Buenos Aires — Buenos Aires-based Meikincine Entertainment, one of the most active sales agents at this year’s Ventana Sur, has closed the U.S. and Canada with Cinephobia Releasing on “Sublime,” produced by Buenos Aires’ Tarea Fina and a standout at Ventana Sur’s 2021 Copia Final pix-in-post competition.
“Sublime” went on to world premiere at Berlin’s Generation 14-Plus strand this February.
In parallel, Meikincine has picked up world sales rights outside Argentina to Tarea Fina’s latest feature, “Alemania,” directed by Maria Zanetti (“Furia”), which wraps its shoot on Dec. 2.
A coming of age tale “Sublime” marks the feature debut of Argentina’s Mariano Biasin, who scored a Crystal Bear for best short film at the 2016 Berlinale Generation KPlus for “El inicio de Fabrizio.”
“Sublime” turns on Manuel, 16, as he struggles with desire, tangled relationships and a coalescing identity in a coastal Argentinian town.
“Anchored by a soundtrack played...
“Sublime” went on to world premiere at Berlin’s Generation 14-Plus strand this February.
In parallel, Meikincine has picked up world sales rights outside Argentina to Tarea Fina’s latest feature, “Alemania,” directed by Maria Zanetti (“Furia”), which wraps its shoot on Dec. 2.
A coming of age tale “Sublime” marks the feature debut of Argentina’s Mariano Biasin, who scored a Crystal Bear for best short film at the 2016 Berlinale Generation KPlus for “El inicio de Fabrizio.”
“Sublime” turns on Manuel, 16, as he struggles with desire, tangled relationships and a coalescing identity in a coastal Argentinian town.
“Anchored by a soundtrack played...
- 12/2/2022
- by John Hopewell
- Variety Film + TV
Buenos Aires-based Meikincine Entertainment has acquired international sales rights to Sabrina Campos’ first feature, Argentine drama “Ven a mi casa esta Navidad” (“Come to My Place This Christmas”).
In post, the film is produced by Juan Pablo Miller at Tarea Fina, the Buenos Aires outfit whose hallmark of exacting, carefully crafted movies which break out to big festival prizes and even global art house distribution is well known.
“Come to My Place This Christmas” toplines Argentine actors Leonora Balcarce, whose credits take in Lucrecia Martel’s “La Ciénaga,” Manuel Callau (“Gasoleros”) and Marita Ballesteros (Netflix original “La Corazonada”).
The film turns on Inés, a single woman who has no children, meeting her brother’s in-laws on Christmas Eve. As the evening progresses, Inés feels the judging gaze of the other guests for being single in her forties, which confronts her with her life choices and her place as a woman.
In post, the film is produced by Juan Pablo Miller at Tarea Fina, the Buenos Aires outfit whose hallmark of exacting, carefully crafted movies which break out to big festival prizes and even global art house distribution is well known.
“Come to My Place This Christmas” toplines Argentine actors Leonora Balcarce, whose credits take in Lucrecia Martel’s “La Ciénaga,” Manuel Callau (“Gasoleros”) and Marita Ballesteros (Netflix original “La Corazonada”).
The film turns on Inés, a single woman who has no children, meeting her brother’s in-laws on Christmas Eve. As the evening progresses, Inés feels the judging gaze of the other guests for being single in her forties, which confronts her with her life choices and her place as a woman.
- 11/25/2022
- by Emiliano De Pablos
- Variety Film + TV
Buenos Aires-based Meikincine, sales agents for Paula Hernández’s 2020 Argentine Oscar submission “The Sleepwalkers,” has closed an exclusive agreement with Barcelona’s Harpo Entertainment for distribution in Spain of the filmmaker’s follow-up feature “Las Siamesas,” recently nominated for the best Ibero-American film of the year at the upcoming Spanish Academy Goya Awards.
The news comes hot off the heels of a high-profile deal struck by Meikincine, which just scooped the rights to Mariano Biasin’s debut feature “Sublime,” a coming-of-age drama which screened this week at Buenos Aires’ Cinemark Puerto Madero cinema to sales agents, fest heads and buyers as part of Ventana Sur’s Copia Final section for films in advanced post-production.
In “Las Siamesas,” which translates as The Siamese in English, Clota and Stella are a mother and daughter who live alone in their old family house where each day unspools much like the last. Their otherwise...
The news comes hot off the heels of a high-profile deal struck by Meikincine, which just scooped the rights to Mariano Biasin’s debut feature “Sublime,” a coming-of-age drama which screened this week at Buenos Aires’ Cinemark Puerto Madero cinema to sales agents, fest heads and buyers as part of Ventana Sur’s Copia Final section for films in advanced post-production.
In “Las Siamesas,” which translates as The Siamese in English, Clota and Stella are a mother and daughter who live alone in their old family house where each day unspools much like the last. Their otherwise...
- 12/2/2021
- by Jamie Lang
- Variety Film + TV
Buenos Aires-based sales agency Meikincine has acquired the international rights to “Sublime,” the first feature film from Argentine director Mariano Biasin,
A coming-of-age drama, the title screened at Buenos Aires’ Cinemark Puerto Madero cinema to sales agents, fest heads and buyers on Tuesday. It did so as part of Ventana Sur’s Copia Final pix-in-post section, hitting the market as one of its buzz titles, rated as one of the strand’s productions with most commercial potential.
Struck between producer Juan Pablo Miller at Tarea Films and Meikincine’s Lucia and Julia Meik, the deal reps one of the first known sales pacts stick on-site at this year’s Ventana Sur, the biggest film-tv market in Latin America.
“Sublime” follows Manuel, 16, as he struggles with desire, tangled relationships and a coalescing identity in a coastal Argentinian town. Anchored by a soundtrack played out on screen by Manuel’s band, the...
A coming-of-age drama, the title screened at Buenos Aires’ Cinemark Puerto Madero cinema to sales agents, fest heads and buyers on Tuesday. It did so as part of Ventana Sur’s Copia Final pix-in-post section, hitting the market as one of its buzz titles, rated as one of the strand’s productions with most commercial potential.
Struck between producer Juan Pablo Miller at Tarea Films and Meikincine’s Lucia and Julia Meik, the deal reps one of the first known sales pacts stick on-site at this year’s Ventana Sur, the biggest film-tv market in Latin America.
“Sublime” follows Manuel, 16, as he struggles with desire, tangled relationships and a coalescing identity in a coastal Argentinian town. Anchored by a soundtrack played out on screen by Manuel’s band, the...
- 12/1/2021
- by JD Linville and John Hopewell
- Variety Film + TV
Juan Marisé’s “Camionero,” Laura Baumeister’s “Daughter of Rage” and Ion Bors’ “Carbon” triumphed Wednesday at San Sebastian Festival’s prize ceremony for winners at its main industry competitions: the Europe-Latin America Co-production Forum and Wip Latin America and Wip Europa pix-in-post showcases.
Also among victors were Juan Andrés Arango’s “Where the River Begins,” María Zanetti’s “Alemania,” Carlos Lechuga’s “Vicenta B.,” and Eduardo Crespo’s “The Wind’s Cave,” the latter walking off with the trophy at San Sebastián’s Ikusmira Berriak, fast emerging as one of the key young talent hubs in Spain.
Three of the seven winning titles are from Argentina, a sign of the country’s undeniable depth in talent as its industry, with Covid-19 on the wane, continues to be whammied by economic crisis.
The caliber of many Latin American producers with projects at the Forum suggest another strong year for an...
Also among victors were Juan Andrés Arango’s “Where the River Begins,” María Zanetti’s “Alemania,” Carlos Lechuga’s “Vicenta B.,” and Eduardo Crespo’s “The Wind’s Cave,” the latter walking off with the trophy at San Sebastián’s Ikusmira Berriak, fast emerging as one of the key young talent hubs in Spain.
Three of the seven winning titles are from Argentina, a sign of the country’s undeniable depth in talent as its industry, with Covid-19 on the wane, continues to be whammied by economic crisis.
The caliber of many Latin American producers with projects at the Forum suggest another strong year for an...
- 9/22/2021
- by John Hopewell
- Variety Film + TV
Paula Hernández’s “El Viento Que Arrasa,”Cristian Leighton’s “El Porvenir de la Mirada” and Johnny Ma’s “Chin-Gone” feature among 14 projects selected for San Sebastian’s 9th Europe-Latin America Co-Production Forum, the Spanish festival’s industry centerpiece.
Many projects come with high-caliber Latin American arthouse backing.
“El Viento Que Arrasa” was talked up by producer Hernán Musaluppi at Cannes; “El Porvenir de la Mirada” is associate produced by Academy Award winner Sebastián Lelio, (“A Fantastic Woman”); Ma’s “Chin Gone” is produced by Rachel Daisy Ellis’ Desvia Produçoes in Brazil, whose credits include “Divine Love,” “Rojo” and “Prayers for the Stolen.”
Of two feature debuts, “Alemania” is backed by Tarea Fina (“The Sleepwalkers”), and “La Sucesión” by Pasto, which had “The Employer and the Employee” at Cannes’ Directors’ Fortnight, and Gema Films (“Soldado”). New Argentine Cinema icon Diego Dubcovsky produces Romina Paula’s “People by Night.” Multi-prized Spanish...
Many projects come with high-caliber Latin American arthouse backing.
