Home - Lyssaria

by :Ela Bittencourt
05-24-2018
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Agnès Varda Manifesto: One Sings, the Other Doesn’t

For a manifesto film, and Agnès Varda’s One Sings, the Other Doesn’t (L’une chante, l’autre pas, 1977), certainly is one, it is also strikingly nuanced. That it’s a manifesto was never a secret—Vincent Canby noted as much in The New...

by :Ela Bittencourt
04-26-2018
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Mónica Savirón / Lis Rhodes

The audience at this year's Courtisane Film Festival had the rare fortune of accompanying a special 16mm program of films, co-curated by Savirón and the LUX Moving Image deputy director and Courtisane programmer, María Palacios Cruz (who previously led the...

by :Ela Bittencourt
04-26-2018
Featured

Love in Times of Hunger: Baronesa

On the occasion of the Brazilian hybrid film, Baronesa, playing in the Art of the Real showcase at the Film Society of Lincoln Center, Lyssaria reprints a fragment of Ela Bittencourt's essay, entitled Love In Times of Hunger: On Glauber...

by :Ela Bittencourt
04-25-2018
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The profane and the sublime in the films of Ozualdo Candeias

The figure of a prostitute emerged forcefully in various cinemas novos. The “fallen woman” isn’t an invention of the 1960s, of course, far from it. She is biblical, as native as original sin; she traverses world literature, from The Middle...

by :Ela Bittencourt
04-15-2018
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Pablo Escoto

Since RUINAS TU REINO premiered in 2017 at FICUNAM, in Mexico, where it won the main prize for Mexican cinema, I have exchanged a number of emails with Pablo Escoto. We began by quoting and discussing the conversation that Pablo...

by :Ela Bittencourt
04-7-2018
Featured, Posts

Redefining Women: The Films of Laura Huertas Millán

In Colombian filmmaker Laura Huertas Millán’s short, La Libertad (2017), the image of colorful yarns repeatedly crosses the screen. The yarns are part of a pre-Hispanic weaving technique, introduced by indigenous peoples, and still practiced by Mexican women. The yarns...

Latin American Cinema