In 2004, “The Lord of the Rings: The Return of the King” became the film with joint-most Oscar wins of all time with a whopping 11 victories, matching the total tallies of both “Titanic” and “Ben-Hur.” Those 11 Academy Awards capped off a hugely successful trilogy of movies that collectively snagged 28 Oscar nominations and 17 wins in total. But yet… Peter Jackson‘s film series, adapted from the work of J.R.R. Tolkien, is so, so good that, well, it could have won more. That sounds greedy and over the top, of course, but if you take a look at each film’s nominations, it’s actually very feasible that any one of the three films could have turned the bid into a win. So, with that in mind, here are five Oscar nominations that “The Lord of the Rings” films could and perhaps should have turned into victories.
Best Art Direction — “The Fellowship of the Ring...
Best Art Direction — “The Fellowship of the Ring...
- 11/13/2023
- by Jacob Sarkisian
- Gold Derby
The films competing for the 2023 Best Production Design Oscar are “All Quiet on the Western Front,” “Avatar: The Way of Water,” “Babylon,” “Elvis,” and “The Fabelmans.” Our odds currently indicate that “Babylon” (10/3) will be the winner, followed in order of likelihood by “Elvis” (19/5), “Avatar: The Way of Water” (4/1), “All Quiet on the Western Front” (9/2), and “The Fabelmans” (9/2).
There being 12 individual craftspeople in this lineup makes it the category’s largest since 2010. The last time there were more than this was 1988, when “The Last Emperor” designers Bruno Cesari, Osvaldo Desideri, and Ferdinando Scarfiotti defeated 11 challengers. The current group consists of four past winners and eight newcomers, with those who make up the latter bunch being Karen Murphy (“Elvis”), “All Quiet on the Western Front” duo Ernestine Hipper and Christian M. Goldbeck, “Babylon” pair Anthony Carlino and Florencia Martin, and “Avatar: The Way of Water” trio Dylan Cole, Vanessa Cole, and Ben Procter.
There being 12 individual craftspeople in this lineup makes it the category’s largest since 2010. The last time there were more than this was 1988, when “The Last Emperor” designers Bruno Cesari, Osvaldo Desideri, and Ferdinando Scarfiotti defeated 11 challengers. The current group consists of four past winners and eight newcomers, with those who make up the latter bunch being Karen Murphy (“Elvis”), “All Quiet on the Western Front” duo Ernestine Hipper and Christian M. Goldbeck, “Babylon” pair Anthony Carlino and Florencia Martin, and “Avatar: The Way of Water” trio Dylan Cole, Vanessa Cole, and Ben Procter.
- 3/12/2023
- by Matthew Stewart
- Gold Derby
Catherine Martin, wife and creative partner of Baz Luhrmann, is the winningest Australian in the history of the Academy Awards. She has earned nine nominations — including three this year for costume design, production design and best picture for Elvis — and has won four times. She first caught Oscar’s attention in 1997, when she received an art direction nom for Luhrmann’s Romeo + Juliet. Their next project, Moulin Rouge!, was a musical about star-crossed lovers (Nicole Kidman and Ewan McGregor) in 1890s Paris.
The movie divided critics: THR wrote after the film’s May 2001 Cannes premiere, “all [Luhrmann] has is a confection of old Hollywood musicals and Technicolor melodramas. It’s not enough. While clearly an unconventional musical, the pastiche of old songs — ranging from Rodgers and Hammerstein to disco to Elton John — is likely to turn off young moviegoers.” But audiences warmed to it (the film grossed $57.4 million at the U.
The movie divided critics: THR wrote after the film’s May 2001 Cannes premiere, “all [Luhrmann] has is a confection of old Hollywood musicals and Technicolor melodramas. It’s not enough. While clearly an unconventional musical, the pastiche of old songs — ranging from Rodgers and Hammerstein to disco to Elton John — is likely to turn off young moviegoers.” But audiences warmed to it (the film grossed $57.4 million at the U.
- 3/3/2023
- by Hilton Dresden
- The Hollywood Reporter - Movie News
Eugenio Caballero can conceive an enchanted forest and a disaster zone with equal levels of meticulous ingenuity. He can just as deftly recreate the space where an intimate memory occurred many decades ago, or a surrealist dream where reality and fantasy meet.
The Oscar-winning Mexican production designer learned his profession the way old trades are passed on: as an apprentice absorbing knowledge from more seasoned artisans on the job. Today, his inhabitable fabrications enrich the frames of larger-than-life epics around the globe, as well as unassuming independent dramas in his home country.
“The decisions that I make now are not based on my personal taste, but based on what the story requires,” Caballero told IndieWire during an interview at the Virginia Film Festival, where he received the festival’s 2022 Craft Award. “That’s when you realize the narrative power of the craft.”
Given his world-building dexterity, Caballero is the rare...
The Oscar-winning Mexican production designer learned his profession the way old trades are passed on: as an apprentice absorbing knowledge from more seasoned artisans on the job. Today, his inhabitable fabrications enrich the frames of larger-than-life epics around the globe, as well as unassuming independent dramas in his home country.
“The decisions that I make now are not based on my personal taste, but based on what the story requires,” Caballero told IndieWire during an interview at the Virginia Film Festival, where he received the festival’s 2022 Craft Award. “That’s when you realize the narrative power of the craft.”
Given his world-building dexterity, Caballero is the rare...
- 1/7/2023
- by Carlos Aguilar
- Indiewire
Austin Butler’s hips don’t lie. He becomes the King of Rock and Roll, Elvis Presley, possessing all of his signature quirks and emotional inflections in Baz Luhrmann’s “Elvis.” Standing tall as the single best performance from the first half of 2022, Butler’s moves have thrust him into the Oscar race for best actor. However, his road to a nom won’t be easy, with a total miscast of his co-star Tom Hanks, who’s thrown into a fat suit with a questionable accent, and an overbaked runtime. The biopic’s awards success will be contingent upon the movie’s overall box office and possibilities in other Oscar categories.
Something dawned on me attending the screening of “Elvis” leading to its premiere at the Cannes Film Festival in May: There’s nobody who hasn’t heard of Elvis. Still, as time moves further away from his era, ending...
Something dawned on me attending the screening of “Elvis” leading to its premiere at the Cannes Film Festival in May: There’s nobody who hasn’t heard of Elvis. Still, as time moves further away from his era, ending...
- 6/23/2022
- by Clayton Davis
- Variety Film + TV
Stockholm-based Momento Film, the company behind “Tiny King for a Day” and Göteborg’s Nordic Film Market-bound work in progress “Dogborn,” has confirmed start of production and E.U. partners on Daniel Espinosa’s “Madame Luna,” its biggest project ever.