“El Viento Que Arrasa” was talked up by producer Hernán Musaluppi at Cannes; “El Porvenir de la Mirada” is associate produced by Academy Award winner Sebastián Lelio, (“A Fantastic Woman”); Ma’s “Chin Gone” is produced by Rachel Daisy Ellis’ Desvia Produçoes in Brazil, whose credits include “Divine Love,” “Rojo” and “Prayers for the Stolen.”
Of two feature debuts, “Alemania” is backed by Tarea Fina (“The Sleepwalkers”), and “La Sucesión” by Pasto, which had “The Employer and the Employee” at Cannes’ Directors’ Fortnight, and Gema Films (“Soldado”). New Argentine Cinema icon Diego Dubcovsky produces Romina Paula’s “People by Night.” Multi-prized Spanish...
- 8/12/2021
- by John Hopewell
- Variety Film + TV
Producer of Argentina’s Oscar entry “Sleepwalkers,” Juan Pablo Miller’s Buenos Aires-based Tarea Fina has unveiled “El Hijo Deseado,” the next film by Berlinale Jury Grand Prix winner Ariel Rotter.
Its announcement comes as Tarea Fina advances on post-production of “La Encomienda,” from Pablo Giorgelli, whose “Las Acacias” was awarded the Cannes Festival’s Camera d’Or for best first feature by a jury presided by “Parasite’s” Bong Joon Ho.
Both films maintain Tarea Fina’s hallmark of exacting, carefully crafted movies which break out to big festival prizes and sometimes global art house distribution.
“We always work like artisans, producing a small number of films a year so that we can care for them a lot, whether they’re first features or from established directors,” Miller told Variety during Ventana Sur where “El Hijo Deseado” looks to have been one highlight of the market’s Proyecta section.
Its announcement comes as Tarea Fina advances on post-production of “La Encomienda,” from Pablo Giorgelli, whose “Las Acacias” was awarded the Cannes Festival’s Camera d’Or for best first feature by a jury presided by “Parasite’s” Bong Joon Ho.
Both films maintain Tarea Fina’s hallmark of exacting, carefully crafted movies which break out to big festival prizes and sometimes global art house distribution.
“We always work like artisans, producing a small number of films a year so that we can care for them a lot, whether they’re first features or from established directors,” Miller told Variety during Ventana Sur where “El Hijo Deseado” looks to have been one highlight of the market’s Proyecta section.
- 12/4/2020
- by John Hopewell
- Variety Film + TV
Producers of “Las Acacias,” a Cannes’ Camera d’Or winner for best first feature, Juan Pablo Miller’s Tarea Fina and Ariel Rotter’s Aire Cine are now teaming on “Forest Girl” (“Niña Bosque”), their first animated feature production.
Co-written by Rotter, a distinguished writer-director in his own right whose first movie, 2007’s “The Other,” won a Berlin Festival Grand Jury Prize, “Forest Girl” also marks the debut feature of its Taiwan-born and Buenos Aires-based director Aili Chen, a co-founder with Rotter of Aire Cine.
A coming-of age fantasy adventure targeting up-scale family audiences, art house devotees, festivals and platforms, “Forest Girl” is set to be unveiled at Animation! Pitching Sessions, organized by Ventana Sur, the biggest film market in Latin America, and the Annecy Animation Festival’s MIFA market.
Conceived by Chen, who co-writes with Rotter, “Forest Girl” turns on a little girl who awakes alone in a forest land of striking wild beauty.
Co-written by Rotter, a distinguished writer-director in his own right whose first movie, 2007’s “The Other,” won a Berlin Festival Grand Jury Prize, “Forest Girl” also marks the debut feature of its Taiwan-born and Buenos Aires-based director Aili Chen, a co-founder with Rotter of Aire Cine.
A coming-of age fantasy adventure targeting up-scale family audiences, art house devotees, festivals and platforms, “Forest Girl” is set to be unveiled at Animation! Pitching Sessions, organized by Ventana Sur, the biggest film market in Latin America, and the Annecy Animation Festival’s MIFA market.
Conceived by Chen, who co-writes with Rotter, “Forest Girl” turns on a little girl who awakes alone in a forest land of striking wild beauty.
- 10/28/2020
- by John Hopewell
- Variety Film + TV
The Dominican Republic’s lauded film law marks its 10th year amid general elections set for July. Fortunately, the three main candidates are said to be pro-cinema.
“The law is up for a review, but we don’t think there will be too many changes,” says film commissioner Yvette Marichal.
As the country gears up to emerge from its Covid-19 lockdown by July 1, it is still unclear when productions will restart and shuttered cinemas reopen. Nevertheless, pre-production on some shows is in full swing.
Set construction for a big-budget supernatural thriller by a major Hollywood director has begun at the world-class Pinewood Dominican Republic water filming facility, albeit with health and safety protocols in place. Another supernatural thriller, “Geechee” from Stuart Ford’s AGC Studios, will resume production at Pinewood Dr by the end of July.
A Rupert Wainwright-directed drama based on the Florida boating accident of three NFL players,...
“The law is up for a review, but we don’t think there will be too many changes,” says film commissioner Yvette Marichal.
As the country gears up to emerge from its Covid-19 lockdown by July 1, it is still unclear when productions will restart and shuttered cinemas reopen. Nevertheless, pre-production on some shows is in full swing.
Set construction for a big-budget supernatural thriller by a major Hollywood director has begun at the world-class Pinewood Dominican Republic water filming facility, albeit with health and safety protocols in place. Another supernatural thriller, “Geechee” from Stuart Ford’s AGC Studios, will resume production at Pinewood Dr by the end of July.
A Rupert Wainwright-directed drama based on the Florida boating accident of three NFL players,...
- 6/24/2020
- by Anna Marie de la Fuente
- Variety Film + TV
The Moneychanger (Así Habló El Cambista) director Federico Veiroj with Anne-Katrin Titze on Alain Delon in Monsieur Klein: "You see all the ambiguity of the time inside his character. That's something that was in fact a reference for me…" Photo: Jared Chambers
Uruguay’s Oscar submission The Moneychanger (Así Habló El Cambista), directed by Federico Veiroj and co-written with Arauco Hernández Holz and Martín Mauregui is based on Juan Enrique Gruber’s novel Thus Spoke The Moneychanger and stars Daniel Hendler, Dolores Fonzi, Luis Machín, and Benjamín Vicuña with Germán de Silva (Pablo Giorgelli’s Las Acacias), Gabriel Perez, and David Roizner Selanikio.
Schweinsteiger (Luis Machín) with Humberto Brause (Daniel Hendler)
During the 57th New York Film Festival, Federico Veiroj joined me for a conversation that led to a discussion of the production design by Pablo Maestre Galli, the editing by Fernando Epstein and Fernando Franco, the fashion of the Fifties,...
Uruguay’s Oscar submission The Moneychanger (Así Habló El Cambista), directed by Federico Veiroj and co-written with Arauco Hernández Holz and Martín Mauregui is based on Juan Enrique Gruber’s novel Thus Spoke The Moneychanger and stars Daniel Hendler, Dolores Fonzi, Luis Machín, and Benjamín Vicuña with Germán de Silva (Pablo Giorgelli’s Las Acacias), Gabriel Perez, and David Roizner Selanikio.
Schweinsteiger (Luis Machín) with Humberto Brause (Daniel Hendler)
During the 57th New York Film Festival, Federico Veiroj joined me for a conversation that led to a discussion of the production design by Pablo Maestre Galli, the editing by Fernando Epstein and Fernando Franco, the fashion of the Fifties,...
- 1/4/2020
- by Anne-Katrin Titze
- eyeforfilm.co.uk
San Sebastian — Paul Hudson’s Outsider Pictures has picked-up U.S. distribution rights to César Díaz’s “Nuestras madres” (“Our Mothers”), Belgium’s submission for the international feature film Academy Award.
Sold by Pyramide International, “Our Mothers” world premiered at Cannes’ Critics Week, winning the Golden Camera for best first film at the Cannes Festival.
Outsider Pictures plans a next Spring release for the film, which is playing at San Sebastian Festival’s Horizontes Latinos sidebar.
“Our Mothers” is set in Guatemala in 2018, when the whole country hangs on the trials of the soldiers who started the Civil War as victims make their statements one after the other.
Ernesto, a young anthropologist working for the Forensic Foundation, works to identify those who disappeared during the conflict. One day, while listening to an old woman tell her story, he thinks he’s found a clue which could take him to his father,...
Sold by Pyramide International, “Our Mothers” world premiered at Cannes’ Critics Week, winning the Golden Camera for best first film at the Cannes Festival.
Outsider Pictures plans a next Spring release for the film, which is playing at San Sebastian Festival’s Horizontes Latinos sidebar.
“Our Mothers” is set in Guatemala in 2018, when the whole country hangs on the trials of the soldiers who started the Civil War as victims make their statements one after the other.
Ernesto, a young anthropologist working for the Forensic Foundation, works to identify those who disappeared during the conflict. One day, while listening to an old woman tell her story, he thinks he’s found a clue which could take him to his father,...
