October 31, 2020

Lights and shadows




Since its opening last Thursday, the festival not only does not seem to have lowered its guard in terms of its demands as a staunch defender of a cinema without impostures, free and alternative, but it has managed to raise its mark by including such extreme and uncomfortable titles as Night Vision , endowed with an unprecedented formal radicalism that risk, although not always with due coherence, their own professional prestige by excessively tightening the rope that facilitates the essential balance between substance and form; between what it is intended to say or evoke and the peculiar filmic writing chosen to do so. Be that as it may, the bar for programming is where it is and its acceptance or virtual rejection ultimately depends on its main target: the public. .



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