With the release of Puan (2024), co-directed with María Alché, Honi Soit sat down to ask Naishtat about comedy, time, existentialism, and their place in the ever-growing and perplexing canon of New Argentine Cinema.
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Bigfoot fucks, but not enough — and it’s breaking the Zellner brothers’ hearts.
While the tension between these two women is a focal point of the film, it is a poignant reminder that the industry intentionally manipulates the lives and experiences of women to distract from the deeply misogynistic foundation it thrives on.
The act of watching the documentary felt pervasive, granting the audience an incredibly intimate dissection of Shiori Itō’s life. She presents traumatising events in such a calm and clinical way through her internal monologue running through the film that you could almost forget she is investigating her own assault.
The way Kapadia shoots light is unsurprisingly beautiful, ethereal and gauzy in some moments, and golden and decadent in others.
What ensues is an incendiary and hilarious charting of the real-life story of Kneecap’s rise from playing deadbeat pubs to becoming a symbol of a larger civil rights movement about the Irish language, clashing with Protestant opposition, censorship, paramilitary groups, violent cops and heavy comedowns.
Norwegian filmmaker Benjamin Ree created this beautiful and touching documentary, repainted the life of Ibelin with the help of in-game text records, Mats’ blog, the gameplay animation, dubbing actors, and the memories of Ibelin’s friends in the online guild community Starlight.
Puan (2023) is a swing and a miss for two of Argentina’s biggest young directors.
Problemista revolves around young El-Salvadoran immigrant Alejandro Martinez (Julio Torres) who moves to America in pursuit of working at Hasbro to design toys which focus less on ‘fun’.
Stilger’s hints about the big plot twist are scattered around the film like carefully placed breadcrumbs, and if you know what to look for, you will be able to form an idea of what may come next.