- 9/24/2019
- by Emiliano De Pablos
- Variety Film + TV
The new projects by Asier Altuna, César Díaz, Pablo Giorgelli, Diego Lerman and Mariana Rondón are among those chosen to be presented to film professionals from 22 to 25 September. Sixteen projects from twelve countries have been selected for the 8th Europe-Latin America Co-Production Forum, San Sebastián International Film Festival's platform for promoting new audiovisual projects between European and Latin American film. Taking place from 22 to 25 September, the forum will host the pitching session of the projects selected, as well as the other five chosen for the fifth edition of the Ikusmira Berriak residencies programme, which will be followed by one-to-one meetings with their producers and directors, coinciding with Films in Progress 36 and the third edition of Glocal in Progress (read news). From among the projects selected, eleven will be first or second films, including The Judges (Los jueces), by Guatemala's César Díaz, whose debut film, Our...
Madrid — Diego Lerman’s “Literature Teacher,” Asier Altuna’s “Karmele,” Benjamín Avila’s “The Cardinal” and Mariana Rondón’s “Zafari” will pitch at the 8th San Sebastian Europe-Latin American Co-production Forum, now firmly established as, along with Ventana Sur, the key art film meet exploring that axis.
Featuring new projects from other name auteurs from the region- Pablo Giorgelli, Neto Villalobos, for example – as well as top producers working Europe Latin American production – Tu Vas Voir, Campo Cine, Patagonik, Malbicho Cine, Tarea Fina – the Forum, running Sept.22-25, will attract most of San Sebastian’s now 2,000-plus industry delegates, while offering a glimpse of the market trends now forging the regions’ filmmaking.
Here, for starters, are three:
1.Step Up In Scale Or Mainstream Ambitions
One is a step up in scale, or move towards the mainstream. After winning the Cannes Festival’s Camera d’Or for best first feature with “Las Acacias,...
Featuring new projects from other name auteurs from the region- Pablo Giorgelli, Neto Villalobos, for example – as well as top producers working Europe Latin American production – Tu Vas Voir, Campo Cine, Patagonik, Malbicho Cine, Tarea Fina – the Forum, running Sept.22-25, will attract most of San Sebastian’s now 2,000-plus industry delegates, while offering a glimpse of the market trends now forging the regions’ filmmaking.
Here, for starters, are three:
1.Step Up In Scale Or Mainstream Ambitions
One is a step up in scale, or move towards the mainstream. After winning the Cannes Festival’s Camera d’Or for best first feature with “Las Acacias,...
- 8/13/2019
- by John Hopewell
- Variety Film + TV
Mubi's retrospective New Argentine Cinema is playing from August 7 - September 28, 2017 in most countries around the world. La CiénagaBeginning in the mid-1990s, young directors, the majority of whom had graduated from one of many film schools in Argentina, began producing low-budget, independent films in a style that earned this group the classification of the New Independent Argentine Cinema.Part of this upsurge had to do with a small grants program that was initiated by the National Film Institute (Incaa) in the mid-1990s. These recent graduates have made short films (cortometrajes), and then have gone on to raise funds through co-production funding (Hubert Bals Fund at the Rotterdam film festival, the Visions Sud Est program from Switzerland, among others). They have relied on their own networks of like-minded young people rather than depend on the traditional film sector structure (the film union, established director’s associations, and the few...
- 9/6/2017
- MUBI
Pablo Giorgelli’s abortion drama Invisible, his highly anticipated follow-up to his much-acclaimed, multiple award-winning debut Las Acacias, does not disappoint. A stylistic follow-up from its predecessor, Invisible tells the stripped-back tale of a doubt-wracked pregnant teenager via long takes, forensic close-ups and unmitigated intensity — but it’s her intriguing inner narrative that the film is really about. It's a quiet heartbreaker of a story that Mora Arenillas powerfully and affectingly brings to life. Festivals and art house audiences should respond warmly to a film of rare purity and purpose in which all the non-essentials have been excised at the service...
- 8/31/2017
- by Jonathan Holland
- The Hollywood Reporter - Movie News
ZamaThe programme for the 2017 edition of the Venice Film Festival has been unveiled, and includes new films from Darren Aronofsky, Lucrecia Martel, Frederick Wiseman, Alexander Payne, Hirokazu Kore-eda, Abdellatif Kechiche, Takeshi Kitano and many more.COMPETITIONmother! (Darren Aronofsky)First Reformed (Paul Schrader)Sweet Country (Warwick Thornton)The Leisure Seeker (Paolo Virzi)Una Famiglia (Sebastiano Riso)Ex Libris - The New York Public Library (Frederick Wiseman)Angels Wear White (Vivian Qu)The Whale (Andrea Pallaoro)Three Billboards Outside Ebbing, Missouri (Martin McDonagh)Foxtrot (Samuel Maoz)Ammore e malavita (Manetti Brothers)Jusqu'a la garde (Xavier Legrand)The Third Murder (Hirokazu Kore-eda)Mektoub, My Love: Canto Uno (Abdellatif Kechiche)Lean on Pete (Andrew Haigh)L'insulte (Ziad Doueiri)La Villa (Robert Guediguian)The Shape of Water (Guillermo del Toro)Suburbicon (George Clooney)Human Flow (Ai Weiwei)Downsizing (Alexander Payne)Out Of COMPETITIONFeaturesOur Souls at Night (Ritesh Batra)Il Signor Rotpeter (Antonietta de Lillo)Victoria...
- 7/27/2017
- MUBI
On the heels of the Toronto International Film Festival announcement earlier this week, Venice Film Festival have now delivered their full lineup and while there’s no Terrence Malick as rumored, there’s a plethora of highly-anticipated titles. Along with the previously-announced opener Downsizing and the expected Suburbicon, mother!, The Shape of Water, and Three Billboards Outside Ebbing, Missouri, there’s Lucrecia Martel’s Zama, Andrew Haigh’s Lean on Pete, Abdellatif Kechiche’s Blue is the Warmest Color follow-up Mektoub, My Love: Canto Uno, and Brawl In Cell Block 99, the latest film from Bone Tomahawk director S. Craig Zahler.
Also in the lineup is Errol Morris’s Netflix crime drama Wormwood, Paul Schrader’s First Reformed, Frederick Wiseman’s Ex Libris – New York Public Library, Hirokazu Koreeda’s The Third Murder, Takeshi Kitano’s closing night film Outrage Coda, Michaël R. Roskam’s Racer and The Jailbird, the Kirsten Dunst-led Woodshock,...
Also in the lineup is Errol Morris’s Netflix crime drama Wormwood, Paul Schrader’s First Reformed, Frederick Wiseman’s Ex Libris – New York Public Library, Hirokazu Koreeda’s The Third Murder, Takeshi Kitano’s closing night film Outrage Coda, Michaël R. Roskam’s Racer and The Jailbird, the Kirsten Dunst-led Woodshock,...
- 7/27/2017
- by Jordan Raup
- The Film Stage
Venice Announces 2017 Lineup, Including ‘The Shape of Water,’ ‘Suburbicon,’ ‘mother!,’ and Many More
Will 2017 be the year that Venice gets its king-making mojo back? After a steady run of debuting recent best picture winners — from “Spotlight” to “Birdman” — the festival missed out on last year’s big winner, “Moonlight,” which bowed at Telluride. This year’s lineup is a promising one, and while it’s still very early in the process, it’s difficult not to pick through today’s announcement of the festival’s slate and not search for the big contenders.
As was previously announced, the festival will open with Alexander Payne’s social satire “Downsizing,” starring Matt Damon and Kristen Wiig. The festival will also play home to the premiere of the Netflix original “Our Souls at Night,” as part of their planned tribute to stars Robert Redford and Jane Fonda. Annette Bening will lead the competition jury, ending an 11-year succession of male jury chiefs.
Read MoreIndieWire Fall Film...
As was previously announced, the festival will open with Alexander Payne’s social satire “Downsizing,” starring Matt Damon and Kristen Wiig. The festival will also play home to the premiere of the Netflix original “Our Souls at Night,” as part of their planned tribute to stars Robert Redford and Jane Fonda. Annette Bening will lead the competition jury, ending an 11-year succession of male jury chiefs.
Read MoreIndieWire Fall Film...
- 7/27/2017
- by Kate Erbland
- Indiewire
Echo of the Mountain also scoops a top prize at the film festival in Mexico.Scroll down for full list of winners
Matias Lucchesi’s debut feature Natural Sciences (Ciencias naturales) scooped a top prize, the Golden Mayahuel and €14,700 ($20,000) in cash, in the Ibero-American competition of the 29th Guadalajara Film Festival (Ficg), March 21-30.
The Argentinian production follows an adolescent girl’s quest to reconnect with her estranged father and was launched last month at the Berlin International Film Festival, where it won the Generation Kplus Grand Prix.
Sold by Urban Distribution, it beat competition from 18 other titles to take the top prize and also received the best screenplay award and the Feisal (Latin American Film Schools) trophy.
Lead stars Paula Herzog and Paola Barrientos shared the best actress prize.
Echo of the Mountain (Eco de la Montana), a documentary directed by veteran Nicolas Echevarria, won the prize for best Mexican film, which included...
Matias Lucchesi’s debut feature Natural Sciences (Ciencias naturales) scooped a top prize, the Golden Mayahuel and €14,700 ($20,000) in cash, in the Ibero-American competition of the 29th Guadalajara Film Festival (Ficg), March 21-30.
