Buenos Aires-based FilmSharks subsidiary The Remake Company has closed a remake deal with Italy’s Marco Belardi and his new label Bamboo Prod. for Ariel Winograd’s latest film “Today We Fix the World” (“Hoy se Arregla el Mundo”).
Produced by powerhouse shingle Patagonik, the family dramedy was picked up by Netflix for several key territories after its theatrical release by Disney’s Star early this year.
Mexico’s BH5 has also acquired the remake rights and is about to produce its version while talks are underway with Korean and French companies, said FilmSharks founder and CEO, Guido Rud. Winograd is already a known quantity in Italy. His last film “Ten Days Without Mom” topped the box office in Italy when it was released.
Dramedy stars Leonardo Sbaraglia from “Wild Tales” and “Pain and Glory” who finds out that he’s not the biological father of the nine-year-old boy at home.
Produced by powerhouse shingle Patagonik, the family dramedy was picked up by Netflix for several key territories after its theatrical release by Disney’s Star early this year.
Mexico’s BH5 has also acquired the remake rights and is about to produce its version while talks are underway with Korean and French companies, said FilmSharks founder and CEO, Guido Rud. Winograd is already a known quantity in Italy. His last film “Ten Days Without Mom” topped the box office in Italy when it was released.
Dramedy stars Leonardo Sbaraglia from “Wild Tales” and “Pain and Glory” who finds out that he’s not the biological father of the nine-year-old boy at home.
- 9/20/2022
- by Anna Marie de la Fuente
- Variety Film + TV
Santiago — Chile’s Santiago International Film Festival (Sanfic) launched its 15th edition Sunday Aug. 18 with three of Latin America’s best-known actors, Gael Garcia Bernal, Wagner Moura (“Narcos”) and Graciela Borges (“La Cienaga”), to which it bestowed career recognition awards.
“It’s been 15 years in which we have presented more than 1,400 films,” noted Francisca Saieh, director of festival sponsor CorpArtes Foundation at the opening ceremony, as she paid tribute to her late sister, producer Soledad Saieh, one of the driving forces of the festival.
“It is noteworthy that in the past two years we have increased attendance by 20%, drawing an audience of more than 250,000 in the past 15,” said artistic director Carlos Nuñez who, together with his StoryBoard Media partner Gabriela Sandoval, runs the festival.
Garcia Bernal came to present his second directorial effort, “Chicuarotes,” which premiered in Cannes, while Moura opened the festival with his directorial debut, “Marighella,” a historical...
“It’s been 15 years in which we have presented more than 1,400 films,” noted Francisca Saieh, director of festival sponsor CorpArtes Foundation at the opening ceremony, as she paid tribute to her late sister, producer Soledad Saieh, one of the driving forces of the festival.
“It is noteworthy that in the past two years we have increased attendance by 20%, drawing an audience of more than 250,000 in the past 15,” said artistic director Carlos Nuñez who, together with his StoryBoard Media partner Gabriela Sandoval, runs the festival.
Garcia Bernal came to present his second directorial effort, “Chicuarotes,” which premiered in Cannes, while Moura opened the festival with his directorial debut, “Marighella,” a historical...
- 8/19/2019
- by Anna Marie de la Fuente
- Variety Film + TV
Set to open Aug. 18 with two of Latin America’s biggest stars, Gael Garcia Bernal and Wagner Moura (“Narcos”), the 15th edition of Chile’s Santiago Int’l Film Festival (Sanfic) promises a focus on women directors and producers as it hosts a Women’s Encounter and Chile’s audiovisual guilds ink a pact to safeguard against sexual harassment in the work place.
The fest will kick off with Moura’s controversial directorial debut, “Marighella,” after bestowing career recognition awards on Garcia Bernal and Argentine thesp Graciela Borges.
On day two, Moura will participate in an Actor’s Studio interview open to the public, said Sanfic artistic director Carlos Nuñez and industry head Gabriela Sandoval, partners at Storyboard Media who jointly run the festival.
Three competitive sections – international, Chilean and shorts – will include cash prizes. The international, jury – Borges, Uruguayan producer Sandino Saravia (“Roma”) and Chilean director/editor Valeria Sarmiento,...
The fest will kick off with Moura’s controversial directorial debut, “Marighella,” after bestowing career recognition awards on Garcia Bernal and Argentine thesp Graciela Borges.
On day two, Moura will participate in an Actor’s Studio interview open to the public, said Sanfic artistic director Carlos Nuñez and industry head Gabriela Sandoval, partners at Storyboard Media who jointly run the festival.
