• Sorry, this entry is only available in European Spanish. For the sake of viewer convenience, the content is shown below in the alternative language. You may click the link to switch the active language.

    “Los conductos cuenta la historia de un joven que acaba de escapar de una secta religiosa tras darse cuenta de la manipulación mental a la cual había estado sometido. Emancipado por fin, este joven busca la manera de reintegrarse en la sociedad. Una sociedad en la que no encuentra su lugar, una sociedad que siempre le ha mantenido al margen. La película se basa libremente en aspectos de la vida de mi amigo Pinky, quien interpreta el papel principal.” Camilo Restrepo. París, 2021

    “Pinky realmente pasó varios años en una secta religiosa bajo las órdenes de un gurú que se hacía llamar el Padre. Cuando Pinky consiguió escapar de la secta, quedó con la idea fija de que su deber era matar al Padre si algún día se presentaba la oportunidad. Más allá de su propia venganza, Pinky pensaba evitar así el adoctrinamiento de otros jóvenes como él. Hablé mucho con Pinky sobre este deseo de venganza. Poco a poco surgió la idea de ayudarle a cometer este crimen. A cometerlo ficticiamente y explorar así las consecuencias de ese acto. Así fue como nació la idea de hacer una película.” Camilo Restrepo. París, 2021

    “En Los conductos hay situaciones que reflejan la vida real de Pinky. Pero este aspecto documental no me parecía suficiente para traducir el profundo cuestionamiento por el que pasaba. Pues la manipulación de la que había sido víctima había diluido en él los límites entre el bien y el mal, entre la justicia y la injusticia, entre la verdad y la mentira. Para contar esta dimensión mental de la historia de Pinky, elegí integrar en la película personajes de la literatura y de la historia. Personajes que tienen en común haber también cuestionado el orden moral de la sociedad. Los conductos es, pues, una película de ficción, generada por un hecho ficticio: un asesinato nunca cometido. Una ficción deliberadamente alejada de la tendencia realista dominante en el cine latinoamericano.” Camilo Restrepo. París, 2021

    “Los conductos es un urgente grito de resistencia contra las estructuras de opresión y los sistemas hegemónicos de representación. Sus portales y pasadizos subterráneos proporcionan espacios liminales de pensamiento, misterios que están apropiadamente sin resolver pero que se anticipan en un estado continuo de incertidumbre compuesto por fragmentos, como luces al final de un túnel, verdad en medio de la confusión, esperanza en medio de la desesperación.” Andréa Picard. MUBI Notebook

  • In 1994, with a retro at the French Cinémathèque, I published a book entitled VARDA BY AGNÈS. 25 years later, the same title is given to my film made of moving images and words, with the same project: give keys about my body of work. I give my own keys, my thoughts, nothing pretentious, just keys.

    The film is in two parts, two centuries.

    The 20th century from my first feature film LA POINTE COURTE in 1954 to the last one in 1996, ONE HUNDRED AND ONE NIGHTS. In between, I made documentaries, features, short and long.

    The second part starts in the 21st century, when the small digital cameras changed my approach to documentaries, from the GLEANERS AND I in 2000 to FACES PLACES, co-directed with JR in 2017. But during that time, I mostly created art installations, atypical triptychs, shacks of cinema and I kept making documentaries, such as THE BEACHES OF AGNÈS.

    In the middle of the two parts, there is a little reminder about my first life as a photographer.

    I’ve made a wide variety of films in my life. So I need to tell you what led me to do this work for so many years.

    Three words are important to me: Inspiration, creation, sharing.

    INSPIRATION is why you make a film. The motivations, ideas, circumstances and happenstance that spark a desire and you set to work to make a film.

    CREATION is how you make the film. What means do you use? What structure? Alone or not alone? In colour or not in colour? Creation is a job.

    The third word is SHARING. You don’t make films to watch them alone, you make films to show them. An empty cinema: a filmmaker’s nightmare!

    People are at the heart of my work. Real people. That’s how I’ve always referred to the people I film in cities or the countryside.

    When you film something, a place, a landscape, a group of people, even if the subject is specific, what you shot indicates your deepest project. 

    I like to bring together reality and its representation. But I also like to juxtapose moving images and still images, in video and in photography.