The Argentinian production follows an adolescent girl’s quest to reconnect with her estranged father and was launched last month at the Berlin International Film Festival, where it won the Generation Kplus Grand Prix.
Sold by Urban Distribution, it beat competition from 18 other titles to take the top prize and also received the best screenplay award and the Feisal (Latin American Film Schools) trophy.
Lead stars Paula Herzog and Paola Barrientos shared the best actress prize.
Echo of the Mountain (Eco de la Montana), a documentary directed by veteran Nicolas Echevarria, won the prize for best Mexican film, which included...
- 3/30/2014
- by alexisgrivas@yahoo.com (Alexis Grivas)
- ScreenDaily
In its first year, Cannes’ Cinéfondation’s Atelier invited projects from relative filmmaker unknowns such as Gerardo Naranjo (I’m Gonna Explode), Lisandro Alonso (Liverpool) and Aida Begic (Snow). Celebrating year number 10, this year’s group of fifteen that will benefit from Croisette meetings and future coin include the likes of Quebecer Guy Édoin (Marécages), Cannes Critics’ Week winner for Aquí y allá in filmmaker Antonio Méndez Esparza, and 2011 Camera d’Or winner Pablo Giorgelli (pictured above) who broke out with Las Acacias (review).
Invisible (Pablo Giorgelli, Argentina)
Territoria (Nora Martirosyan, Armenia)
Tabija (Igor Drljača, Bosnia)
Saudade (Antonio Méndez Esparza, Brazil)
Ville-Marie (Guy Édoin, Canada)
In the Shade of the Trees (Matías Rojas Valencia, Chile)
Ce sentiment de l’été (Mikhaël Hers, France)
Aliyushka (Adilkhan Yerzhanov, Kazakhstan)
The Darkness (Daniel Castro Zimbrón, Mexico)
White Sun (Deepak Rauniyar, Nepal)
To All Naked Men (Bassam Chekhes, Netherlands/Syria)
Oil on Water (Newton I. Aduaka,...
Invisible (Pablo Giorgelli, Argentina)
Territoria (Nora Martirosyan, Armenia)
Tabija (Igor Drljača, Bosnia)
Saudade (Antonio Méndez Esparza, Brazil)
Ville-Marie (Guy Édoin, Canada)
In the Shade of the Trees (Matías Rojas Valencia, Chile)
Ce sentiment de l’été (Mikhaël Hers, France)
Aliyushka (Adilkhan Yerzhanov, Kazakhstan)
The Darkness (Daniel Castro Zimbrón, Mexico)
White Sun (Deepak Rauniyar, Nepal)
To All Naked Men (Bassam Chekhes, Netherlands/Syria)
Oil on Water (Newton I. Aduaka,...
- 3/10/2014
- by Eric Lavallee
- IONCINEMA.com
The Cinéfondation’s Atelier is hosting its tenth edition this year and is set to invite 15 directors to Cannes whose projects have been considered particularly promising. Together with their producers, the selected directors will be able to meet potential partners, a necessary step to finish their project and start the making of their film. Created in 2005, the Cinéfondation’s l'Atelier goal is to encourage the emergence of a new generation of filmmakers. So far, out of 141 projects accompanied by l’Atelier, 85 have received theatrical distribution and 44 are currently in pre-production. For L’Atelier’s 10th edition, 15 projects from 15 countries were chosen:Invisible (Pablo Giorgelli, Argentina)Territoria (Nora Martirosyan, Armenia)Tabija (Igor Drljača, Bosnia)Saudade (Antonio Méndez Esparza, Brazil)Ville-Marie (Guy Édoin, Canada)In the Shade of the Trees (Matías Rojas Valencia, Chile)Ce sentiment de l'été (Mikhaël Hers, France)Aliyushka (Adilkhan Yerzhanov, Kazakhstan)The...
- 3/10/2014
- by Beth Hanna
- Thompson on Hollywood
The tenth edition of the co-production showcase at the Cannes Film Festival includes new projects from Brazil’s Antonio Méndez Esparza and Mexico’s Daniel Castro Zimbrón.
The Cinéfondation’s Atelier hosts its tenth edition this year and will invite 15 directors and their projects to the Cannes Film Festival.
Together with their producers, they will be given the opportunity to meet potential partners in a bid to finish their projects and start the making their films.
From May 16-22, L’Atelier will arrange meetings with the directors for film industry professionals interested in investing in their projects.
The Project Book and the meeting request forms will be available online at the beginning of April at www.cinefondation.com.
The project line-up includes Saudade, Brazilian director Antonio Méndez Esparza’s follow up to Aqui y Alla, which won Cannes’ Critics Week in 2012. The new film, set in Spain, focusses on immigration through a mother-son story.
Argentina’s [link...
The Cinéfondation’s Atelier hosts its tenth edition this year and will invite 15 directors and their projects to the Cannes Film Festival.
Together with their producers, they will be given the opportunity to meet potential partners in a bid to finish their projects and start the making their films.
From May 16-22, L’Atelier will arrange meetings with the directors for film industry professionals interested in investing in their projects.
The Project Book and the meeting request forms will be available online at the beginning of April at www.cinefondation.com.
The project line-up includes Saudade, Brazilian director Antonio Méndez Esparza’s follow up to Aqui y Alla, which won Cannes’ Critics Week in 2012. The new film, set in Spain, focusses on immigration through a mother-son story.
Argentina’s [link...
- 3/10/2014
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
The tenth edition of the co-production showcase at the Cannes Film Festival includes new projects from Brazil’s Antonio Méndez Esparza and Mexico’s Daniel Castro Zimbrón.
The Cinéfondation’s Atelier hosts its tenth edition this year and will invite 15 directors and their projects to the Cannes Film Festival.
Together with their producers, they will be given the opportunity to meet potential partners in a bid to finish their projects and start the making their films.
From May 16-22, L’Atelier will arrange meetings with the directors for film industry professionals interested in investing in their projects.
The Project Book and the meeting request forms will be available online at the beginning of April at www.cinefondation.com.
The project line-up includes Saudade, Brazilian director Antonio Méndez Esparza’s follow up to Aqui y Alla, which won Cannes’ Critics Week in 2012. The new film, set in Spain, focusses on immigration through a mother-son story.
Argentina’s [link...
The Cinéfondation’s Atelier hosts its tenth edition this year and will invite 15 directors and their projects to the Cannes Film Festival.
Together with their producers, they will be given the opportunity to meet potential partners in a bid to finish their projects and start the making their films.
From May 16-22, L’Atelier will arrange meetings with the directors for film industry professionals interested in investing in their projects.
The Project Book and the meeting request forms will be available online at the beginning of April at www.cinefondation.com.
The project line-up includes Saudade, Brazilian director Antonio Méndez Esparza’s follow up to Aqui y Alla, which won Cannes’ Critics Week in 2012. The new film, set in Spain, focusses on immigration through a mother-son story.
Argentina’s [link...
- 3/10/2014
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
The tenth edition of the talent showcase includes new projects from Brazil’s Antonio Méndez Esparza and Mexico’s Daniel Castro Zimbrón.
The Cinéfondation’s Atelier hosts its tenth edition this year and will invite 15 directors and their projects to the Cannes Film Festival.
Together with their producers, they will be given the opportunity to meet potential partners in a bid to finish their projects and start the making their films.
From May 16-22, L’Atelier will arrange meetings with the directors for film industry professionals interested in investing in their projects.
The Project Book and the meeting request forms will be available online at the beginning of April at www.cinefondation.com.
The project line-up includes Saudade, Brazilian director Antonio Méndez Esparza’s follow up to Aqui y Alla, which won Cannes’ Critics Week in 2012. The new film, set in Spain, focusses on immigration through a mother-son story.
Argentina’s Pablo Giorgelli will bring Invisible, his second...
The Cinéfondation’s Atelier hosts its tenth edition this year and will invite 15 directors and their projects to the Cannes Film Festival.
Together with their producers, they will be given the opportunity to meet potential partners in a bid to finish their projects and start the making their films.
From May 16-22, L’Atelier will arrange meetings with the directors for film industry professionals interested in investing in their projects.
The Project Book and the meeting request forms will be available online at the beginning of April at www.cinefondation.com.
The project line-up includes Saudade, Brazilian director Antonio Méndez Esparza’s follow up to Aqui y Alla, which won Cannes’ Critics Week in 2012. The new film, set in Spain, focusses on immigration through a mother-son story.
Argentina’s Pablo Giorgelli will bring Invisible, his second...
- 3/10/2014
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
The presence of Latin America films in Cannes has grown by 40% since 2009, when Ventana Sur was created by Incaa (Argentina’s film institute) and Marché du Film/Festival de Cannes.
This is one of the achievements of the film market that, now in its 5th edition (Dec 3-6) in Buenos Aires, has become the biggest gathering of its kind for Latin America’s titles.
“Ventana Sur has been instrumental in growing the Latin American presence in Cannes,” said Jérome Paillard, who shares the executive direction of Ventana Sur with Bernardo Bergeret.
“Pablo Giorgelli’s Las Acacias and Michael Rowe’s Año Bisiesto, which started their careers in Buenos Aires, won the Cannes Camera d’Or in 2011 and 2010, respectively.”
