LA CINEFILIA NO ES PATRIOTA

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Monday, November 08, 2010

HOY, A LAS 7: MY WINNIPEG (2007) DE GUY MADDIN, EN LA CAYETANO HEREDIA





Cineclub de la Cayetano de Heredia.- Lunes. 7 de la noche. Av. Armendáriz 445, Miraflores. Entrada Libre.



DIEZ PELÍCULAS PARA UNA DÉCADA: NUEVO CICLO EN LA CAYETANO HEREDIA

http://lacinefilianoespatriota.blogspot.com/2010/10/diez-peliculas-para-una-decada-nuevo.html



Tengo una fantasía en la que viajo atrás en el tiempo para robar las películas de otros directores, conformando así una gran filmografía propia. Resulta como una transfusión de sangre: no quieres tomar tanta como para matarlos o incluso debilitarlos, solo la cantidad justa para poder obtener beneficios, permitiendo que continúen viviendo repletos de sangre. (Guy Maddin).

Este filme continúa agitándose en mi mente. Está verdaderamente más allá de la realidad. La manera en que mezcla la leyenda local, orgullo cívico, historias aprendidas en la infancia, memorias reescritas y el anhelo por lo que el pasado perdido pudo ser, lo que piensas, lo personal para ti... (Carte de Roger Ebert a Guy Maddin).


Lunes 8 de Noviembre:

My Winnipeg, de Guy Maddin (Canadá. 2007, 80’). “El documental tiene bordes muy elásticos, todo el mundo entiende que no hay algo así como un documental completamente ‘honesto’. Todo depende del punto de vista, así que este solo es otro punto de vista. Me di cuenta de que no podía separar mi hogar, mi familia, mi pueblo natal; estaban inextricablemente enmarañados. Para mostrar mi Winnipeg, tenía que mostrar un híbrido.”



Links
http://www.grouchoreviews.com/interviews/256
http://cinefantastiqueonline.com/2008/06/interview-guy-maddin-makes-my-winnipeg-everyones-winnipeg/
http://www.cinema-scope.com/cs32/feat_mcbride_winnipeg.html
http://www.metacritic.com/movie/my-winnipeg
http://www.kinodelirio.com/dossier/cineastas/my-winnipeg-de-guy-maddin-post-scriptum/
http://twitchfilm.com/interviews/2007/10/guy-maddin-talks-up-my-winnipeg-self-mythologizing-pyschological-honesty-an.php
http://www.kinodelirio.com/metadatos/dossier-maddin-editado-por-shangri-la/
http://www.cbc.ca/arts/tiff/features/tiffmaddin.html
http://www.walrusmagazine.com/articles/2008.02-film-guy-maddin-my-winnipeg/
http://tengobocaynopuedogritar.blogspot.com/2010/05/my-winnipeg-de-guy-maddin.html
http://cinemasioner.blogspot.com/2010/04/my-winnipeg-guy-maddin-canada-2007.html
http://www.imdb.com/title/tt1093842/usercomments






posted by La cinefilia no es patriota @ 3:10 AM  

5 Comments:

  • At 9:32 AM, Anonymous JD said…

    Esta me encanta, pero Brand Upon the Brain! es mi favorita. además allí fue donde Maddin inventó el montaje neurológico.
    saludos

     

  • At 10:18 AM, Blogger La cinefilia no es patriota said…

    Sí. probablemente Brand... sea la más libre y fantástica de todas... ¡en una obra tan rica y con tanto para escoger!

    Y para quienes no tengan la menor idea de a qué se refiere Maddin con montaje neurológico:

    "I think when anyone thinks about his or her childhood, they become a poet and an artist instantly. Because you suddenly shift back to those false models of the world, and you can’t help but get some of those feelings at least when you first experienced them under the false model system, and because our memories are so riddled with gaps.

    In connection to the film, getting from one point to another was of no interest to me, I would just shortcut straight to it. So you can’t duplicate the way we remember exactly, but you can at least offer a stylistic facsimile, and using this kind of neurological editing where you’re just sort of running along your nerves with some of them sticking out, and some of them you slow down for if they’re nice, and some of them you steam pass if they’re of little consequence and other ones just pop up against your will.

    I don’t make any claim that that’s the way we remember, but I was trying for this neurological facsimile instead of just a conventional flashback, which I have as well."

    http://www.filmmonthly.com/interviews/an_interview_with_guy_maddin_brand_upon_the_brain.html

     

  • At 10:44 AM, Blogger La cinefilia no es patriota said…

    Más:

    "Whether watching the teams practice at Winnipeg Arena or playing with his friends at his mother’s salon, Maddin’s unique take on everyday eccentricities was fueled by numerous unforgettable childhood experiences. Two of these, in particular, were a piggyback ride from Bing Crosby and the advancement of a common cold into an intense neurological disorder that resulted in strange physical sensations; these experiences gave the imaginative youngster an acute and unique view of the world. Childhood memories and stories passed on by his parents have frequently found their way into Maddin’s unique films as well, with the tale of how his grandmother accidentally poked out his father’s eye memorably recreated in his first feature, Tales From the Gimli Hospital."

