Retrospective of German expressionist cinema. Entrance is free.
All projections are in 16 mm.
Geheimnisse Einer Seele (Secrets of a Soul)
Georg Wilhelm Pabst. 1926, 76 min., Germany, mute, B/W. With: Werner Krauss, Ruth Weyher, Ilka Grüning, Jack Trevor, Pawel Pawloof.
A most normal marriage. He (Werner Krauss), biochemist, shaves a daily, reads before going to bed and adores his wife. She (Ruth Weyher), much younger than him, appears one day with a little present: an oriental statuette and postcards sent by his cousin (Jack Trevor), an adventurer returning from an expedition to Sumatra. One morning the neighbour across the street shouts for help. A woman has been stabbed and killed. The marriage the whole case through the newspaper or by some neighborhood gossip. Life goes on and although nothing changed for the couple, an intimate gear has spun in the husband’s mind. At night he suffers an atrocious nightmare in which he sees himself murdering his wife. Feelings of guilt – perhaps for not having had children – and the most primitive jealousy assault his spirit: nothing will ever be the same. The next morning the dream has left its mark: he does not dare to shave for fear of the future. The problem arises at night when the protagonist does not take the stiletto in his hand to open the mail. The problem arises at night when the protagonist is assaulted by the urge to slit his wife’s throat. The solution of the case will be in the hands of a doctor (Pawel Pawloff) who will proposes a “psychoanalysis” treatment, which involves taking the husband away from the house for a few months until he achieves Will he be able to unravel the mystery of the soul through the meaning of dreams and their traumas? The plot and psychological concepts may be simplistic and naive but, by comparison, they are more mature than many films Americans in the post-war period when psychoanalysis boomed. Pabst’s master hand gives us sequences oniricas of dense climate and for moments suffocating, supported by the contained performances of the protagonists -unusual in silent cinema – and a battery of visual resources that is still effective as an attraction to the unfathomable abyss. of dreams. Without the expressionist legacy but bending rigid architecture; without the lyricism of a Murnau nor science of a Lang but achieving a certain “scientific lyricism”; without the tendency to fill or paint the screen with light or light. chiaroscuro but giving volume and phantasmagoric relief to the real objects that populate a dream, Pabst manages to elevate a minor film and turn it into a small gem of imperishable vision. (Darío Lavia).
Nosferatu: Eine Symphonie Des Grauens (Nosferatu: A Symphony of Horror)
F.W. Murnau. 1922, 66 min., Germany, silent, B/W. With: Max Schreck, Gustav von Wangenheim, Greta Schröder, Alexander Granach, Georg H. Schnell, Ruth Landshoff.
The film will be screened in its dyed version, rarely seen. Inter-titles in German and English. Musicalized live by Merkén.
Although it has had some previous approximation, Nosferatu by Murnau is usually considered as the first Dracula of cinema, even if, due to a copyright issue, it has another name. The story is the same skeleton of Bram Stoker’s novel but with certain twists and changes of characters that makes it quite original. Bremen, 1838 (or Victorian England); the unsuspecting Knock (or Harker) attempts a real estate deal with Count Orlok (or Dracula), who is actually a vampire who feeds on human blood. Orlok is captivated by the beauty of Ellen (or Mina) and tries to vampirize her until Professor Bulwer (John Gottowt) appears to prevent it. It will be a long function of scenes that will be repeated eternally in hundreds of later films, but with the exception that these are the originals, of which all the others abbreviated. A pair of monstrous eyes shine before a wound, the attraction towards the curve of a female neck, the sensation of permanent phantasmagoria, a ghost rises like an automaton from a coffin, a cart is driven by a zombie and the moments follow. The film raises some aesthetic findings and an ethical question. Aesthetic because Murnau violates some principles of expressionism by shooting most of the film outdoors, outside of studios, but obtaining fully expressionist results by virtue of montage and ingenious camera effects and extracting naturalness from the unnatural and unnatural of natural settings. Let’s remember the accelerated effect of the “crank turn” applied to the vampire stacking coffins or the spectral aspect of the forest obtained by interleaving negative film. Finally, Nosferatu offers a whole topic of discussion that we will not discuss here to avoid the risk of apologizing for the crime but, taking into account the fact that Murnau was forced by law to destroy his film (he had not paid intellectual rights to Stoker’s widow) and that, if we had not kept some copy, today we could not see it in any format: to what extent does intellectual property damage and tara that which it seeks to protect? (Dario Lavia).