Three competitive sections – international, Chilean and shorts – will include cash prizes. The international, jury – Borges, Uruguayan producer Sandino Saravia (“Roma”) and Chilean director/editor Valeria Sarmiento,...
- 8/9/2019
- by Anna Marie de la Fuente
- Variety Film + TV
It has also secured deals for Rodrigo Sorogoyen’s Goya-winning political thriller The Realm.
Antonio Saura’s Latido Flms has sold Juan José Campanella’s The Weasel’s Tale to France (Eurozoom), Portugal (Outsider Films), Italy (Movies Inspired), Greece (Seven Films) and Hong Kong (Edko Films) after market screenings in Cannes.
An Argentina-Spain co-production, The Weasel’s Tale is a black comedy starring Óscar Martínez (The Distinguished Citizen), Graciela Borges (The Quietude) and Clara Lago (Spanish Affair) star. Campanella won the best foreign language Oscar in 2010 for The Secret In Their Eyes.
Latido has also secured deals for Rodrigo Sorogoyen...
Antonio Saura’s Latido Flms has sold Juan José Campanella’s The Weasel’s Tale to France (Eurozoom), Portugal (Outsider Films), Italy (Movies Inspired), Greece (Seven Films) and Hong Kong (Edko Films) after market screenings in Cannes.
An Argentina-Spain co-production, The Weasel’s Tale is a black comedy starring Óscar Martínez (The Distinguished Citizen), Graciela Borges (The Quietude) and Clara Lago (Spanish Affair) star. Campanella won the best foreign language Oscar in 2010 for The Secret In Their Eyes.
Latido has also secured deals for Rodrigo Sorogoyen...
- 5/21/2019
- by Elisabet Cabeza
- ScreenDaily
Buyers respond to 4x4, The Weasels’ Tale, Bunuel In The Labyrinth Of The Turtles.
Madrid-based powerhouse Latido Films has struck a raft of key deals on its prestige Efm slate, led by further business on Argentine-Spain duo 4x4 and Oscar winner Juan Jose Campanella’s The Weasels’ Tale.
Mariano Cohn’s thriller 4x4 (Argentina-Spain) was the talk of Ventana Sur in Buenos Aires in December and stars Juan Pedro Lanzani from Argentine smash The Clan as a petty crook who breaks into a car, only to discover he has been lured into a trap.
Latido has licensed rights to...
Madrid-based powerhouse Latido Films has struck a raft of key deals on its prestige Efm slate, led by further business on Argentine-Spain duo 4x4 and Oscar winner Juan Jose Campanella’s The Weasels’ Tale.
Mariano Cohn’s thriller 4x4 (Argentina-Spain) was the talk of Ventana Sur in Buenos Aires in December and stars Juan Pedro Lanzani from Argentine smash The Clan as a petty crook who breaks into a car, only to discover he has been lured into a trap.
Latido has licensed rights to...
- 2/13/2019
- by Jeremy Kay
- ScreenDaily
Round up of the buzz Argentinian titles out to tempt buyers.
4x4
Dir. Mariano Cohn
Thriller 4x4 was the talk of Ventana Sur in Buenos Aires last December and has already landed distribution deals in France (Ugc), South Korea (Cree Pictures) and Argentina, where Buena Vista International will release. Cohn, Gaston Duprat’s co-director on The Distinguished Citizen, makes his solo feature directorial debut on the story about a car thief trapped inside a luxury SUV. Peter Lanzani, Dady Brieva and Luis Brandoni star.
Contact: Juan Torres, Latido Films
After Hitler’s Steps
Dir. Tbd
Keen to move deeper into...
4x4
Dir. Mariano Cohn
Thriller 4x4 was the talk of Ventana Sur in Buenos Aires last December and has already landed distribution deals in France (Ugc), South Korea (Cree Pictures) and Argentina, where Buena Vista International will release. Cohn, Gaston Duprat’s co-director on The Distinguished Citizen, makes his solo feature directorial debut on the story about a car thief trapped inside a luxury SUV. Peter Lanzani, Dady Brieva and Luis Brandoni star.
Contact: Juan Torres, Latido Films
After Hitler’s Steps
Dir. Tbd
Keen to move deeper into...
- 2/9/2019
- by Jeremy Kay
- ScreenDaily
The Weasels (El Cuento de las comadrejas)
Argentina’s Juan José Campanella, who oscillates back and forth between television and film, returns with eighth feature The Weasels (El Cuento de las comadrejas), a remake of the 1976 film Yesterday’s Guys Used No Arsenic from Jose A. Martinez Suarez. Produced by Campanella and Telefe’s Axel Kuschevatzky, the project stars Clara Lago, Oscar Martinez, Luis Brandoni and Graciela Borges. Juan Jose Campanella is best known for his 2009 title The Secret in Their Eyes (review / interview), which competed in San Sebastian and won an Oscar for Best Foreign Language Film.…...