Bergeret added: “Other examples of films that had international recognition and started here are Paraisos Artificiales (Mexico), El Tunel de los Huesos (Argentina), Jardín de Amapolas (Colombia), De Martes a Martes (Argentina), Solo (Uruguay), Ausente (Argentina), Los insolitos peces gato...
This is one of the achievements of the film market that, now in its 5th edition (Dec 3-6) in Buenos Aires, has become the biggest gathering of its kind for Latin America’s titles.
“Ventana Sur has been instrumental in growing the Latin American presence in Cannes,” said Jérome Paillard, who shares the executive direction of Ventana Sur with Bernardo Bergeret.
“Pablo Giorgelli’s Las Acacias and Michael Rowe’s Año Bisiesto, which started their careers in Buenos Aires, won the Cannes Camera d’Or in 2011 and 2010, respectively.”
Bergeret added: “Other examples of films that had international recognition and started here are Paraisos Artificiales (Mexico), El Tunel de los Huesos (Argentina), Jardín de Amapolas (Colombia), De Martes a Martes (Argentina), Solo (Uruguay), Ausente (Argentina), Los insolitos peces gato...
- 12/3/2013
- by elaineguerini@terra.com.br (Elaine Guerini)
- ScreenDaily
A look back at 2012 reveals an undeniable fact, it has been a great year for Latino film. Sundance started the year off strong with films like Aurora Guerrero’s sweet and tender Mosquita y Mari and Marialy Rivas’ rambunctious Joven y Alocada (Young & Wild). Gina Rodriguez broke out in Filly Brown, as a rapper who needs to make it big so she can raise money to get her mom out of jail. In the film, Jenni Rivera played the part of Filly’s mom in her first, and sadly last, movie role.
There was also a strong Latin American presence at Cannes this past summer, boasting films from Mexico, Brazil, Uruguay, and Argentina. It might as well have been called Mexi-Cannes, with Mexican films winning awards across all main sections of the festival. Carlos Reygadas was honored as the Best Director for his controversial film Post Tenebras Lux, despite having received boos at its premiere screening. The prize for the Critics’ Week section went to Aquí y Allá (Here and There) and Después de Lucía (After Lucia) won the top prize for Un Certain Regard.
It’s been an especially favorable year for Chilean cinema. The New York Film Festival, in its 50th edition this past Fall, included three highly anticipated films by Pablo Larraín, Valeria Sarmiento, and the late Raúl Ruiz. And Chile continued to outshine the rest of the region by winning two top spots at the Festival Internacional de Nuevo Cine Latino de La Habana (the Havana Film Festival) just a few days ago. Pablo Larraín’s No, starring Gael Garcia Bernal, won the First Coral Prize. It’s a brilliant take on the real life story of an advertising campaign that ousted General Pinochet from power during a shining moment in Chilean politics. Violeta se fue a los cielos (Violeta Went To Heaven), a biopic about internationally famous Violeta de la Parra, a Chilean singer, songwriter, and poet won the Second Prize.
Whether it was at Cannes, Sundance, or countless other festivals, Latino films were winning award after award this year and even getting distribution (albeit usually in limited release). With the flurry of activity surrounding the region’s filmmaking, it can be hard to keep up with it all. Thankfully, there are professionals who get paid to keep track of what movies are receiving accolades, have the most buzz, and got picked up for distribution. LatinoBuzz went straight to the experts, film programmers, to ask, “What’s your top 5 Latino films of 2012?”
Carlos Gutierrez, Co-Founder and Director of Cinema Tropical
In no particular order, a list of five Latin American films that made it to Us screens in the past year (some of them are a couple of years old), which I highly recommend.
De Jueves a Domingo (Thursday Till Sunday), Director: Dominga Sotomayor, Chile
O Som ao Redor (Neighboring Sounds), Director: Kleber Mendonça Filho, Brazil
El Estudiante, Director: Santiago Mitre, Argentina
El Velador, Director: Natalia Almada, Mexico
El Lugar Más Pequeño (The Tiniest Place), Director: Tatiana Huezo, Mexico/El Salvador
Juan Caceres, Director of Programming at the New York International Latino Film Festival
Mosquita y Mari is a gorgeous film full of heart. Marialy Rivas (Director of Joven y Alocada) is an incredibly exciting new voice in Latin American cinema. She's fearless and full of love. I'm a huge fan of Lucy Mulloy (Director of Una Noche). She draws these wonderful performances from non-professional actors. A natural at using the lens to tell a story. In Las Malas Intenciones Fatima Buntinx plays the lead perfectly. Andres Wood made a beautiful film called 'Machuca', that captured the soul of Chile in the 70's and he does the same with a bio-pic of Violeta Parra, a folk singer who was a part of 'La Nueva Canción Chilena'.
Mosquita y Mari, Director: Aurora Guerrero, USA
Joven y Alocada (Young and Wild), Director: Marialy Rivas, Chile
Una Noche, Director: Lucy Mulloy, Cuba
Violeta Se Fue A Los Cielos (Violeta Went to Heaven), Director: Andrés Wood, Chile
Las Malas Intenciones (The Bad Intentions), Director: Rosario García-Montero, Perú
Christine Davila, Programming Associate at Sundance Film Festival
There are way too many Latino films and not enough coverage on American Latino films so with that -- mine are going to be strictly American Latino films.
Los Chidos, Director: Omar Rodriguez-Lopez, USA/Mexico
Mosquita y Mari, Director: Aurora Guerrero, USA
Elliot Loves, Director: Terracino, USA
Aquí y Allá (Here and There), Director: Antonio Méndez Esparza, USA/Spain/Mexico
Love, Concord, Director: Gustavo Guardado, USA
Lisa Franek, Artistic Director at the San Diego Latino Film Festival
Just 5?? That's tough! In Filly Brown, Gina Rodriguez turns in a great performance, and I expect to see more great things from her very soon. No, I saw at Cannes, and it was fascinating, especially in contrast to Larraín's previous (amazing) films. La Hora Cero has unforgettable scenes and characters! La Mujer de Ivan has amazing acting, and I believe Maria de Los Angeles Garcia is definitely a talent to watch. Reportero is also fantastic.
La Mujer de Iván, Director: Francisca Silva, Chile
No, Director: Pablo Larraín, Chile/France/USA
La Hora Cero, Director: Diego Velasco, Venezuela
Reportero, Director: Bernardo Ruiz, USA/Mexico
Filly Brown, Directors: Youssef Delara, Michael D. Olmos, USA
Marcela Goglio, Programmer for Latinbeat at The Film Society of Lincoln Center
Las Acacias, Director: Pablo Giorgelli, Argentina
As Cançoes (Songs), Director: Eduardo Coutinho, Brazil
Unfinished Spaces, Directors: Alyssa Nahmias & Benjamin Murray, USA
O Som ao Redor (Neighboring Sounds), Director: Kleber Mendonça Filho, Brazil
Aquí y Allá (Here and There), Director: Antonio Méndez Esparza, USA/Spain/Mexico
Pepe Vargas, Executive Director of the International Latino Cultural Center and Chicago Latino Film Festival
Not an easy task to come up with 5 titles - there are so many good movies.
La Piel que Habito (The Skin I Live In)
Director: Pedro Almodóvar, Spain
Salvando al Soldado Pérez, (Saving Private Perez)
Director: Beto Gómez, Mexico
Un Cuento Chino (Chinese Take-Out)
Director: Sebastián Borensztein, Argentina/Spain
Lobos de Arga (Game of Werewolves)
Director: Juan Martínez Moreno, Spain
Mariachi Gringo
Director: Tom Gustafson, USA/Mexico
Amalia Cordova, Coordinator of the Latin American Program at the Film and Video Center of the Smithsonian National Museum of the American Indian
Granito, Director: Pamela Yates, USA/Guatemala/Spain
Desterro Guarani, Directors: Patricia Ferreira y Ariel Duarte Ortega, Brazil
Violeta Se Fue A Los Cielos (Violeta Went to Heaven), Director: Andrés Wood, Chile
5 x Favela – Agora por nós Mesmos (5 x Favela, Now by Ourselves), Directors: Manaíra Carneiro, Wagner Novais, Cacau Amaral, Rodrigo Felha, Luciano Vidigal, Cadu Barcelos, and Luciana Bezerra, Brazil
Un Cuento Chino (Chinese Take-Out), Director: Sebastián Borensztein, Argentina/Spain
Written by Juan Caceres and Vanessa Erazo, LatinoBuzz is a weekly feature on SydneysBuzz that highlights Latino indie talent and upcoming trends in Latino film with the specific objective of presenting a broad range of Latino voices. Follow @LatinoBuzz on twitter.
There was also a strong Latin American presence at Cannes this past summer, boasting films from Mexico, Brazil, Uruguay, and Argentina. It might as well have been called Mexi-Cannes, with Mexican films winning awards across all main sections of the festival. Carlos Reygadas was honored as the Best Director for his controversial film Post Tenebras Lux, despite having received boos at its premiere screening. The prize for the Critics’ Week section went to Aquí y Allá (Here and There) and Después de Lucía (After Lucia) won the top prize for Un Certain Regard.
