The 38th Annual Imagen Awards took place on Sunday, Dec. 3 to celebrate Latino excellence and contributions to Hollywood. Taking place at the Biltmore Hotel in L.A., the talent that showed up to the event included Gina Rodriguez, Edward James Olmos, Michael Cimino, Enrique Arrizon, Julieta Egurrola, and many more.
This year’s ceremony comprised 136 nominations across 27 categories highlighting storytelling and performances by Latino talent. Among the nominees were programs and films such as Flamin’ Hot, Puss in Boots: The Last Wish, Acapulco and This Fool.
Contending for Best Feature Film were A Man Called Otto, Flamin’ Hot, Guillermo del Toro’s Pinocchio and Ruido. Nominees for Best Actor in a Feature Film included Daniel Giménez Cacho for Bardo, Andy García for Father of the Bride, Jesse García for Flamin’ Hot and Tenoch Huerta Mejía for Black Panther: Wakanda Forever. In the Best Actress in a Feature Film category, the...
This year’s ceremony comprised 136 nominations across 27 categories highlighting storytelling and performances by Latino talent. Among the nominees were programs and films such as Flamin’ Hot, Puss in Boots: The Last Wish, Acapulco and This Fool.
Contending for Best Feature Film were A Man Called Otto, Flamin’ Hot, Guillermo del Toro’s Pinocchio and Ruido. Nominees for Best Actor in a Feature Film included Daniel Giménez Cacho for Bardo, Andy García for Father of the Bride, Jesse García for Flamin’ Hot and Tenoch Huerta Mejía for Black Panther: Wakanda Forever. In the Best Actress in a Feature Film category, the...
- 12/4/2023
- by Armando Tinoco
- Deadline Film + TV
Noise (Ruido) is a Mexican movie directed by Natalia Beristain, starring Julieta Egurrola and Teresa Ruiz.
Noise is a movie that takes a gamble in drama and a dramatic portrayal rather than subtleties in the narrative, a movie in which Julieta Egurrola is up to the gamble and who gives back perfectly.
Premise
Julia is a mother, or more precisely, one of the many mothers, sisters, daughters, colleagues that have had their lives destroyed by the generalized violence in a country that is waging war against its women. Julia is in search of Ger, her daughter. And, during her search, goes weaving the stories and battles of the different women she meets.
Noise (2022) Movie Review
Noise is not a film for all types of audiences nor for any circumstance either: this is a story about a woman who is broken because of the disappearance of her daughter, a story about social realities and lastly,...
Noise is a movie that takes a gamble in drama and a dramatic portrayal rather than subtleties in the narrative, a movie in which Julieta Egurrola is up to the gamble and who gives back perfectly.
Premise
Julia is a mother, or more precisely, one of the many mothers, sisters, daughters, colleagues that have had their lives destroyed by the generalized violence in a country that is waging war against its women. Julia is in search of Ger, her daughter. And, during her search, goes weaving the stories and battles of the different women she meets.
Noise (2022) Movie Review
Noise is not a film for all types of audiences nor for any circumstance either: this is a story about a woman who is broken because of the disappearance of her daughter, a story about social realities and lastly,...
- 1/11/2023
- by Veronica Loop
- Martin Cid Magazine - Movies
#QueMéxicoSeVea designed to showcase work of local industry.
Netflix has announced the latest film from Fernando Frias and the feature directorial debut of cinematographer Rodrigo Prieto as it launches an initiative to raise the profile of local filmmakers in the run-up to Mexico’s national cinema day on Monday (August 15).
Under #QueMéxicoSeVea, which translates as Let Mexico Be Seen, Netflix will present the latest from Frias – I Don’t Expect Anyone To Believe Me (No Voy A Pedirle A Nadie Que Me Crea) – whose I’m No Longer Here was acquired by the streamer and represented Mexico in the international feature...
Netflix has announced the latest film from Fernando Frias and the feature directorial debut of cinematographer Rodrigo Prieto as it launches an initiative to raise the profile of local filmmakers in the run-up to Mexico’s national cinema day on Monday (August 15).
Under #QueMéxicoSeVea, which translates as Let Mexico Be Seen, Netflix will present the latest from Frias – I Don’t Expect Anyone To Believe Me (No Voy A Pedirle A Nadie Que Me Crea) – whose I’m No Longer Here was acquired by the streamer and represented Mexico in the international feature...
- 8/13/2022
- by Jeremy Kay
- ScreenDaily
Arturo Ripstein's Spanish-language Mexican film is based on the same true story that inspired the film "The Honeymoon Killers", and it provides a similar blend of black humor and horror.