Argentina’s Juan José Campanella, who oscillates back and forth between television and film, returns with eighth feature The Weasels (El Cuento de las comadrejas), a remake of the 1976 film Yesterday’s Guys Used No Arsenic from Jose A. Martinez Suarez. Produced by Campanella and Telefe’s Axel Kuschevatzky, the project stars Clara Lago, Oscar Martinez, Luis Brandoni and Graciela Borges. Juan Jose Campanella is best known for his 2009 title The Secret in Their Eyes (review / interview), which competed in San Sebastian and won an Oscar for Best Foreign Language Film.…...
- 1/2/2019
- by Nicholas Bell
- IONCINEMA.com
Nathaniel R reporting from the Toronto International Film Festival
Martina Gusman (Carancho) and Oscar nominee Bérénice Bejo (The Artist) are exceedingly well cast as loving sisters reunited when their wealthy father has a stroke in this sexy family melodrama from Argentina. The sisters are tight despite years of separation but they have dramatically different relationships with their mother (a commanding turn from Graciela Borges) who clearly favors one and disdains the other. Despite the capable and supremely sexy cast and a few witty visual moments and firecracker scenes, the movie is a mixed bag. The character arcs don't fully land given the erratic quality of the screenplay.
And I'm not one to normally harp on "the male gaze," a triggering complaint now so frequently overused it's beginning to lose meaning, but here we have a textbook example...
Martina Gusman (Carancho) and Oscar nominee Bérénice Bejo (The Artist) are exceedingly well cast as loving sisters reunited when their wealthy father has a stroke in this sexy family melodrama from Argentina. The sisters are tight despite years of separation but they have dramatically different relationships with their mother (a commanding turn from Graciela Borges) who clearly favors one and disdains the other. Despite the capable and supremely sexy cast and a few witty visual moments and firecracker scenes, the movie is a mixed bag. The character arcs don't fully land given the erratic quality of the screenplay.
And I'm not one to normally harp on "the male gaze," a triggering complaint now so frequently overused it's beginning to lose meaning, but here we have a textbook example...
- 9/15/2018
- by NATHANIEL R
- FilmExperience
The Notebook is covering Tiff with an on-going correspondence between critics Kelley Dong and Daniel Kasman.Our BodyDear Danny, For me, one of the jarring components of a film festival is that temperatures are continually in flux, not only outside—it is much colder this week, as I'm sure you know—but also inside the theatre, where I go from one warm movie to a very cold one multiple times a day. I envy that you have seen, at very least, some of the finer genre films here; I myself have been seeing mostly blockbusters, with the occasional arthouse film of relatively smaller scale. But speaking of art cinema: To celebrate the centenary of Ingmar Bergman's birth, Tiff Cinematheque showed its 35mm print of his Persona at a free public screening, just one of an abundance of events offered here outside of the scheduled programming. Since its 1966 release, the...
- 9/14/2018
- MUBI
Latido is bringing onto the Toronto market “The Weasels,” the first live-action film from Argentina’s Juan José Campanella since he won a foreign-language Oscar for “The Secret in Their Eyes” in 2010.
Latido will introduce the film to buyers via what Latido head Antonio Saura describes as a “pre-trailer.”
“The Weasels” reunites the sales agent and most of the high-pedigree production team behind “The Secret in Their Eyes:” Campanella’s Buenos Aires label 100 Bares and top Argentine network Telefe, which is a Viacom Intl. Media Networks company, produce the pic, in co-production with Spain’s Tornasol (“The Man Who Killed Don Quixote”) and Argentina’s Jempsa, whose late head, Jorge Estrada Mora, produced five of Campanella’s films.
“The Weasels” returns Campanella to the semi-comedic mode, but hardly same comic tone, of 2001’s Oscar-nominated “The Son of the Bride.”
Based on an Argentine classic, 1976’s “Los muchachos de antes no usaban arsénico,...
Latido will introduce the film to buyers via what Latido head Antonio Saura describes as a “pre-trailer.”
“The Weasels” reunites the sales agent and most of the high-pedigree production team behind “The Secret in Their Eyes:” Campanella’s Buenos Aires label 100 Bares and top Argentine network Telefe, which is a Viacom Intl. Media Networks company, produce the pic, in co-production with Spain’s Tornasol (“The Man Who Killed Don Quixote”) and Argentina’s Jempsa, whose late head, Jorge Estrada Mora, produced five of Campanella’s films.
