INFORMATIVE SECTIONS – PERIFERIA SECTION
PUERTAS DE CASTILLA
The Periferia Section is the non-competitive section of IBAFF, which, alongside the official section, shows the express will of the festival to keep the finger on the pulse of the different fronts of research and experimentation of contemporary cinema.
From the outskirts of cinema, spaces distant from style academies and centers of power, these films reveal a wide range of shapes as well as awareness of cinema itself. Full-length films that make the film language and its legacy a place for research.
Emulating the palimpsests and the old practice of rewriting on, some of the films that are collected here focus on previous film proposals, providing new voices from what cinema, its language and tradition already impressed.
Film expedición goes returns to the locations where Carlos Reygadas made his last film Post Tenebras Lux, while Twisted realism is a wonderful essay on Italian cinema, language and society from the pictures, texts and reflections of Pier Paolo Pasolini on Mamma Roma. With Pasolini’s pictures and reflections of its own film, we find out how cinema can also portray the future /when exercised by authors like this Italian poet and filmmaker.
In O quinto evanxeo by Gaspar Hauser, winner of the Fipresci award given by the film critics in the Rotterdam Festival, the Galician Alberto Gracia inspires in the double nature – real and mystic – of the famous German wild child. Libertarian cinema, which explores the material and poetic limits of the motion picture.
In Time goes by like a roaring lion, the German filmmaker Philipp Hartman, clinically diagnosed with chronophobia (fear of time), combines personal experiences with reflections about the concept of cinema in an perspicacious essay about the passing of time-image.
In turn, the film Tacacho, by the Colombian filmmaker living in Switzerland Felipe Monroy, shows us the effects of the violence of war. It was filmed in a refugees rural community, and suggests to its inhabitants a fictional reconstruction of the memories associated to war, building a mirror trick between reality and representation. The filmmaker shows that, like in Hartman’s films, escapist motion pictures can also be a force of recovery and change.
As well as full-length films, the Periphery Section includes a group of short films that share a search for a different cinematographic glance. In many cases, these films are the first work of many filmmakers who we, certainly, shall find in the future in IBAFF.