Merken comments on his participation:
Merkén presents new material, to musicalize Nosferatu, although it is not the same proposal that we see in the bars, of a noisy and strident rock, it is another facet, clearly for a soundtrack that does not cease to be interesting, and also we assure that we will let glimpse obviously the concrete essence of the band and probably give a small sample of the habitual material.
Faust: Eine Deutsche Volkssage (Faust: A German Legend)
F.W. Murnau. 1926, 92 min., Germany, silent, B/W. With: Gösta Ekman, Emil Jannings, Camilla Horn, Frida Richard, William Dieterle.
The film will be screened in the silent version. Inter-titles in German and English.
It is not only Goethe’s monumental work that nourishes this film version, but Christopher Marlowe and pieces of German folklore. The old Faust (Gosta Ekman) sells his soul to the devil (Emil Jannings, in an anthological interpretation of superb expressiveness) in exchange for youth and carnal pleasures. Faust travels to different places and gets tired of everything and everyone. Until he falls in love with the beautiful Margarita (Camilla Horn) who, however, has the tragedy of losing her mother and brother. The director F. W. Murnau gets from the first stills to the end, an absolute masterpiece, with the particularity that each scene, taken separately, has as much artistic value as the complete work. From photography to artistic design, through editing, performances, the way the plot is approached (like a bet between an angel and the devil) and even the very celluloid in which it was filmed, all the elements come together in a harmonious summum that we could interpret as a dream come true or, rather, a reality come true fantasy. If it is possible to conceive the visualization of a fantasy beyond imagination and the mind of the Human Being, it would be seen as Murnau’s Faust, a film that, unfortunately, did not obtain the least success at the time, despite the fact that the capital investment (UFA provided Murnau with unlimited material means). The initial appearance of Jannings as a fallen angel makes Lotte Eisner say that “no director, not even Lang, could make the supernatural emerge so masterfully in the middle of the studio”. A multiplicity of classic pictorial sources and the infinite range of plastic resources that Murnau polished from his previous film TARTÜFF (Tartufo-1925) are combined in a fantastic tale, seasoned with masterly camera rhythm and fluidity, achieving memorable passages such as the old Faust in his laboratory, Mephistopheles’ aerial paneo over the medieval city, the sequence of the plague-stricken, Margarita on the stake? (Darío Lavia)
Das Cabinet Des Dr. Caligari (The Cabinet of Dr. Caligari)
Robert Wiene. 1920, 76 min., Germany, silent, B/W.
With: Werner Krauss, Conrad Veidt, Friedrich Feher, Lil Dagover, Hans Heinrich von Twardowski, Rudolf Lettinger.
Inter-titles in German and English. Musicalized live by Geofrontiers.
Caligari tells the story of a madhouse patient (Friedrich Feher), whose madness makes the viewer have a diffuse vision of reality (translated into twisted sets and folded to absurd levels, painted shadows and roofs with rough vertices), but it is also a parable in which some see what would later be Nazism dominating the German people. The story follows the adventures of Francis and Alan (Hans Von Wardowsky), two friends who visit the fair. where one of the main attractions is Cesare (Conrad Veidt), a man who has been asleep for 25 years. Cesare is exhibited in the Cabinet of Dr. Caligari (Werner Krauss) who orders his sleeper to commit several crimes in one of the which Alan himself is the victim. Cesare tries to kidnap the beautiful Jane (Lil Dagover). to unmask the false herald, discovering him as the head of an insane asylum, obsessed with demonstrating whether the sleepwalkers are capable of killing. From an artistic point of view, Caligari possesses several visual elements typical of the expressionism and an important handling of photography, always for the ranks of the time. In the narrative and thematic, no that the crisis that Germany was going through in 1919 could tempt some kind of parable in which one can identify the sleeping Cesare as the German people led to war under the mystical baton of the Kaiser and the director of the an insane asylum obsessed with reviving in itself the mythical Caligari, like a Kaiser chasing the dream of the Reich. That, by the Kaiser can be replaced with Hitler, in order to identify the nefarious hypnotist with Nazism. (thus safeguarding what most theorists and textbooks proclaim), is also a triumph of one’s own. Caligari, in his eagerness to make us see things that are not and hide what they are. (Darío Lavia).