“The Weasels” returns Campanella to the semi-comedic mode, but hardly same comic tone, of 2001’s Oscar-nominated “The Son of the Bride.”
Based on an Argentine classic, 1976’s “Los muchachos de antes no usaban arsénico,...
- 9/8/2018
- by John Hopewell
- Variety Film + TV
Title: La quietud (The Quietude) Director: Pablo Trapero Cast: Bérénice Bejo, Martina Gusman, Edgar Ramirez, Joaquín Furriel, Graciela Borges. ‘La quietud’ (The Quietude) is an intimate film about the female universe and sisterhood. Pablo Trapero, as he did with the patriarchal ‘El Clan,’ warps matriarchy portraying an unwholesome proximity between siblings, that never becomes incestuous […]
The post 75th Venice Film Festival: La quietud (The Quietude) Movie Review appeared first on Shockya.com.
The post 75th Venice Film Festival: La quietud (The Quietude) Movie Review appeared first on Shockya.com.
- 9/5/2018
- by Chiara Spagnoli Gabardi
- ShockYa
Two sisters from an affluent family re-explore their unusually close bonds in “The Quietude,” Pablo Trapero’s beautifully crafted multilayered drama that’s also his most enjoyable film in years. Boasting a trio of actresses at the top of their game and cinematography that constantly impresses with its confident yet unshowy fluidity, the movie deftly enters into the bosom of a family harboring multiple secrets, encompassing the personal and political. Spanish-language films about wealthy people always risk getting slapped with the “telenovela” label, yet the emotions here are real, even if they are at a heightened level. Art-house play seems assured.
Set in pristine flatlands surrounded by a stunning flower garden, La Quietud is a coral-colored dream ranch that would scream “privilege!” if such genteel good taste could ever be accused of raising its voice. It’s the home of counsellor Augusto Montemayor (Isidoro Tolcachir), his wife, Esmeralda (Graciela Borges), and their younger unmarried daughter,...
Set in pristine flatlands surrounded by a stunning flower garden, La Quietud is a coral-colored dream ranch that would scream “privilege!” if such genteel good taste could ever be accused of raising its voice. It’s the home of counsellor Augusto Montemayor (Isidoro Tolcachir), his wife, Esmeralda (Graciela Borges), and their younger unmarried daughter,...
- 9/4/2018
- by Jay Weissberg
- Variety Film + TV
Italy’s Bim Distribuzione has acquired Italian rights to Pablo Trapero’s “La Quietud,” the Argentine director’s follow-up to “The Clan,” which won him the award for best director award in Venice in 2016.
“La Quietud” world premieres Sunday on the Lido out of competition.
Bim picked up the title from its parent company, Wild Bunch, which is handling international sales. Though the two companies are linked, Wild Bunch does not use Bim as its exclusive Italian outlet, which is separately run.
A drama with thriller elements, “La Quietud” is set amid Argentina’s upper class against a backdrop of the country’s recent military dictatorship and its expropriation of murdered detainees’ property. The story centers on the dynamic between two sisters — Eugenia, played by Berenice Bejo, who returns from Paris to the family’s rural estate, and her younger sister, Mia, played by Martina Gusmán — after their father is hospitalized from a stroke.
“La Quietud” world premieres Sunday on the Lido out of competition.
Bim picked up the title from its parent company, Wild Bunch, which is handling international sales. Though the two companies are linked, Wild Bunch does not use Bim as its exclusive Italian outlet, which is separately run.
A drama with thriller elements, “La Quietud” is set amid Argentina’s upper class against a backdrop of the country’s recent military dictatorship and its expropriation of murdered detainees’ property. The story centers on the dynamic between two sisters — Eugenia, played by Berenice Bejo, who returns from Paris to the family’s rural estate, and her younger sister, Mia, played by Martina Gusmán — after their father is hospitalized from a stroke.
- 9/1/2018
- by Nick Vivarelli
- Variety Film + TV
Cannes — A first international trailer of Pablo Trapero’s “La Quietud,” his awaited follow-up to Venice best director winner “The Clan.”
Starring Martina Gusmán (“Lion’s Den”) and Bérénice Bejo (“The Artist”), “La Quietud” marks a change of register for Trapero, an intense drama with thriller elements set in Argentina’s upper-class in a country whose dark past still weighs upon the present.
A study of the relationship dynamics between two sisters, “La Quietud” kicks off as one, Eugenia (Bejo) returns from Paris after return from Paris to the family’s rural estate, La Quietud, after the father is hospitalized following a stroke.
