yuspajart'awayarakiwa ukhamarak jan jan wali parlawinak utjataps jallallt'awayaraki: "Tamasax, kamisti sutipax ukham sik, wali suma yatichawiniwa" sawiyarakinwa. “janiw t’aqanakax utjañapäkiti”, “Janiw yatichirinak taypin atipt’añ suykayatti ” sasinrakw taqinitak irnaqañ kunkip ukhamarak yatiqirinakan jaquwinakap layk atipatap jach’anchayawayaraki. Atipt’irix jutir illap ururakiw HCU ulaqan utt’ayataxani.
http://eliasreynaldo.blogspot.com/
Contactos: elias_two7@hotmail.com
Monday, September 13, 2010
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ONLY SEE HERE: 4 UNKNOWN MASTERPIECES. NEW CYCLE IN HEREDIA.
Four cult films. Four unknown masterpieces. Four spiritual films, deep, forbidden, liberating, narrowly-distributed, almost impossible to do, usually misunderstood and as part of a secret history of cinema.
Cineclub of Cayetano Heredia .- Monday. 7 pm. Av Armendariz 445, Miraflores. Free admission.
Monday, 13 September:
Yeelen, Souleymane Cissé (Light. Mali, 1987, 106 min.)
With this example of film 'transcendental' Africa presents an entirely independent of foreign influences in a time before the arrival of Islam or Christianity. Through brilliant exploration of mythic roots and ancestral knowledge shows that the inspiration Yeelen democracy against dictatorship and tyranny in Africa from the legacy of his own past and not the West.
Monday, 20 September:
Vase de Noces, Thierry Zeno (wedding vase. Belgium, 1974, 80 min).
Shot in black and white, with a single human actor with different sounds and melodies that do not miss the word. Sublime, extreme, allegorical paintings inspired by Bosch, the analysis of Jung and the Pasolini film, involves a key poetic reflection on the loneliness of the man and his return to a number of primary experiences, 'mythical' and pre-linguistic.
Monday 27 September:
Angst, Gerald Kargl (The anguish of fear, Austria, 1984, 94 min).
"I was very interested in the psychology of serial murderer (Kniesek) and wanted to provide a deeper view of his psyche, largely through the narration in real time and your inner voice, continuously present in the voiceover. " Considered superior to 'Henry: Portrait of a serial murderer' by John MacNaughton (1986) and reference work for the cinema of Michael Haneke.
Monday October 4:
Themrock, Claude Faraldo (France, 1973, 104 min.) Satire
anarchist. "Years ago, a worker stopped work and felt ashamed, and I was nobody. Now you meet a guy who says:" I've been unemployed for two years and I will try to renew for another year, and this is fine . In Themroc talk about that. We also talked about making love with your sister is fine, if she agrees. We must end the old bourgeois taboos. I found freedom too late. I mean your individual freedom, intimate, which is very important. "
Four cult films. Four unknown masterpieces. Four spiritual films, deep, forbidden, liberating, narrowly-distributed, almost impossible to do, usually misunderstood and as part of a secret history of cinema.
Cineclub of Cayetano Heredia .- Monday. 7 pm. Av Armendariz 445, Miraflores. Free admission.
Monday, 13 September:
Yeelen, Souleymane Cissé (Light. Mali, 1987, 106 min.)
With this example of film 'transcendental' Africa presents an entirely independent of foreign influences in a time before the arrival of Islam or Christianity. Through brilliant exploration of mythic roots and ancestral knowledge shows that the inspiration Yeelen democracy against dictatorship and tyranny in Africa from the legacy of his own past and not the West.
Monday, 20 September:
Vase de Noces, Thierry Zeno (wedding vase. Belgium, 1974, 80 min).
Shot in black and white, with a single human actor with different sounds and melodies that do not miss the word. Sublime, extreme, allegorical paintings inspired by Bosch, the analysis of Jung and the Pasolini film, involves a key poetic reflection on the loneliness of the man and his return to a number of primary experiences, 'mythical' and pre-linguistic.
