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Cinema Elvire Popesco -
Friday, December 12, 2014 - 18:00
Written by:
León Siminiani
Cinematography:
León Siminiani
Editing:
León Siminiani
Music:
Claude Debussy
Producer:
Mario Madueño, Samuel Martínez
Production:
Pantalla Partida
LIMITS 1st PERSON is a movie about a love lost in the loneliness of desert and regained through cinema. Using clever but extremely simple means, the film plays with the ambivalent meaning of images. The filmmaker completely inverts the significance of the images not once, but twice. Where are the boundaries of the viewer's perspective, of the first person, as the title suggests? The viewer can think he knows what he is seeing, but a smart filmmaker takes that viewer by the hand and determines his place in the world like a god. If a mise-en-scène as apparently straightforward as a woman in a desert can so enthrall us, then just how powerful is the art of film? (IDFA presentation)
Director:
LEÓN SIMINIANI studied Spanish Literature and Film Theory in Spain as well as Film Directing at Columbia University in New York. His first fiction short, DOS MAS, earned him a Best Latino Director Award at the US DGA Student Awards 2002, and a Best Drama Award, at the EMMY Student Awards. Later, ARCHIPELAGIO won the Jury Award, Best Screenplay and Audience Awards at the Columbia University Film Festival 2003 and was chosen as a finalist in the Showtime Latino Filmmakers Showcase 2004. LUDOTERAPIA won Best Short Award in Europa Cinema 2007. The micro film-essay series KEY CONCEPTS OF THE MODERN WORLD has been awarded over 50 international prizes.
Contact:
eliasescribe[at]mail[dot]com
Festivals, awards:
- Locarno International Film Festival 2009
- IDFA International Documentary Film Festival Amsterdam 2009
- International Film Festival Rotterdam 2009
- Kassel International Documentary and Video Film Festival 2009
Director's statement:
I tried with this work to investigate two notions that have grown very important for me in my relationship to cinema: the first person as a starting point, using my own circumstances and feelings as the material of work; and the posibilities of reworking domestic and-or personal images, images that weren't created acording to a previous plan. I find a deep sense of freedom and order in doing so. It is as if something back then, when the images were captured, wasn't close. I didn´t manage to live and understand a situation at its full, something remained incomplete. Today with the help of cinema, I manage to get close to that experience. Cinema becomes a great tool to help me find order (or the illusion of an order at least). It is truly a contradiction: on the one hand I embrace unshaped, domestic, shot-by-instinct images as material; on the other hand I try to use all the tools that cinema give us (grammar and dramatic structure) to create meaning and turn some tiny portions of that great overwhelming mess into something I can understand. (León Siminiani)
I tried with this work to investigate two notions that have grown very important for me in my relationship to cinema: the first person as a starting point, using my own circumstances and feelings as the material of work; and the posibilities of reworking domestic and-or personal images, images that weren't created acording to a previous plan. I find a deep sense of freedom and order in doing so. It is as if something back then, when the images were captured, wasn't close. I didn´t manage to live and understand a situation at its full, something remained incomplete. Today with the help of cinema, I manage to get close to that experience. Cinema becomes a great tool to help me find order (or the illusion of an order at least). It is truly a contradiction: on the one hand I embrace unshaped, domestic, shot-by-instinct images as material; on the other hand I try to use all the tools that cinema give us (grammar and dramatic structure) to create meaning and turn some tiny portions of that great overwhelming mess into something I can understand. (León Siminiani)