Christian Cloos (commissioning editor for ZDF) writes: I really liked the film. Donna as a phone ghost, out of necessity, worked well, almost like it was an intentional way of raising questions of identity. Her death must have been a horror for you. The film offers great archive material and good interviewees (the sister was fantastic, as were all the others). It is very carefully researched, tightly narrated, intelligent and neatly edited – it’s a joy. It’s a continually surprising journey, both in its content and form, through the seventies and eighties. The use of the photos is brilliant. They become like exhibits about pop history, and when you introduce other material, we accept the poor technical quality as texture. It’s great how respectful you were, for example in how you introduced all the musicians involved in the single cover. It would be great if this were the start of an ongoing collaboration between you and Arte on more films about music and culture and you could ma...
“Tagespiegel” (diario alemán): La fama es voraz. Engulle a sus víctimas en cuerpo y alma. El documental "Donna Summer - Hot Stuff" comienza con escenas de un programa de entrevistas de los años 80. El presentador quiere saber qué piensa la cantante de los estereotipos que circulan sobre ella. ¿Diva de la música disco? ¿Reina del sexo? Ella se limita a sonreír con un ligero sarcasmo. Donna Summer saltó a la fama a mediados de los años setenta con sus éxitos "Love To Love You Baby" y "I Feel Love", en los que, acompañada del sonido futurista de los sintetizadores Moog del productor Giorgio Moroder, cantaba versos jadeantes y gemidos lujuriosos. La etiqueta “reina sexy del disco” le acompañó hasta su muerte. Un crítico de la revista Time contó 22 orgasmos en "Love To Love You". En la portada del álbum Donna aparecía vistiendo un minúsculo camisón. "Me sentía como un producto", confiesa Summer a los autores de la película. "Como una ...
An interview with Lucía Palacios and Dietmar Post (by Alex Alvarez Taylor for Jacobin ) One of the three hundred settlements founded by Franco's regime, the village of Llanos del Caudillo is still today named in homage to the dictator. Villagers' nostalgia for his regime reflects Spain's failure to reckon with its past — and the ongoing struggle to gain recognition for fascism's victims. The village of Llanos del Caudillo, in Spain’s Castilla La Mancha region, is one of three hundred “colonies,” or settlements, christened by the Francisco Franco’s dictatorship in the decades after the Civil War. Its historic link to his regime is still today visible in its name: Llanos — “plains” — del Caudillo — “of the leader.” Established in the 1950s by the agriculture ministry’s National Colonization Institute, the settlements reflected the Franco regime’s disastrous policy of economic “self-sufficiency,” beginning with the drive to repopulate or “recolonize” devastated rural ...
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