Geofrontiers comments on his participation:
String ensemble, percussion and electronics alluding to works of contemporary learned composers such as Yan Maresz and Karlheinz Stockhausen or popular as the group Fantömas and Pink Floyd in their early times.
short films in competition
- En tu Mente (Chile, Ricardo Quinteros)
- Radiación (Uruguay, Adrián Barrera)
- El Circo de las Luces (Chile, Francisco Inostroza)
- Dos Almas, Un Destino (Venezuela, Alexmir Dordelly)
- Elder Sign (Canada, Joseph Nanni)
- La Flecha del Cupido (Spain, Leonardo Pérez)
- Nadja o El Olvido (Colombia, Daniel Preciado Muñoz)
- La Unión (Spain, Carlos A. Sambricio)
- D-Construir (Chile, Eduardo Bunster Ch.)
- La-Menta (Chile, Víctor Vidangossy)
- Espaciones (Chile, Álvaro Ortega)
- Devourment (Mexico, Lex Ortega)
- Plutón (Uruguay, Guzmán Vila)
- Inevitabile (Italy, Luca Sabbioni)
- El Rayo y la Sirena (Spain, Diego Sanchidrián)
- La Ley del Hielo (Chile, Ignacio Rodríguez y Sebastián Pose)
- Spaghetti Clown (Cuba, Marcos Machado)
- Score (Mexico, Sergio Tello)
- No Hables (Chile, Mijael Milies G.)
- Manual Práctico del Amigo Imaginario (Abreviado) (Spain, Ciro Altabás)
- Opstandelsen (La Resurrección) (Denmark, Casper Haugegaard)
- M.A.N.H. (Chile, Christopher Vera L.)
- Las Piedras No Aburren (Spain, Marta Parreño)
- Praxis (Chile, Nicolás Fuentes)
- La Bata del Futuro (Uruguay, Diego Melo y Ernesto Rodríguez)
- H. P. Lovecraft En la Cripta (Argentine, Amoedo Diego)
- Big Tits Massacre (New Zealand, Ygnacio Cervio)
- Fascinum (Chile, Lucio Rojas)
- Nocturno (Colombia, Nicolás Restrepo Vega)
- HUMANOIDEnoROBOT (Chile, Ignacio Ruiz)
- The Necronomicon (Canad, Joseph Nanni)
- …Stay (Spain, Álvaro López & H. R. Paternain)
- Clara (Chile, Álvaro Pruneda)
- Deus Irae (Argentine, Guillermo Gatti)
- El Forjador de Historias (Spain, José Gómez Gallego)
movies in competition
“The most disgusting, dirty, sadistic cruel movie I’ve ever seen. It should be forbidden”. Jay Slater, Fangoria Magazine.
A young woman, in her pajamas, bloody, runs exhausted along the road in the middle of nowhere. It’s the middle of the afternoon. A truck catches up with her and because of the girl’s screams, we know what it’s about: there’s no escape, the escape is useless. The one in the truck is a dangerous, psychopathic, obsessive guy. Back to the ramshackle campsite, he will commit every possible and imaginable perversion…
Shot in a single continuous 90-minute shot, PIG is a great summary of all the topics and commonalities of American horror cinema… but without cuts, editions, or MTV-generation visual effects. It’s crude, realistic, uncompromising, and literally straight into the vein.
When the director shouts “Cut!”, you better start running.
Jill Burton is a journalist obsessed with unmasking the hit question-and-answer show “The Uh-oh Show!”: answer correctly and make a lot of money, but if you lose, you will be mutilated some part of your body live on TV and for the whole of North America. But viewers are thirsty for more blood, which feeds the greed of the producer who launches another even more violent and bloodthirsty show, The Grim Fairy Tales. But Jill’s intuition tells her that something is wrong, and it won’t be long before she finds out the truth about what’s going on with the participants.
Herschell Gordon Lewis is known as the Godfather of gore cinema. He has won this label for directing classic films such as “Blood Feast” (1963) or “2,000 Maniacs! (1964), avant-garde films that by themselves created a whole multitude of copies exploited to satiety and that even until now can be seen their influences. In The Uh-oh Show!, not only is it a feast of blood in abundance, but in a comedic tone it raises the extent to which the fight for the rating and the limits of reality shows is valid.
