{"id":1562,"date":"2015-06-11T17:58:41","date_gmt":"2015-06-11T17:58:41","guid":{"rendered":"http:\/\/www.paginasdeldiariodesatan.com\/pdds\/?p=1562"},"modified":"2015-06-11T18:03:42","modified_gmt":"2015-06-11T18:03:42","slug":"lima-independiente-programacion-completa","status":"publish","type":"post","link":"http:\/\/www.paginas-del-diario-de-satan.com\/pdds\/?p=1562","title":{"rendered":"Lima independiente: programaci\u00f3n completa"},"content":{"rendered":"

El 18 arranca una nueva edici\u00f3n del Festival Lima independiente.<\/em><\/strong><\/p>\n

En un pr\u00f3ximo post haremos\u00a0la lista de nuestras recomendaciones. <\/strong><\/p>\n

Aqu\u00ed tienen la programaci\u00f3n completa:<\/strong><\/p>\n

 <\/p>\n

Pel\u00edcula de Inauguraci\u00f3n<\/span><\/strong><\/p>\n

The Look of Silence, de Joshua Oppenheimer (Dinamarca\/Indonesia\/Noruega\/Finlandia\/Reino Unido, 2014, 102\u2019)<\/span><\/p>\n

 <\/p>\n

Competencia Internacional<\/span><\/strong><\/p>\n

 <\/p>\n

\u00a0<\/span>Belluscone. Una storia siciliana, de Franco Maresco (Italia, 2014, 95\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Blood Below the Skin, de Jennifer Reeder (Estados Unidos, 2015, 33\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>D\u00e9cor, de Ahmad Abdalla (Egipto, 2014, 119\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Li Wen at East Lake, de Li Luo (China, 2015, 117\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>O touro, de Larissa Figueiredo (Brasil, 2015, 78\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Snakeskin, de Daniel Hui (Singapur\/Portugal, 2014, 2014, 105\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Songs from the north, de Soon-Mi Yoo (Corea del Sur\/Portugal\/EEUU, 2014, 72\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>The Reaper, de Zvonimir Juric (Croacia\/Eslovenia, 2014, 98\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>The Sixth Season, de Jan Soldat (Alemania, 2015, 37\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Things of the Aimless Wanderer, de Kivu Ruhorahoza (Ruanda, 2015, 91\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Una juventud alemana, de Jean-Gabriel P\u00e9riot (Francia\/Alemania\/Suiza, 2015, 92\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Videofilia (y otros s\u00edndromes virales), de Juan Daniel F. Molero (Per\u00fa, 2015, 103\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Competencia Peruana<\/span><\/strong><\/p>\n

\u00a0<\/span>Algo se debe romper, de Enrique M\u00e9ndez. (2015, 63\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Camino\/Cenizas, de Miguel Chump\u00e9n. (2014, 11\u201948\u2019\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Ciudad ausente, de Gustavo Meza Vera. (2015, 85\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>De parias y mendigos, de Rafael Ar\u00e9valo. (2015, 76\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>La selecci\u00f3n del tiempo, de Ivo Ferreyra. (2015, 09\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Los ni\u00f1os de la tierra, de Diego Sarmiento. (2014, 14\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Para ti, de Rodrigo Otero. (2014, 14\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Pawqartampu, de Felipe Esparza. (2014, 08\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Pedro Navaja, de Bryan Rodr\u00edguez. (2015, 18\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Ra\u00fal, de Juan Manuel Harboe. (2015, 17\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Volver\u00e9 a bailar por ti, de Erik Portilla. (2015, 50\u2019)<\/span><\/p>\n

