With only three days of BAFICI left, let’s take a look at what there is to see and do unless you were wanting to go to the Buenos Aires International Book Fair.
You can always do both.
El Cultural San Martín – 14:00
It’s not easy being a gypsy. “It’s easier to say it than to be it,” says one of the main characters in Shame and Respect. It’s not easy being a gypsy and, for a payo (that is to say, for a non-gypsy), it’s also not easy to understand what that implies –prejudice, it’s known, never allows one to see clearly. Shame and Respect is built up on the opposite side of those prejudices. It’s a restrained documentary that stops to observe (never to judge) the everydayness of a gypsy family in suburban Buenos Aires. The Campos open the doors of their home (those that, as they say time and time again, form a clear border between the outside and inside worlds) as well as those of a millennial tradition that is now forced to adapt to the contemporary world. One thing is clear: being a gypsy is, now and forever, being the bearer of a complex universe, of an identity that finds its unity and strength in family, its compass in honor, and its heart in music. So much so that, filled as it is by folk singing, guitars, handclaps and flamenco box drums, Shame and Respect becomes an undercover musical. GS -BAFICI
Village Caballito – 15:20
An eternal advocate of the love for the pictorial and elegance on the screen, is now trying to capture his cinephile Holy Grail: the Mexican period that changed the life of Sergei Eisenstein, one of the most mythical and refractory silent film directors. As a fundamentalist worshiper of the Russian director who is dazzled in an almost intentional way, Greenaway wants to pay close attention to the time when the director of Battleship Potemkin went to shoot ¡Que viva Mexico!, and, once in Mexican territory, experience everything from being incarcerated to becoming an honorary guest. Eisenstein’s deepest professional frustration is contrasted against a definitive finding about his personal life (he lost his virginity at the age of 33, far from the oppressive Russia). Greenaway himself has said that ever since Eisenstein, few directors have managed to create real novelties, and now his inspiration on him results in a profane, elusive, and hypnotized biopic. A piece that is alterative to what Greenaway claims to love. JZ -BAFICI
El Cultural San Martín – 19:25
Mabuse is the dark hero of Weimar cinema. Full of charisma, sardonic charm and nasty ideas, he is the wicked genious of crime –a German Fantomas. Fritz Lang shot four Mabuse films, including his very last film in 1960. Other directors tried as well, but never reached Lang’s superb ability and social-pathological depth. This double-feature is fast, hypnotic and prophetic: a futurist crime thriller and action movie with a criminal as hero. Mabuse is wearing dozens of masks and manipulating the stock market with fear and dirty tricks: any similarities to actual persons or events are “merely coincidental and the product of a feverish imagination.” -BAFICI
Village Recoleta – 20:10
A train goes across China. In each one of its many wagons, hundreds of persons with their own stories and points of view travel every day, covering huge distances. China’s railway system is imaginably complex if you take into account the country’s area, its population density and its technical development. The laying of the tracks, which penetrate the territory and scatter like the veins inside a living being, not only communicate, but also offer one of the most complex paintings of a society. That’s why, by focusing on the variety of persons who inhabit that world in motion, in their gazes, in their trivial conversations, J. P. Sniadecki examines the blood of a country. As a specialist in that culture, his previous films, Chaiqian, People’s Park and Yumen, are interested in the same. With The Iron Ministry, the viewpoints of the filmmaker and the anthropologist come together in order to achieve one of the most interesting experiences born from the SEL (Harvard University’s Sensory Ethnography Lab), one of the most important centers of visual anthropology in current cinema, which was also responsible for such films as Leviathan and Manakamana. LL -BAFICI
Village Recoleta – 21:00
In 1625, British playwright Ben Jonson premiered a stage play that satirized the novelty of London at the time: journalism. Some sort of The Front Page three centuries ahead not only of Ben Hecht and Charles MacArthur, but also of almost every practical, philosophical and moral dilemma of the profession –which, in spite of being still young, Jonson already saw as a business and as factual power–, The Staple of News had never been translated to Portuguese (nor to Spanish, as far as we know) until Jorge Furtado decided to turn it into the backbone of this documentary. The ribs, which are succulent, are a brief history of the press and thirteen interviews with as much great Brazilian journalists, in which they devote themselves to conjugate their profession in the past, present and future. If it seems impossible that, from this mixture, Furtado could have come up with one of the most lucid, illuminating and necessary contributions to a debate of rabid topicality –and it does–, it’s because you have never bumped into his Island of Flowers, where he only needed thirteen minutes and a tomato in order to explain the complete history of capitalism. AM -BAFICI
Village Recoleta – 23:10
“This is pretty civilized,” says Simon while someone serves food on his plate, as if he was expecting his hosts to be anything other than a Charles Manson-like clan of savages. Simon’s untrusting reaction during his short visit is probably the same one spectators would have if they would have look closely at these four youngsters. They are two boys and two girls from London, who moved into a country house in order to get away from the noises of the world, live under their own rules, and play a game (or experiment). While they mock society’s routines and its institutions, they claim to have no interest in the outside world and maintain very active (although rigorously regulated) sexual relations with each other. We don’t know exactly what the enviable protagonists of this opera prima are hiding from. But we shouldn’t expect these questions to find their answers, only to come up one after the other like a mirror for the spectators. MK -BAFICI