7th Festival Márgenes: free to view online, 2nd-23rd December 2017

I’ve written about each edition of Festival Márgenes since 2014, usually in the form of an overview but sometimes going into a bit of detail about films I’ve particularly liked (click on the year for the relevant post: 2014, 2015, 2016). The festival focuses on films without distribution, made on the margins (or outside) of existing film industries in the Iberian Peninsula (Spain and Portugal) and Ibero-America (Spanish and Portuguese-speaking Latin American countries). Standouts from previous editions include África 815 (Pilar Monsell, 2014), El gran vuelo (Carolina Astudillo, 2014), La sombra (Javier Olivera, 2015), No Cow on the Ice (Eloy Domínguez Serén, 2015), and Pasaia bitartean (Irati Gorostidi, 2016).

The films included in the 2017 edition (links take you to the relevant streaming page – you need to register with the site to get started):

The Luis Ospina retrospective includes 20 films (shorts and features), also free to view. No indication is given about subtitles, but generally those films not in Spanish have (Castillian) Spanish subtitles and often a lot of the Spanish-language films have English subtitles – but as I’ve said in relation to previous editions, they’re all free to view, so it won’t cost you anything to just click on one and see if subtitles appear.

As I mentioned in my post yesterday, I’m intending to watch the films by Gabriel Azorín, María Cañas, and Luis Macías as a starting point. But my experience of Festival Márgenes is that they always have a really strong line-up – I usually only manage to watch a handful of films from a given edition but I’ve never watched a dud – so although some of the films might not be your kind of thing, you should be able to find something interesting that you would not otherwise get the chance to see.

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Watched in September

Plus Piazza Vittorio (Abel Ferrara, 2017) (which doesn’t seem to have a poster), via Festival Scope’s Venice Sala Web – having pointed out the selection in last month’s post, I then only managed to watch one film there myself. I also missed all of Mubi’s Argentine cinema season, apart from La mujer de los perrosDog Lady (Laura Citarella & Verónica Llinás, 2015). I’ve not really been in a film-watching mood.

I am intending to watch Ken Burns & Lynn Novick’s documentary series, The Vietnam War, which is available on the BBC iPlayer during October if you’re in the UK (the first episode is here) – David Thomson reviewed the series in the London Review of Books (note: the version being shown in the UK is the 10-hour international cut, rather than the 18-hour version being shown in the US).

Watched in June

A slower month.

Tijuana Tales (Jean-Charles Hue, 2017) is one of a collection of shorts from Cannes available to view on Festival Scope until 7th July.

‘The Carlos Saura Challenge: 1962-1979’ will start tomorrow with an introductory post, to be followed on subsequent days by posts on each of the thirteen films from this first period of the director’s career.

6th Festival Márgenes: free to view online, 11th – 31st December

6th-margenes-festival

I have previously written about the 4th and 5th editions of this Spanish online festival. Specifically dedicated to films – from the Iberian Peninsula (Spain and Portugal) and Ibero-America (Spanish and Portuguese-speaking Latin American countries) – whose form, style, or duration mean that they will struggle to access the normal distribution routes or obtain a commercial release, Márgenes initially takes place in key cities in Spain, Mexico, Chile and Uruguay at the start of December, before moving online during the second half of the month. Documentaries and experimental films tend to dominate the selection.
The online side of the festival makes the films free to view. Sometimes there are rights restrictions on specific titles in certain countries – at the moment Generación Artificial and Santa Teresa y otras historias aren’t visible to me, but I don’t know if that’s a rights issue or just a glitch on the website. Films that aren’t in Spanish tend to have Spanish subtitles, but in past years the majority of the Spanish-language films have had English subtitles. The subtitles aren’t listed on the website – I’ve put a * next to the trailer links below where the festival has used a trailer with English subtitles, which is often a good indication of there being subs on the film as well [UPDATE: this hasn’t been a good indicator this time around]. But given that the films are free to view, you aren’t going to lose anything by starting a film to see whether subtitles appear. I never manage to watch everything, but I will update this post to indicate the presence of subtitles on any films I watch [UPDATE: I’ve watched two and looked at a third – I’ve added the subtitle info below].
The previous editions I’ve explored have revealed gems such as África 815 (Pilar Monsell, 2014), El gran vuelo / The Great Flight (Carolina Astudillo, 2014), and La sombra (Javier Olivera, 2015) (the latter was my favourite in last year’s festival). I can recommend No Cow on the Ice (I reviewed it earlier this year) and personally will be aiming to at least catch Pasaia bitartean, Santa Teresa y otras historias (if it’s available), and Las letras (on the basis that I’ve read positive things about them in relation to other film festivals). The festival announced its prizes yesterday – I’ve marked the winners below as well.
This is the line-up of titles in the 2016 official selection (clicking on the title will take you to the streaming page for that film):

