If there is one thing about this coronavirus, it is that it has made everyone think.. Many questions have arisen from these musings.. These are questions that will not be answered now., of course, if not in the future, when everything returns to that desired normality in which we can check what remains all this mess has left. Among these questions is the issue of the dissemination of audiovisual content on the Internet and, very especially, of what we still understand by cinema. Taking the issue to the field of festivals, This pandemic has caused the majority of those that were scheduled on dates that ran until this coming summer, have been definitively canceled. Given this panorama, The responses have been multiple.. Among the most striking, is the recent announcement of the large class A festivals, among which we count San Sebastian, Cannes or Venice, to organize a macro contest on-line free in the manner of major musical events and with the purpose of proposing cinema as the great tool of global communication that it has always been..
But although the proposal seems to offer part of the fund of previous editions of these contests, Those who have taken a step forward in this sense have been those of the D'A of Barcelona, who have decided to go ahead with this year's planned programming and offer it to everyone through the Filmin platform. Is a film festival that is offered outside the theaters and on home devices a festival?? In Spain there are already other competitions of this type, such as the Atlántida Film Fest that offers the same video on demand platform. How is it different, as experience, the viewing of these films from the programming offered by the platform the rest of the year? Besides, This strategy allows access to the projections to other viewers who, in any case, they would not have traveled to the official headquarters, generally located in cities other than your residence.
The D'A starts its projections with the, in other circumstances, it would have been his inaugural film (Can we talk about an inauguration when you can have all the programming on the same day??), Room 212 by French director Christophe Honoré, a curious comedy in which a woman leaves her husband after discovering that he has been unfaithful to her. After leaving home, He settles into a hotel room where he will meet his former lovers, with whom she will have an intense conversation that will push her to consider her life. Along with Honoré's tape, the festival program is revealed, So, in various sections.
The section Talents collects the films in competition at the festival, that is to say, what crystallizes the true offer of the contest. Here we find up to thirteen feature films. One of the peculiarities of the D'A is that, in many aspects, It's more of a show than a festival itself., combining films that have already been selected by other national competitions with exclusive premieres in our country. In the first case, we find titles like some beasts, by the Chilean Jorge Riquelme Serrano, o Disco de Jorunn Myklebust Syversen, views in San Sebastian, A target, White day de Hlynur Palmason, in Gijón, o Abou Leila de Hlynur Palmason, y Oleg de Juris Kursietis, in Seville. to these tapes, other works join, along with the previous, They offer a wide range of styles and genres.. So, we will see intimate dramas like Monsters from Romanian Marius Olteanu, that addresses the difficulties of relationships, war cinema Homeward of the Crimean Nariman Aliev, that analyzes the conflict between Ukraine and Russia from the portrait of a father and his son, the relationship between a teenager and a mature man in Nocturnal by the British Nathalie Biancheri, or the beautiful drama of manners of Dwelling in the Fuchun mountains del chino Gu Xiaogang. How could it be otherwise?, The programming does not lack its good dose of movies coming of age, that describe the vicissitudes of contemporary youth in various social contexts. In this sense, we find titles like Adam Rhys Ernst, All of my mother de Małgorzata Imielska o They don't know directed by Nunzia De Stefano and produced by Matteo Garrone. And as proof that here people are not disgusted with anda, we also found a documentary, At mommy's, work directed by the Mexican Laura Herrero Garvín about life in a cabaret in Mexico City and the relationship between the girls who go to work there and a woman, the Mami that gives the film its title, with whom they have a maternal relationship.
From here, The festival is divided into other sections that, for its conception, They could well be exchanged with the Official Section, that is to say, titles taken from recent editions of other festivals with exclusive premieres. So in directions we found tapes of Jessica Hausner, to which the festival dedicates a retrospective, Arnaud Desplechin, Werner Herzog, Kiyoshi Kurosawa, Argentina's Paula Hernández, or the Chinese director Lou Ye, that with Saturday fiction, offers a beautiful war film shot in black and white to tell us an espionage story set in World War II.
The sections follow the same criteria transitions, with eight films among which stand out Ghost tropic by the Belgian Bas Devos, which makes a portrait of Muslim immigration in her country based on the journey of a woman who misses her last transportation to get home after work, This is not a burial, it’s a resurrection from the director of Lesotho (small country located at the southern tip of Africa) Lemohang Jeremiah Mosese and who tells us about the difficulties that small communities face in the face of the advance of modernity, o The wolves by Samuel Kishi, endearing portrait of Mexican immigration to the United States. In Special Sessions we find works like the second feature film by Miguel Llansó (Crumbs) Jesus shows you the way to the highway, another extravagant proposal that takes us back to Africa to narrate a thriller bizarre in which two CIA agents have to destroy a dangerous computer virus called the Soviet Union, or the debut of director David Moragas, A stormy city, which places us in contemporary New York and in which, in the purest Woody Allen style, tells us about the love relationship between two boys one stormy night.
Close the programming section A collective impulse, with films made in our country with proposals that go beyond the conventional. in this space, The autobiographical documentary predominates with titles such as My mexican Bretzel by Núria Giménez, Video blues by Emma Tusell or spring events by Adrián García Prado. To these, Also accompanied by the documentary Turning around Sant Antoni by Pere Alberó, about the Sant Antoni market in Barcelona, the endearing Violeta doesn't take the elevator debut of Mamen Díaz, or the genre tape The deaths by Cristobal Arteaga, among other. It is not advisable to leave aside the section Short with up to nineteen proposals of all types of genres. G.LEON