    http://mubi.com/cast_members/733


    GM: I was trying to go for—I have a neurological ailment that made me think eventually of this style. I have a kind of, this thing, it's very harmless. It's called myoclonus. And I got a cold back in 1989. Some people get them in their sinuses, some in their throat. I got one in the base of my skull. And it created just little neurological flickers that produced tiny little twitches, the kind you just sort of imagine you have most of the time. But just like a ghost touching you with the fingertip. I get them about ten times a minute, just in completely random different places on my body. And I would drive myself nuts thinking a) that I had MS or ALS or something with initials—'cause the doctors couldn't diagnose it for about a year—but it also just made me very aware of how the nervous system just works in such a scattershot way. And it reminded me of the way memory really does work, too. In movies, when you’re presenting memory, you can only ever present a facsimile of memory. Because people don't remember things in chronological order. I just sort of thought that—maybe I'll try presenting, for a change, a different facsimile of memory, using this kind of neurological skittish editing system. There's practical sides to it, too. If a performance ends up being kind of a bit slow, or having some bad stuff in it, you can bite the stuff out or skip it up or speed it up or slow it down—fetishize things. And that, too, is just a facsimile of the way we remember. You know, when you remember—let's say your favorite date ever. Y'know, you're going to skeet, skip ahead quickly to the best part and then go, "Wait a minute, I've got to back up and slow up into it. And then here it comes again. I'm going too fast." Back up and then approach it a third time. And then you finally get to the good part, and you slow it up, and suck all of the flavor out of it, and then go skipping off to the next memory, wherever your reveries take you. So it's just another way of doing it. It's also a way of keeping the shots interesting. Sometimes you find when you're cutting that the images just need some more breathing room and they need to be not cut for a while. But my taste runs to, if anywhere, that I'm less mainstream—well, this is where you'll see how unobjective I am about myself. But I know that that's—you can almost say that it's an MTV editing style, but not really. It's a little bit different. And it might be a little bit demanding. I've heard some people complain they get sore eyes and stuff like that.

    http://www.grouchoreviews.com/interviews/256

     

  • At 10:45 AM, Blogger La cinefilia no es patriota said…

    Más:

    "Whether watching the teams practice at Winnipeg Arena or playing with his friends at his mother’s salon, Maddin’s unique take on everyday eccentricities was fueled by numerous unforgettable childhood experiences. Two of these, in particular, were a piggyback ride from Bing Crosby and the advancement of a common cold into an intense neurological disorder that resulted in strange physical sensations; these experiences gave the imaginative youngster an acute and unique view of the world. Childhood memories and stories passed on by his parents have frequently found their way into Maddin’s unique films as well, with the tale of how his grandmother accidentally poked out his father’s eye memorably recreated in his first feature, Tales From the Gimli Hospital."

    http://mubi.com/cast_members/733


    GM: I was trying to go for—I have a neurological ailment that made me think eventually of this style. I have a kind of, this thing, it's very harmless. It's called myoclonus. And I got a cold back in 1989. Some people get them in their sinuses, some in their throat. I got one in the base of my skull. And it created just little neurological flickers that produced tiny little twitches, the kind you just sort of imagine you have most of the time. But just like a ghost touching you with the fingertip. I get them about ten times a minute, just in completely random different places on my body. And I would drive myself nuts thinking a) that I had MS or ALS or something with initials—'cause the doctors couldn't diagnose it for about a year—but it also just made me very aware of how the nervous system just works in such a scattershot way. And it reminded me of the way memory really does work, too. In movies, when you’re presenting memory, you can only ever present a facsimile of memory. Because people don't remember things in chronological order. I just sort of thought that—maybe I'll try presenting, for a change, a different facsimile of memory, using this kind of neurological skittish editing system. There's practical sides to it, too. If a performance ends up being kind of a bit slow, or having some bad stuff in it, you can bite the stuff out or skip it up or speed it up or slow it down—fetishize things. And that, too, is just a facsimile of the way we remember. You know, when you remember—let's say your favorite date ever. Y'know, you're going to skeet, skip ahead quickly to the best part and then go, "Wait a minute, I've got to back up and slow up into it. And then here it comes again. I'm going too fast." Back up and then approach it a third time. And then you finally get to the good part, and you slow it up, and suck all of the flavor out of it, and then go skipping off to the next memory, wherever your reveries take you. So it's just another way of doing it. It's also a way of keeping the shots interesting. Sometimes you find when you're cutting that the images just need some more breathing room and they need to be not cut for a while. But my taste runs to, if anywhere, that I'm less mainstream—well, this is where you'll see how unobjective I am about myself. But I know that that's—you can almost say that it's an MTV editing style, but not really. It's a little bit different. And it might be a little bit demanding. I've heard some people complain they get sore eyes and stuff like that.

    http://www.grouchoreviews.com/interviews/256

     

  • At 10:46 AM, Blogger La cinefilia no es patriota said…

    There are a lot of very quick edits in it (brand upon the brain!).

    Yeah. For these autobiographical movies, John Gurdebeke, my editor, and I have tried to use more a neurological editing style—where memories are jumbled a little bit, and sometimes skip ahead and fast-forward, until you get to your favorite memory. And then things are slowed down and fetishized while you suck the flavor out of that memory, and then skip ahead—maybe too far ahead, and then come back.

    Just sort of a facsimile of how the nervous system might work. It’s only a facsimile. I don’t claim that it’s a better form of memory than the good old-fashioned flashback, but it’s something that I wanted to use.

    http://www.popmatters.com/pm/feature/an-interview-with-guy-maddin

     

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