{"id":3866,"date":"2024-09-30T21:27:55","date_gmt":"2024-10-01T02:27:55","guid":{"rendered":"https:\/\/midbo.co\/?page_id=3866"},"modified":"2024-10-27T20:10:35","modified_gmt":"2024-10-28T01:10:35","slug":"programas-26-midbo","status":"publish","type":"page","link":"https:\/\/versiones.midbo.co\/26\/programas-26-midbo\/","title":{"rendered":"PROGRAMAS 26 MIDBO"},"content":{"rendered":"\t\t
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PROGRAMAS 26 MIDBO<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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VOCES<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Cuando el silencio se revela, aparecen las voces. Este programa re\u00fane obras que convocan a la escucha entre las capas de la imagen. Una ronda infantil interrumpida, <\/span>poemas que resuenan en su silencio<\/span><\/i>. Es aqu\u00ed el cine un acto a trav\u00e9s del cual se manifiestan los ecos de una contrahistoria. Lo borrado, lo prohibido, lo incorrecto, lo inaudible. Aquello que no se puede decir o se ha querido acallar.<\/span><\/p>

En <\/span>A d\u00f3nde van los p\u00e1jaros cuando llueve,<\/span><\/i> una voz emerge del paisaje mientras la vista se nubla, el trauma del cuerpo y del territorio se re\u00fanen en una reflexi\u00f3n sobre la mirada y el olvido. Una voz escondida en el ruido de la ciudad, se hace confesi\u00f3n en <\/span>Mientras todo iba pasando, <\/span><\/i>una declaraci\u00f3n de sororidad frente a la experiencia indecible del aborto clandestino. En <\/span>Tierra Encima, <\/span><\/i>la injuria como expresi\u00f3n cotidiana de dependencia acompa\u00f1a a dos vecinas desde y hasta el cementerio. <\/span>A Fidai Film<\/span><\/i> conjura la memoria visual palestina reclamando la liberaci\u00f3n de un archivo a partir del montaje y la intervenci\u00f3n sonora de registros audiovisuales confiscados por el ej\u00e9rcito israel\u00ed.<\/span> Exergo <\/span><\/i>nos sit\u00faa en un museo \u2014otro espacio silencioso\u2014, para proponer un recorrido insospechado y reparar en otro lado, los palimpsestos del arte y las condiciones materiales de la creaci\u00f3n art\u00edstica. Cinco pel\u00edculas que proponen atender m\u00e1s all\u00e1 de la superficie.<\/span><\/p>

Por Juliana Arana<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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A Fidai Film<\/span><\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Exergo<\/span><\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Mientras Todo Iba Pasando<\/span><\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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A D\u00f3nde Van Los P\u00e1jaros Cuando Llueve<\/span><\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Tierra encima<\/span><\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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MOVIMIENTOS\n\n<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Si, en el principio fue el verbo. Enunciar la acci\u00f3n, el movimiento. As\u00ed sea imperceptible y silencioso o \u00e9pico y estridente, es cuando nos movemos que logramos transformar nuestro entorno, de lo micro a lo macro, del gesto individual al impacto social. Viajar, volver, luchar, recorrer. Las pel\u00edculas que conforman este programa se nutren de la necesidad de movernos, ya sea en el tiempo o en el espacio. Con un rumbo claro, el recorrido se traza mientras la realidad se propaga frente a la c\u00e1mara. Son m\u00faltiples y variados los movimientos que se despliegan en estas obras, pero todos de alguna forma ligados a la resistencia. <\/span>Direct Action<\/span><\/i> dirigida por Guillaume Cailleau y Ben Russell y <\/span>A queda do c\u00e9u <\/span><\/i>dirigida por Gabriela Carneiro da Cunha y Eryk Rocha, evidencian de forma hipn\u00f3tica y comprometida que hay tiempos distintos y alejados de las agitadas demandas productivas. Movernos en concordancia y conexi\u00f3n con nuestro entorno es una forma de resistir de pies frente a la aceleraci\u00f3n y el derroche. Por otro lado, <\/span>Parti\u00f3 de m\u00ed un barco llev\u00e1ndome<\/span><\/i> de Cecilia Kang y <\/span>Limbo<\/span><\/i> de Am\u00e9n Gorr\u00eda, son pel\u00edculas que se mueven en el tiempo para no olvidar, que escarban en los intersticios de la historia para resistirse al olvido. Y, por \u00faltimo, <\/span>N\u00f3madas de la 57<\/span><\/i> de Alberto Arnaut Estrada y Jos\u00e9 Mar\u00eda Castro Ibarra nos presenta un mundo sobre ruedas, donde la mujer lleva consigo la etiqueta de empoderada y logra salir adelante, a pesar de los inconvenientes y dificultades propios de un entorno denso y varonil, como lo es la carretera y vivir de conducir grandes camiones. El programa movimientos nos empuja a no quedarnos quietos, a movilizar nuestros deseos y anhelos, a dejarnos guiar por el impulso de conocer realidades que nos hablan de la importancia del movimiento.<\/span><\/p>

Por Juan Pablo Franky<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Acci\u00f3n directa<\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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La caida del cielo<\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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N\u00f3madas de la 57<\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Parti\u00f3 de m\u00ed un barco llev\u00e1ndome<\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Limbo<\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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ARQUITECTURAS\n\n<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Nuestra relaci\u00f3n con el entorno inmediato est\u00e1 marcada por espacios delimitados por muros, edificios, calles y ruinas; estructuras que no solo gu\u00edan nuestros pasos, sino que tambi\u00e9n moldean nuestra conexi\u00f3n emocional con el paisaje. En este sentido, el programa cinematogr\u00e1fico <\/span>Arquitecturas<\/b> se presenta como un campo de reflexi\u00f3n sobre la metamorfosis de nuestras interacciones con el entorno y el di\u00e1logo que mantenemos con la materia que nos rodea. <\/span><\/p>\n