There she reunites with her younger sister, Mia, (Gusmán) and their mother, whom she hasn’t seen in 15 years. Despite a love-hate relationship, the sisters discover more in common than they might have thought.
But “La Quietud” is set against a none too distant past of the...
Starring Martina Gusmán (“Lion’s Den”) and Bérénice Bejo (“The Artist”), “La Quietud” marks a change of register for Trapero, an intense drama with thriller elements set in Argentina’s upper-class in a country whose dark past still weighs upon the present.
A study of the relationship dynamics between two sisters, “La Quietud” kicks off as one, Eugenia (Bejo) returns from Paris after return from Paris to the family’s rural estate, La Quietud, after the father is hospitalized following a stroke.
There she reunites with her younger sister, Mia, (Gusmán) and their mother, whom she hasn’t seen in 15 years. Despite a love-hate relationship, the sisters discover more in common than they might have thought.
But “La Quietud” is set against a none too distant past of the...
- 4/11/2018
- by John Hopewell
- Variety Film + TV
Pablo Trapero is a director we always have on our radar. The filmmaker behind “Carancho,” “White Elephant,” and the crime flick “The Clan” has been on a steady rise on the festival and arthouse scene, and he’s assembling what could be his starriest and biggest project yet.
Martina Gusmán, Bérénice Bejo, Edgar Ramírez, Graciela Borges, and Joaquín Furriel have signed up for “La Quietud.” The film will tell the story of two sisters who must face the past, with the narrative set against the backdrop of Argentina’s military dictatorship expropriating real estate belonging to murdered detainees.
Continue reading Edgar Ramirez & Bérénice Bejo To Star In Pablo Trapero’s ‘La Quietud’ at The Playlist.
Martina Gusmán, Bérénice Bejo, Edgar Ramírez, Graciela Borges, and Joaquín Furriel have signed up for “La Quietud.” The film will tell the story of two sisters who must face the past, with the narrative set against the backdrop of Argentina’s military dictatorship expropriating real estate belonging to murdered detainees.
Continue reading Edgar Ramirez & Bérénice Bejo To Star In Pablo Trapero’s ‘La Quietud’ at The Playlist.
- 10/25/2017
- by Kevin Jagernauth
- The Playlist
Pablo Trapero's bruising and intense Carancho (2010) remains high on my list of personal favorites, but he's also made Rolling Family (2004) and Lion's Den (2008) and, more recently, White Elephant and The Clan. Now his next film is ready to roll. Martina Gusmán (Lion's Den) and Bérénice Bejo (The Artist) will star in Trapero's La Quietud, according to Variety. It's described as "an intimate family drama turning on two sisters' reencounter and attempt at closure on a common troubled past." The cast includes Edgar Ramirez, Graciela Borges and Joaquín Furriel. It's set to begin shooting next month in Buenos Aires. Visit Variety to read more about the story behind the film as well as Trapero's intentions....
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 10/23/2017
- Screen Anarchy
Murky swimming pools, bored adolescents, oblivion drinking and signs of the apocalypse are just some of the issues plaguing two chaotic Argentinean families in La Ciénaga, Lucrecia Martel’s feature debut from 2001. Thanks to a new hi-def pressing from Criterion, Martel’s miraculous domestic capture is available to a younger generation of cineastes who likely missed out the first time around, as well as those – like this reviewer – who saw the film years ago but had its brilliance fade into memory’s mist. La Ciénaga may have ushered in a brave new millennium, but its revelation of life’s quirks and caprices remains true and timeless.
One could make a case the Martel drew inspiration for her first feature from two impeccable sources: Anton Chekov and Eric Rohmer. Like Chekov, La Ciénaga is a story of manners and class struggle set in a rambling country estate and, a la Rohmer,...
One could make a case the Martel drew inspiration for her first feature from two impeccable sources: Anton Chekov and Eric Rohmer. Like Chekov, La Ciénaga is a story of manners and class struggle set in a rambling country estate and, a la Rohmer,...
- 2/3/2015
- by David Anderson
- IONCINEMA.com
Best Actress award winner Liana Liberato
The 46th Chicago International Film Festival (Ciff 2010) Award Winners Announced
Click Here for complete coverage of the Chicago International Film Festival (Ciff 2010)
Russia, Mexico, Norway, Germany and USA win top awards in Chicago …
Chicago, October 16, 2010 – Michael Kutza, Founder and Artistic Director of the
Chicago International Film Festival, Mimi Plauché, Head of Programming, and Associate
Programmers Joel Hoglund and Penny Bartlett proudly announce the winners of the 46th
Chicago International Film Festival competitions. The Festival’s highest honor is the
Gold Hugo, named after the mythological God of Discovery.