Principal photography in Sicily and Calabria is set to begin May 5 on the €5 million ($5.6 million) refugee drama, penned by Maurizio Braucci (“Gomorrah”) and Suha Arraf (“Lemon Tree”) from an idea by Binyam Berhane.
David Herdies is producing for Momento Film, with co-production partners Marco Alessi and Massimiliano Navarra of Italy’s Dugong Films, Peter Nadermann of Germany’s Nadcon and Katja Adomeit and Pål Røed of Denmark’s Adomeit Film.
The film marks Chilean-born Espinosa’s return to Swedish-language filmmaking, after a string of Hollywood movies including “Safe House,” “Life” and Sony Pictures’ upcoming Spider-Man spin-off “Morbius”.
“It’s going to be interesting and inspiring to enter a cinematic tradition that really was my roots,...
Principal photography in Sicily and Calabria is set to begin May 5 on the €5 million ($5.6 million) refugee drama, penned by Maurizio Braucci (“Gomorrah”) and Suha Arraf (“Lemon Tree”) from an idea by Binyam Berhane.
David Herdies is producing for Momento Film, with co-production partners Marco Alessi and Massimiliano Navarra of Italy’s Dugong Films, Peter Nadermann of Germany’s Nadcon and Katja Adomeit and Pål Røed of Denmark’s Adomeit Film.
The film marks Chilean-born Espinosa’s return to Swedish-language filmmaking, after a string of Hollywood movies including “Safe House,” “Life” and Sony Pictures’ upcoming Spider-Man spin-off “Morbius”.
“It’s going to be interesting and inspiring to enter a cinematic tradition that really was my roots,...
- 1/27/2022
- by Annika Pham
- Variety Film + TV
Olivia Munn (X-Men Apocalypse) is attached to play the lead in feature drama Aleppo, the story of a Syrian refugee and a Un journalist (Munn), brought together by tragedy and their escape from Syria.
Currently in pre-production, the film from LA-based producer MiLu Entertainment will be directed by Brazilian filmmaker David Schurmann from an original script by Beto Dantas.
Attached crew include Oscar-wining art director/set decorator Brigitte Broch (Moulin Rouge) and Golden Globe-nominated composer Antonio Pinto (Despedida), with Juan Bergaz of Bergaz Productions serving as executive producer.
Schurmann previously directed Brazilian Foreign Language Oscar entry Little Secret (Pequeno Segredo).
“Olivia is a strong, dynamic leading actress, whose passion for the project under David’s direction will bring this powerful and important story to life,” said producer Andre L III, CEO of MiLu Entertainment.
The announcement follows Munn’s recent casting as the lead in action movie Replay and social drama The Gateway,...
Currently in pre-production, the film from LA-based producer MiLu Entertainment will be directed by Brazilian filmmaker David Schurmann from an original script by Beto Dantas.
Attached crew include Oscar-wining art director/set decorator Brigitte Broch (Moulin Rouge) and Golden Globe-nominated composer Antonio Pinto (Despedida), with Juan Bergaz of Bergaz Productions serving as executive producer.
Schurmann previously directed Brazilian Foreign Language Oscar entry Little Secret (Pequeno Segredo).
“Olivia is a strong, dynamic leading actress, whose passion for the project under David’s direction will bring this powerful and important story to life,” said producer Andre L III, CEO of MiLu Entertainment.
The announcement follows Munn’s recent casting as the lead in action movie Replay and social drama The Gateway,...
- 9/23/2020
- by Andreas Wiseman
- Deadline Film + TV
Olivia Munn is attached to play the lead in Aleppo, a Syrian refugee drama from MiLu Entertainment.
Director David Schurmann’s drama tells the story of a Syrian boy refugee and a U.N. journalist, played by Munn, brought together by tragedy as they escape Syria to survive.
Munn is also set to star in the action title Replay, and the social drama The Gateway, currently in post-production. Beto Dantas penned the script for Aleppo for Brazliian director Schurmann.
Oscar-winning art director Brigitte Broch and composer Antonio Pinto are also attached to the project, with Juan Bergaz of Bergaz Productions serving as executive producer....
Director David Schurmann’s drama tells the story of a Syrian boy refugee and a U.N. journalist, played by Munn, brought together by tragedy as they escape Syria to survive.
Munn is also set to star in the action title Replay, and the social drama The Gateway, currently in post-production. Beto Dantas penned the script for Aleppo for Brazliian director Schurmann.
Oscar-winning art director Brigitte Broch and composer Antonio Pinto are also attached to the project, with Juan Bergaz of Bergaz Productions serving as executive producer....
- 9/23/2020
- The Hollywood Reporter - Film + TV
Olivia Munn is attached to play the lead in Aleppo, a Syrian refugee drama from MiLu Entertainment.
Director David Schurmann’s drama tells the story of a Syrian boy refugee and a U.N. journalist, played by Munn, brought together by tragedy as they escape Syria to survive.
Munn is also set to star in the action title Replay, and the social drama The Gateway, currently in post-production. Beto Dantas penned the script for Aleppo for Brazliian director Schurmann.
Oscar-winning art director Brigitte Broch and composer Antonio Pinto are also attached to the project, with Juan Bergaz of Bergaz Productions serving as executive producer....
Director David Schurmann’s drama tells the story of a Syrian boy refugee and a U.N. journalist, played by Munn, brought together by tragedy as they escape Syria to survive.
Munn is also set to star in the action title Replay, and the social drama The Gateway, currently in post-production. Beto Dantas penned the script for Aleppo for Brazliian director Schurmann.
Oscar-winning art director Brigitte Broch and composer Antonio Pinto are also attached to the project, with Juan Bergaz of Bergaz Productions serving as executive producer....
- 9/23/2020
- The Hollywood Reporter - Movie News
Academy Award Submission for Nomination Best Foreign Language Film from Brazil: ‘Little Secret’ Interview with David SchurmannThe touching and engaging “Little Secrets”/ “Pequeno Segredo” opens like a flower. In fact, flowers and butterflies are metaphors for the fleeting but beautiful and bright life of a young girl whose secret, shared with three women becomes a beacon of love for the audience.Based on a true story lived by the director David Schurmann himself, who, for two-and-a-half years lived on a sailboat with parents, his two brothers, and his adoped sister Kat, I was most curious to know more about his life.DS: I grew up on a boat sailing around the world. With the opportunity to see and experience incredible moments, such a life also made me aware of one important fact: how chance encounters can change our lives.My first contact with filmmaking occurred practically by chance, when I...
