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BRIFF 2024

El 7.° Brussels International Film Festival da la bienvenida a un gran número de directoras

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- La nueva edición del certamen tendrá lugar del 25 de junio al 3 de julio, con cerca de 40 títulos en el programa

El 7.° Brussels International Film Festival da la bienvenida a un gran número de directoras
Le Procès du chien, de Laetitia Dosch

Este artículo está disponible en inglés.

In these early days of summer, the Brussels International Film Festival (BRIFF) is inviting Belgian film lovers to discover unmissable brand-new and classic films, shining a light on international arthouse cinema. The festival is notably organising three competitions, which achieve near gender parity overall, a feat rare enough to be mentioned here. In fact, this 7th edition of the event, unspooling between 25 June and 3 July, is set to open with the screening of Swiss filmmaker and actress Laetitia Dosch’s first feature film, Dog on Trial [+lee también:
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entrevista: Laetitia Dosch
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, which was presented in Cannes’ Un Certain Regard section.

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First up, the International Competition will take us from Argentina to Denmark by way of Corsica, and conceals several high-calibre filmmakers within its ranks, such as Yorgos Lanthimos who’ll be sharing Kinds of Kindness [+lee también:
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, the Larrieu brothers with their latest movie Jim’s Story [+lee también:
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entrevista: Arnaud y Jean-Marie Larrieu
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- both of which were discovered in Cannes - and Michel Franco with Memory, which was presented in Venice last year. We’ll also see confirmed talent along the lines of Claire Burger, with her third feature film Foreign Tongue [+lee también:
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, and Gustav Möller with Sons [+lee también:
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- two titles unveiled in competition in Berlin. Two directorial duos are also in on the action: Zar Amir Ebrahimi and Guy Nattiv who’ll be putting forth Tatami [+lee también:
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, and Maria Alché and Benjamin Naishtat presenting Puan [+lee también:
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entrevista: Benjamín Naishtat y María …
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. The final film competing in this section is In His Own Image [+lee también:
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entrevista: Thierry de Peretti
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by Thierry de Peretti, which screened in Cannes’ Directors’ Fortnight.

As for Director’s Week, a selection dedicated to European cinema which looks to shine a light on emerging talent, seven films are in the offing. Firstly, there’s the Danish documentary The Mountains [+lee también:
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by Christian Einshøj, which revisits the director’s family’s trauma following the death of his brother 25 years earlier. Another family documentary comes in the form of Keeping Mum [+lee también:
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entrevista: Emilie Brisavoine
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by Emilie Brisavoine, exploring wounds which time has failed to heal. Fiction films likewise jostle on the agenda, namely The Permanent Picture [+lee también:
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entrevista: Laura Ferrés
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by Spanish director Laura Ferrés, and family forms the focus once again in Je’vida [+lee también:
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by Finland’s Katia Gauriloff, homing in on the coming together of an aunt and niece. There’s also the Hispanic-Italian co-production Animal/Humano [+lee también:
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entrevista: Alessandro Pugno
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by Alessandro Pugno, and a third documentary entitled Riverboom by Swiss director Claude Baechtold, which looks back on the filmmaker’s experience as a young journalist who landed in Afghanistan the day after 11 September. A different tone is struck by the last film on the agenda of this particular line-up, Plastic Guns [+lee también:
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entrevista: Jean-Christophe Meurisse
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by iconic French filmmaker Jean-Christophe Meurisse, which recently closed the Directors’ Fortnight.

The festival is also hosting a National Competition gathering together 8 feature films. We have to remark upon the presence of three female-led documentaries in the first person in this line-up, all exploring the questions which three young women and children of exile ask themselves, in the form of D’Abdul à Leïla [+lee también:
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entrevista: Leila Albayaty
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by Leïla Albayaty, (Y)Our Mother [+lee también:
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entrevista: Samira El Mouzghibati
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by Samira El Mouzghibati and Yalla, Baba! [+lee también:
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entrevista: Angie Obeid
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 by Angie Obeid. A family of vampires is at the heart of Céline Rouzet’s fiction film, For Night Will Come [+lee también:
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entrevista: Céline Rouzet
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, meanwhile, whereas a group of siblings seek out the roots of evil in Michèle Jacob’s Lost Children [+lee también:
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entrevista: Michèle Jacob
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, the documentary Stolen Life sees Daniel Lambo following the journey of adopted children torn from their parents in their birth country, and Who Cares? [+lee también:
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entrevista: Alexe Poukine
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sees Alexe Poukine examining public hospitals and asking how nurses can themselves be kind when they’re crushed by a hostile institution. Last but not least, in Katika Bluu [+lee también:
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, Stéphane Vuillet and Stéphane Xhroüet follow in the footsteps of Baraka, a former child-soldier who has just been extracted from an armed group and who tries to return to his childhood, his family and his place in Goma society in the Congo.

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(Traducción del francés)

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