International Feature Film Competition
Gold Hugo for Best Film to How I Ended The Summer (Russia) for the brilliantly
acted and dynamically staged exploration of human nature under pressure. Director:
Aleksei Popogrebsky
Special Jury Prize shared by:
Silver Hugo Special Jury Prize to A Somewhat Gentle Man (Norway) for a
hilarious and deeply serious adventure into crime and,...
The 46th Chicago International Film Festival (Ciff 2010) Award Winners Announced
Click Here for complete coverage of the Chicago International Film Festival (Ciff 2010)
Russia, Mexico, Norway, Germany and USA win top awards in Chicago …
Chicago, October 16, 2010 – Michael Kutza, Founder and Artistic Director of the
Chicago International Film Festival, Mimi Plauché, Head of Programming, and Associate
Programmers Joel Hoglund and Penny Bartlett proudly announce the winners of the 46th
Chicago International Film Festival competitions. The Festival’s highest honor is the
Gold Hugo, named after the mythological God of Discovery.
International Feature Film Competition
Gold Hugo for Best Film to How I Ended The Summer (Russia) for the brilliantly
acted and dynamically staged exploration of human nature under pressure. Director:
Aleksei Popogrebsky
Special Jury Prize shared by:
Silver Hugo Special Jury Prize to A Somewhat Gentle Man (Norway) for a
hilarious and deeply serious adventure into crime and,...
- 10/17/2010
- by Jeff Bayer
- The Scorecard Review
Quickcard Review – 46th Chicago International Film Festival
Click Here for complete coverage of the Chicago International Film Festival (Ciff 2010)
Brother and Sister
Directed by: Daniel Burman
Cast: Antonio Gasalla, Graciela Borges, Elena Lucena
Running Time: 1 hr 45 min
Rating: R
Release Date: Tbd
Plot: A brother and a sister struggle to come to terms with their mother’s death as well as with one another in this import from Argentina.
Who’S It For? The movie itself draws an immediate comparison to the Laura Linney and Phillip Seymour Hoffman movie The Savages. Fans of coming-of-age dramas and foreign films may enjoy this tale of the complicated relationship between two siblings.
Overall
Brother & Sister is an enjoyable slice of life piece from director Daniel Burman. While some folks may find it slow, which is it is in some parts, most importantly it is a sincere effort. It doesn’t set about chronicling...
Click Here for complete coverage of the Chicago International Film Festival (Ciff 2010)
Brother and Sister
Directed by: Daniel Burman
Cast: Antonio Gasalla, Graciela Borges, Elena Lucena
Running Time: 1 hr 45 min
Rating: R
Release Date: Tbd
Plot: A brother and a sister struggle to come to terms with their mother’s death as well as with one another in this import from Argentina.
Who’S It For? The movie itself draws an immediate comparison to the Laura Linney and Phillip Seymour Hoffman movie The Savages. Fans of coming-of-age dramas and foreign films may enjoy this tale of the complicated relationship between two siblings.
Overall
Brother & Sister is an enjoyable slice of life piece from director Daniel Burman. While some folks may find it slow, which is it is in some parts, most importantly it is a sincere effort. It doesn’t set about chronicling...
- 10/7/2010
- by Calhoun Kersten
- The Scorecard Review
Often referred to as the South American Woody Allen, Daniel Burman usually directs talkative dramedies of the Jewish experience in exile. Brother and Sister is a change of pacing for the director, apart from one "Lechaim!" scene, there's no trace of Judaism in the film adaptation of Diego Dubcovsky's novel, which basically tells the story of an elderly pair of siblings via the point of view of Susana (Graciela Borges), the bossy one who gets around, and Marcos (Antonio Gasalla), the quiet greyish man, who hands over the control to his sister. - Often referred to as the South American Woody Allen, Daniel Burman usually directs talkative dramedies of the Jewish experience in exile. Brother and Sister is a change of pacing for the director, apart from one "Lechaim!" scene, there's no trace of Judaism in the film adaptation of Diego Dubcovsky's novel, which basically tells the story...
- 7/6/2010
- IONCINEMA.com
Often referred to as the South American Woody Allen, Daniel Burman usually directs talkative dramedies of the Jewish experience in exile. Brother and Sister is a change of pacing for the director, apart from one "Lechaim!" scene, there's no trace of Judaism in the film adaptation of Diego Dubcovsky's novel, which basically tells the story of an elderly pair of siblings via the point of view of Susana (Graciela Borges), the bossy one who gets around, and Marcos (Antonio Gasalla), the quiet greyish man, who hands over the control to his sister. There isn't much character development, and suffice to say that a lot of “non-events” that occur in this film. Burman has always had an ear for dialogue, so most of this film flows pleasantly, but the parting taste that one keeps from the film is that this is tasty like a Junior Mint – nice, refreshing but unnutritious.
