10 · 24 · 15 The Presence of Peter Greenaway at the 13th FICM Share with twitter Share with facebook Share with mail Copy to clipboard Ma. Cristina Alemán (@mcristina), editora en jefe The 13th FICM is honored to have the presence of the celebrated British director Peter Greenaway. Among his most acclaimed films are The Draughtsman’s Contract (1982), his first commercial feature film; The Belly of an Architect (1987); The Pillow Book (1996) and The Cook, The Thief, His Wife & Her Lover (1989). However, Greenaway does not identify himself solely as a filmmaker. Trained as a painter, Greenaway has ventured into theater (in the opera Rosa: A Horse Drama, 1994) and multimedia (The Tulse Luper Suitcases, 2003-2004). Greenaway is also known for his controversial vision about cinema. According to him, cinema has died or rather it has not been born yet. Alejandro Ramírez Magaña, Peter Greenaway. Peter Greenaway on Eisenstein’s visit to Mexico: “The film is not very much related to the Russian film director’s work in Russia itself, but to the days away from home, away from Russia, away from Stalin, away from dialectic materialism. I suppose it’s a way when you’re away from your country, it’s a way to loosen up and become a different sort of person. Eisenstein was kind of liberated by being in your country, so this situation was an example of freedom, travel and communication of moving away from your roots. I think we should honor a notion of Mexico as a country that gave Eisenstein the possibility of really being himself. Thank you, Mexico! Peter Greenaway on historic truth: “There is no such thing as history. There are only historians, and historians are liars.” Peter Greenaway also presented a master class at the Teatro Rubén Romero. You can watch the video: here . You can also watch our interview with Peter Greenaway: here.