- 11/3/2016
- by Sydney Levine
- Sydney's Buzz
Written by Kate Lyra, Director, Latc — Latin American Training CenterAmidst the flurry of controversy surrounding its selection, “Little Secret” (“Pequeno Segredo”) screened for the press in Rio de Janeiro.
“Some people are afraid of the ocean,” says Heloisa, (Julia Lemmertz in a perfect pitch performance). “But I feel safer on the water than on dry land.”
Marcos Bernstein’s masterful narrative, directed by David Schurmann, sets the ocean as symbol and metaphor, weaving it through the interlocking stories of three families — and three mothers — forever joined by a secret and a child.
It is the ocean that both separates and connects places as exotic and unlikely as the Amazon and New Zealand, an ocean that protects and sustains us like amniotic fluid.
“Kiwi” (as New Zealanders are endearingly known) Robert Lockett (Errol Shand) has crossed the ocean to find work as a petrochemical engineer in Manaus, capital city of the...
“Some people are afraid of the ocean,” says Heloisa, (Julia Lemmertz in a perfect pitch performance). “But I feel safer on the water than on dry land.”
Marcos Bernstein’s masterful narrative, directed by David Schurmann, sets the ocean as symbol and metaphor, weaving it through the interlocking stories of three families — and three mothers — forever joined by a secret and a child.
It is the ocean that both separates and connects places as exotic and unlikely as the Amazon and New Zealand, an ocean that protects and sustains us like amniotic fluid.
“Kiwi” (as New Zealanders are endearingly known) Robert Lockett (Errol Shand) has crossed the ocean to find work as a petrochemical engineer in Manaus, capital city of the...
- 10/14/2016
- by Sydney Levine
- Sydney's Buzz
Brazilian director David Schurmann’s film was selected over Aquarius by one vote, prompting some social media protests.
On the morning after the gala screening of Little Secret at the 18th edition of Rio de Janeiro Int’l Film Festival, the Brazilian director David Schurmann packed his bags to travel to Los Angeles. Schurmann is to meet awards consultant Steven Raphael, who has been hired (via Skype) to help him with his film campaign for the 89th Academy Awards.
Little Secret was chosen last month as the Brazil’s official entry for Best Foreign Language Film, after beating its rival, Kleber Mendonça Filho’s Aquarius, by one vote only (the result was five to four). The choice made by Brazil’s Oscar selection committee further fuelled the controversy around Aquarius and led to protests on social media against Little Secret.
“Although at that time no one had seen our movie yet, we were attacked...
On the morning after the gala screening of Little Secret at the 18th edition of Rio de Janeiro Int’l Film Festival, the Brazilian director David Schurmann packed his bags to travel to Los Angeles. Schurmann is to meet awards consultant Steven Raphael, who has been hired (via Skype) to help him with his film campaign for the 89th Academy Awards.
Little Secret was chosen last month as the Brazil’s official entry for Best Foreign Language Film, after beating its rival, Kleber Mendonça Filho’s Aquarius, by one vote only (the result was five to four). The choice made by Brazil’s Oscar selection committee further fuelled the controversy around Aquarius and led to protests on social media against Little Secret.
“Although at that time no one had seen our movie yet, we were attacked...
- 10/12/2016
- by elaineguerini@terra.com.br (Elaine Guerini)
- ScreenDaily
Production designer Deborah Riley.
Game of Thrones production designer Deborah Riley is set explore the design process for the world's most watched series at two events in Sydney and Melbourne.
The Emmy award winning Riley, who has also worked on The Matrix, 21 Grams and Jindabyne, will be hosted by the Australian Production Design Guild and Ait.
The events, to be held at Ait in Sydney (February 26) and Mebourne (March 4), will celebrate Riley's work on the series.
Riley will share her design experiences and give a talk on the design behind Game of Thrones..
Riley started her design study as an Architecture student at the University of Queensland in 1991 and went on to complete the Stage Design degree at the National Institute of Dramatic Art.
She worked on The Matrix in 1998 as a set designer and .then worked on Anna and the King in Malaysia and returned to Sydney for Moulin Rouge.
Game of Thrones production designer Deborah Riley is set explore the design process for the world's most watched series at two events in Sydney and Melbourne.
The Emmy award winning Riley, who has also worked on The Matrix, 21 Grams and Jindabyne, will be hosted by the Australian Production Design Guild and Ait.
The events, to be held at Ait in Sydney (February 26) and Mebourne (March 4), will celebrate Riley's work on the series.
Riley will share her design experiences and give a talk on the design behind Game of Thrones..
Riley started her design study as an Architecture student at the University of Queensland in 1991 and went on to complete the Stage Design degree at the National Institute of Dramatic Art.
She worked on The Matrix in 1998 as a set designer and .then worked on Anna and the King in Malaysia and returned to Sydney for Moulin Rouge.
- 2/17/2016
- by Staff Writer
- IF.com.au
Recently during the 67th Edition of the Cannes Film Festival, Cinema23, an association created in 2012 to promote Latin American, Spanish and Portuguese film culture, announced the Fénix Film Awards (Premio Iberoamericano de Cine Fénix). This unique event will take place for the first time in Mexico City in October 2014.
The Mexican actor, director and producer Gael García Bernal (in absentia because of his duties on the jury for Cannes Competition), Portuguese director and actress Maria de Medeiros, Brazilian actress Alice Braga, Spanish actress Paz Vega and Mexican actress Ana de la Reguera, presented the Fénix Film Awards to the international media as one of the key strategies of Cinema23 to provide visibility and recognition of the cinema made in the region.
“There is great variety in our region´s cinema with different forms and languages that in many cases reflect part of who we are. However we are not always able to enjoy it in our own countries, much less worldwide. The activities carried out by Cinema23 aim to develop a closer engagement between the filmmakers and their audiences. It is extremely important to have more visibility in order to gain recognition for the diversity of cinema. This is the premise under which we organized the Fénix Film Awards, commented Ricardo Giraldo, Director of Cinema23.
Ana de la Reguera added: “We have great talent in the region, but it is barely known outside film festivals; it’s important to find another way to reach a broader audience and I believe the Fénix Film Awards is a great strategy and opportunity to achieve it.”
“It is very important for us to get together, allowing us to get closer to the work of our colleagues in order to discover, meet and recognize the voices that make us so different. A celebration like this one opens up a space for us to meet and get to know each other. More importantly it will set the basis for a more profound way for us to share our ideas, create, and cooperate”, added Alice Braga.