A trav\u00e9s de obras que exploran las islas de Chipre y Cuba, se revela c\u00f3mo la relaci\u00f3n con la ciudad y su periferia articula una narrativa colectiva. Este relato no solo evoca el pasado pol\u00edtico de estos espacios, sino que tambi\u00e9n da cuenta del devenir de sociedades atrapadas en procesos de transformaci\u00f3n y conflicto. Aqu\u00ed, la arquitectura se convierte en un s\u00edntoma, una manifestaci\u00f3n tangible de las estructuras sociales, econ\u00f3micas y de poder que nos configuran y nos definen.<\/span><\/p>\n

En <\/span>Este horizonte es el fin<\/i> de Guido Wertheimer y Ana Iramain, la isla de Chipre aparece como un enigma, un territorio fragmentado que palpita bajo la presi\u00f3n de un conflicto latente. La divisi\u00f3n de la isla no es meramente geogr\u00e1fica; es un reflejo de tensiones profundas que tambi\u00e9n configuran la vida cotidiana. En contraste, <\/span>Bien inmueble<\/i> de Emanuel Giraldo Betancur, nos enfrenta al impacto del capitalismo en la intimidad, visibilizando la venta de propiedades en Cuba, un pa\u00eds que prohibi\u00f3 esta pr\u00e1ctica durante m\u00e1s de medio siglo. Ambas obras examinan la complejidad inherente a las transformaciones materiales en tiempos de crisis, resaltando el desgarro entre lo pasado y lo presente.<\/span><\/p>\n

Amanecer<\/i>, de Martina S\u00e1ez Savi, se centra en la representaci\u00f3n de la melancol\u00eda a trav\u00e9s de un estudio anat\u00f3mico del Pabell\u00f3n Alem\u00e1n en Barcelona, contemplado como una \u201cruina de lo que nunca fue\u201d, manifestando as\u00ed una promesa fallida. Finalmente, <\/span>Architecton<\/i>, de Victor Kossakovsky, nos confronta con el di\u00e1logo entre ruinas antiguas y modernas desnudando las cicatrices de tragedias recientes, como la guerra en Ucrania y el terremoto de Turqu\u00eda en 2023. Esta obra es una exploraci\u00f3n cr\u00edtica que conecta la historia arquitect\u00f3nica con la crisis ambiental, presentando los materiales como protagonistas de un lenguaje visual que exige un replanteamiento urgente de nuestra relaci\u00f3n con el entorno.<\/span><\/p>\n

Como sugiere Kossakovsky, la problem\u00e1tica de esta relaci\u00f3n no reside \u00fanicamente en la forma arquitectural, sino en la materia misma. La madera, el fuego, la arena, la piedra y, sobre todo, el concreto se sit\u00faan en el centro de las obras. Esta materia; observada, retratada y estudiada por el cine, no solo es capaz de generar belleza, evocar ausencias o convertirse en moneda de cambio. En estas pel\u00edculas, encarna la vida misma, la vida que comienza con las piedras.<\/span><\/p>\n

Por <\/span>B\u00edbata Uribe<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Architecton<\/span><\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Este Horizonte Es El Fin<\/span><\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Bien inmueble<\/span><\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Amanecer<\/span><\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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MASCULINIDADES\n<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Sentir placer, experimentar el horror, volverse vulnerable, ser parte de, verse excluido de algo, ser pose\u00eddo por, cuidar a otro.\u00a0 \u00a1Tantas formas para ensayar ser hombre! Este programa de la muestra pone el foco en personajes masculinos que transitan hacia lugares menos ciertos que los decididos por los c\u00f3digos heredados. Y quiz\u00e1 no puede ser de otra manera, en un momento en que el documental abandona sus propias seguridades epistemol\u00f3gicas y expande las posibilidades de su c\u00e1mara subjetiva. Cuatro de los cinco documentales aqu\u00ed reunidos son latinoamericanos, y tres de ellos argentinos.\u00a0<\/span><\/p>

El azar de la selecci\u00f3n tal vez entregue alg\u00fan indicio de algo<\/span>: El Villano<\/span><\/i> indaga en la simulaci\u00f3n: un actor se pregunta por el legado en \u00e9l de su padre delincuente. \u00bfNo heredamos ante todo un gesto? <\/span>Cambio de guardia<\/span><\/i> registra un espacio de sociabilidad masculina y es testigo de c\u00f3mo se abre la grieta, o se quiebra la dureza. En <\/span>El filo de las tijeras<\/span><\/i> un hombre recorre las l\u00edneas de su deseo: un mapa imprevisto en el que se juega su destino. En <\/span>Sede de Rio<\/span><\/i>, los hombres que navegan por el r\u00edo S\u00e3o Francisco encuentran en el cuidado com\u00fan la casa de la que est\u00e1n lejos. <\/span>Play Dead<\/span><\/i> ofrece una mixtura entre el diario filmado y el <\/span>body-horror<\/span><\/i> (s\u00ed, Mekas conoce a Cronenberg).\u00a0<\/span><\/p>

Por Pedro Adri\u00e1n Zuluaga<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Play Dead<\/span><\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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El Filo De Las Tijeras<\/span><\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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El Villano<\/span><\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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El cambio de guardia<\/span><\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Sede De R\u00edo<\/span><\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

PROGRAMAS 26 MIDBO VOCES Cuando el silencio se revela, aparecen las voces. Este programa re\u00fane obras que convocan a la 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