Despite the pandemic, at the close of cinemas due to the health emergency and the proliferation of festivals in online format, or perhaps only simultaneously with these circumstances, returned Cine Magazine, the magazine directed by the director and teacher Rafael Filippelli and in which a cast of film critics, theorists and filmmakers participate like the Portuguese filmmaker Rita Azevedo Gomes, who writes in the new issue about the relationship between cinema and poetry, Mariano Llinás and Sergio Wolf. Created in 2014, the publication is heir to a long tradition of film magazines in the country, among them, Tiempo de Cine, Cine Hoy and El Amante, whose complete collections can be consulted in the Historical Archive of Argentine Magazines (Ahira).
Issue 7 of Revista de Cine has several curiosities. For example, the long conversation between Filippelli and Jorge Altamira about ideology and transgression in the seventh art, in which the Trotskyist leader evokes his cinephile youth, reflects on Réimon, by Rodrigo Moreno, and Jeanne Dielman, by Chantal Akerman, and debate with her sharp interviewer about the problems of culture and cinema since the Russian Revolution. “I saw all the films of the time,” says Altamira. Antonioni, Fellini, all that. I remember a movie that was a kind of discovery of what a film director should do, Ashes and diamonds. Andrzej Wajda conquered me. I am moved by the director who can put the drama of his country in the cinema ”.
The first pages of the only 2020 issue of the magazine are dedicated to the mecca of Western cinema: Hollywood. Sergio Wolf focuses on the “truth-fiction” of Once upon a time in hollywood, by Quentin Tarantino; Mariano Llinás takes up the controversy started by Martin Scorsese’s statements about superhero movies (“It’s basically not cinema,” stated the director of Good boys) and Nicolás Zukerfeld addresses the subgenre of Hollywood horror, “made by and for people who don’t really like terror.” The essayist Beatriz Sarlo writes about the predictable Joker, curiously awarded at the Venice Film Festival. “Joker It is a scary film that has no suspense, says the author of A Peripheral Modernity. Everything is known from the beginning ”. In his article, Fernando Ganzo serializes a set of technical decisions by Hollywood film directors, including Scorsese, that alter traditional codes of representation. Among others, the author stops at the digital tricks of “de-aging” of the Irish Y The scandal, where actors and actresses are subjected to a kind of “cosmetic surgery” for the sake of audiovisual narration.
In a 180º turn on matter, reproduce gran parte de una entrevista a Jean-Luc Godard publicada in Cahiers du cinema (the cinema magazine par excellence), about the film The Image Book. “It was my sister Rachel, who later became an art teacher, who made me understand Picasso,” reveals the Parisian genius who turns 90 this Thursday. In the interview, he deepens his distinctions between language and language. “Language is something that cannot be said, that can be shown a little and be heard. Technically, the cinema can do that ”, he declares (later, he also attributes that capacity to poetry). This conversation is followed by an essay by David Oubiña about the director who wants to remain in the territory of cinema “like a refugee.”
A text on audiovisual archives is published by Paula Félix Didier, director of the “Pablo D. Hicken” Cinema Museum, which depends on the Ministry of Culture of the Government of the City of Buenos Aires, and by Malena Solarz, a long reflection on the cinematographic work of the Uruguayan director Federico Veiroj.
At Revista de Cine, most of the collaborators are filmmakers-critics. In addition to Filippelli, Llinás, Solarz and Wolf, texts by Rodrigo Moreno (on the Hungarian Miklos Jancsó), Laura Spiner (on a film by the Frenchman Damien Manivel), Alejo Moguillansky (on the art of portraiture and the presence in painting and cinema) and Cristian Pauls, who praises the American Robert Kramer. In the final pages, a format used in number 6 of the magazine is taken up, and several director-essayists exchange emails about the increasingly blurred boundaries between fiction and documentary cinema.
The magazine, whose art director is none other than Eduardo Stupía, is available in bookstores more than in newsstands. For its publication, it had the support of the Universidad del Cine and the Patronage Program. To read and collect.
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