  • “Palestinian director Elia Suleiman continues to relish the minutiae and absurdities of daily life via vignettes of life at home and abroad.”
    -Jay Weissberg: Variety

    “Another love letter to Palestine from a modern Chaplin.”
    – Deborah Yound: The Hollywood Reporter

    “The absurdities and visual gags from It Must Be Heaven are the best ones in Suleimann’s path, which make this his better and must funny movie that makes a difference.”
    – Kaleem Aftab: Cineropa

    “A burlesque tale in which identity, nationality, and belonging are explored. Suleimann poses the question ‘Where can one feel at home?”
    – EnFilme

  • “The talented rumanian filmmaker surprises (and convinces us) with his thriller noir which stands out from his previous filmography and from almost all of the cinema coming from his country.”
    – Diego Lerer: Micropsiacine

    “The pleasing perspective from Corneliu Porumboiu about grand theft movies has its own charm.”
    – Eric Kohn: IndieWire

    “Art house movie that stands out from many others within its genre.”
    – Leslie Felperin: The Hollywood Reporter

  • “The whole film is gorgeous to look at, at any rate, with Jacqueline Abrahams’ production design poised between realistic sets littered with amusing vintage objects and unnaturally spare hospital wards. A dreamy feeling emanates from DP Lorenzo Hagerman’s muted browns and greens and soft focus. All the clues are there that Alverson and his co-screenwriters Colm O’Leary and Dustin Guy Defa are after bigger game than spoofing 1950s America.”

    – Deborah Young : Hollywood Reporter

    “Rick Alverson’s beautiful, often inscrutable new film takes a stand for eccentricity in a complacent suburban nightmare.”
    – Guy Lodge: Variety

    “Alverson leave very little room for serenity, bare compassion and affection gestures whose intensity and nakedness remind us of the great masters of trascendental cinema: Robert Bresson or Carl Dreyer. Fleeting halo lights amidst the heart of tragedy: the most devastating movie this critic has seen in a very long time.”
    – Manu Yañez : Fotogramas

    “A proposal as magnetic as it is immersive and captivating (…) this laberynth is just perfect.”
    – Luis Martínez :  El Mundo

  • “Visually forceful and narratively understated, the verité-influenced film leans hard on its lush black and white cinematography in its attempt to offer a poetic snapshot of African-American life in the Deep South.”

    —Ben Croll: Indiewire

    “Shot with grace and sensitivity in black and white using available and natural light, What You Gonna Do is a visual treat, the easiest on the eye of all the director’s films to date. It is also, for all its unevenness, a stirring, committed portrait of black lives at a crossroads in the American South.”
    —Lee Marshal: Screen Daily

    “A passionate sketch dedicated to the black lives based on the south highways in Northamerica.”
    —Screen Daily

  • “A tribute to memory’s lucidity. To the memory of faces and places, endearing movies, terroirs and tireless frecuented cities, lengthy friendships and lost loves (…) a formidable documentary.”
    – Carlos Bonfil: La Jornada

    “Road movie documentary (…) a joyful celebration of the urge to create art and the duty to celebrate life.”
    – Allan Hunter: Screendaily

    “A happy movie, but also melancholy (…) it contains a humanist gesture, a certain sweetness that urges us to keep faith in cinema as a luminous guide in dark times.” – Manu Yáñez: Fotogramas”A happy movie, but also melancholy (…) it contains a humanist gesture, a certain sweetness that urges us to keep faith in cinema as a luminous guide in dark times.”
    – Manu Yáñez: Fotogramas

    “Charming (…) Agnès Varda, in the glory of her golden years, has become a humanist magician (…) “Visages Villages” makes a powerful statement about the kind of society we’re becoming.”
    – Owen Gleiberman: Variety

  • “A shocking and risky film that explores, through horror and science fiction, without giving up the social comentary on the contemporary mexican society, homophobia, machismo, gender violence, and indiference.”
    — Javier Pérez: CinePremiere.

