D'auteur 
a couple of days ago in Barcelona began a new festival called simply D'A, Film Author. He has invented and has set up Carlos Rios, one of the two pillars of what was the BAFF, Barcelona Asiatic Film. Carlos has designed a simple and complex festival at the same time, a film festival that includes important not to have been brand new in our screens without any limitation, or gender, or country, or topic. A free film festival organized around four sections: Direccions, with room for all kinds of authorial proposals; ASIES, which records the old spirit of BAFF; Promeses de l'Est, section which are grouped films ex-Soviet sphere of influence; Authoring Catalana, a review of Catalan film that dazzles at festivals, but do not get theatrical release normally. Along with the capsules, rather than sections, Guy Maddin retrospective hazardous, perhaps the most invisible contemporary director of all, the author of a film that has no boundaries between sound and silence, between color and black and white, between the short and long. A golden opportunity to see his complete works.
Carlos invited me to present the comic illusion, Mathieu Amalric last job as director. The comic illusion is not an easy film to present. Nor is it an easy film to watch. Actually, none of what this actor has gotten a director on the other side of the camera is simple. If Amalric actor has no problem alternating big-budget Hollywood films with films of copyright in the most classic sense of the term, ie a James Bond with Arnaud Desplechin, director maintains a strictly personal line that takes you to skirt the precipice continuously. Debuted in 1997 with Mange ta soupe, five years later adapts a novel by Daniel Del Giudice, Wimbledon Stadium. It takes a long reflection period, almost eight years, where we do shorts and documentaries. In 2010 Tourné dazzles at Cannes, which incidentally is about to premiere and you earn the award for Best Direction, and that same year conference for television adaptation of Corneille. Nothing less than Corneille. But not one of his major works, no. Amalric choose, or give you a youthful work of Corneille, released in 1636, when the playwright was 29. A tragicomedy risky and amusing, with multiple readings, that speaks of the pain of a father for a son who thinks he's dead, the impossible love between a woman and a man of the wickedness of a tyrant, the play of a magician. Speaking of the theater in the theater, of magic and seduction, to look without being seen, ultimately comic illusions. And here comes the touch of genius Amalric who decide to bring the story to our days, making the cave of the magician in a luxury hotel in the middle of Paris and let the actors say with great certainty Alexandrine verses with a fidelity to the text total contradiction with the environments, changing rooms and situations that arises. But this is not the typical update operation Kenneth Branagh Shakespeare. Amalric's cinema is closer to the Godard's Detective on the concept of image and Demy about the idea of \u200b\u200bthe text. Demy bring it up may seem a bit absurd, but the way the director uses the métrica en la acción no está demasiado lejos de la forma como Demy usaba la música y las canciones en su cine. La ilusión cómica te atrapa por su sonoridad, por su inteligencia y por sus niveles de lectura. Es la prueba evidente que los clásicos y la televisión no están condenados a ser soporíferos. Los que vivan en Barcelona aun están a tiempo de ver esta película en la repetición del jueves 6 de mayo a las 18.30.
Y aprovecho estas líneas para recomendar algunos de los títulos que conozco de los programados en D’A: How I Ended this Summer, de Alexei Popogrebsky, Rusia, 2010; Le père de mes enfants, de Mia Hansen-Leve, Francia, 2009; Cave of Forgotten Dreams, de Werner Herzog, Germany 2011; Bibliothèque Pascal, Szabolcs Hajdu, Hungary, 2010, Wild Field, Mikheil Kalatozishvilli, Russia 2008 ... And if the rest are how are you, all are recommended. Make good use
