A knife at the heart. Gaspar Noé: filmmaker of a contemporary social? The tragedy of a man (alone) in the tragedy of the century by Broda, Vladimir

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Representations, meanings and senses when tasting a cup of coffee on the big screen by Díaz Boada, Sandro Alberto, Silva Arias, Catalina

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Emerge. The traumatic image in Gus Van Sant by Hammerli, Frédérique

“…It is difficult to ignore the recurrence of trauma in the filmmaker’s work, from the very first films to the last. …”
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Moral and Traveling Ethical commitment and formal statements in Cahiers du cinéma by Oubiña, David

“…Where does a filmmaker’s ethical commitment lie? In his intention or in his style? …”
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The ethics of representation in documentary film by Lanza, Pablo

“…Unlike fiction films, documentary refers to reality with the intention of “expressing truth”, which is why filmmakers have an obligation to both viewers (that represented facts are true) and to the subjects / characters. …”
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A country to eat. Identity and gastronomy in Bigas Luna’s cinema by Pavés, Gonzalo

“…Bigas Luna was undoubtedly one of the most charismatic, original and brilliant filmmakers of contemporary Spanish cinema. Over nearly four decades of intense creative work where he combined his passion for painting with various film projects, the filmmaker built a cinematic universe where it was possible to distinguish some recurring themes. …”
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The sex’s choice by Álvarez Villanueva, Margarita

“…XXY, is a dramatic film from the Argentinian filmmaker Lucia Puenzo, which is the story of Alex, a teenager of fifteen years old, who is affected by their intersex condition. …”
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Les choses humaines by Widmer, Vania

“…Through the examination of the narrative and comments made by the filmmaker himself, sexual and gender violence is explored within the framework of a specific family and social culture.…”
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Put politics, ethics and aesthetics in crisis by Bernateau, Isée

“…Theplot presents the increscendo of violence, which the Italian filmmaker sets in a completely different framework from the original. …”
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Los deseos concebidos by Radiszcz, Esteban

“…In fact, contrary to the hypnotic tyranny of the film cultural industry, the film’s oneiric dimension decentralises the image that, disseminated according to its deviation between the interstices of the images, dislocates the uniformity of the image offered by the Dream Factory (Ehrenburg). The Chilean filmmaker Cristián Sanchez’s film Los deseos concebidos shows precisely this oneiric subversion that, as much by its diegesis as by its treatment of the images, by the images and among the images, resists to make of the film “only a dream”.…”
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Immortality as freedom. A cinematographic contrast by Rodríguez Lanuza, Luis Fernando

“…This article seeks to contrast the libertarian ambitions of two great contemporary filmmakers -Andrei Tarkovsky and Lars von Trier- through a sample of their work, and taking into account the ethical resonances of their productions. …”
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Psychoanalytic notes on memory in first-person documentary cinema by Hernández Arreygue, Juan Carlos, Jacobo Jacobo, Martín

“…This with the purpose of expanding the referential framework in which first-person documentary filmmakers work, since a large number of these works have focused on creating personal audiovisual narratives where their memories are the launching point to talk about events that have become traumatic. …”
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Under the sign of a wild god: contemporary scenarios of the superhero by Pintor Iranzo, Ivan

“…Both the contemporary singularities of the mutant, on the one hand, and the unorthodox approaches to the superhero by the filmmaker Manoj Night Shyamalan constitute a philosophical, ethical and mythological investigation of the political, social and perceptive devices that accompany the legacy of this tradition born at the same time that the adventurous comic-strips of the thirties…”
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We should stop talking about Benjamin for two years. Art, technique and mass by Greco, Mauro

“…In third place, I will develop the reflections about cinema of other author, Jean Epstetin, filmmaker and philosopher of the movies, attending to the possible similitude in the ways of thinking the cinema as technique. …”
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Documentary film and genocide. Some ethical problem by Zylberman, Lior

“…Documentary theorists such as Brian Winston, Carl Plantinga, and Bill Nichols have set out two main axes around ethics and documentary: the duties of the filmmaker towards the spectator –in terms of truth-falsehood– and towards the subjects represented. …”
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The omnipotent whiteness: the treatment of Civil Rights in the American Hollywood cinema. Three paradigmatic examples of commercial success by Cossalter, Javier

“…The purpose of this article is to analyze three films from different eras concerning the issue of Civil Rights, made in Hollywood by white filmmakers, to examine how, through different strategies, the white man positions himself in a place of power. …”
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“Between Fright and Affection”: Voices of Betrayal and Resistance in the Chilean Transition to Democracy by Albornoz Fariña, Ignacio

“…Throughout the text, it will be argued that Castillo’s film functions as a site for the establishing of a double “mise en scène” of the ‘self’; a place where two divergent life trajectories intersect with each other: that of the filmmaker, present as well in the image, and that of the filmed subject, the “symbol of treason” Marcia Merino. …”
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Of Gods and Men. The Representation of the Osho Phenomenon in Wild Wild Country (2018) by Sanz, Álvaro Martín

“…To this plurality of versions is added the distance that the responsible filmmakers put to-wards the work (for example omitting the use of voiceover) in order to achieve a result free from external interference. …”
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Psychoanalysis in Cinema and Theater: The Reverse of the Message Between the Director and the Viewer as the Antithesis of Scientific Discourse by Cabrera Kahuazango, Carlos Alexis

“…Also, it has been disrupted by the influence of its viewers as direct consumers of his work. In this sense, the filmmaker recognizes himself not only during the creative process of the film in relation to expressiveness and communication with his actors, even his goal goes beyond the construction of the film, it requires a symbolic setting to share his message and finally be able to fully recognize himself through the criticism of the Other when he projects his long-awaited "final product". …”
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The Surviving Love of Marguerite Duras by Suárez, Claudia

“…He, therefore, chooses Marguerite Duras, screenplay writer and filmmaker. The result is the famous film Hiroshima mon amour (1959), which constitutes her debut. …”
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