Here are some recommendations for the second day of BAFICI .
FRIDAY, APRIL 17TH.
Free Activity – Village Recoleta 8 – 10:00
This is a seminar sponsored by Cinecolor, one of the most important companies in the world dedicated to Audiovisual Laboratory and Digital Post-Production. With the presence of the famous Argentinian director Luis Puenzo, director of the Official Story, (La Historia Oficial), 1984, first Argentinian movie to win an Academy Award, Chango Monti, Official Story cinematographer and Beto Acevedo, Lucas Guidalevich and Víctor Vasini from Cinecolor, the seminar will address the restoration and preservation of films in Argentina taking The Official Story as the main case study. This activity will be in spanish.
Centro Cultural General San Martín – 13:00
This film is in the Norcorean Section, specially for all those Asian Movie’s enthusiastics. – Often regarded as the North Korean Gone with the Wind, The Flower Girl is the filmed adaptation of an opera written by the “Great Leader” Kim Il Sung. Typical of a cinema that seeks to celebrate revolutionary ideals, the film depicts a Korea under imperial Japanese rule where servants are little more than the chattel of their employers. The title character sells flowers to help her widowed, overworked mother and blind younger sister while waiting for her older brother to fulfill his promise to return and rescue them from terrible oppression. –BAFICI
Village Recoleta – 14:20
Following his acclaimed 2010 documentary Nostalgia for the Light, legendary Patricio Guzmán delivers an equally stunning achievement with The Pearl Button. Whereas Nostalgia… vividly explored Chile’s national heritage through its distinctive skies and deserts, The Pearl Button takes water as its central metaphor through which flows a stream of historical recollections and poetic reflections, rendered with breathtaking visual clarity. Chile is a country exposed to water, with one of the longest oceanic coastlines of any nation; but its tragedies have often involved conflicts over what little arable land it has amidst its deserts and mountain ranges. As if to provide an object lesson in how his nation should direct its attention, Guzman dives into a deep investigation of the significance of water, and emerges with a lucid stream of lamentations and questions concerning his nation’s tragic history. His unique gift lies in his ability to weave together multiple modes of documentary: the picturesque, the political and the poetic. KBL –BAFICI
Village Recoleta – 14:30
Pablo Agüero returns to El Bolsón to narrate in three movements (Apocalypse, Illumination, and Genesis) the life of four women who at one point decide to leave their lives and start from scratch, assume a new religion, and build a temple. Mothers of the Gods is a hypnotic, mysterious and somewhat sensual portrait of Samiha, Humana, María, and Maicoño. All of them have embraced their enigmatic return to El Bolsón as a last refuge against the past and loneliness. Each one commits to a different spirituality, and yet there’s something that unites and calls upon them to meet around a bonfire in the nights of full moon. Quoting the beautiful final line of the film spoken by Geraldine Chaplin, each one “has created her own God, her own religion, and her own temple, and yet they form one single people.” They are the new women. FG –BAFICI
An all-time favorite director of this festival, Hong Sangsoo decides to take the light that both his cinema and Isabelle Huppert irradiate, and make it fractal. A prism of himself, Hong refracts Huppert (the perfect catalyst for his sense of the unease, the certainty, the comedy of everyday life –which makes it absurd) in three different stories, managing to illuminate new corners of cinema. Yet, Huppert will always be Anne, and she will always be a tourist in a small Korean sea town. She will come across the very same people from that town (including a lifeguard who is, always unable to find the godforsaken lighthouse). Far from the Rashomon-style of storytelling, each Anne shows the way Hong, an eternal hunter of luminous halos, sees flashes in those relationships, those fleeing times, that surreal feeling of being a foreigner (in a country, in love, in life). He compresses the playful surrealism that results from that in order to create a film the Village Voice defined, with Swiss precision, as “the love child Antonioni and Hou Hsiao-hsien never had.” Bafici ‘13 catalogue
Buenos Aires Planetarium – 18:00
If you want to enjoy a new experience at the Planetarium’s Dome then you should really check this film. A story of passion and dance with the city as its backdrop. The tango culture takes us for a ride through every corner of Buenos Aires -its streets, its buildings, its customs- in an impressive audiovisual spectacle: the 360-degree animation, video and cinematography combine in order to deliver some amazing postcards, while we hear Astor Piazzolla’s “Four seasons” in a rendition by the Escalandrum group and guests in an orchestra led by Pipi Piazzolla, winner of the Golden Gardel Award. –BAFICI
Village Caballito – 20:00
If you are interested in Lars Von Trier work you probably have seen it. But if not and you want enter this new and odd world, you might want to know that is one of the longest films ever screened in this Film Festival, (except for that one that lasted like eight hours).
