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Comme dans beaucoup de movies noirs, tout n’ a pas forcment de sens, et il dpeint ce monde et ce qui s’ y droule plutt que d’expliquer l’histoire la manire d’une enqute journalistique (melendi cancion sin nombre acordes). C’est un patant premier movie et un prtendant solide la Camra d’Or. Cancin sin nombre a t produit par La Vida Misma Movies (Prou), en coproduction avec La Mula Producciones (Prou), MGC (Espagne) et Bord Cadre Movies (Suisse), avec Torch Movies (tats-Unis) comme producteur associ.

In a dingy center, a newborn child is blended away from her exhausted mom, apparently for regular medical examination, and is never ever returned; in brief order, the clinic vanishes into thin air too, leaving the taken baby’s bewildered, impoverished parents with no recourse. The premise of “Tune Without a Name” is at as soon as fact-based and the stuff of shadowed, surreal headaches, and Peruvian writer-director Melina Len’s artfully impacting launching feature splits the difference: Earthy with social information from a despairing duration of Peru’s current history, it’s also shot, scored and styled like the most stunning of bad dreams.

But Len’s much more modestly scaled Latin American duration piece is totally its own movie, meshing vrit-style technique with passages of dark, folkloric reverie, as its characters’ investigation of a single kidnapping spirals into a heady vortex of institutional corruption. From a narrative point of view, this “Song” misses out on a couple of notes, with a few too many hairs left, well, stranded in melancholy limbo.

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Canción sin nombre - Directors' Fortnightcine peruano …

While the film is embeded in 1988, midway through the first of controversial populist Alan Garcia’s 2 non-consecutive terms as Peru’s president, the events it fictionalizes date from earlier in the decade: Len’s lean screenplay, co-written with Michael J (nombre cancion sin bandera). White, draws particular inspiration from a kid trafficking case uncovered by her reporter father Ismael, to whom the film is dedicated.

In one sense, the film’s exact duration context is nearly moot, provided how successfully d.p. Inti Briones and production designer Gisella Ramrez produce a rural Peru of sparse, misted statelessness in tight, secretive Academy ratio, to boot. Our lead character Georgina (Pamela Mendoza) can scarcely be said to live differently in 1988 than she would have done a number of years prior to: A destitute Quecha villager from the external limits of Lima, she scrapes together a living selling potatoes at the local market and shares a skeletal wood hut with her also worked-to-the-bone spouse Leo (Lucio Rojas).

As Georgina delivers the child, the electronic camera stays closely fixed on her pained face: Neither we nor she ever see the baby lady that is secured of her, and by the time she’s brusquely informed to abandon her bed for the next patient, it’s nearly as if she never delivered at all.

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Officials are indifferent to Georgina and Leo’s tale of trouble, sending them instead on an ineffective path of departments and documentation; in desperation, Georgina shows up at the office of the nationwide paper, finally finding a sympathizer in shy young reporter Pedro (Tommy Prraga), who’s promptly set on the case.

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As Georgina’s angst simmers in the background, Pedro’s examination takes its own eerie, circuitous shaggy-dog course, while we likewise follow the closeted, unreadable journo’s burgeoning love with sexy traveling thesp Isa (Maykol Hernndez) the least developed and integrated of the film’s subplots, this however develops the otherwise dissimilar Pedro and Georgina as kindred spirits of sorts in a nation politically hostile to minorities.

Pressures of Andean charango blend with the more contemporary ambient textures of Pauchi Sasaki’s rating, while Briones’ images is a constant marvel, whether finding the poetry in hailstones bouncing off asphalt or silhouetting Georgina’s everyday, mountainous commute in long shot, like storm-blown frames of shadow theater. Yet her battles are never daintily aestheticized; short but stately, “Song Without a Name” dreams and dramatizes historic tragedy with a suitable sense of sorrow.

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Canción sin nombre - Directors' Fortnightcine peruano …

Slection officielle Quinzaine des Ralisateurs, Cannes 2019 – Reference spciale du jury au Festival Biarritz Amrique Latine 2019 est un premier movie pruvien d’une incroyable matrise. S’appuyant sur un fait scuba divers survenu au Prou dans les annes 1980, Mlina Len fulfilled en image un pan dreadful de l’histoire de child pays.

Du ct argentin, l’avait brillamment expos. Mlina Len s’ est empare du sujet dans kid pays car child pre (le film lui est ddi) travaillait l’poque put La Repblica, un journal pruvien ayant dvoil l’existence d’un rseau de trafic d’enfants vols et permis child dmantlement. S’ouvrant sur des posts de journaux de l’poque, le film est un hommage au travail de la presse dans un pays au contexte politique trs troubl comme le Prou.