"Deep Crimson" is, if it can be imagined, an even more uncompromising and outrageous take on the story than that 1970 cult favorite, and its stronger elements may turn off even audiences that have become hardened by innumerable serial killer tales. It opened commercially this week at New York's Film Forum after being showcased at the New York Film Festival.
Set in 1949, "Deep Crimson" tells the tale of the unholy alliance between two utterly repugnant characters. Coral (Regina Orozco) is an obese nurse with two small children, and Nicolas Daniel Gimenez Cacho) is a balding Lothario who styles himself after Charles Boyer and cons unsuspecting, love-starved women.
When Coral answers one of Nicolas' personal ads and the two meet, he steals her money and sneaks out of her house after a night of lovemaking. Rather than being disheartened, she abandons her children and pursues him. They decide to operate as a team, posing as brother and sister so Nicolas can seduce and rob their victims. The problem is that Coral starts to become insanely jealous and soon adds murder to their list of activities.
The film's entire cast of characters, from murderers to victims, is as grotesque a lot as can be imagined, and director Ripstein garners as much comic mileage from them as possible. Gradually, though, he intensifies the proceedings, and a final double-murder of a sympathetic young woman and her young child is presented in a brutally horrific fashion that undercuts the audience's expectations.
"Deep Crimson" is a deeply unsettling film that ultimately lacks the depth or perspective to make its repugnant subject matter palatable. Ripstein does, however, have a true sense of style; he has expertly shot the film in muddy, brownish colors that provide further alienation from the proceedings. And he has garnered superb performances from the cast, particularly the leads, who create two of the more memorable villains in recent history.
DEEP CRIMSON
New Yorker Films
Director Arturo Ripstein
Screenplay Paz Alicia Garciadiego
Producers Miguel Necoechea,
Paolo Barbachano
Co-producers Marin Karmitz,
Jose Maria Morales, Fernando Sarinana
Executive producer Tita Lombardo
Director of photography Guillermo Granillo
Editor Rafael Castanedo
Music David Mansfield
Color/stereo
Cast:
Coral Fabre Regina Orozco
Nicolas Estrella Daniel Gimenez Cacho
Irene Gallardo Marisa Paredes
The Widow Ruelas Patricia Reyes Espindola
Julieta Egurrola Juanita Norton
Running time -- 109 minutes
No MPAA rating...
"Deep Crimson" is, if it can be imagined, an even more uncompromising and outrageous take on the story than that 1970 cult favorite, and its stronger elements may turn off even audiences that have become hardened by innumerable serial killer tales. It opened commercially this week at New York's Film Forum after being showcased at the New York Film Festival.
Set in 1949, "Deep Crimson" tells the tale of the unholy alliance between two utterly repugnant characters. Coral (Regina Orozco) is an obese nurse with two small children, and Nicolas Daniel Gimenez Cacho) is a balding Lothario who styles himself after Charles Boyer and cons unsuspecting, love-starved women.
When Coral answers one of Nicolas' personal ads and the two meet, he steals her money and sneaks out of her house after a night of lovemaking. Rather than being disheartened, she abandons her children and pursues him. They decide to operate as a team, posing as brother and sister so Nicolas can seduce and rob their victims. The problem is that Coral starts to become insanely jealous and soon adds murder to their list of activities.
The film's entire cast of characters, from murderers to victims, is as grotesque a lot as can be imagined, and director Ripstein garners as much comic mileage from them as possible. Gradually, though, he intensifies the proceedings, and a final double-murder of a sympathetic young woman and her young child is presented in a brutally horrific fashion that undercuts the audience's expectations.
"Deep Crimson" is a deeply unsettling film that ultimately lacks the depth or perspective to make its repugnant subject matter palatable. Ripstein does, however, have a true sense of style; he has expertly shot the film in muddy, brownish colors that provide further alienation from the proceedings. And he has garnered superb performances from the cast, particularly the leads, who create two of the more memorable villains in recent history.
DEEP CRIMSON
New Yorker Films
Director Arturo Ripstein
Screenplay Paz Alicia Garciadiego
Producers Miguel Necoechea,
Paolo Barbachano
Co-producers Marin Karmitz,
Jose Maria Morales, Fernando Sarinana
Executive producer Tita Lombardo
Director of photography Guillermo Granillo
Editor Rafael Castanedo
Music David Mansfield
Color/stereo
Cast:
Coral Fabre Regina Orozco
Nicolas Estrella Daniel Gimenez Cacho
Irene Gallardo Marisa Paredes
The Widow Ruelas Patricia Reyes Espindola
Julieta Egurrola Juanita Norton
Running time -- 109 minutes
No MPAA rating...
- 10/10/1997
- The Hollywood Reporter - Movie News
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