 <\/p>\n

Competencia Fronteras Destruidas<\/span><\/strong><\/p>\n

\u00a0<\/span>Ahold of Get the Things To, de Daniel Jacoby (Per\u00fa, 2014, 16\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Anna, de Bruno Sukrow (Alemania, 2015, 25\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Chromatic Aberration, de Aura Satz (Reino Unido, 2014, 9\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Deep Sleep, de Basma Alsharif (Palestina, 2014, 13\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Depositions, de Luke Fowler (Reino Unido, 2014, 24\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Echo Chamber, de Guillermo Moncayo (Colombia\/Francia, 2014, 19\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Field Notes, de Vashti Harrison (EEUU, 2014, 18\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Iec Long, de Jo\u00e3o Rui Guerra da Mata y Jo\u00e3o Pedro Rodrigues (Portugal, 2014, 31\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>La fi\u00e8vre, de Safia Benhaim (Francia\/Marruecos, 2014, 40\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>La pasi\u00f3n de Judas, de David Pantale\u00f3n (Espa\u00f1a, 2014, 10\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Le Beau Danger, de Ren\u00e9 Fr\u00f6lke (Alemania, 2014, 100\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Los girasoles, de Mart\u00edn Boulocq (Bolivia, 2014, 27\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Noite, de Paula Mar\u00eda Gait\u00e1n (Brasil, 2014, 80\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Resistfilm, de Pablo Mar\u00edn (Argentina, 2014, 13\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>San Siro, de Yuri Ancarani (Italia, 2014, 26\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>sound of a million insects, light of a thousand stars, de Tomonari Nishikawa (Jap\u00f3n, 2014, 2\u2019)<\/span><\/p>\n

 <\/p>\n

Proyecciones Especiales<\/span><\/strong><\/p>\n

\u00a0<\/span>A Pigeon Sat on a Branch Reflecting on Existence, de Roy Andersson (Suecia, 2014, 101\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Cavalo Dinheiro, de Pedro Costa (Portugal, 2014, 104\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>El perro Molina, de Jos\u00e9 Celestino Campusano (Argentina, 2014, 88\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Homeland, de Abbas Fahdel (Irak, 2015, 335\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Invierno, de Alberto Fuguet\u00a0 <\/span>(Chile, 2015, 291\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Taxi, de Jafar Panahi (Ir\u00e1n, 2015, 82\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Homenaje a Manoel de Oliveira: O velho do restelo (Portugal, 2014, 19\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Todos vosotros sois capitanes, de Oliver Laxe \u20185 a\u00f1os de Lima Independiente\u2019 (Espa\u00f1a, 2011, 79\u2019)<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

Foco: Luis Mi\u00f1arro<\/span><\/strong><\/p>\n

\u00a0<\/span>El muerto y ser feliz, de Javier Rebollo (Espa\u00f1a, 2012, 94\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Familystrip, de Luis Mi\u00f1arro (Espa\u00f1a, 2009, 75\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Fuente \u00c1lamo, de Pablo Garc\u00eda (Espa\u00f1a, 2001, 72\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Stella Cadente, de Luis Mi\u00f1arro (Espa\u00f1a, 2014, 105\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Homenaje a Manoel de Oliveira: El extra\u00f1o caso de Ang\u00e9lica, de Manoel de Oliveira (Portugal, 2010, 97\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Di\u00e1logos<\/span><\/strong><\/p>\n

\u00a0<\/span>When I will be dictator, de Ya\u00ebl Andr\u00e9 (B\u00e9lgica, 2014, 90 min)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Desaparadiso, de Khavn de la Cruz (Filipinas, 2015, 75 min)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Branco sai, preto fica, de Adirley Queir\u00f3s (Brasil, 2014, 95 min)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Sue\u00f1an los androides, de Ion de Sosa (Espa\u00f1a, 2014, 61 min)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Zivan makes a Punk Festival, de Ognjen Glavonic (Serbia, 2014, 63 min)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Mitch \u2013 The Diary of a Schizophrenic Patient, de Damir Cucic (Croacia, 2014, 75 min)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Before We Go, de Jorge Le\u00f3n (B\u00e9lgica, 2014, 82 min)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>No todo es vigilia, de Hermes Paralluelo (Espa\u00f1a, 2014, 98 min)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Battles, de Isabelle Tollenaere (B\u00e9lgica, 2015, 90 min)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Striplife, de Nicola Grignani, Alberto Mussolini, Luca Scaffidi, Valeria Testagrossa & Andrea Zambelli (Italia\/Palestina, 2013, 64 min)<\/span><\/p>\n

