The Kid by Michel Fariña, Juan Jorge

“…In 1920 and 1921 there were two events, one theoretical, the other aesthetic. Sigmud Freud published his writing Beyond the pleasure principle and Charles Chaplin premiered his film The Kid. …”
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She’s gotta habit by Benchimol, Lucía

“…In this journey, her aspiration in the profession and the events that name her as a woman coincide. Nola resists all alienation to a name, and it is sustained by multiplying the others that it invents. …”
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Cinema as a passer of the real by Laso, Eduardo, Michel Fariña, Juan Jorge

“…Cinema allows words and images to be given to the catastrophic event. It offers the possibility of operating with the real traumatic and consequentlysymbolizing it. …”
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The heresy of each and love as writing, in the face of the pandemic of the One alone by Lijtinstens, Claudia

“…Faced with contemporary loneliness, aggravated by the pandemic events of reality, some possible solutions are exposed by way of heresy as a position of being, but also by way of love as a support for an encounter, in the sense of a bond that enables getting out of autoeroticism and temperingwhat is impossible to bear, based on the English television series The end of The f ... …”
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Frida Kalho: the look of cinema by Scotto Di Vettimo, Delphine

“…It recounts the tumultuous life of the artist since his young student life,his accident and his passionate relationship with the muralist Diego Rivera.Numerous references to Frida Kahlo’s paintings are included in the scenography and recall the richness and complexity of her work: more than onehundred and forty paintings, of which fifty are self-portraits, which come in different themes: politics, Mexicanism, love, nature, suffering, femininity or even death.It is from the analysis of a particular scene [which galvanizes the radicality of the abortion test and offers a framework for the expression of the temporality specific to this event, which I qualify as traumatic] that this article, which stands at the crossroads of cinema and psychoanalysis, explains adecisive stage in the creative process in Frida Kahlo.Here, the examination of the dialectic between creative process and trauma, allows us to grasp, in the nascent state, the implementation of modes ofpictorial creation which sign a new temporality in his pictorial art.Beyond that, the challenge of the biopic is to succeed on the one hand in weaving, modeling, staging and images the life of this extraordinary artist;and on the other hand to allow the spectator to discover the entanglement between the creative subjectivity of the artist and his work.…”
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