- 7/5/2010
- IONCINEMA.com
Things get murky in "The Swamp" (La Cienaga). This Argentine film meanders through a morass of characters and situations without claiming any purpose other than to portray a vague sense of discontent and unease. Commercial prospects off the festival circuit are nonexistent. The film is playing in competition at the 2001 Berlinale.
Writer-director Lucrecia Martel, who received a Sundance/NHK Filmmakers Award in 1999 for her script, says she deliberately chose not to follow the "classic form" of narrative structure. Rather, through an accumulation of incidents, she wants to create a picture of middle-class alienation in which no one is certain of what roles he or she is supposed to play in life.
The movie sets up camp in two households during the doldrums of a hot, sticky summer in northwestern Argentina. One is ensconced at a country estate gone to seed where fiftysomething Mecha (Graciela Borges) and her hair-dyeing, layabout husband soak in enough alcohol to keep them more or less senseless. When she drunkenly falls and cuts herself badly, other family members, including her four accident-prone teenagers rally around her without much enthusiasm.
In the other household, Mecha's cousin Tali (Mercedes Moran) tries to keep peace among four noisy children and a husband who understandably wants to spend as little time as possible with the other branch of the family.
This nearly plotless film seemingly was made without concessions to or even consideration of an audience. Lacking much in the way of connective tissue, "Swamp" at best establishes a mood of unsettled torpor.
The generations of this family seemingly move from aimless though often-destructive games of childhood into their disaffected teenage years, then on to an uncertain adulthood that bleeds into a middle age of booze-addled carelessness. There is little that excites pity or even concern.
Technical credits are only fair in a low-budget production that favors erratic hand-held camerawork and dismal, cluttered interior sets that distress the eye.
THE SWAMP (LA CIENAGA)
Lita Stantic and 4 Cabezas Films
Producers: Diego Guebel, Ana Aizenberg,
Mario Pergolini
Screenwriter-director: Lucrecia Martel
Director of photography: Hugo Colace
Art director: Graciela Oderigo
Editor: Santiago Ricci
Color/stereo
Cast:
Mecha: Graciela Borges
Tali: Mercedes Moran
Gregorio: Martin Adjemian
Jose: Juan Cruz Bordeu
Rafael: Daniel Valenzuela
Momi: Sofia Bertolotto
Gregorio: Martin Adjemian
Running time -- 100 minutes
No MPAA rating...
Writer-director Lucrecia Martel, who received a Sundance/NHK Filmmakers Award in 1999 for her script, says she deliberately chose not to follow the "classic form" of narrative structure. Rather, through an accumulation of incidents, she wants to create a picture of middle-class alienation in which no one is certain of what roles he or she is supposed to play in life.
The movie sets up camp in two households during the doldrums of a hot, sticky summer in northwestern Argentina. One is ensconced at a country estate gone to seed where fiftysomething Mecha (Graciela Borges) and her hair-dyeing, layabout husband soak in enough alcohol to keep them more or less senseless. When she drunkenly falls and cuts herself badly, other family members, including her four accident-prone teenagers rally around her without much enthusiasm.
In the other household, Mecha's cousin Tali (Mercedes Moran) tries to keep peace among four noisy children and a husband who understandably wants to spend as little time as possible with the other branch of the family.
This nearly plotless film seemingly was made without concessions to or even consideration of an audience. Lacking much in the way of connective tissue, "Swamp" at best establishes a mood of unsettled torpor.
The generations of this family seemingly move from aimless though often-destructive games of childhood into their disaffected teenage years, then on to an uncertain adulthood that bleeds into a middle age of booze-addled carelessness. There is little that excites pity or even concern.
Technical credits are only fair in a low-budget production that favors erratic hand-held camerawork and dismal, cluttered interior sets that distress the eye.
THE SWAMP (LA CIENAGA)
Lita Stantic and 4 Cabezas Films
Producers: Diego Guebel, Ana Aizenberg,
Mario Pergolini
Screenwriter-director: Lucrecia Martel
Director of photography: Hugo Colace
Art director: Graciela Oderigo
Editor: Santiago Ricci
Color/stereo
Cast:
Mecha: Graciela Borges
Tali: Mercedes Moran
Gregorio: Martin Adjemian
Jose: Juan Cruz Bordeu
Rafael: Daniel Valenzuela
Momi: Sofia Bertolotto
Gregorio: Martin Adjemian
Running time -- 100 minutes
No MPAA rating...
