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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 (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 Films (Suisse), avec Torch Films (tats-Unis) comme producteur associ.

In a dingy center, a newborn child is blended far from her exhausted mother, allegedly for routine medical examination, and is never ever returned; in short order, the center disappears into thin air too, leaving the stolen baby’s confused, impoverished parents without any recourse. The premise of “Song Without a Name” is at as soon as fact-based and the stuff of shadowed, surreal problems, and Peruvian writer-director Melina Len’s artfully affecting launching function splits the difference: Earthy with social detail from a despairing duration of Peru’s recent history, it’s likewise shot, scored and styled like the most lovely of bad dreams.

However Len’s even more decently scaled Latin American period piece is entirely its own film, fitting together vrit-style strategy 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 a number of notes, with a couple of a lot of strands left, well, stranded in melancholy limbo.

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Cannes 2019 : Canción sin nombre – Directors’ Fortnight

While the film is embeded in 1988, midway through the first of questionable 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 movie script, co-written with Michael J (nombre cancion sin bandera). White, draws specific motivation from a kid trafficking case discovered by her reporter daddy Ismael, to whom the movie is committed.

In one sense, the film’s precise duration context is almost moot, provided how efficiently d.p. Inti Briones and production designer Gisella Ramrez create a rural Peru of sporadic, misted statelessness in tight, deceptive Academy ratio, to boot. Our protagonist Georgina (Pamela Mendoza) can scarcely be said to live differently in 1988 than she would have done numerous decades before: A destitute Quecha villager from the outer limits of Lima, she scrapes together a living selling potatoes at the local market and shares a skeletal wood hut with her likewise worked-to-the-bone hubby Leo (Lucio Rojas).

As Georgina provides the child, the video camera stays closely fixed on her hurt face: Neither we nor she ever see the baby lady that is gotten of her, and by the time she’s brusquely informed to leave her bed for the next patient, it’s practically as if she never delivered at all.

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Authorities are indifferent to Georgina and Leo’s tale of problem, sending them rather on an unsuccessful path of departments and documentation; in desperation, Georgina turns up at the workplace of the national paper, finally discovering a sympathizer in shy young journalist Pedro (Tommy Prraga), who’s immediately set on the case.

CANCIÓN SIN NOMBRE (Song Without a Name ...Canción sin nombre – Directors’ Fortnight

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 romance with hot taking a trip thesp Isa (Maykol Hernndez) the least developed and integrated of the film’s subplots, this nonetheless establishes the otherwise different Pedro and Georgina as kindred spirits of sorts in a nation politically hostile to minorities.

Strains of Andean charango meld with the more modern ambient textures of Pauchi Sasaki’s rating, while Briones’ images is a constant marvel, whether discovering the poetry in hailstones bouncing off asphalt or silhouetting Georgina’s day-to-day, mountainous commute in long shot, like storm-blown frames of shadow theater. Yet her struggles are never ever daintily aestheticized; short but majestic, “Tune Without a Name” dreams and dramatizes historical catastrophe with an ideal sense of grief.

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Quincena de los realizadores 2019 ...Cannes 2019 : “Canción Sin Nombre …

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

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