Monday 27 September:
Angst, Gerald Kargl (The anguish of fear, Austria, 1984, 94 min).
"I was very interested in the psychology of serial murderer (Kniesek) and wanted to provide a deeper view of his psyche, largely through the narration in real time and your inner voice, continuously present in the voiceover. " Considered superior to 'Henry: Portrait of a serial murderer' by John MacNaughton (1986) and reference work for the cinema of Michael Haneke.
Monday October 4:
Themrock, Claude Faraldo (France, 1973, 104 min.) Satire
anarchist. "Years ago, a worker stopped work and felt ashamed, and I was nobody. Now you meet a guy who says:" I've been unemployed for two years and I will try to renew for another year, and this is fine . In Themroc talk about that. We also talked about making love with your sister is fine, if she agrees. We must end the old bourgeois taboos. I found freedom too late. I mean your individual freedom, intimate, which is very important. "
Wednesday, September 8, 2010
Where Is My Spc Card Number On Mastercard
CONCINE SECOND SPECIAL CONTEST: "DESERT" BE MY FAVORITE MOVIE
In my opinion, is correct in its assessment, but failed the DESERT final desicion ... the movie would be perfect in this situation. Silence is better than the ridiculous ...
CONACINE FILM COMMUNITY INFORMA
then forwards them to the Final Act II Post Contest Final Act Competition and Distribution II.
FEATURE
received this information and believe it is necessary to publish it, because expressed in these lines which some denounce openly, others defend and justify in blind condescension, and many more known and discussed in a low voice ...
In my opinion, is correct in its assessment, but failed the DESERT final desicion ... the movie would be perfect in this situation. Silence is better than the ridiculous ...
CONACINE FILM COMMUNITY INFORMA
then forwards them to the Final Act II Post Contest Final Act Competition and Distribution II.
SECOND SPECIAL CONTEST
POST-PRODUCTION FOR WORKS
CINEMATOGRAPHIC PERUVIAN
FEATURE
- CONACINE 2010
Legal Base: Law and Regulation Film 26370 DS-ED 42-95
Call and Contest Rules of the Second Extraordinary Post-Production for Film Works Peruvian Feature Film - 2010
CONACINE JURY FINAL MINUTES
We surprised and regret the poor quality in all aspects of the projects presented, having found a lack of creativity, poor development of the narrative, dashes little work (especially texts and dialogues), lack of use of film language and poor directing actors. However, as a matter of conscience that would declare the prize void, as the Peruvian film has so little support and promotion, is that we choose to reward the two projects less lacking in these aspects and come closest to being a film.
1. Corner of the Innocents, produced by the company Andina SRL Film Company and directed by Palito Ortega Matute
Despite having a fairly simple treatment. We believe it is a difficult issue to address and restore the proposal of a provincial director who shows a personal world view and of the acts of someone who lived in the place of events.
found valid confront the viewer Lima en su mayoría migrante, frente a una película filmada en provincia. Al mismo tiempo es rescatable que el director en esta película se enfrente a unas condiciones de producción más cercanas a las convencionales y menos alternativas que en sus anteriores producciones.
2. Bolero de Noche, de la empresa productora La Soga Producciones E.I.R.L. y dirigida por Eduardo Mendoza De Echave
Siendo una película de fórmula facilista y estereotipada, cumple con los mínimos niveles técnicos required cinematographic language, photography and editing. Despite having a gap and inequality in the direction of actors, rescued the knowledge of the language of film director. Therefore, we decided to support him to complete his process.
Considering the work presented in this and previous contest, the jury, want to suggest to CONACINE, that the contest post production requirements are included as technical issues, or to appoint a Technical Committee filter the projects that are unpresentable.
MARTA MENDEZ ITURRIAGA
Jury President
DNI 10710233
MICAELA Cajahuaringa SCHREIBER
DNI 07562460
CARLA LEVI
VELAZQUEZ DNI 09336907
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