María de Medeiros also mentioned: “We are creating a film community that has not existed till now. A community that aims to be inclusive by integrating not only those who make films but also those who study, promote, teach, distribute and exhibit films; so that we all help, support and communicate with each another, allowing our work to be shared both within and outside the region.”
Paz Vega commented: “Collaboration provides an opportunity for creative exchange that strengthens and nourishes our film culture. This collaboration and integration allows our industries to grow without losing their identity and create better opportunities. In the end, difference is what unites us.”
For the past two years, Cinema23 has been shaping a diverse film community from the 22 countries of the region and those who work closely with the region’s filmmaking. The tasks of this community include movie promotion, study, reviews, festivals, distribution, exhibition and filmmaking. The editorial project Cinema23 Notebooks, the conferences during festivals and the student program Classroom Cinema are developed throughout the year, seeking a creative, cultural and knowledge exchange between the different film cultures. These strategies are complemented and strengthened for the general audience through the Fénix Film Awards.
The Fénix Film Awards granted by more than 350 film professionals from Mexico, Latin America, USA, Europe and Canada, will award 12 categories and 4 special recognitions.
It is worth noting that the members of Cinema23 all have an active role in the selection, nomination and voting process for the Fénix Film Awards. Members include:
Karim Ainouz, Elena Anaya, José Carlos Avellar, Héctor Babenco, Luiz Carlos Barreto, Alice Braga, Brigitte Broch, Demián Bichir, Eugenio Caballero, Javier Cámara, Sebastián Cordero, Enrique Chediak, Alfonso Cuarón, Jonás Cuarón, María de Medeiros, Guillermo del Toro, Amat Escalante, Dolores Fonzi, Gael García Bernal, Daniel Giménez Cacho, Iván Giroud, Alejandro González Iñárritu, Salma Hayek, Carlos F. Heredero, Dolores Heredia, Pablo Larraín, Juan de Dios Larraín, Sebastián Lelio, Fernando León de Aranoa, Mónica Lozano, Emmanuel Lubezki, Diego Luna, Fernando Meirelles, Daniela Michel, Luis Miñarro, Wagner Moura, Bertha Navarro, Luis Ospina, Fito Páez, Marisa Paredes, Rodrigo Plá, Alejandro Ramírez, Édgar Ramírez, José Luis Rebordinos, Ana de la Reguera, Carlos Reygadas, José María Riba, Erica Rivas, Catalina Sandino, Ilda Santiago, Rodrigo Santoro, Leonardo Sbaraglia, Albert Serra, Juan Carlos Tabío, Paz Vega, Maribel Verdú & Monika Wagenberg.
Other international members that participate in the various activities of the association include:
Cameron Bailey (Artistic Director Toronto International Film Festival), Frederic Boyer (Artistic Director Tribeca Film Festival), Klaus Eder (President Fipresci), Robert Koehler (Film Critic), Claudia Landsberger (Vice-President Eye Film Institute) and Sydney Levine (Indiewire Blog Sydneys Buzz).
The award ceremony will be held in October 2014 in Mexico City and will be broadcast live on E! Entertainment Television to over 200 million people worldwide with the support of Mexico City’s Government.
To view Cinema23’s promotional video, click on the following link:
www.vimeo.com/81518414
To find out more about Cinema23 and the Fénix Film Awards please visit:
http://www.cinema23.com
About Cinema23
Cinema23 is an association created in 2012 to promote, support and raise awareness for the Latin American, Spanish and Portuguese film culture. It is formed by a diverse group of people with outstanding career trajectories from the film community mainly from the 22 countries of the region and those who work closely with the region’s filmmaking: directors, producers, actors, screenwriters, cinematographers, editors, art directors, sound designers, music composers, costume designers, festival directors and programmers, critics, researchers, distributors and film exhibitors.
Cinema23 seeks a more participative community amongst it members and provides a forum for creative and cultural exchange and cooperation among filmmakers from the region. Its yearly strategies and projects aim to promote and safeguard contemporary Ibero-American film culture, reaching new audiences, sharing ideas and enhancing the visibility and fostering the work of those who make films in Ibero-America.
About the Premio iberoamericano de cine Fénix®, (Fénix Film Awards)
The Fénix Film Awards is the key strategy to further Cinema23’s aims. It celebrates and emphasizes the work of film professionals, provides international visibility and strengthens bonds from the region’s film industry besides captivating and reaching a broader audience.
The first Fénix Film Awards’ gala will award 12 categories and 4 special recognitions. It will be held in October 2014 in Mexico City and will be broadcasted live on E! Entertainment Television to over 200 million people worldwide with the support of Mexico City’s Government.
The Mexican actor, director and producer Gael García Bernal (in absentia because of his duties on the jury for Cannes Competition), Portuguese director and actress Maria de Medeiros, Brazilian actress Alice Braga, Spanish actress Paz Vega and Mexican actress Ana de la Reguera, presented the Fénix Film Awards to the international media as one of the key strategies of Cinema23 to provide visibility and recognition of the cinema made in the region.
“There is great variety in our region´s cinema with different forms and languages that in many cases reflect part of who we are. However we are not always able to enjoy it in our own countries, much less worldwide. The activities carried out by Cinema23 aim to develop a closer engagement between the filmmakers and their audiences. It is extremely important to have more visibility in order to gain recognition for the diversity of cinema. This is the premise under which we organized the Fénix Film Awards, commented Ricardo Giraldo, Director of Cinema23.
Ana de la Reguera added: “We have great talent in the region, but it is barely known outside film festivals; it’s important to find another way to reach a broader audience and I believe the Fénix Film Awards is a great strategy and opportunity to achieve it.”
“It is very important for us to get together, allowing us to get closer to the work of our colleagues in order to discover, meet and recognize the voices that make us so different. A celebration like this one opens up a space for us to meet and get to know each other. More importantly it will set the basis for a more profound way for us to share our ideas, create, and cooperate”, added Alice Braga.
María de Medeiros also mentioned: “We are creating a film community that has not existed till now. A community that aims to be inclusive by integrating not only those who make films but also those who study, promote, teach, distribute and exhibit films; so that we all help, support and communicate with each another, allowing our work to be shared both within and outside the region.”
Paz Vega commented: “Collaboration provides an opportunity for creative exchange that strengthens and nourishes our film culture. This collaboration and integration allows our industries to grow without losing their identity and create better opportunities. In the end, difference is what unites us.”
