Presenting some of the most expected content of the Festival by the audience, the Panorama section brings the last films, both by renowned authors and new promises, that every film lover has to know. The following is a brief recount -that fails to be thorough- of some of the titles no reader should miss.
To successfully condense genre and style plurality in a cinematographic corpus is a task that year after year proves to be challenging, considering the vast schedule of the Panorama section. The task of finding points of convergence in rich filmographies and offering the most interesting and resounding international titles of our times is not an easy one and its results are reflected not only in the quality of the selection but also in the success of a full movie theater. Everyone wants to be there when the projector lights the screen.
From sacred monsters like the French Mathieu Amalric -who steps behind and in front of the camera again in Barbara- to Bertrand Mandico's first film, Les garçons sauvages, a jewel that reminds us of Lord of the Flies and, why not, Guy Maddin. From the record of the life and the work of the great Uruguayan musician Hugo Fattoruso in the portrait Fattoruso to a meticulous analysis of the famous shower scene from Psycho in the documentary 78/52. And we’re just getting started.
The last productions of two of the greatest cinematography documentarists, -Frederick Wiseman's Ex Libris - New York Public Library, and Claude Lanzmann's Napalm- focus on history by dealing with topics so diverse as, on the one hand, the state of one of the biggest public libraries and, on the other hand, the cruelest most merciless war.
Perhaps, in a halfway point of connection -because of its type and by being, in a way, an historical record- is Abel Ferrara's last feature film, Piazza Vittorio, a documentary about Rome's famous park and the reality of immigration. With thematic similitudes, El mar la mar is yet another title that deals with this issue: shot in the Mexican-American frontier, it approaches the trouble immigrants in the Sonora desert have to face with great poetic sensitivity and an astonishing photography. And to complete the panorama, the paramount Human Flow, an epic 140-minutes-length record that documents the situation of over 2000 refugees throughout the world.
For indie film lovers -those low-budget films about big stories in small containers- there will be many titles screened that include Person to Person -a drama comedy with a cast leaded by Michael Cera and Philip Baker Hall-, the startling Thirst Street by Nathan Silver, the Portuguese Verão danado -about wandering youngsters in the streets of Lisbon- and the Israeli Fuck you Jessica Blair, director Karni Haneman's first film, who also stars it, in synchrony with her compatriot Hadas Ben Aroya, filmmaker of People That Are Not Me -Awarded the Best Feature Film Golden Astor in the 32nd Festival.
The little ones also have reserved seats at the Festival, with adventures in different formats and lenghts. Feature films Mi Mundial (My World Cup) is a coming of age story about the juvenile world of soccer and the road to adulthood, while Natacha -based on the books by musician Luis Pescetti- deals with two friends with great imagination. Both promise to entertain and make children and their parents have a wonderful time.
On the opposite side of the road, those looking for their doses of yelling, blood and midnights, darker than the obscurity of the theater will have the privilege of attending the screening of S. Craig Zahler's last film, Brawl in Cell Block 99, with Vince Vaughn in the leading role he always wanted to have. The Italian Sicilian Ghost Story -teen horror following the line of Let the right one in- will also be screened, along with a doses of local horror, Los olvidados by the Onetti brothers and Laissez bronzer les cadavres, the duo Cattet-Forzani's last film that everyone is expecting.
There are many more titles, of course. Check the Catalogue and the Program Guide and trace your route. You have been warned.