It’s been an especially favorable year for Chilean cinema. The New York Film Festival, in its 50th edition this past Fall, included three highly anticipated films by Pablo Larraín, Valeria Sarmiento, and the late Raúl Ruiz. And Chile continued to outshine the rest of the region by winning two top spots at the Festival Internacional de Nuevo Cine Latino de La Habana (the Havana Film Festival) just a few days ago. Pablo Larraín’s No, starring Gael Garcia Bernal, won the First Coral Prize. It’s a brilliant take on the real life story of an advertising campaign that ousted General Pinochet from power during a shining moment in Chilean politics. Violeta se fue a los cielos (Violeta Went To Heaven), a biopic about internationally famous Violeta de la Parra, a Chilean singer, songwriter, and poet won the Second Prize.
Whether it was at Cannes, Sundance, or countless other festivals, Latino films were winning award after award this year and even getting distribution (albeit usually in limited release). With the flurry of activity surrounding the region’s filmmaking, it can be hard to keep up with it all. Thankfully, there are professionals who get paid to keep track of what movies are receiving accolades, have the most buzz, and got picked up for distribution. LatinoBuzz went straight to the experts, film programmers, to ask, “What’s your top 5 Latino films of 2012?”
Carlos Gutierrez, Co-Founder and Director of Cinema Tropical
In no particular order, a list of five Latin American films that made it to Us screens in the past year (some of them are a couple of years old), which I highly recommend.
De Jueves a Domingo (Thursday Till Sunday), Director: Dominga Sotomayor, Chile
O Som ao Redor (Neighboring Sounds), Director: Kleber Mendonça Filho, Brazil
El Estudiante, Director: Santiago Mitre, Argentina
El Velador, Director: Natalia Almada, Mexico
El Lugar Más Pequeño (The Tiniest Place), Director: Tatiana Huezo, Mexico/El Salvador
Juan Caceres, Director of Programming at the New York International Latino Film Festival
Mosquita y Mari is a gorgeous film full of heart. Marialy Rivas (Director of Joven y Alocada) is an incredibly exciting new voice in Latin American cinema. She's fearless and full of love. I'm a huge fan of Lucy Mulloy (Director of Una Noche). She draws these wonderful performances from non-professional actors. A natural at using the lens to tell a story. In Las Malas Intenciones Fatima Buntinx plays the lead perfectly. Andres Wood made a beautiful film called 'Machuca', that captured the soul of Chile in the 70's and he does the same with a bio-pic of Violeta Parra, a folk singer who was a part of 'La Nueva Canción Chilena'.
Mosquita y Mari, Director: Aurora Guerrero, USA
Joven y Alocada (Young and Wild), Director: Marialy Rivas, Chile
Una Noche, Director: Lucy Mulloy, Cuba
Violeta Se Fue A Los Cielos (Violeta Went to Heaven), Director: Andrés Wood, Chile
Las Malas Intenciones (The Bad Intentions), Director: Rosario García-Montero, Perú
Christine Davila, Programming Associate at Sundance Film Festival
There are way too many Latino films and not enough coverage on American Latino films so with that -- mine are going to be strictly American Latino films.
Los Chidos, Director: Omar Rodriguez-Lopez, USA/Mexico
Mosquita y Mari, Director: Aurora Guerrero, USA
Elliot Loves, Director: Terracino, USA
Aquí y Allá (Here and There), Director: Antonio Méndez Esparza, USA/Spain/Mexico
Love, Concord, Director: Gustavo Guardado, USA
Lisa Franek, Artistic Director at the San Diego Latino Film Festival
Just 5?? That's tough! In Filly Brown, Gina Rodriguez turns in a great performance, and I expect to see more great things from her very soon. No, I saw at Cannes, and it was fascinating, especially in contrast to Larraín's previous (amazing) films. La Hora Cero has unforgettable scenes and characters! La Mujer de Ivan has amazing acting, and I believe Maria de Los Angeles Garcia is definitely a talent to watch. Reportero is also fantastic.
La Mujer de Iván, Director: Francisca Silva, Chile
No, Director: Pablo Larraín, Chile/France/USA
La Hora Cero, Director: Diego Velasco, Venezuela
Reportero, Director: Bernardo Ruiz, USA/Mexico
Filly Brown, Directors: Youssef Delara, Michael D. Olmos, USA
Marcela Goglio, Programmer for Latinbeat at The Film Society of Lincoln Center
Las Acacias, Director: Pablo Giorgelli, Argentina
As Cançoes (Songs), Director: Eduardo Coutinho, Brazil
Unfinished Spaces, Directors: Alyssa Nahmias & Benjamin Murray, USA
O Som ao Redor (Neighboring Sounds), Director: Kleber Mendonça Filho, Brazil
Aquí y Allá (Here and There), Director: Antonio Méndez Esparza, USA/Spain/Mexico
Pepe Vargas, Executive Director of the International Latino Cultural Center and Chicago Latino Film Festival
Not an easy task to come up with 5 titles - there are so many good movies.
La Piel que Habito (The Skin I Live In)
Director: Pedro Almodóvar, Spain
Salvando al Soldado Pérez, (Saving Private Perez)
Director: Beto Gómez, Mexico
Un Cuento Chino (Chinese Take-Out)
Director: Sebastián Borensztein, Argentina/Spain
Lobos de Arga (Game of Werewolves)
Director: Juan Martínez Moreno, Spain
Mariachi Gringo
Director: Tom Gustafson, USA/Mexico
Amalia Cordova, Coordinator of the Latin American Program at the Film and Video Center of the Smithsonian National Museum of the American Indian
Granito, Director: Pamela Yates, USA/Guatemala/Spain
Desterro Guarani, Directors: Patricia Ferreira y Ariel Duarte Ortega, Brazil
Violeta Se Fue A Los Cielos (Violeta Went to Heaven), Director: Andrés Wood, Chile
5 x Favela – Agora por nós Mesmos (5 x Favela, Now by Ourselves), Directors: Manaíra Carneiro, Wagner Novais, Cacau Amaral, Rodrigo Felha, Luciano Vidigal, Cadu Barcelos, and Luciana Bezerra, Brazil
Un Cuento Chino (Chinese Take-Out), Director: Sebastián Borensztein, Argentina/Spain
Written by Juan Caceres and Vanessa Erazo, LatinoBuzz is a weekly feature on SydneysBuzz that highlights Latino indie talent and upcoming trends in Latino film with the specific objective of presenting a broad range of Latino voices. Follow @LatinoBuzz on twitter.
- 12/19/2012
- by Vanessa Erazo
- Sydney's Buzz
Buenos Aires – Clandestine Childhood, Argentina’s Oscar bid for the 2013 Foreign Oscars, was the big winner this week at the Sur Awards, the local Oscars given by the Argentine Film Academy. Armando Bo’s Sundance entry The Last Elvis came in a distant second with six statues, while Pablo Giorgelli’s festival hit and Camera D’Or winner Las Acacias, picked up only two. Benjamin Avila’s coming of age story won 10 of its 16 nominations, sweeping the main awards and leaving no chances for Pablo Trapero’s White Elephant, the other big nominee that went home empty-handed, together with Ana Piterbarg’s
read more...
read more...
- 12/8/2012
- by Agustin Mango
- The Hollywood Reporter - Movie News
Day five of the 21st Annual Whitaker St. Louis International Film Festival promises a smorgasbord of great films and there are still 6 days to go!
Sliff’s main venues are the the Hi-Pointe Theatre, Tivoli Theatre, Plaza Frontenac Cinema, Webster University’s Winifred Moore Auditorium, Washington University’s Brown Hall Auditorium and the Wildey Theatre in Edwardsville, Il
The entire schedule for the 21st Annual Whitaker St. Louis International Film Festival be found Here.
http://cinemastlouis.org/sliff-2012
Here is what will be screening at The 21st Whitaker St. Louis International Film Festival today, Monday, November 12th
–
Doc Shorts – Longevity plays at 5:00pm at the Tivoli Theatre
A quintet of shorts exploring issues of aging and persistence.
Free To Attendees 50 And Older
Bo (Kelly McCoy & Dave Schwep, U.S., 2012, 22 min.): When attorney and Playboy photographer Bo Hitchcock is diagnosed with cancer, he decides to forgo chemo and Western...
Sliff’s main venues are the the Hi-Pointe Theatre, Tivoli Theatre, Plaza Frontenac Cinema, Webster University’s Winifred Moore Auditorium, Washington University’s Brown Hall Auditorium and the Wildey Theatre in Edwardsville, Il
The entire schedule for the 21st Annual Whitaker St. Louis International Film Festival be found Here.
http://cinemastlouis.org/sliff-2012
Here is what will be screening at The 21st Whitaker St. Louis International Film Festival today, Monday, November 12th
–
Doc Shorts – Longevity plays at 5:00pm at the Tivoli Theatre
A quintet of shorts exploring issues of aging and persistence.
Free To Attendees 50 And Older
Bo (Kelly McCoy & Dave Schwep, U.S., 2012, 22 min.): When attorney and Playboy photographer Bo Hitchcock is diagnosed with cancer, he decides to forgo chemo and Western...