For the past two years, Cinema23 has been shaping a diverse film community from the 22 countries of the region and those who work closely with the region’s filmmaking. The tasks of this community include movie promotion, study, reviews, festivals, distribution, exhibition and filmmaking. The editorial project Cinema23 Notebooks, the conferences during festivals and the student program Classroom Cinema are developed throughout the year, seeking a creative, cultural and knowledge exchange between the different film cultures. These strategies are complemented and strengthened for the general audience through the Fénix Film Awards.
The Fénix Film Awards granted by more than 350 film professionals from Mexico, Latin America, USA, Europe and Canada, will award 12 categories and 4 special recognitions.
It is worth noting that the members of Cinema23 all have an active role in the selection, nomination and voting process for the Fénix Film Awards. Members include:
Karim Ainouz, Elena Anaya, José Carlos Avellar, Héctor Babenco, Luiz Carlos Barreto, Alice Braga, Brigitte Broch, Demián Bichir, Eugenio Caballero, Javier Cámara, Sebastián Cordero, Enrique Chediak, Alfonso Cuarón, Jonás Cuarón, María de Medeiros, Guillermo del Toro, Amat Escalante, Dolores Fonzi, Gael García Bernal, Daniel Giménez Cacho, Iván Giroud, Alejandro González Iñárritu, Salma Hayek, Carlos F. Heredero, Dolores Heredia, Pablo Larraín, Juan de Dios Larraín, Sebastián Lelio, Fernando León de Aranoa, Mónica Lozano, Emmanuel Lubezki, Diego Luna, Fernando Meirelles, Daniela Michel, Luis Miñarro, Wagner Moura, Bertha Navarro, Luis Ospina, Fito Páez, Marisa Paredes, Rodrigo Plá, Alejandro Ramírez, Édgar Ramírez, José Luis Rebordinos, Ana de la Reguera, Carlos Reygadas, José María Riba, Erica Rivas, Catalina Sandino, Ilda Santiago, Rodrigo Santoro, Leonardo Sbaraglia, Albert Serra, Juan Carlos Tabío, Paz Vega, Maribel Verdú & Monika Wagenberg.
Other international members that participate in the various activities of the association include:
Cameron Bailey (Artistic Director Toronto International Film Festival), Frederic Boyer (Artistic Director Tribeca Film Festival), Klaus Eder (President Fipresci), Robert Koehler (Film Critic), Claudia Landsberger (Vice-President Eye Film Institute) and Sydney Levine (Indiewire Blog Sydneys Buzz).
The award ceremony will be held in October 2014 in Mexico City and will be broadcast live on E! Entertainment Television to over 200 million people worldwide with the support of Mexico City’s Government.
To view Cinema23’s promotional video, click on the following link:
www.vimeo.com/81518414
To find out more about Cinema23 and the Fénix Film Awards please visit:
http://www.cinema23.com
About Cinema23
Cinema23 is an association created in 2012 to promote, support and raise awareness for the Latin American, Spanish and Portuguese film culture. It is formed by a diverse group of people with outstanding career trajectories from the film community mainly from the 22 countries of the region and those who work closely with the region’s filmmaking: directors, producers, actors, screenwriters, cinematographers, editors, art directors, sound designers, music composers, costume designers, festival directors and programmers, critics, researchers, distributors and film exhibitors.
Cinema23 seeks a more participative community amongst it members and provides a forum for creative and cultural exchange and cooperation among filmmakers from the region. Its yearly strategies and projects aim to promote and safeguard contemporary Ibero-American film culture, reaching new audiences, sharing ideas and enhancing the visibility and fostering the work of those who make films in Ibero-America.
About the Premio iberoamericano de cine Fénix®, (Fénix Film Awards)
The Fénix Film Awards is the key strategy to further Cinema23’s aims. It celebrates and emphasizes the work of film professionals, provides international visibility and strengthens bonds from the region’s film industry besides captivating and reaching a broader audience.
The first Fénix Film Awards’ gala will award 12 categories and 4 special recognitions. It will be held in October 2014 in Mexico City and will be broadcasted live on E! Entertainment Television to over 200 million people worldwide with the support of Mexico City’s Government.
- 6/4/2014
- by Sydney Levine
- Sydney's Buzz
Blu-ray & DVD Release Date: June 5, 2012
Price: DVD $29.98, Blu-ray/DVD Combo $34.98
Studio: Universal Studios Home Entertainment
Despite mixed reviews from critics, Safe House scored a tidy $122.6 million at the box office. Of course, the action movie does have Denzel Washington (Unstoppable) and Ryan Reynolds (The Change-Up).
Washington plays rogue CIA operative Tobin Frost, who escapes from bad guys into the hands of the American government. He’s taken to a safe house for questioning and young CIA agent Matt Weston (Reynolds) is charged with looking after him. But when the safe house is compromised, Reynolds goes on the run with Frost and must figure out who he can trust.
Rated R, the movie was directed by Daniel Espinosa (Outside Love) and stars Vera Farmiga (Up in the Air), Brendan Gleeson (The Guard), Sam Shepard (Days of Heaven) and Robert Patrick (Cop Land).
Both the Blu-ray and DVD are packed with special features:
featurette “Making Safe House,...
Price: DVD $29.98, Blu-ray/DVD Combo $34.98
Studio: Universal Studios Home Entertainment
Despite mixed reviews from critics, Safe House scored a tidy $122.6 million at the box office. Of course, the action movie does have Denzel Washington (Unstoppable) and Ryan Reynolds (The Change-Up).
Washington plays rogue CIA operative Tobin Frost, who escapes from bad guys into the hands of the American government. He’s taken to a safe house for questioning and young CIA agent Matt Weston (Reynolds) is charged with looking after him. But when the safe house is compromised, Reynolds goes on the run with Frost and must figure out who he can trust.
Rated R, the movie was directed by Daniel Espinosa (Outside Love) and stars Vera Farmiga (Up in the Air), Brendan Gleeson (The Guard), Sam Shepard (Days of Heaven) and Robert Patrick (Cop Land).
Both the Blu-ray and DVD are packed with special features:
featurette “Making Safe House,...
- 4/11/2012
- by Sam
- Disc Dish
Today's collection is a complete, eight-page look at all of the preliminary 2011 Oscar Contenders I've featured over the week in one complete post. There are a few I'll be adding, such as yesterday's Welcome to the RIleys suggestion and hopefully a few more documentaries, before the doors to the new "The Contenders" section opens up in April, but until then this is your one-stop-shop.
As we move along add any thoughts or films you think should be added in the comments below or send me an email directly if you have thoughts on additional contenders or news on any of those on this list. Your suggestions are welcomed and encouraged.