> Arreta (Raquel Marques and María Zafra, 2016, Spain – 60 min) *trailer
> Generación Artificial / Artificial Generation (Federico Pintos, 2015, Argentina – 62 min) *trailer
> Historias de dos que soñaron / Tales of Two Who Dreamt (Andrea Bussmann and Nicolás Pereda, 2016, Mexico/Canada – 82 min) *trailer
> CAMIRA PRIZE: Il solengo (Alessio Rigo de Righi and Matteo Zoppis, 2015, Italy/Argentina – 66 min) trailer
> Inadaptados (Kikol Grau, 2015, Spain – 41 min)
> BEST FILM: Las letras / The Letters (Pablo Chavarría Gutiérrez, 2015, Mexico – 77 min) [with English subtitles] trailer
> SPECIAL MENTION BY THE JURY: No Cow on the Ice (Eloy Domínguez Serén, 2015, Spain – 63 min) *trailer
> Panke (Alejo Franzetti, 2016, Argentina/Germany/Burkina Faso – 46 min) *trailer
> NUMAX EXHIBITION PRIZE: Parábola del retorno (Juan Soto, 2016, Colombia – 41 min) trailer
> Pasaia bitartean (Irati Gorostidi, 2016, Spain – 51 min) [Castilian Spanish subs] *trailer
> Placa Madre / Motherboard (Bruno Varela, 2016, Mexico/Bolivia – 54 min) trailer
> Santa Teresa y otras historias / Saint Teresa and Other Stories (Nelson Carlo de los Santos Arias, 2015, Dominican Republic/USA/Mexico – 65 min) [no subs] *trailer
> Yo me lo creo (Terrorismo de Autor, 2016, Spain – 40 min) trailer

The Márgenes Festival 2016 also includes a retrospective of the work of Lluís Escartín, titled ‘no tengo nada que decir, prefiero escuchar. 30 años documentando lo invisible‘ [I don’t have anything to say, I prefer to listen: 30 years documenting the invisible], and a cycle dedicated to Chilean director José Luis Torres Leiva, ‘Un lugar en el mundo‘ [A place in the world] – they are likewise free to view online until 31st December.

Montaña en sombra / Mountain in Shadow (Lois Patiño, 2012)

Mountain in shadow from lois patiño on Vimeo.

One of my favourite short films from the last few years has been put up on Vimeo by its director. I saw Lois Patiño’s Montaña en sombra / Mountain in Shadow on the massive IMAX screen at the Bradford International Film Festival in 2014 where it accompanied Patiño’s feature debut, Costa da Morte / Coast of Death – in my 5-star review of the latter, I mention the short in the last paragraph. I feel privileged to have seen it in an ideal viewing environment originally, but it’s also nice to have the opportunity to watch it again (even on a small screen).

 

Reviews: AV Festival 2016

The AV Festival runs from 27th February – 27th March. That’s an unusually long runtime for a festival but there are events and screenings spread throughout that whole month, so my reviews will be appearing over the same time period. That said, quite a lot of the films being shown are ones that I either own on DVD or can access via VOD (for a lower price than a cinema ticket), so I’m currently attempting to get a head start on my reviews by watching those films at home. I’m aiming to review 20 films overall, some of which are screening during the last weekend of the festival so I will add titles and links to this post as and when the reviews go online. The first batches of reviews are for collections of shorts but almost all of the rest will be standalone features.

British Doc shorts

1930s – 40s British Documentary Movement –

Showing as part of the ‘Resistance: British Documentary Film’ strand, this collection of four shorts from the 1930s and 40s picks up on some of the same issues raised by George Orwell in The Road to Wigan Pier – namely poor housing conditions and precarious employment in industrial areas. According to the festival’s website, the screening at the Tyneside Cinema on 1st March will show them on 35mm – I watched them on the BFI’s 4-disc boxset, Land of Promise.

 

Jennings_Finest Hour

Finest Hour: Films by Humphrey Jennings –

Jennings is perhaps the best-known name among the British documentary makers of the era and is rightly revered for his poetic artistry. What I’ve liked most though is his eye for the small details – often moments of happenstance – that have the spark of real life rather than something stiltedly staged (or self-consciously presented) for the camera. Some of his films are in the Land of Promise boxset – and the BFI also has three volumes of DVDs dedicated to the director – but several of them (indicated below) are also available to watch for free on the BFI Player.

 

A Dream from the Bath01

Between Times: Marc Karlin –

On the weekend of Friday 4th – Sunday 6th March, AV Festival are focussing on director Marc Karlin (details here) who spent several decades as a filmmaker consistently questioning and critiquing the British Left. I will only manage to see a couple of his films during the festival, but almost all of the films that are being screened (including the five on Nicaragua) are also available to rent on Vimeo courtesy of the Marc Karlin Archive (here) – I’m certainly planning to investigate his other works.

 

Nightcleaners01

Nightcleaners 

This documentary about the 1970-72 campaign to unionise the cleaners who worked overnight in London office blocks was screened on International Women’s Day. I didn’t have time to write about it until two days later, by which time I felt that something of its quicksilver and abstract nature had already slipped beyond my grasp. It is by no means ‘difficult’ viewing (I hadn’t been sure what to expect – it caused a stir in academic circles at the time of its original release and a lot of the contemporaneous writing about it seems to verge on the incomprehensible) but it is a film of many layers. It is also the best film I’ve seen so far this year.

