
Dona Kercher
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Pontificia Universidad Javeriana
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Papers by Dona Kercher
The essay analyses the extraordinary participation and recognition of women filmmakers, including Valentina Marel (Horizontes Latinos Award), Natalia Berenstaín (Spanish Cooperation Award), and above all, Laura Mora, whose film The Kings of the World won the Golden Shell for Best Film. Mora’s comments are discussed regarding the effects of the pandemic, the film’s “delirious” or “mystical” narrative style and her inspiration in Palestinian poetry.
Movies from Chile (My Imaginary Country, 1976, The Wonder), Cuba (Vincenta B, The Padilla Affair), Mexico (Bardo, Noise), Spain (Suro, Prison 77) and Argentina (Argentina 1985) are explored within their political contexts, such as femicide, migration, labor exploitation, dictatorship, and human rights violations. The controversy, in which the protagonist Lalo Santos disavowed the gay pseudo-documentary Pornomelancolia, is recounted.
Finally this review posits the appearance at this San Sebastián festival of some new, though disparate, transnational trends, namely, the development of a common feminist haptic style of sound design, based on the work of Guido Berenblum, and the resurgence of smoking scenes in almost all films screened.
The essay analyses the extraordinary participation and recognition of women filmmakers, including Valentina Marel (Horizontes Latinos Award), Natalia Berenstaín (Spanish Cooperation Award), and above all, Laura Mora, whose film The Kings of the World won the Golden Shell for Best Film. Mora’s comments are discussed regarding the effects of the pandemic, the film’s “delirious” or “mystical” narrative style and her inspiration in Palestinian poetry.
Movies from Chile (My Imaginary Country, 1976, The Wonder), Cuba (Vincenta B, The Padilla Affair), Mexico (Bardo, Noise), Spain (Suro, Prison 77) and Argentina (Argentina 1985) are explored within their political contexts, such as femicide, migration, labor exploitation, dictatorship, and human rights violations. The controversy, in which the protagonist Lalo Santos disavowed the gay pseudo-documentary Pornomelancolia, is recounted.
Finally this review posits the appearance at this San Sebastián festival of some new, though disparate, transnational trends, namely, the development of a common feminist haptic style of sound design, based on the work of Guido Berenblum, and the resurgence of smoking scenes in almost all films screened.