Things get murky in "The Swamp" (La Cienaga). This Argentine film meanders through a morass of characters and situations without claiming any purpose other than to portray a vague sense of discontent and unease. Commercial prospects off the festival circuit are nonexistent. The film is playing in competition at the 2001 Berlinale.
Writer-director Lucrecia Martel, who received a Sundance/NHK Filmmakers Award in 1999 for her script, says she deliberately chose not to follow the "classic form" of narrative structure. Rather, through an accumulation of incidents, she wants to create a picture of middle-class alienation in which no one is certain of what roles he or she is supposed to play in life.
The movie sets up camp in two households during the doldrums of a hot, sticky summer in northwestern Argentina. One is ensconced at a country estate gone to seed where fiftysomething Mecha (Graciela Borges) and her hair-dyeing, layabout husband soak in enough alcohol to keep them more or less senseless. When she drunkenly falls and cuts herself badly, other family members, including her four accident-prone teenagers rally around her without much enthusiasm.
In the other household, Mecha's cousin Tali (Mercedes Moran) tries to keep peace among four noisy children and a husband who understandably wants to spend as little time as possible with the other branch of the family.
This nearly plotless film seemingly was made without concessions to or even consideration of an audience. Lacking much in the way of connective tissue, "Swamp" at best establishes a mood of unsettled torpor.
The generations of this family seemingly move from aimless though often-destructive games of childhood into their disaffected teenage years, then on to an uncertain adulthood that bleeds into a middle age of booze-addled carelessness. There is little that excites pity or even concern.
Technical credits are only fair in a low-budget production that favors erratic hand-held camerawork and dismal, cluttered interior sets that distress the eye.
THE SWAMP (LA CIENAGA)
Lita Stantic and 4 Cabezas Films
Producers: Diego Guebel, Ana Aizenberg,
Mario Pergolini
Screenwriter-director: Lucrecia Martel
Director of photography: Hugo Colace
Art director: Graciela Oderigo
Editor: Santiago Ricci
Color/stereo
Cast:
Mecha: Graciela Borges
Tali: Mercedes Moran
Gregorio: Martin Adjemian
Jose: Juan Cruz Bordeu
Rafael: Daniel Valenzuela
Momi: Sofia Bertolotto
Gregorio: Martin Adjemian
Running time -- 100 minutes
No MPAA rating...
Writer-director Lucrecia Martel, who received a Sundance/NHK Filmmakers Award in 1999 for her script, says she deliberately chose not to follow the "classic form" of narrative structure. Rather, through an accumulation of incidents, she wants to create a picture of middle-class alienation in which no one is certain of what roles he or she is supposed to play in life.
The movie sets up camp in two households during the doldrums of a hot, sticky summer in northwestern Argentina. One is ensconced at a country estate gone to seed where fiftysomething Mecha (Graciela Borges) and her hair-dyeing, layabout husband soak in enough alcohol to keep them more or less senseless. When she drunkenly falls and cuts herself badly, other family members, including her four accident-prone teenagers rally around her without much enthusiasm.
In the other household, Mecha's cousin Tali (Mercedes Moran) tries to keep peace among four noisy children and a husband who understandably wants to spend as little time as possible with the other branch of the family.
This nearly plotless film seemingly was made without concessions to or even consideration of an audience. Lacking much in the way of connective tissue, "Swamp" at best establishes a mood of unsettled torpor.
The generations of this family seemingly move from aimless though often-destructive games of childhood into their disaffected teenage years, then on to an uncertain adulthood that bleeds into a middle age of booze-addled carelessness. There is little that excites pity or even concern.
Technical credits are only fair in a low-budget production that favors erratic hand-held camerawork and dismal, cluttered interior sets that distress the eye.
THE SWAMP (LA CIENAGA)
Lita Stantic and 4 Cabezas Films
Producers: Diego Guebel, Ana Aizenberg,
Mario Pergolini
Screenwriter-director: Lucrecia Martel
Director of photography: Hugo Colace
Art director: Graciela Oderigo
Editor: Santiago Ricci
Color/stereo
Cast:
Mecha: Graciela Borges
Tali: Mercedes Moran
Gregorio: Martin Adjemian
Jose: Juan Cruz Bordeu
Rafael: Daniel Valenzuela
Momi: Sofia Bertolotto
Gregorio: Martin Adjemian
Running time -- 100 minutes
No MPAA rating...
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