Unspoken Cinema

Lisandro ALONSO (born 2 Jun 1975; Buenos Aires, Argentina) = 34 yold in 2009 4 films / 4 screenplays (1st film: 2001/latest film: 2008) INSPIRED BY : Fernando Birri ( Tire dié , Los inundados ), Héctor Babenco ( Pixote ), Jorge Preloran, Nicolas Sarquis ( Palo y hueso ), Lumière, Abbas Kiarostami, Werner Herzog ( Aguirre )? C.C.C. films ( strict model in red ) : Liverpool ; Fantasma ; Los Muertos ; La Libertad INFLUENCE ON : Paz Encina ? Quick scroll : BIBLIOGRAPHY | BOOK | ONLINE ARTICLES | INTERVIEW | WEBSITES | DOCUMENTARY S/T sin titulo (2009) Short - BAFICI 2009 " Days in Buenos Aires: Lisandro Alonso " By: Robert Koehler ( Film Journey , 13 April 2009) (add link here) Liverpool (2008) IMDb link - Quinzaine des Réalisateurs Cannes 2008 "Liverpool, Patagonie" By: Jean-Philippe Tessé ( Cahiers du cinéma , n° 634; May 2008) [FRENCH] " Liverpool (Argentina) " By: Robert Koehler ( Variety ; 19 May 2008) "Liverpool Sud" B

Sohrab Shahid Saless’ Still Life ( Tabiat-e Bijan, 1974) is, barring Kiarostami’s Homework (1989), the greatest Iranian film that I’ve seen. To see that even during the pre-revolution era, when the escapist cinema of Hollywood and its imitations were much more popular, such uncompromising and quality films were being made is both surprising and hope-instilling. Typically European in its form but uniquely Iranian in its content, Still Life is the kind of movie that contemporary contemplative cinema takes off from. Produced by a newly formed group called Kanun-e Sinemagaran-e Pishro (Centre for Avant-Garde Filmmakers), that also produced some of Mehrjui’s early features, the film was one of the many films that were discontented with the existing way of governance. Although never overtly political, Still Life not only manages to critique deeply the disparity that existed between villages and cities of the country during the Shah’s regime, but also remains one of the best works from the co

What would cinema be without Abbas Kiarostami? Watching his films is a process of unlearning cinematic conventions and relearning the humanity within. He has time and again proved that the audience can be emotionally stimulated and for the right reason, without ever engaging them in the film. The Wind Will Carry Us (1999) is a testament why he never sacrifices Kiarostami the humanist for Kiarostami the filmmaker. The moral questions – of choices, of priorities and of conscience – which the film presents seem pertinent now, in these tough times, more than ever. I can guarantee that one ready to confront them would have understood him(her)self better at the end of it all. All it takes is a little patience and a willingness to introspect after the film has ended. More than the apparent issue of communication and the lack of it, The Wind Will Carry Us seeks to question the definition of communication. Sure, the protagonist Behzad (played to perfection by Behzad Dorani) does have a cellular