127 Hours Release Date: Release date not yet set Distributor: Fox Searchlight Pictures Directed By: Danny Boyle Cast: James Franco, Amber Tamblyn, Kate Mara Quick Thoughts: Directed by Danny Boyle whose last film, Slumdog Millionaire, racked up eight Oscars including Best Picture,...
As we move along add any thoughts or films you think should be added in the comments below or send me an email directly if you have thoughts on additional contenders or news on any of those on this list. Your suggestions are welcomed and encouraged.
127 Hours Release Date: Release date not yet set Distributor: Fox Searchlight Pictures Directed By: Danny Boyle Cast: James Franco, Amber Tamblyn, Kate Mara Quick Thoughts: Directed by Danny Boyle whose last film, Slumdog Millionaire, racked up eight Oscars including Best Picture,...
- 3/19/2010
- by Brad Brevet
- Rope of Silicon
As of right now, I have a list of 72 individual films that could potentially go on to become 2011 Oscar nominees. If you take into consideration the additional films I currently have listed as animated and documentary contenders the list grows to 85 films. As a result I am going to break up this preliminary list of Oscar contenders into four articles and on the fifth day, this coming Friday, I will publish the list in its entirety. I felt it would be easier to digest everything this way as opposed to offering one massive list you probably wouldn't be able to look over all at once.
As for the list itself, it should be looked at as a guide to potential nominees, not a guarantee, not a lock, but simply films that could potentially go on to be remembered at the year-end Oscar race. A few of these films may not...
As for the list itself, it should be looked at as a guide to potential nominees, not a guarantee, not a lock, but simply films that could potentially go on to be remembered at the year-end Oscar race. A few of these films may not...
- 3/15/2010
- by Brad Brevet
- Rope of Silicon
1694 Voltaire, Enlightment philosopher, writer, progressive. Candide is his work that's most familiar to modern audiences having been filmed, adapted, and put on lists like this one as well as being adapted into a popular and oft-revived comic operetta. Kristin Chenoweth doing "Glitter and Be Gay" is theater heaven.
1912 Eleanor Powell, queen of tap. Broadway Rhythm it's got me Everybody...
1938 Marlo Thomas, That Girl. Yes, that one.
1941 Juliet Mills, Globe nominated film actress (Avanti!) best known for TV roles. She was a cougar before they had a word for it, marrying hunky Maxwell Caulfield when she was 39 and he was 21, before he'd even made Grease 2. They're still married, going on thirty years now. Today's generation might know her best as witchy Tabitha from her long campy run on daytime soap Passions.
1943 Brigitte Broch, favored production designer of both Baz Luhrmann (Romeo + Juliet, Moulin Rouge!) and Alejandro González Iñárritu (Powder Keg,...
1912 Eleanor Powell, queen of tap. Broadway Rhythm it's got me Everybody...
1938 Marlo Thomas, That Girl. Yes, that one.
1941 Juliet Mills, Globe nominated film actress (Avanti!) best known for TV roles. She was a cougar before they had a word for it, marrying hunky Maxwell Caulfield when she was 39 and he was 21, before he'd even made Grease 2. They're still married, going on thirty years now. Today's generation might know her best as witchy Tabitha from her long campy run on daytime soap Passions.
1943 Brigitte Broch, favored production designer of both Baz Luhrmann (Romeo + Juliet, Moulin Rouge!) and Alejandro González Iñárritu (Powder Keg,...
- 11/21/2009
- by NATHANIEL R
- FilmExperience
"The Reader" reviewby Steve Ramos, Writer Astounding ‘Reader’ is a Love Affair Unlike Any Other To immediately speak of love when describing director Stephen Daldry’s brilliant adaptation of Bernhard Schlink’s novel “The Reader” is somewhat misleading. Because if it’s love that draws together Michael Berg (David Kross), a teenage boy in postwar Germany, and Hanna Schmitz (Kate Winslet), a woman twice his age, then it’s a type of affection rarely seen, especially in a movie. “The Reader,” described by its German author as an autobiographical tale, is not so much an affair of the heart as a test of the mind and soul. It is by far the most challenging of the year-end movie dramas and perhaps the most satisfying. Daldry’s picture-perfect adaptation, brought to life by veteran playwright David Hare’s riveting screenplay, matches the book’s emotional intensity. They are artistic equals, Schlink...
- 12/11/2008
- Upcoming-Movies.com
Kate Winslet and David Kross in The Reader
Photo: The Weinstein Co. I liked The Reader very much -- perhaps more than it deserves -- and while tonally it is quite similar to two other films I saw in the same week (Revolutionary Road and Doubt) there is something about it I found uniquely fascinating. All three of the just mentioned films are very similar in their moral ambiguities, but with The Reader it was both touching as well as intellectually stimulating. The film suffers from pacing issues and a bloated sense of its own (occasionally misguided) message, but I found myself consistently challenged throughout. Even while the pace dipped up and down I couldn't help but keep my thoughts racing on a rather unique look at the aftermath of World War II. The film opens in 1995 as Michael Berg (Ralph Fiennes) coldly speaks with what appears to be a one night stand.
Photo: The Weinstein Co. I liked The Reader very much -- perhaps more than it deserves -- and while tonally it is quite similar to two other films I saw in the same week (Revolutionary Road and Doubt) there is something about it I found uniquely fascinating. All three of the just mentioned films are very similar in their moral ambiguities, but with The Reader it was both touching as well as intellectually stimulating. The film suffers from pacing issues and a bloated sense of its own (occasionally misguided) message, but I found myself consistently challenged throughout. Even while the pace dipped up and down I couldn't help but keep my thoughts racing on a rather unique look at the aftermath of World War II. The film opens in 1995 as Michael Berg (Ralph Fiennes) coldly speaks with what appears to be a one night stand.
- 12/10/2008
- by Brad Brevet
- Rope of Silicon
This review was written for the Festival de Cannes screening of "Babel".Tense, relentless and difficult to watch at times, Alejandro Gonzalez Inarritu's "Babel" is an emotionally shattering drama in which a simple act of kindness leads to events that pierce our veneer of civilization and bring on the white noise of terror.
Inarritu and screenwriter Guillermo Arriaga involve six families, most of them not known to one another, in four countries on three continents in their story of random fate and the perils of being unable to communicate.
Brad Pitt, Cate Blanchett and Gael Garcia Bernal give committed ensemble performances alongside seasoned character performers and non-actors as the story ranges from Morocco to San Diego to Tokyo.
