Carefully shot in black and white, All Things Were Now Overtaken by Silence is a meditation on the filming of a strange play: a fascinating monologue by actress, director, performance artist and political activist Jesusa Rodriguez of Sor Juana Ines de la Cruz’s poem First I Dream. —International Film Festival Rotterdam 2010
A rising star of contemporary Mexican cinema, Nicolás Pereda (b. 1982) is a central figure in a diverse group of Ibero-American directors whose innovative approaches to narrative filmmaking over the last ten years have together defined one of the most exciting trends in world cinema. Pereda’s films are resolutely Mexican in focus and almost exclusively deal with stories drawn directly from the everyday lives and worlds of their working-class characters. Yet the careful, often enigmatic minimalism embraced by Pereda’s films – equally through their fractured and elliptical narratives as their preference for extended sequence shots – is best understood in the context of similarly ambitious filmmaking practices explored by influential artists such as Portugal’s Pedro Costa and Argentina’s Lisandro Alonso. Indeed, like Costa’s pioneering trilogy of films set in Lisbon’s Fontainhas district and featuring a cast of non-professional actors drawn from its inhabitants, Pereda’s work intertwines… read more
A new definition in pretension. Pereda has been pretty hit and miss with me so far and this one falls deep into the miss category. A b&w exercise in which the film crew move lighting around taking endless takes of an actress reciting a poem by de la Cruz. A perfect film for an insomniac; it just might cure it.