    “Ecstasy and agony, Aros and Thanatos as the two drivind forces of the universe that within The Untamed are fulled with a grandious expressive potence.”
    — Beatríz Martínez: El País 

    “This sly and subversive allegorical body horror from the Mexican director of Heli is about the universal drives and addictions that power us all through lifeThis sly and subversive allegorical body horror from the Mexican director of Heli is about the universal drives and addictions that power us all through life.”
    — Peter Bradshaw: The Guardian

    “By rooting the story so firmly in the everyday, Escalante emphasises his metaphoric intent – the thing in the barn stands for the untameable erotic aspect of the Id, but the ‘wild region’ alluded to in the film’s Spanish title (La Region Salvaje) is the destructive drive of humanity, embodied in Angel’s machismo and in the guns and animal head trophies that fill his parents’ home.”
    — Jonathan Romney: Screendaily

    Francia-Reino Unido-Estados Unidos / 2012 / 87′ / color / inglés / formato de proyección:
    Premier Mundial: Festival del Film Locarno 2012
    Premier Norteamericana: Toronto International Film Festival 2012
    FICUNAM 2013: Puma de Plata a Mejor Película
    Ambulante Gira de Documentales 2013
    “Visceral and intense. Captures a world in a way no one has before.”

    ‒ Steve Dollar, Wall Street Journal

    Director: Lucien Castaing-Taylor, Véréna Paravel
    Productor(es): Lucien Castaing-Taylor, Véréna Paravel
    Compañía productora: Arrête Ton Cinéma
    Fotografía: Lucien Castaing-Taylor, Véréna Paravel
    Edición: Lucien Castaing-Taylor, Véréna Paravel
    Sonido: Ernst Karel, Jacob Ribicoff
    Música: Ernst Karel

    “A gorgeous, atmospheric documentary.”
    ‒ David Fear, Time Out NY


    ʻLeviatánʼ es un viaje alucinante por las atmósferas, texturas y ritmos que se experimentan a bordo de un barco pesquero. Filmado con diminutas cámaras adheridas a personas, objetos y peces, Leviatán logra construir un relato subjetivo, descentrado y errante que hace de la ordinaria tarea de la pesca en alta mar una experiencia impresionante. A través del uso del alto contraste y extraordinario diseño sonoro, la película nos invita a sentir el agua, el viento, la materia de la que están hechos los peces y moluscos, la sensación salina del mar, el vértigo de las olas. La cámara plantada en lugares inusuales evoca el punto de vista de peces, aves y objetos generando un relato terrorífico y fantasmagórico sobre la belleza y la furia marina. (CL)


    Lucien Castaing-Taylor
    Liverpool, 1966. Profesor de Artes Visuales y Antropología en Harvard. Codirigió el
    documental Sweetgrass (2009) con Ilisa Barbash. Sus obras de audio y video incluyen:
    Hell Roaring Creek (2010), The High Trail 20(10), Coom Biddy (2012) y Bedding Down
    (2012). Leviathan (2012) es su última película.
    Véréna Paravel.
    Neuchâtel, Suiza. Cineasta y antropóloga. Ha realizado los videos cortos 7 Queens
    (2008) e Interface Series (09‒10), este último filmado en su totalidad con Skype. Su
    película debut, Foreign Parts (2010), una colaboración con J.P Sniadecki, ganó Best
    First Feature y un Premio Especial del Jurado en el Locarno Film Festival. Leviathan
    (2012) es su película más reciente.
    “Visually ravishing. Leviathan is in every way sensational.”

    ‒ J. Hoberman, Artinfo

  • Sorry, this entry is only available in European Spanish. For the sake of viewer convenience, the content is shown below in the alternative language. You may click the link to switch the active language.

    En su segundo largometraje, el director israelita ofrece una reflexión sobre el papel de la poesía y el arte en una sociedad que parece ya no estar interesada en ellas.

    Inquietante mirada a la relación de una profesora de kínder y su párvulo Yoav, niño prodigio capaz de crear poemas a partir de misteriosos trances de inspiración que, una vez transcurridos, lo regresan a su vida de juegos y placeres inocentes. Nira, la maestra de Yoav, madre de familia y poetisa sin gran reconocimiento, descubre la posibilidad de estimular el talento innato del infante, embarcándose en una carrera contra la sociedad patriarcal y consumista que los subyuga, alcanzando perturbadores desenlaces.