- 11/12/2012
- by Tom Stockman
- WeAreMovieGeeks.com
Last night was the kick-off with just one film, Silver Linings Playbook, but today the real meat of the fest is served with films screening all day and all evening. Sliff’s main venues are the the Hi-Pointe Theatre, Tivoli Theatre, Plaza Frontenac Cinema, Webster University’s Winifred Moore Auditorium, Washington University’s Brown Hall Auditorium and the Wildey Theatre in Edwardsville, Il
The entire schedule for the 21st Annual Whitaker St. Louis International Film Festival be found Here.
http://cinemastlouis.org/sliff-2012
Here is what will be screening at The 21st Whitaker St. Louis International Film Festival today, Friday, November 9th
Chained plays 7:00pm at the Tivoli Theatre with director Jennifer Lynch in attendance (read the Wamg interview with Ms Lynch Here
At the end of an afternoon excursion, Sarah Fiddler and her young son step into a taxi to head home. They never get there. The cab...
The entire schedule for the 21st Annual Whitaker St. Louis International Film Festival be found Here.
http://cinemastlouis.org/sliff-2012
Here is what will be screening at The 21st Whitaker St. Louis International Film Festival today, Friday, November 9th
Chained plays 7:00pm at the Tivoli Theatre with director Jennifer Lynch in attendance (read the Wamg interview with Ms Lynch Here
At the end of an afternoon excursion, Sarah Fiddler and her young son step into a taxi to head home. They never get there. The cab...
- 11/9/2012
- by Tom Stockman
- WeAreMovieGeeks.com
Title: Las Acacias Directed by: Pablo Giorgelli Starring: German de Silva Las Acacias is an intimate portrayal of a man’s evolution; though small and unconcerned about larger issues at hand, it’s very focused on a man’s growth as a human being. Shot almost entirely inside of a lumber-hauling truck, it feels even smaller and uncomfortably claustrophobic. Ruben (German de Silva), a lumberjack and truck driver, is soft-spoken, reserved and he mostly keeps to himself. Strangely, director Pablo Giorgelli averts the archetypes that often plague films of this ilk; where they’re saccharine, over-the-top and usually provide us with an ending that tells us virtually all we will ever need to know about the [ Read More ]...
- 9/25/2012
- by justin
- ShockYa
If There Be Thorns: A Road Trip to an Almost Imperceptible Romance in Graceful Debut
For his feature film debut, Pablo Giorgelli has created a slow burn road trip film set almost entirely within the confines of a truck cab. With limited characters and settings, and absolutely no music, Las Acacias is nearly a silent film with large chunks of time passing and nary a word uttered. But despite these absences, a deliberate and painstaking portrait of longing and love threads itself quietly between its two main characters, to realistic and moving effect.
Rubén (Germán de Silva), a lonesome truck driver is about to haul lumber from somewhere in the Paraguayan countryside to Buenos Aires. We learn he has been asked by his employer to provide passage for a woman, Jacinta (Hebe Duarte) and her daughter on this haul. With smoke rising from the scorched earth matching the fumes of Rubén’s cigarette smoke,...
For his feature film debut, Pablo Giorgelli has created a slow burn road trip film set almost entirely within the confines of a truck cab. With limited characters and settings, and absolutely no music, Las Acacias is nearly a silent film with large chunks of time passing and nary a word uttered. But despite these absences, a deliberate and painstaking portrait of longing and love threads itself quietly between its two main characters, to realistic and moving effect.
Rubén (Germán de Silva), a lonesome truck driver is about to haul lumber from somewhere in the Paraguayan countryside to Buenos Aires. We learn he has been asked by his employer to provide passage for a woman, Jacinta (Hebe Duarte) and her daughter on this haul. With smoke rising from the scorched earth matching the fumes of Rubén’s cigarette smoke,...
- 9/4/2012
- by Nicholas Bell
- IONCINEMA.com
I can't remember a time I went to the Seattle International Film Festival (Siff) press launch and looked over the list of films and saw so many I was interested in seeing. The claim to fame for over the years is to call it the largest and most-highly attended festival in the United States. This is a fact I've often taken issue with as I don't equate quantity with quality. Granted, there has been a large number of quality features to play the fest over the years, including Golden Space Needle (Best Film) winners such as Kiss of the Spider Woman (1985), My Life as a Dog (1987), Trainspotting (1996), Run Lola Run (1999), Whale Rider (2003) and even recent Best Director winner, Michel Hazanavicius's Oss 117: Nest of Spies in 2006. That said, looking over this year's crop of films I see a lot of films I will be doing my absolute best to see.
- 4/27/2012
- by Brad Brevet
- Rope of Silicon
Las Acacias; Another Earth; Switch; The Big Year; Breaking Wind Part 1
No matter how spectacular, expensive or star-studded Hollywood blockbusters may be, there will always be vibrant, inventive, international gems that consistently prove that less is more. Very little happens in Pablo Giorgelli's debut feature Las Acacias (2011, Verve, 12), a pitch-perfect, low-key road movie about a long-distance lorry driver (Germán de Silva) who agrees to transport a young woman (Hebe Duarte) from Paraguay to Buenos Aires, only to discover that she has a five-month-old child in tow.
Initially dismayed by the prospect of the overcrowded journey ahead, loner Rubén gradually warms to his charges, and a hesitant relationship emerges between him and Jacinta. Casting an established actor (De Silva) opposite a talented newcomer (Duarte), Giorgelli conjures an extraordinary balance between an air of unaffected naturalism and a precisely defined, acutely observed dissection of human interaction. The result is an absolutely...
No matter how spectacular, expensive or star-studded Hollywood blockbusters may be, there will always be vibrant, inventive, international gems that consistently prove that less is more. Very little happens in Pablo Giorgelli's debut feature Las Acacias (2011, Verve, 12), a pitch-perfect, low-key road movie about a long-distance lorry driver (Germán de Silva) who agrees to transport a young woman (Hebe Duarte) from Paraguay to Buenos Aires, only to discover that she has a five-month-old child in tow.
Initially dismayed by the prospect of the overcrowded journey ahead, loner Rubén gradually warms to his charges, and a hesitant relationship emerges between him and Jacinta. Casting an established actor (De Silva) opposite a talented newcomer (Duarte), Giorgelli conjures an extraordinary balance between an air of unaffected naturalism and a precisely defined, acutely observed dissection of human interaction. The result is an absolutely...
- 4/10/2012
- by Mark Kermode
- The Guardian - Film News
First, indieWIRE's Eric Kohn hosted a "Meet the New Directors" panel at the Film Society of Lincoln Center earlier this week and you can watch it here. It runs 63'12" and the guests are Jason Cortlund and Julia Halperin (Now, Forager); Emad Burnat and Guy Davidi (5 Broken Cameras); Adam Leon (Gimme the Loot); Kleber Mendonça Filho (Neighboring Sounds); Terence Nance (An Oversimplification of Her Beauty); Joann Sfar (The Rabbi's Cat); Joachim Trier (Oslo, August 31st); and Clarissa Knoll (Street Vendor Cinema).
And the Fslc has posted separate Q&A sessions with Leon (Gimme), Pablo Giorgelli (Las Acacias) and Gareth Evans (The Raid: Redemption), all on one page.
Meantime, we've entered the home stretch. New Directors/New Films rolls on through the weekend and closes on Sunday night with a surprise — whatever it may be, it'll probably rank a roundup of its own. That aside, here's where we wrap it up.
And the Fslc has posted separate Q&A sessions with Leon (Gimme), Pablo Giorgelli (Las Acacias) and Gareth Evans (The Raid: Redemption), all on one page.
Meantime, we've entered the home stretch. New Directors/New Films rolls on through the weekend and closes on Sunday night with a surprise — whatever it may be, it'll probably rank a roundup of its own. That aside, here's where we wrap it up.
- 3/29/2012
- MUBI
Family and little miracles
The external trip in Las Acacias takes us 900 miles from Asunción in Paraguay to Buenos Aires on board a lumber truck, driven by a reserved Rubén (Germán de Silva), with a mother (serene non-actress Hebe Duarte) and child as arranged passengers. The internal trip is about human connections.
Walking out into MoMA's Sculpture Garden with the film's director Pablo Giorgelli, together with New York Film Festival director and New Directors/New Films selection committee member Richard Peña, Giorgelli told...
The external trip in Las Acacias takes us 900 miles from Asunción in Paraguay to Buenos Aires on board a lumber truck, driven by a reserved Rubén (Germán de Silva), with a mother (serene non-actress Hebe Duarte) and child as arranged passengers. The internal trip is about human connections.
Walking out into MoMA's Sculpture Garden with the film's director Pablo Giorgelli, together with New York Film Festival director and New Directors/New Films selection committee member Richard Peña, Giorgelli told...
- 3/28/2012
- by Anne-Katrin Titze
- eyeforfilm.co.uk
New Directors/New Films - 2012 programme highlights
New York's New Directors/New Films showcase, presented by the Museum of Modern Art, features 29 features and 12 shorts from 28 countries in just 12 days.
Here are six stand-outs from this year's programme - on the wars outside and the wars within.
Las Acacias
Director Pablo Giorgelli embraces time and he gives his audience the perfect amount of room. A road movie like no other, the 900 miles from Asunción in Paraguay to Buenos...
New York's New Directors/New Films showcase, presented by the Museum of Modern Art, features 29 features and 12 shorts from 28 countries in just 12 days.
Here are six stand-outs from this year's programme - on the wars outside and the wars within.
Las Acacias
Director Pablo Giorgelli embraces time and he gives his audience the perfect amount of room. A road movie like no other, the 900 miles from Asunción in Paraguay to Buenos...
