miércoles, 16 de diciembre de 2015

Analysis of the film "Ugetsu Monogatari" of Japanese director Kenji Mizoguchi. Article written by Eduardo Ramos Olivera.


The film "Ugetsu Monogatari" of Japanese director Kenji Mizoguchi, transports us to the sixteenth century, exposing a zone of conflict between clans of the Japanese feudal era, who struggle to acquire total domination, invading, looting and killing around Japan. Unfortunately, a village of industrious artisans, farmers and fishermen, where the central theme is the family and the daily effort to escape poverty, are also hit by the disasters of war. The villagers used to traveling to the main town in the area to sell their products at the fair, whose work is exhausting and demanding the most hours each day, will be forced to hide and escape from the soldiers of the clans. To stay alive, the moral values ​​of each character will be reconsidered, taking extreme decisions under the hopelessness of annihilation that lurks.


The characters of the script mutate in positions that war offers. Some seek holstering spears and wear armors to change status, others want to acquire money to rescue their families and migrate to areas of lower risk. Meanwhile, the female characters are hardest hit in history.  Women are horribly raped, abused and recruited for prostitution. The dramatic curve rises when one of the male characters developed schizophrenia that plunges him into a fantasy world dominated by a spectral witch who presents herself with a fragile, delicate and friendly appearance, seeking to seduce him. An elder Buddhist monk realizes his delusions, endeavors to rescue him through prayers and writes Buddhist calligraphies on the skin of the deranged. After the Buddhist rite, the character expresses that he has been released from the seductive witch´s trap and has finally recovered his sanity. Grateful, decides to return to his village to find his wife and young son, but hopelessly schizophrenia will accompany him the rest of his life. The war has been responsible for ruining thousands of lives in a short period of time.

Análisis de la película “Ugetsu monogatari” del director japonés Kenji Mizoguchi. Artículo escrito por Eduardo Ramos Olivera.

La película “Ugetsu monogatari” del director japonés, Kenji Mizoguchi, nos transporta al siglo XVI, a la exposición de una zona del conflicto entre clanes de la era feudal japonesa, quienes pugnan por adquirir el dominio total, invadiendo, saqueando y asesinando en todo Japón.  Lamentablemente, una aldea de laboriosos artesanos, agricultores y pescadores, donde el centro temático es la familia y el esfuerzo diario por salir de la pobreza, también son alcanzados por los desastres de la guerra. Los aldeanos, acostumbrados a viajar al pueblo principal de la zona para vender sus propios productos en la feria, cuyas labores son agotadoras y demandan la mayoría de las horas cada día, se verán obligados a esconderse y escapar de los soldados de los clanes. Para seguir con vida, se replantearán los valores morales de cada personaje, tomando decisiones extremas bajo la desesperanza del aniquilamiento que los asecha.

Los personajes del guión van mutando en las posiciones que la guerra les ofrece. Algunos buscan enfundar las lanzas y vestir armaduras para cambiar de status, otros quieren adquirir dinero para poder rescatar a sus familias y migrar hacia zonas de menos riesgo. Paralelamente, los personajes femeninos son los más perjudicados en la historia. Mujeres terriblemente ultrajadas, violentadas y reclutadas para la prostitución. La curva dramática asciende cuando uno de los personajes masculinos desarrolla una esquizofrenia que lo sumerge en un mundo fantasioso dominado por una bruja espectral quien se presenta con un aspecto frágil, delicado y amistoso, buscando así seducirlo. Un anciano monje budista que se percata de sus delirios, se esfuerza por rescatarlo por medio de oraciones y caligrafías budistas escritas sobre la piel del cuerpo del transtornado. Luego del rito budista, el personaje manifiesta haber sido liberado de la trampa seductora de la bruja y que ha recuperado finalmente la cordura. Agradecido, decide volver a su aldea para buscar a su esposa y pequeño hijo, pero la esquizofrenia lo acompañará  irremediablemente el resto de su vida. La guerra se ha encargado de arruinar miles de vidas en breve tiempo.

sábado, 18 de abril de 2015

Rodaje de la película "Enmienda Estructural" : Filming the movie "Structural Amendment".

Fotografías durante el rodaje de la película "Enmienda Estructural", cuyo tema también es contra el nazismo. Photographs of the film "Structural Amendment" whose theme is also against Nazism.

Actor Principal: Fernando Pasco Matos.
Actor: Daniel Dillon. 
Actor: Alberto Jorge Cortez.
Actriz: Connie Scheuermann.
Actriz: Alexandra Bianchi.
Sonido: Erich Lagasse Cordero, Mario Olivera Broggi, Joel Gutierrez Vidal.
Edición: Salomón Senepo Gonzales.
Productor de cine: Eduardo Ramos Olivera.
Asist. de Producción: Claudia Cánepa Matos.
Directores de Fotografía: Eugenio Cañas, Eduardo Ramos Olivera 
Asist. de Dirección: Joel Gutierrez Vidal.
Director y Guionista: Eduardo Ramos Olivera.
Empresa de cine: Rio Santo Films S.A.C.
Derechos de Autor: Eduardo Ramos Olivera.







viernes, 23 de enero de 2015

Analysis of the film: "Dodes'ka-den" (Japan,1970), directed by Akira Kurosawa. Article written by: Eduardo Ramos Olivera.


"Dodes'ka-den" (Japan-1970), is to me a film masterpiece, written by Akira Kurosawa, Hideo Oguni and Shinobu Hashimoto. Directed by Akira Kurosawa, who enters to film at a landfill, the waste area where it is not designed to live for the apparent successful Japanese society of the 70s, that values human beings for their material possessions, instead of the soul they possess. Landfill is the almost "infernal place" for the rich and affluent people of any modern society. Kurosawa, a humanist artist, searches through his art, how to understand better the human behaviors: their motivations, dreams, aspirations, frustrations, joys and needs. While there are screenwriting artists who teach that the hero of a story has to defeat the enemy with bullets and guns, Akira Kurosawa refreshes us with a film script that describes the area more difficult for any war to conquer: the mind and soul of every human being. In the film the characters live their own codes and rules, without the presence of a municipality, without a hospital or a government that could extend their hand to ease their burdens. A satirical film that denounces the indifference of a Japan whose culture rejected the "weaker", a fascist Japan who was still treading shoes with superiority complexes, throwing into oblivion the sick, disabled, insane and addicts. Narcissistic society who only tried to promote heroes that should be prosperous and coherent, who could represent "the utopian society without space for ill, dysfunctional, nor poor". Akira Kurosawa invites us mainly to observe with tolerant the disadvantaged, shortening the gigantesque distances that exist until today between society and social phobia towards insanity.