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MÁRGENES 2019

Parte la nona edizione dell'audace Márgenes

di 

- Il festival del cinema libero ibero-americano si apre il 20 novembre, e prosegue gratis su Internet fino all'8 dicembre, con firme incatalogabili come quella dell'omaggiato Paulo Rocha

Parte la nona edizione dell'audace Márgenes
Andrómedas di Clara Sanz

Questo articolo è disponibile in inglese.

Starting today, 20 November, and unspooling for the next month in Madrilenian cinemas (and until 8 December via its website – with viewings of the films in its official section free of charge), the ninth edition of Márgenes is about to unfurl a programme that is tantalising and alternative in equal measure, offering movies that are not easily pigeonholed and that refuse to submit to the yoke of mainstream cinema. All we need do is mention, by way of example, one of its honourees, Portugal’s Paulo Rocha, because, as stated by festival director Diego Rodríguez, “We find ourselves in a time when the core of audiovisual production has been colonised by cloned, uniform products based on tastes that have been predetermined by algorithms. It’s precisely during this paradigm shift and, perhaps, during these changing times when the margins, the fringes, make more sense, and that’s where the most creative, authentic, suggestive and free-spirited films are born. There’s not just one single gaze, but rather multiple perspectives. And a lot of those can be found in Márgenes.”

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Standing out in its official section, among a selection of Spanish and Latin American movies, are Spanish features such as De barrio by Xurxo Chirro, which has just been taking part in the Gijón and Mar del Plata Film Festivals; Andrómedas [+leggi anche:
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by Clara Sanz, about her grandmother’s relationship with her Ecuadorian carer; 7 limbos, described by its creators – Alexandre Cancelo and Berio Molina – as “a sonic journey through spectral veneers”; Double Me [+leggi anche:
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by Felipe Rugeles, a co-production with Colombia about disagreements between colonists and the colonised; and Portugal’s Ordinary Time [+leggi anche:
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by Susana Nobre, or the circle of life as narrated by various different people.

Another particularly interesting strand at the ninth Márgenes is the Escáner (“Scanner”) section, which will unspool in the Matadero Cineteca and will screen the crème de la crème of the recent and very varied crop of independent Spanish cinema, including the documentary Glittering Misfits [+leggi anche:
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, about the world of burlesque, directed by Iban del Campo; The Perseids [+leggi anche:
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by Ànnia Gabarró and Alberto Dexeus, a fiction title about a teenage girl who finds out about the phantasmagorical past of her father’s hometown; the fantasy-satire Jesus Shows You the Way to the Highway [+leggi anche:
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intervista: Miguel Llansó
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, the second film by Miguel Llansó, following the rather trippy Crumbs [+leggi anche:
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; White on White [+leggi anche:
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intervista: Théo Court
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by Théo Court, a co-production with Chile shot on the Canary Islands and in Tierra del Fuego; Work, or to Whom Does the World Belong [+leggi anche:
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by Elisa Cepedal, which has just been presented at Gijón; Arima [+leggi anche:
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intervista: Jaione Camborda
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by Jaione Camborda, which won an award at the Seville Film Festival; and Endless Night [+leggi anche:
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intervista: Eloy Enciso
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by Galician director Eloy Enciso, the acclaimed director of Arraianos [+leggi anche:
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(2012).

Mention must also be made of the MRG//WORK sidebar, a project-development forum that, at its fifth edition, is once again putting independent Spanish and Latin American filmmakers in contact with sales agents, producers, programmers and other professionals who may be able to help to make their works a reality. This year, six projects have been selected: Muyeres (Spain) by Marta Lallana, who rose to fame as the (co-)director of Ojos Negros [+leggi anche:
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intervista: Marta Lallana, Ivet Castelo
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, and who is teaming up once again with musician Raül Refree; Miraba caer las gotas iluminadas por los relámpagos, y cada vez que respiraba suspiraba, y cada vez que pensaba, pensaba en ti (Mexico) by Pepe Gutiérrez, a blend of fiction and documentary that explores the ever-thorny issue of colonialism; Pepe, la imaginación en el tercer cine (Dominican Republic) by Nelson Carlo de los Santos Arias, a ghost story set in the Colombian jungle; El cielo en la Tierra (Spain) by María Antón Cabot, which broaches human beings’ limits and those of the universe itself; Sobre las nubes (Argentina) by María Aparicio, featuring a rainy city and four protagonists who don’t know each other; and the documentary-cum-experimental noir essay En busca de…La ciudad perdida (Spain/Colombia) by the collective known as ¡Maldito cine!, which reclaims long-forgotten Spanish celluloid.

More information about Márgenes 2019, and all of its sections and activities, can be found here.

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(Tradotto dallo spagnolo)

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