The film, which also features exceptional work by director of photography Rodrigo Prieto, production designer Brigitte Broch, editors Stephen Mirrione and Douglas Crise, and composer Gustavo Santaolalla, is headed for major prizes and large, appreciative audiences.
As with his previous films, Inarritu tells his story using scenes out of order so that the pieces fall together in a jagged form that heightens the tension. It starts in the Moroccan desert, where a man buys a Winchester rifle from a neighbor to help keep the jackals away from his herd of goats. A Japanese hunter had gifted the neighbor with the rifle in gratitude for his work as a guide.
The rifle is entrusted to the goat herder's two young sons who end up firing it from a mountainside at a coach filled with Western tourists just to see how far the bullet would go.
The bullet, however, strikes an American named Susan (Blanchett) who is traveling with her husband Richard (Pitt) in attempt to patch up their marriage following the death of a child.
Four hours from the nearest hospital, the coach takes a detour to a remote village where a local man offers shelter while the other tourists argue over whether to stay or leave.
Desperate, Richard phones the U.S. embassy pleading for help and also calls home in San Diego where their long-time maid Amelia (Adriana Barraza) is caring for their other two children. With Susan bleeding and near death in the desert, he begs Amelia to remain with the kids as he tries to get help.
Amelia's son, however, is getting married across the border and, having exhausted attempts to find another sitter, she decides to take the kids with her to the wedding in a car driven by her friendly but hot-headed nephew Santiago (Bernal).
As Richard fights to keep Susan alive with the help of a wise and calm old Moroccan woman and a veterinarian, the shooting escalates into an international incident with security forces believing terrorists to be responsible and hunting for the perpetrators.
Meanwhile, in Tokyo, a young deaf-mute woman named Chieko (Rinko Kikuchi) is grappling with the loss of her mother by suicide, fighting with her equally bereft father (Koji Yakusho), and trying to deal with the frustrations of adolescence.
The filmmakers succeed brilliantly in weaving these stories together, taking time to explore depth of character and relationships. The suspense builds throughout as everyone involved becomes lost in a place they don't understand with people they don't know if they can trust.
Several astonishing Tokyo sequences replicate what it might be like to be deaf-mute, and equal imagination is applied to scenes at night in the wasteland of the Mexico/California border and the barren mountains of Morocco.
This is not a fear-mongering movie, but it is unpredictable and shocking, with compassion hanging on for dear life.
Inarritu and screenwriter Guillermo Arriaga involve six families, most of them not known to one another, in four countries on three continents in their story of random fate and the perils of being unable to communicate.
Brad Pitt, Cate Blanchett and Gael Garcia Bernal give committed ensemble performances alongside seasoned character performers and non-actors as the story ranges from Morocco to San Diego to Tokyo.
The film, which also features exceptional work by director of photography Rodrigo Prieto, production designer Brigitte Broch, editors Stephen Mirrione and Douglas Crise, and composer Gustavo Santaolalla, is headed for major prizes and large, appreciative audiences.
As with his previous films, Inarritu tells his story using scenes out of order so that the pieces fall together in a jagged form that heightens the tension. It starts in the Moroccan desert, where a man buys a Winchester rifle from a neighbor to help keep the jackals away from his herd of goats. A Japanese hunter had gifted the neighbor with the rifle in gratitude for his work as a guide.
The rifle is entrusted to the goat herder's two young sons who end up firing it from a mountainside at a coach filled with Western tourists just to see how far the bullet would go.
The bullet, however, strikes an American named Susan (Blanchett) who is traveling with her husband Richard (Pitt) in attempt to patch up their marriage following the death of a child.
Four hours from the nearest hospital, the coach takes a detour to a remote village where a local man offers shelter while the other tourists argue over whether to stay or leave.
Desperate, Richard phones the U.S. embassy pleading for help and also calls home in San Diego where their long-time maid Amelia (Adriana Barraza) is caring for their other two children. With Susan bleeding and near death in the desert, he begs Amelia to remain with the kids as he tries to get help.
Amelia's son, however, is getting married across the border and, having exhausted attempts to find another sitter, she decides to take the kids with her to the wedding in a car driven by her friendly but hot-headed nephew Santiago (Bernal).
As Richard fights to keep Susan alive with the help of a wise and calm old Moroccan woman and a veterinarian, the shooting escalates into an international incident with security forces believing terrorists to be responsible and hunting for the perpetrators.
Meanwhile, in Tokyo, a young deaf-mute woman named Chieko (Rinko Kikuchi) is grappling with the loss of her mother by suicide, fighting with her equally bereft father (Koji Yakusho), and trying to deal with the frustrations of adolescence.
The filmmakers succeed brilliantly in weaving these stories together, taking time to explore depth of character and relationships. The suspense builds throughout as everyone involved becomes lost in a place they don't understand with people they don't know if they can trust.
Several astonishing Tokyo sequences replicate what it might be like to be deaf-mute, and equal imagination is applied to scenes at night in the wasteland of the Mexico/California border and the barren mountains of Morocco.
This is not a fear-mongering movie, but it is unpredictable and shocking, with compassion hanging on for dear life.
- 10/25/2006
- The Hollywood Reporter - Movie News
Tense, relentless and difficult to watch at times, Alejandro Gonzalez Inarritu's Babel is an emotionally shattering drama in which a simple act of kindness leads to events that pierce our veneer of civilization and bring on the white noise of terror.
Inarritu and screenwriter Guillermo Arriaga involve six families, most of them not known to one another, in four countries on three continents in their story of random fate and the perils of being unable to communicate.
Brad Pitt, Cate Blanchett and Gael Garcia Bernal give committed ensemble performances alongside seasoned character performers and non-actors as the story ranges from Morocco to San Diego to Tokyo.
The film, which also features exceptional work by director of photography Rodrigo Prieto, production designer Brigitte Broch, editors Stephen Mirrione and Douglas Crise, and composer Gustavo Santaolalla, is headed for major prizes and large, appreciative audiences.
As with his previous films, Inarritu tells his story using scenes out of order so that the pieces fall together in a jagged form that heightens the tension. It starts in the Moroccan desert, where a man buys a Winchester rifle from a neighbor to help keep the jackals away from his herd of goats. A Japanese hunter had gifted the neighbor with the rifle in gratitude for his work as a guide.
The rifle is entrusted to the goat herder's two young sons who end up firing it from a mountainside at a coach filled with Western tourists just to see how far the bullet would go.
The bullet, however, strikes an American named Susan (Blanchett) who is traveling with her husband Richard (Pitt) in attempt to patch up their marriage following the death of a child.
