DEAMBULACIONES • DIARIO DE CINE, 2019-2020 • CARLOS LOSILLA

DEAMBULACIONES • DIARIO DE CINE, 2019-2020 • Carlos Losilla • 2021 MUGA 324 pgs • Why a diary? Perhaps because the writer no longer trusts other discourses, neither the academic article nor the speculative essay. That is why he begins to talk about one of the things he likes most, the cinema, in a random way, as if it were an interior monologue. And that is why he creates a character that is him and is not him, although he cannot stop constructing theories, returning to his usual themes… Over the course of a year he talks about Tarantino and Pedro Costa, Hong Sang-soo and Kelly Reichardt, he tries to guess what cinema is and has been for him, and even sets out to prove that the films of the 50s and 70s are the most important in history, until the endeavour proves impossible, until reality imposes itself in the form of science fiction, of a pandemic that stops everything. And then he realises that his diary, his writing, is just that: a struggle between ‘science’ and ‘fiction’ in which the latter always comes out on top • Carlos Losilla (Barcelona, Spain, 1960). He writes and lectures on film, an activity that ranges from the magazines Caimán Cuadernos de Cine and La Furia Umana to the Universitat Pompeu Fabra and the ESCAC, as well as the Festival Internacional de Cinema D’Autor de Barcelona (D’A), of which he is a member of the planning team • PVP 18€ • Linha de Sombra • www.linhadesombra.com • Cinemateca Portuguesa◼︎

“Because I know that time is always time
And place is always and only place
And what is actual is actual only for one time
And only for one place
I rejoice that things are as they are and
I renounce the blessèd face
And renounce the voice
Because I cannot hope to turn again
Consequently I rejoice, having to construct something
Upon which to rejoice”

ASH WEDNESDAY, T. S. Eliot