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FESTIVALES Francia

Belfort pone el foco en los márgenes del mundo

por 

- El 33° Festival Entrevues, certamen dedicado al joven cine independiente e innovador, tendrá lugar del 17 al 25 de noviembre

Belfort pone el foco en los márgenes del mundo
Para la guerra, de Francisco Marise

Este artículo está disponible en inglés.

From 17-25 November, before officially taking over from Carlo Chatrian as artistic director of the Locarno Film Festival at the start of December, Lili Hinstin will lift the curtain on the programme that she has cooked up for the 33rd edition of the Entrevues Belfort Film Festival, an event dedicated to young, independent and innovative cinema, which she has served as the artistic director of since 2013.

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Taking pride of place on the menu is an international competition comprising eight feature films (first, second or third movies), which will be weighed up by a jury that includes French director Thierry de Peretti. Only one European co-production is among the titles set to lock horns: To War [+lee también:
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 by Francisco Marise. Teetering on the boundary between fiction and documentary, this film, which was first revealed at San Sebastián (in the New Directors section) and is a co-production between Spain, Argentina, Portugal and Panama, was co-written and co-produced by Javier Rebollo. Seven feature-length fiction films will be going head to head with it for the 2018 Janine Bazin Grand Prize, including two US titles (Classical Period by Ted Fendt and The World Is Full of Secrets by Graham Swon), two Japanese pictures (Forgotten Planets by Takayuki Fukata and The Kamagasaki Cauldron War by Leo Sato), one South Korean movie (Winter's Night by Jang Woo-jin), one Iranian flick (Reza by Alireza Motamedi) and one Brazilian effort (Long Way Home by André Novais Oliveira). This impressive crop of works explore the fringes of the modern world: demoted Japanese people, the outskirts of Paris and its slums, the forgotten soldiers of ideological wars (elderly Cubans and young Ukrainians), the farmers of the old world, youth and its lost illusions, the ghosts of history and fiction, and bashful, weary and betrayed lovers… 

As for the French features set to be showcased, there’s the Venice star attraction Blonde Animals [+lee también:
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 by Alexia Walther and Maxime MatrayL’Amour Debout [+lee también:
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 by Michaël DacheuxDaniel fait face by Marine AtlanGoldilocks Planets [+lee también:
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 by Gaël LepingleDe cendres et de braises by Manon OttA Lua Platz by Jérémy Gravayat and Ma Belle Jeunesse by Aliona Zagurovska.

Standing out among the premiere and special screenings are "I Do Not Care If We Go Down in History as Barbarians" [+lee también:
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 by Romania’s Radu Jude (which emerged victorious at Karlovy Vary and is the national candidate for the 2019 Oscar for Best Foreign-language Film), Diamantino [+lee también:
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 by Portuguese-US duo Gabriel Abrantes and Daniel Schmidt (Grand Prize in the Cannes Critics’ Week), Real Love [+lee también:
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 by France’s Claire Burger (victorious in Venice’s Giornate degli Autori), Un violent désir de bonheur [+lee también:
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 by her fellow countryman Clément Schneider (unveiled on the Croisette, in the ACID selection), the Venice competitor Our Time [+lee también:
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 by Mexico’s Carlos Reygadas and the documentary Almost Nothing [+lee también:
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 by Anna de Manincor.

The La Fabbrica section will allow audiences to discover or rewatch the debut films by French directors Alain Guiraudie, Patricia Mazuy, brothers Arnaud and Jean-Marie LarrieuMarie-Claude TreilhouLaurent AchardJacques Nolot and Yolande Zauberman, all in the company of their respective auteurs.

Also of note are a programme entitled "Oppressions: The Representation of Black People in Genre Film", a "Short, Subjective History of Animation" (for which Michael Dudok de WitBill PlymptonMichel OcelotJan SvankmajerSébastien Laudenbach, Florence Miailhe and Anca Damian have each chosen a film that for them represents a milestone in the history of this particular genre), a focus on supporting roles in cinema, and a tribute to late actor-producer-director André S Labarthe.

Lastly, five features at the end of the editing stage will be presented to industry professionals as part of the Films in Progress post-production support programme, which has now reached its tenth edition. They include About Love & Crash by Lucille Chauffour, Il n’y aura plus de nuit by Éléonore Weber, Sankara n’est pas mort by Lucie ViverLes conductos by Colombia’s Camilo Restrepo and The Murders of Oiso by Japan’s Takuya Misawa.

(Traducción del francés)

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