 

Revue01

Levels of Democracy: Ukrainian Film Weekend

This weekend (18th-20th March) the AV Festival is focussing on radical Ukrainian documentary. Within that context they are creating a profile of Sergei Loznitsa by screening three of his films – his latest, The Event (2015), as well as Maidan (2014) and Revue (2008). I was supposed to be seeing The Event and two classics from the silent era – Earth (Alexander Dovzhenko, 1930) and Enthusiasm (Symphony of the Donbas) (Dziga Vertov, 1930) – but that is not how my weekend has turned out, so there will only be my review of Revue (available on DVD in a set with his films Blockade and Landscape, which is how I saw it) for this section of the festival. If you’re interested in Loznitsa, Maidan is also available on DVD and the majority of his other documentaries are available as VOD on the Doc Alliance site (note: I wasn’t overly fussed by Revue but I like some of his other films considerably more).

  • Revue (Sergei Loznitsa, 2008)

 

Refuge England01

March to Aldermaston: Free Cinema

As part of the ‘Resistance: British Documentary Film’ strand, the festival is screening a showcase of shorts from the Free Cinema movement – March to Aldermaston (Lindsay Anderson, 1959), Refuge England (Robert Vas, 1959), and We Are the Lambeth Boys (Karel Reisz, 1959). The latter two are available to watch for free on the BFI Player – here and here respectively.

That’s it from me in terms of AV Festival reviews. My report on the British documentary section will appear after Easter.

Preview: AV Festival 2016

AV Festival_theme

“Meanwhile, what about Socialism? It hardly needs pointing out that at this moment we are in a very serious mess, so serious that even the dullest-witted people find it difficult to remain unaware of it. We are living in a world in which nobody is free, in which hardly anybody is secure, in which it is impossible to be honest and remain alive.” – George Orwell, The Road to Wigan Pier (1937)

I’ve written a preview of the forthcoming AV Festival 2016 over at Eye for Film. The festival takes George Orwell’s The Road to Wigan Pier (1937) as its thematic inspiration, asking “Meanwhile, what about Socialism?”. As I explain within the preview, AV Festival 2016 is billed as ‘Part 1’ in relation to Orwell’s book (which is divided into two parts) with ‘Part 2’ intended to arrive in two year’s time in the form of the festival’s 2018 edition (it’s a biennial festival). I read the book last month and was startled by how much of what Orwell observed and criticised in the late-1930s is still with us in 2016 – it is well worth reading. I’m looking forward to discovering how the festival has interpreted it, not least because I’ve hardly seen anything that they’ve programmed.

Eye for Film have also made a page with the full film listings of the festival – you can see that there is a lot of variety arranged around three themed weekends. I’ll be seeing a bit of everything, including several of the films at the last of those weekends – Levels of Democracy: Ukraine Film Weekend – but my main focus will be the British documentary strand, which is woven throughout the programme over the course of the whole month. I’m also hoping to get to some of the exhibitions and installations that will be at various locations around the city. You can find the full details on the festival’s website – here.

Due to the timescale over which the festival is spread, I will manage to review / write about more individual films than I normally get the chance to at a single festival. I’ll be writing reviews for Eye for Film and a report on the British documentaries for desistfilm. My reviews are already starting to appear, so I will make a separate post tomorrow for the various links.

 

Festival Report: Asturian shorts

Cuenta con nosotros_Dani Pérez Prada and David Pareja

More than 70 shorts were screened in Gijón – films from around the world, in and out of competition. I concentrated on the Spanish ones (for obvious reasons) but even then I didn’t manage to see all of them. In the end I’ve written about some of the ones that were in the Asturian section – I’m not familiar with cinema from the region, so this seemed like a good place to start. If you cast your mind back to my Gijón dispatches, you may remember that I had one evening when I wasn’t well and ended up returning to the hotel rather than going to the final session of the night. That session was for the Asturian films that were in competition, so I’d like to thank Alicia Albares, Roberto F. Canuto, Pablo A. Neila, Kiko and Javier Prada, Pablo Vara, Daniel Vázquez, and Benjamín Villaverde for giving me access to their respective films after the fact. For reasons of space, I could only focus on three of the films in my report, but hopefully I will have the occasion to write about the others in the future. My report can be found over at Eye for Filmhere.

Reviews: Gijón

Dead-slow-ahead

I have a few reviews of films I saw in Gijón forthcoming over at Eye for Film. I’m starting with three of the features (I will add links to this post as and when they are published), but there will also be something on (some of) the Spanish shorts – I haven’t decided whether this is going to entail reviews, a report, or some combination of the two. I will either extend this post to include links to reviews of the shorts or write a separate post for them – it’ll depend on what I end up writing.

UPDATE (21/12/15), a review of one of the short films in the main competition:

I interviewed Adán Aliaga earlier in the year in relation to his feature (co-directed with David Valero), El arca de Noé / Noah’s Ark – that interview can be found here.