In the opening sequence of Juan Pablo González’s second feature, Dos Estaciones, DP Gerardo Guerra’s Steadicam roves a tequila farm’s fields as workers chop down agave plants; when they pause for lunch, the camera pans equally slowly, seemingly without planning, to bring whoever’s speaking into frame. In these opening moments, Dos Estaciones could be any one of a number of post-Lisandro Alonso films composed of tracking shots, slow pans and nonprofessional performances by Latin American laborers, differentiated only by the skill and specifics of their execution. A static shot then introduces farm owner, Maria Garcia (Teresa Sánchez), trying and failing to start her […]

The last two years have prompted much contemplation and reconsideration of the reasons why we make our films as well as the ways in which we make them. What aspect of your filmmaking—whether in your creative process, the way you finance your films, your production methodology or the way you relate to your audience—did you have to reinvent in order to make and complete the film you are bringing to the festival this year? Six months before we filmed Dos Estaciones, my daughter Ema was born. She was born at the peak of the pandemic when there was no testing or […]

The sound of ocean waves links the first two images of Dora García’s Segunda Vez: a crowd of people, standing and watching something unseen in interior darkness, then an ocean cliffside—a “reverse shot” of a totally different space. The waves dissolve into room tone as the third shot cuts to a young man and woman silently regarding each other in a waiting room, then an elderly hand firmly gripping a cane and, finally, an enormous wall clock. None of these seem to share a common space or time; I assumed all would be clarified sooner or later and didn’t worry about it […]