2 items from 2015
Karim Aïnouz's Playa del Futuro“Films are interesting when they’re specific.” So said Brazilian filmmaker Karim Aïnouz when asked why he explores identity—queer, national, gender, ethnic—in his films like Madame Satã and his most recent work, the sensuous Playa del Futuro. With his features being the focus of the International Film Festival Panama’s retrospective during its fourth edition, Aïnouz’s comment can also be extended to the fest’s (still evolving) mandate: an emphasis on—and bolstering of—the geographically specific cinemas in Central America. This idea of films defined by borders has increasingly gone out of vogue, as the nation state as it was defined in the 19th and 20th century has all but dissipated with increasing international co-financing and multi-national organizations not recognizing borders (let alone international labor laws). But as Aïnouz notes, this only makes festivals like Iffp more important: “It’s »
- Kiva Reardon
Panama – Iff Panama is celebrating the work of the highly acclaimed Brazilian director and visual artist Karim Aïnouz with a retrospective of his work. The focus sees the screenings of all five of his features: “Praia do Futuro,” “The Silver Cliff” (“O Abismo Prateado”), “I Travel Because I Have To, I Come Back Because I Love You” (“Viajo Porque Preciso, Volto Porque te Amo”), “Love For Sale” (“O Céu de Suely”) and “Madame Satã.”
A first time visitor to Iff Panama, Aïnouz is no stranger to film festivals having used them as a very effective shop window to premier and display his work, and also to enjoy and embrace the work of other filmmakers as a member of festival juries.
- Christopher Pickard
2 items from 2015
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