Four hours from the nearest hospital, the coach takes a detour to a remote village where a local man offers shelter while the other tourists argue over whether to stay or leave.
Desperate, Richard phones the U.S. embassy pleading for help and also calls home in San Diego where their long-time maid Amelia (Adriana Barraza) is caring for their other two children. With Susan bleeding and near death in the desert, he begs Amelia to remain with the kids as he tries to get help.
Amelia's son, however, is getting married across the border and, having exhausted attempts to find another sitter, she decides to take the kids with her to the wedding in a car driven by her friendly but hot-headed nephew Santiago (Bernal).
As Richard fights to keep Susan alive with the help of a wise and calm old Moroccan woman and a veterinarian, the shooting escalates into an international incident with security forces believing terrorists to be responsible and hunting for the perpetrators.
Meanwhile, in Tokyo, a young deaf-mute woman named Chieko (Rinko Kikuchi) is grappling with the loss of her mother by suicide, fighting with her equally bereft father (Koji Yakusho), and trying to deal with the frustrations of adolescence.
The filmmakers succeed brilliantly in weaving these stories together, taking time to explore depth of character and relationships. The suspense builds throughout as everyone involved becomes lost in a place they don't understand with people they don't know if they can trust.
Several astonishing Tokyo sequences replicate what it might be like to be deaf-mute, and equal imagination is applied to scenes at night in the wasteland of the Mexico/California border and the barren mountains of Morocco.
This is not a fear-mongering movie, but it is unpredictable and shocking, with compassion hanging on for dear life.
BABEL
Paramount Pictures and Paramount Classics present an Anonymous Content production, an Una produccion de Zeta Film, a Central Films production.
Credits: Director: Alejandro Gonzalez Inarritu; Screenwriter: Guillermo Arriaga from an idea by Arriaga and Inarritu; Producers: Inarritu, Jon Kilik, Steve Golin; Director of photography: Rodrigo Prieto; Production designer: Brigitte Broch; Editors: Stephen Mirrione, Douglas Crise; Composer: Gustavo Santaolalla. Cast: Richard: Brad Pitt; Susan: Cate Blanchett; Santiago: Gael Garcia Bernal; Yasujiro: Koji Yakusho; Amelia: Adriana Barraza; Chieko: Rinko Kikuchi; Ahmed: Said Tarchani; Yussef: Boubker Ait El Caid; Debbie: Elle Fanning; Mike: Nathan Gamble; Anwar: Mohamed Akhzam; Tom: Peter Wight; Hassan: Abdelkader Bara; Abdullah: Mustapha Rachidi; Alarid: Driss Roukhe
No MPAA rating, running time 142 min.
Inarritu and screenwriter Guillermo Arriaga involve six families, most of them not known to one another, in four countries on three continents in their story of random fate and the perils of being unable to communicate.
Brad Pitt, Cate Blanchett and Gael Garcia Bernal give committed ensemble performances alongside seasoned character performers and non-actors as the story ranges from Morocco to San Diego to Tokyo.
The film, which also features exceptional work by director of photography Rodrigo Prieto, production designer Brigitte Broch, editors Stephen Mirrione and Douglas Crise, and composer Gustavo Santaolalla, is headed for major prizes and large, appreciative audiences.
As with his previous films, Inarritu tells his story using scenes out of order so that the pieces fall together in a jagged form that heightens the tension. It starts in the Moroccan desert, where a man buys a Winchester rifle from a neighbor to help keep the jackals away from his herd of goats. A Japanese hunter had gifted the neighbor with the rifle in gratitude for his work as a guide.
The rifle is entrusted to the goat herder's two young sons who end up firing it from a mountainside at a coach filled with Western tourists just to see how far the bullet would go.
The bullet, however, strikes an American named Susan (Blanchett) who is traveling with her husband Richard (Pitt) in attempt to patch up their marriage following the death of a child.
Four hours from the nearest hospital, the coach takes a detour to a remote village where a local man offers shelter while the other tourists argue over whether to stay or leave.
Desperate, Richard phones the U.S. embassy pleading for help and also calls home in San Diego where their long-time maid Amelia (Adriana Barraza) is caring for their other two children. With Susan bleeding and near death in the desert, he begs Amelia to remain with the kids as he tries to get help.
Amelia's son, however, is getting married across the border and, having exhausted attempts to find another sitter, she decides to take the kids with her to the wedding in a car driven by her friendly but hot-headed nephew Santiago (Bernal).
As Richard fights to keep Susan alive with the help of a wise and calm old Moroccan woman and a veterinarian, the shooting escalates into an international incident with security forces believing terrorists to be responsible and hunting for the perpetrators.
Meanwhile, in Tokyo, a young deaf-mute woman named Chieko (Rinko Kikuchi) is grappling with the loss of her mother by suicide, fighting with her equally bereft father (Koji Yakusho), and trying to deal with the frustrations of adolescence.
The filmmakers succeed brilliantly in weaving these stories together, taking time to explore depth of character and relationships. The suspense builds throughout as everyone involved becomes lost in a place they don't understand with people they don't know if they can trust.
Several astonishing Tokyo sequences replicate what it might be like to be deaf-mute, and equal imagination is applied to scenes at night in the wasteland of the Mexico/California border and the barren mountains of Morocco.
This is not a fear-mongering movie, but it is unpredictable and shocking, with compassion hanging on for dear life.
BABEL
Paramount Pictures and Paramount Classics present an Anonymous Content production, an Una produccion de Zeta Film, a Central Films production.
Credits: Director: Alejandro Gonzalez Inarritu; Screenwriter: Guillermo Arriaga from an idea by Arriaga and Inarritu; Producers: Inarritu, Jon Kilik, Steve Golin; Director of photography: Rodrigo Prieto; Production designer: Brigitte Broch; Editors: Stephen Mirrione, Douglas Crise; Composer: Gustavo Santaolalla. Cast: Richard: Brad Pitt; Susan: Cate Blanchett; Santiago: Gael Garcia Bernal; Yasujiro: Koji Yakusho; Amelia: Adriana Barraza; Chieko: Rinko Kikuchi; Ahmed: Said Tarchani; Yussef: Boubker Ait El Caid; Debbie: Elle Fanning; Mike: Nathan Gamble; Anwar: Mohamed Akhzam; Tom: Peter Wight; Hassan: Abdelkader Bara; Abdullah: Mustapha Rachidi; Alarid: Driss Roukhe
No MPAA rating, running time 142 min.
- 5/24/2006
- The Hollywood Reporter - Movie News
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.