As usual in Lars von Trier’s work Nymphomaniac is more about him, his views on cinema and the world than Joe, the protagonist (played by Charlotte Gainsbourg and Stacy Martin.) Structured through the account of a self-diagnosed nymphomaniac, this sort of Arabian Nights that covers a wide variety of sexual practices is divided into almost autonomous chapters in which explicitness abounds, as well as evidence of the mise en scène skills of the director who invented the Dogma 95. Additionally his publicity skills, of course, because it’s impossible to ignore the colossal extra-cinematic stunt that points and hits the target of our morbidity and curiosity so that we can’t miss it. And this can be applied to those who love Von Trier, but also those who hate him. This tries to be his magnum opus, so the levels of pretension, cynicism, coldness and misanthropy exceed even those of his earlier work. Would it be too much to point out that the sex scenes that seem to arouse the director the most are those of S&M practices? FEJL. –BAFICI
Village Recoleta – 21:20
Daniel Rosenfeld returns to the tools he already used in The Chimera of Heroes (2003). Better yet, he returns to a particular notion about the use of such tools: without the narrowness that results from urgency but with a fair distance and the necessary time to detect that spot where the incredible takes place. And from then on, instead of approaching the incredible as such, he respects it as the essential path in the everyday life of a man. That man is Antonio Zuleta, who was born in Salta and has a son, a video camera, and an obsession: UFOs. We shouldn’t spoil much of Zuleta’s path in the film, but we should say that each turn is surprising and yet also the most logical one. That is Rosenfeld’s ability in the use of film tools: he tries to place a stethoscope on what lies beyond what we are able to see, in the possible echoes of Zuleta’s search, in the exact shape of that table he grabs on in order to float in an ocean where all shores are too far away. MP -BAFICI
Village Recoleta – 22:00
In order to attract attention on a film like Passers-by, it would be simple to resort to cold hard data and, for example, mention the fact that its shoot took place over the course of two decades in diverse formats, and had more than 6,500 cuts. However, these factors pale in comparison to the final experience the film offers a 100-minute-long exposure to a bombardment of syncopated images that drive you into a joyous trance in which the history of Barcelona, a city in constant, painful transformation, flashes before your eyes. Everything is contained in Passers-by, and everything is gathered and exposed in such a way that the initial sensation of bewilderment gives way to some sort of revelation, a euphoria through which, at times, we perceive the ways in which our lives have become increasingly disfigured and have gone from being a playground to being an enclosed space where the right of admission becomes a dogma of faith. -BAFICI
Village recoleta – 23:15
The quest for success in Hollywood. The dream of becoming an actress. Novella McClure is in her early thirties and has several problems. 1) She didn’t become a star. 2) Not only that, but she also didn’t get any parts in the last three years. 3) Her name sounds like a porn star from the past century. 4) There are younger actresses willing to do anything for a piece of fame. 5) She has trouble with paying the rent. And a new problem emerges amidst all this: she starts to eat herself! Is Jimmy Weber’s opera prima a less-serious In My Skin? Is it a metaphorical and satirical critique to the waste of bodies in Hollywood? Is it a gore flick? It might be all those things, plus a carefree B melodrama with grace, speed, some brutal revenge sequence, large doses of black comedy, and a memorable performance by its lead actress Meggie Maddock. Yes, you’re thinking Meggie Maddock is a slightly better name than Novella McClure. It’s true: perhaps in that sense Eat has some documentary elements. JPF -BAFICI
ArteMultiplex – 23:15
The Hunger is a film both assured and ambitious, wringing subtlety and slow-boiling tension out of a shamelessly ridiculous plot involving a vampiric vixen that has persisted since Ancient Egyptian times in the graceful form of Catherine Deneuve, with lover David Bowie riding her coattails through the centuries. It’s also a vampire film that could just as easily be a study of lust, love, and the waste that either lays on the body. Scott may be accused of almost exploitatively turning up the heat in the infamous lesbian scene between Deneuve and Sarandon, but like the rest of the film, even the juicy bits are handled with the kind of restraint that may have been the director’s trademark had The Hunger been a runaway hit. Alas, it was too strange, too dark and burdened with a vexing finale for that to happen. But, it is also one of the best vampire films ever made, a fable that toes the line between a fairy tale and a blood bath, occasionally (and expertly) mixing both. OL -BAFICI
Village Caballito – 23:59
The keynote address in what has become –rising out of the neurotic bath of 1970s exploitation films– one of the world’s cinema most original and discomfiting visions, this masterwork from Cronenberg has aged into a kind of subterranean sacredness. Name another film that takes as many risks, runs its astonishing course with such a steady hand, and has as much to say about brotherhood and corporeal transience. Derived from a true story about a pair of gynecologist twins who committed suicide together, but marinated in Cronenberg’s unique physio-anxiety, Dead Ringers tracks Jeremy Irons as two dislocated doctors with an Avant Garde practice whose warped symbiosis becomes infiltrated by a third party (Geneviève Bujold, as a sensible-minded hophead who has the audacity to like one of the identicals and not the other), and who begin spiraling into a crazed dream world of dementia, pharmaceutical zombiehood, and body panic. MA -BAFICI