EDOC 2018 Overview

The 17th annual EDOC – Encuentros del Otro Cine

May 9-20

Approximately 80 new or recent documentary features screen in multiple cities in this Ecuadorian festival.


National cinema takes centerstage in How We Are Seen, How We See You, which includes: Carlos Andrés Vera’s PROPAGANDA, which explores the former president of the country, Rafael Correa; Ernesto Yitux and Valeria Suárez Rovello’s NEXT ROUND (SIGUIENTE ROUND), on young boxers and their mentor; Nora Salgado’s TORERO (BULLFIGHTER), about a bullfighter reckoning with the end of his career; and Joshi Espinosa Anguaya’s HUA HUA, about a young indigenous couple as they await their first child.


The aftermath of living under dictatorships is explored in Fissures, including: Heloisa Passos’ BUILDING BRIDGES, about a generation gap between a Brazilian father and daughter; Beth Formaggini’s PASTOR CLÁUDIO, about a man responsible for eliminating enemies of the state; and Álvaro de la Barra’s THEY CAME TO FIND ME, exploring the filmmaker’s revolutionary parents, who were killed fighting against Pinochet.


Indoors focuses on stories of those who are trapped, including: Fernando Romanazzo and Cristian Pirovano’s YALLAH! YALLAH!, about Palestinians who find escape by playing soccer; Chloé Andries and Aline Capelle’s A LESSON IN FAITH, about a Catholic boarding school in the north of France; and Juan Manuel Sepúlveda’s THE STILL LIFE OF HARLEY PROSPER, about a would-be shaman facing his alcoholism.


The Path Not Taken looks at the consequences of decisions, including: Marcos Pimentel’s THE PART OF THE WORLD THAT BELONGS TO ME, which explores the dreams of ordinary Brazilians; Adrián Orr’s NIÑATO, about a single father caring for his three young children; and Sophie Dros’ GENDERBLEND, on individuals who have declined to identify along binary gender lines.


Masculinity is explored in All Are Men, including: Yorgos Panteleakis’ THE WONDER KID, about a young boxer preparing for the 2016 Olympics; Lion Bischof’s GERMANIA, an inside look at a strange German student fraternity; and Lorena Giachino’s THE DIRECTIVE, which follows a group of amateur soccer referees as they try to turn their organization around.


This Is My Land! looks at issues of power and control, including: Laura Plancarte’s SIBLINGS, a parallel story of siblings and their desires on both sides of the US/Mexico border; Mateusz Romaszkan and Marta Wójtowicz-Wcisło’s TOURISTS, a meditation on our fascination with the exotic, composed from amateur footage shot by tourists; and Nemanja Vojinovic’s THE DISTANCES, on a Cuban family separated by immigration policies.


Older protagonists are the focus of Young People Forever, including: María Álvarez’s LAS CINÉPHILAS, about three women who go to the cinema every day; Nicolás Torchinsky’s THE NOSTALGIA OF THE CENTAUR, a portrait of an elder gaucho and his wife; and Adam Sekuler’s TOMORROW NEVER KNOWS, about a couple navigating the impact of Alzheimer’s on their relationship.


The experimental New Poets section includes: Leandro Listorti’s LA PELÍCULA INFINITA, composes of fragments of incomplete Argentine films; Chris Gude’s MARIANA, which explores a border territory between Colombia and Venezuela; and Andre Valentim Almeida’s DAY 32, an essay film constructing a time capsule of images for the end of the world.


Finally, Panorama offers a wide-ranging survey of film from around the world, including: Viviana Corvalán Armijo and Francisco Espinoza Pérez’s ÚLTIMO AÑO, which follows the final school year for a group of deaf Chilean friends; Noémi Aubry and Anouck Mangeat’s ANOTHER MOUNTAIN, in which three female friends discuss the Turkish/Kurdish conflict; and Susanna Lira’s SELF-DEFENSE, about three women facing legal consequences for killing the men who battered them.


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Filed under Documentary, Film, Film Festivals, Overviews, Recommendations

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