The clumsy Tortoise is always the victim of the intelligent Fox. When Gata appears, both fall at her feet and compete to conquer her. Although she will only seduce those who manage to incorporate human habits, Zorro learns faster and Tortuga is rejected. Finally he will realize that he may have an advantage, if he feeds a mysterious creature with animal flesh. A contemporary fable without dialogue, whose actors are dressed in animal costumes, but instead of being a childish comedy, the story is a harsh drama, bordering on surrealism and terror.
Francesc Morales is a director who goes beyond audiovisual conventions, introducing himself more into the experimental, the dreamlike and the fantastic. In this, his first film, he presents us with a universe that is beyond our time and space, where the echoes of our reality are shown intermittently, in tiny flashbacks, creating an extravagant and wild parallelism.
Marko, a young director frustrated by not being able to make his first film, between coincidentally and inevitably has to venture into home porn, with the excuse that this may also be the opportunity to do something more personal and show his rage against society. However, things don’t go as he expects and with the theatre/cabaret company he organises, he goes on tour all over Serbia with a show that mixes eroticism and socio-political criticism… conflicts with the villagers are not long in coming and, without money and resources, he is again forced to make other kinds of films…
Narrated as a video diary by Marko and set in 2001 during the fall of Milosevic, the film has been surrounded by a strong controversy due to the crudity of the scenes, not stopping at considerations. A film belonging to the New Wave of Serbian Cinema, it is an important reflection on the consequences of war, moral destruction, poverty and the desperation to survive.
Three dangerous vixens, fleeing the police, end up in a small Australian coastal town. There, taking advantage of the warm climate, drugs and rock & roll, they turn a deaf ear to the warnings of a local resident veteran, who advises them not to get into the water. However, this man’s innocent granddaughter gets closer to them, knows a little more about their lives… and they end up fighting a brutal battle against Kraken, the mythical giant squid.
Stuart Simpson had already surprised us a few years ago with “Demons Among Us”, a film focused more on classic terror and in which some licenses were given, such as having an axe that spoke to the protagonist. In “The Monster of the Sea!” the film is more in the tradition of the B movies of the fifties, to the vixens of Russ Meyer, to the effects of physical makeup, to give up the CGI, but updating everything and catching up, creating a film that is pure fun from beginning to end.
Delivered by the public:
Best Chilean Short Film: Clara (by Álvaro Pruneda, Chile)
Best Latin American Short Film: Deus Irae (by Pedro Cristiani, Argentine)
Best International Short Film: Manual Práctico del Amigo Imaginario (Abreviado) (by Ciro Altabás, Spain)
Best Feature Film: Humanimal (by Francesc Morales, Chile)
New Blood Award (best debutant directors)
Delivered by both the jury and the attending public: Best feature film director: Stuart Simpson by El Monstro del Mar!
Best Short Film Director: Pedro Cristiani by Deus Irae
Delivered by the Jury formed by Fernando Caro (President), Victor Ortegas and Inti Carrizo.
Short Films Section:
Best Chilean Short Film: La Ley del Hielo (by Ignacio Rodríguez y Sebastián Pose, Chile): “For his proposal, for his simplicity, for his humour, together with an excellent photograph and for portraying children’s fears from innocence”.
Best Latin American Short Film: Deus Irae (by Pedro Cristiani, Argentine): “For the performances, photography, script and for the deployment of make-up effects”.
Best International Short Film: Manual Práctico del Amigo Imaginario (Abreviado) (by Ciro Altabás, Spain): “For being an original story that raises in an excellent way the imaginary friend we all once had, as well as the transition to adulthood, achieved with mastery and devotion by the characters”.
Feature Films Section:
PIG for special effects of makeup and cinematography. “For its effects of realistic make-ups and cinematography that break the scheme to be a tape filmed in just one shot, with the difficulties of assembly that this challenge means”.
El Monstro del Mar! by soundtrack. “For his soundtrack brilliant, original and that, beyond accompanying the images, is a character more of the tape”.
Best Actor: Ramón Llao.
Best Actress: Jenny Cavallo.
“By Humanimal. For masterfully carrying the leading roles of a film that breaks all the conventions of acting for cinema, not being able to express itself through words but only through grunts and body language”.
Best Feature Film: The Life And Death Of A Porno Gang.
Best Director and Script: Mladen Djordjevic by The Life And Death Of A Porno Gang
“For its ability to reconcile the aesthetic codes of brutality, crudity and unrestricted violence with deep, real, political and social reflection, as well as a bold and creative use of audiovisual language”.