January 21, 2021

The Film Festival pays tribute to seven authors in the cycle'Déjà vu: siete mujeres' – The Province

The Film Festival pays tribute to seven authors in the cycle'Déjà vu: siete mujeres' - The Province


The 19th International Film Festival of Las Palmas de Gran Canaria recover with Déjà vu: seven women a series of movies authors who were pioneers in their way of conceiving cinema, both for the subject matter treated, as well as for the form and style that they adopted when plotting their trajectory.

Thus, this section that rescues from oblivion titles that, in many cases, were only seen in cinematographic citations and that remain in the memory of the movie buff, will show seven indispensable jewels of authors that put the focus, according to programmer Gloria Benito, "in female characters that place women within the historical and social reality, making it their own and making visible what for a long time was invisible ".

The public will have access to the restored version and digitally remastered copies of films that, being very different in forms and contents, offer a "feminist reflection on the distorted way in which women are represented in the cinema and in society", Benito underlines in the text that will accompany Deja vu in the catalog of the edition.

The titles that pay tribute to the look of women and the place they occupy in the big film festivals are the ode to feminism by Agnès Varda L'une chante, l'autre pas (1977, France); the intimate portrait of a woman who seeks balance Les rendez-vous d'Anna (1978, France) by Chantal Akerman; the masterful classic Wanda (1970, USA) by Barbara Loden, Elia Kazan's wife, who undoubtedly influenced the evolution that the director experienced in his creations; the poetic The Juniper Tree (1990, Iceland) by Nietzchka Keene, starring a young Björk about the tragic consequences of misogyny; the semi-autobiographical Losing Ground by Kathleen Collins, one of the African-American pioneers who confronted a philosophy professor with the emotional response of jealousy; the cult classic Queen of Diamonds, by Nina Menkes, a title that, from an experimental perspective, portrays the alienation of an employee of a Las Vegas casino; and the winner of the Golden Bear of Berlin in 1977: The Ascent, by Larisa Sheptiko, a masterpiece of Soviet cinema: philosophical, humanistic and of indisputable sensitivity and beauty.

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