 <\/p>\n

Urgencias<\/span><\/strong><\/p>\n

\u00a0<\/span>Costa Dulce, de Enrique Collar (Paraguay, 2013, 75\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Abschilessend, de Thomas Mohr y Zu Hanne Darboven (Holanda, 2014, 9\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>The Iron Ministry, de J.P.Sniadecki (China\/Estados Unidos, 2014, 82\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>D\u00e9montable, de Douwe Dijkstra (Holanda, 2014, 12\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>R\u00e9imon, de Rodrigo Moreno (Argentina, 2014, 72\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Pasajes IV, de Sebasti\u00e1n D\u00edaz Morales (Holanda-Argentina, 2014, 22\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>El paseo, de Flavia de la Fuente (Argentina, 2014, 63\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Shipwreck, de Morgan Knibbe (Holanda, 2014, 15\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Equ\u00ed y n\u2019otru tiempu, de Ram\u00f3n Lluis Bande (Espa\u00f1a, 2014, 70\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Seven Times a Day We Bemoan Our Lot And at Night We Get Up to Avoid Dreaming, de Susann Maria Hempel (Alemania, 2014, 18\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Memoria Oculta, de Eva Villase\u00f1or (M\u00e9xico, 2014, 61\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Ser e voltar, de Xacio Ba\u00f1o (Espa\u00f1a, 2014, 13\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>The Royal Road, de Jenni Olson (Estados Unidos, 2015, 65\u2019)<\/span><\/p>\n

 <\/p>\n

Nuevos Directores<\/span><\/strong><\/p>\n

Me quedo contigo, de Artemio Narro (M\u00e9xico, 2015, 99\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Ow, de Yohei Suzuki (Jap\u00f3n, 2014, 90\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Paulina, de Ricardo Le\u00f3n (Per\u00fa, 2015, 20\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Parte de Lima, Santiago Andr\u00e9s G\u00f3mez (Colombia, 2014, 58\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Ra\u00fal, de Mat\u00edas Venables (Chile, 2014, 72\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>ReMine El \u00faltimo movimiento obrero, de Marcos M. Merino (Espa\u00f1a, 2014, 101\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Songs She Wrote About People She Knows, de Kris Elgstrand (Canad\u00e1\/Estados Unidos, 2014, 80\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Muestra Peruana<\/span><\/strong><\/p>\n

\u00a0<\/span>Decibel 110, de Miguel Vargas. (2014, 63\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>\u00cdconos, de Luis M\u00e9ndez. (2015, 58\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>La Luz de Mis Ojos, de Carmen Rosa Vargas. (2015, 7\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Lejan\u00eda, de Diego Ruiz. (2014, 40\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>La Victoria sobre el Sol, de Aldo C\u00e1ceda y Alan Poma. (2014, 19\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span>Pasajes, de Kiko Monz\u00f3n. (2015, 43\u2019)<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span><\/p>\n

Pel\u00edcula de Clausura<\/span><\/strong><\/p>\n

\u00a0<\/span>Jo\u00e3o B\u00e9nard da Costa, outros amar\u00e3o as coisas que eu amei, de Manuel Mozos (Portugal, 2014, 75 min.)<\/span><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

El 18 arranca una nueva edici\u00f3n del Festival Lima independiente. En un pr\u00f3ximo post haremos\u00a0la lista de nuestras recomendaciones. Aqu\u00ed tienen la programaci\u00f3n completa:   Pel\u00edcula de Inauguraci\u00f3n The Look of Silence, de Joshua Oppenheimer (Dinamarca\/Indonesia\/Noruega\/Finlandia\/Reino Unido, 2014, 102\u2019)   Competencia Internacional   \u00a0Belluscone. Una storia siciliana, de Franco Maresco (Italia, 2014, 95\u2019)   \u00a0Blood […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[14,39,200,97,6,183,12],"tags":[],"_links":{"self":[{"href":"http:\/\/www.paginas-del-diario-de-satan.com\/pdds\/index.php?rest_route=\/wp\/v2\/posts\/1562"}],"collection":[{"href":"http:\/\/www.paginas-del-diario-de-satan.com\/pdds\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.paginas-del-diario-de-satan.com\/pdds\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.paginas-del-diario-de-satan.com\/pdds\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.paginas-del-diario-de-satan.com\/pdds\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1562"}],"version-history":[{"count":5,"href":"http:\/\/www.paginas-del-diario-de-satan.com\/pdds\/index.php?rest_route=\/wp\/v2\/posts\/1562\/revisions"}],"predecessor-version":[{"id":1566,"href":"http:\/\/www.paginas-del-diario-de-satan.com\/pdds\/index.php?rest_route=\/wp\/v2\/posts\/1562\/revisions\/1566"}],"wp:attachment":[{"href":"http:\/\/www.paginas-del-diario-de-satan.com\/pdds\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1562"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.paginas-del-diario-de-satan.com\/pdds\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1562"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.paginas-del-diario-de-satan.com\/pdds\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1562"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}