- 3/25/2012
- by Anne-Katrin Titze
- eyeforfilm.co.uk
"Forty-one years young, the Film Society of Lincoln Center and the Museum of Modern Art's annual New Directors/New Films festival is committed to compiling a slate of artistically diverse films from every corner of the world," writes Ed Gonzalez, introducing Slant's collection of reviews. "Twenty-eight countries represent the 29 feature films (24 narrative, five documentary) and 12 shorts that make up this year's program, which kicks off on March 21 with a screening of Where Do We Go Now?, Nadine Lakaki's follow-up to Caramel, and closes with a special surprise screening that won't be revealed to the audience until it screens at Film Society on Sunday, April 1. Any guesses?"
Not from this corner, though the wish-list runs pretty long. "We weren't planning to do a surprise for New Directors," Richard Peña tells the Fslc's Jonathan Robbins, "but there is a unique situation with this film." As for Nd/Nf as a whole, Peña...
Not from this corner, though the wish-list runs pretty long. "We weren't planning to do a surprise for New Directors," Richard Peña tells the Fslc's Jonathan Robbins, "but there is a unique situation with this film." As for Nd/Nf as a whole, Peña...
- 3/23/2012
- MUBI
The 41st edition of New Directors/New Films kicks off tonight at MoMA and continues through April 1. Presented by the Film Society of Lincoln Center and MoMA, the event will offer 29 features and 12 short films from around the world -- all of which are first or second features. Indiewire's team has 10 suggestions for what to take in at the festival below. For more information, check out the New Directors/New Films website. "Las Acacias" Winner of the Camera d'Or for a debut film at the 2011 Cannes Film Festival and secured by Outsider Pictures for Us distribution, "Las Acacias" already has a lot of good things going for it. It's also garnered stellar reviews in the UK since opening in London last December. The film, from first-time feature director Pablo Giorgelli, centers on Ruben (German de Silva), a truck driver who regularly hauls lumber from Paraguay to Buenos Aires. His frequented...
- 3/21/2012
- by Peter Knegt, Eric Kohn, Bryce J. Renninger and Nigel M. Smith
- Indiewire
Outsider Pictures, which specializes in Spanish-language releases, has secured the Us distribution rights to Pablo Giorgelli's "Las Acacias." The film was screening at the Miami International Film Festival, where it was competing in the Lexus Ibero-American Opera-Prima Competition, when Outsider made the deal. Prior to that the film had already had success at other festivals, including Cannes, where it won the Camera d’Or prize for Best First Film. Full press release below: Outsider Pictures today announced the acquisition of Pablo Giorgelli’s Las Acacias from French-based international film sales and distribution company Urban Distribution International,for Us theatrical distribution in the United States. The deal was announced via the Industry Office of the 29th annual Miami International Film Festival (Miff), produced and presented by Miami Dade College (Mdc). Las Acacias was screened as part of...
- 3/16/2012
- by Aaron Bogert
- Indiewire
"The agony and perverse ecstasy of unrequited love permeate Terence Davies's The Deep Blue Sea," writes Graham Fuller at the top of his interview with the director. Also in the new March/April 2012 issue of Film Comment: Jonathan Rosenbaum remembers Gilbert Adair (plus a few online exclusives: Adair on Mae West and his "Cliché Expert's Guide to the Cinema"), Anton Dolin examines "The Strange Case of Russian Maverick Aleksei German" (see, too, J Hoberman's 1990 piece for Fc on German) and Terrence Malick's The Tree of Life tops the Reader's "20 Best Films of 2011" Poll — plus comments.
Then there are the shorter bits from the issue online: Nicolas Rapold on Pablo Giorgelli's Las Acacias and Athina Rachel Tsangari's Attenberg (more from Eric Hynes [Time Out New York, 4/5], Eric Kohn [indieWIRE], Anthony Lane [New Yorker], Dennis Lim [New York Times], Karina Longworth [Voice], Henry Stewart [L] and Michael Tully [Hammer to Nail]), Phillip Lopate on Jafar Panahi and Mojtaba Mirtahmasb's This Is Not a Film...
Then there are the shorter bits from the issue online: Nicolas Rapold on Pablo Giorgelli's Las Acacias and Athina Rachel Tsangari's Attenberg (more from Eric Hynes [Time Out New York, 4/5], Eric Kohn [indieWIRE], Anthony Lane [New Yorker], Dennis Lim [New York Times], Karina Longworth [Voice], Henry Stewart [L] and Michael Tully [Hammer to Nail]), Phillip Lopate on Jafar Panahi and Mojtaba Mirtahmasb's This Is Not a Film...
- 3/7/2012
- MUBI
The Film Society of Lincoln Center and the Museum of Modern Art have announced that they'll be presenting 29 features and 12 shorts in the 41st edition of New Directors/New Films, running March 21 through April 1). The series, dedicated to "the discovery of new works by emerging and dynamic filmmaking talent," opens with Nadine Labaki's Where Do We Go Now? (see the Cannes roundup). A few notes on the other features:
The Ambassador (Mads Brügger). The La Weekly's Karina Longworth suggests that Brügger is "sort of the Vice magazine version of Sacha Baron Cohen, as financed by Lars von Trier. His last film was The Red Chapel, an exercise in hidden camera comedy with unusual socio-political stakes, which I put on my top 10 list for 2010." In "his hilarious, troubling new film," Brügger poses as "a diplomat in Africa, a decadent Westerner plundering a third-world nation…. For a six-figure outlay, Brugger is promised a Liberian passport,...
The Ambassador (Mads Brügger). The La Weekly's Karina Longworth suggests that Brügger is "sort of the Vice magazine version of Sacha Baron Cohen, as financed by Lars von Trier. His last film was The Red Chapel, an exercise in hidden camera comedy with unusual socio-political stakes, which I put on my top 10 list for 2010." In "his hilarious, troubling new film," Brügger poses as "a diplomat in Africa, a decadent Westerner plundering a third-world nation…. For a six-figure outlay, Brugger is promised a Liberian passport,...
- 2/26/2012
- MUBI
The Film Society of Lincoln Center and the Museum of Modern Art have announced the first seven film selections for the 41st edition of New/Directors/New Films. The selections include Karl Markovic's "Breathing," Anca Damian's "Crulic: The Path to Beyond," Julia Murat's "Found Memories," Pablo Giorgelli's "Las Acacias," Joachim Trier's "Oslo, August 31st," Alejandro Landes's "Porfirio," and Angelina Nikonova's "Twilight Portrait." "Oslo, August 31st" will premiere at the 2012 Sundance Film Festival. “Even with the lion's share of films still to be selected, the year's first crop for Nd/Nf introduces a group of filmmakers both exceptionally accomplished in their storytelling as well as adventurous in their approach to filmmaking," said Film Society of Lincoln Center Program Director Richard Pena. Full press release below: The Film Society...
- 1/18/2012
- Indiewire
The 29th Miami International Film Festival will run March 2-11 and will include a new competitive category, the Lexus Ibero-American Opera Prima Competition, featuring six Spanish, Portuguese and Latin American films by first-time feature filmmakers. The films included are (descriptions courtesy of the festival): Las Acacias (Argentina/Spain, directed by Pablo Giorgelli): Already a winner of major prizes at this year’s Cannes Film Festival (Camera d’Or for Best First Film) and the Latin Horizons prize at the San Sebastian Film Festival, Giorgelli’s road movie unfolds along the highway linking Asunción...
- 12/20/2011
- Indiewire
Hugo (U)
(Martin Scorsese, 2011, Us) Asa Butterfield, Ben Kingsley, Chloë Grace Moretz, Sacha Baron Cohen. 126 mins.
Eyebrows were raised and expectations lowered at the prospect of a Scorsese-made 3D family movie – but now it all makes sense. This is less a kids' romp than a hymn to early cinema – sugar-coated with a junior steampunk adventure revolving around an Parisian orphan and his mystery automaton. It's a satisfyingly lavish affair technically, with a story that's intelligent and heartfelt.
We Have A Pope (PG)
(Nanni Moretti, 2011, Ita/Fra) Nanni Moretti, Michel Piccoli, Jerzy Stuhr. 105 mins.
Moretti's Vatican satire is wry rather than scathing, which will disappoint many. But there's fun to be had as Piccoli's panicked new pope seeks therapy from Moretti's secular psychoanalyst.
Surviving Life (15)
(Jan Svankmajer, 2010, Cze) Václav Helsus, Klára Issová, Zuzana Krónerová. 109 mins.
More light-hearted Freudian comedy, with Monty Python-style cut-out animation, as a middle-aged man prefers his dream world to reality,...
(Martin Scorsese, 2011, Us) Asa Butterfield, Ben Kingsley, Chloë Grace Moretz, Sacha Baron Cohen. 126 mins.
Eyebrows were raised and expectations lowered at the prospect of a Scorsese-made 3D family movie – but now it all makes sense. This is less a kids' romp than a hymn to early cinema – sugar-coated with a junior steampunk adventure revolving around an Parisian orphan and his mystery automaton. It's a satisfyingly lavish affair technically, with a story that's intelligent and heartfelt.
We Have A Pope (PG)
(Nanni Moretti, 2011, Ita/Fra) Nanni Moretti, Michel Piccoli, Jerzy Stuhr. 105 mins.
Moretti's Vatican satire is wry rather than scathing, which will disappoint many. But there's fun to be had as Piccoli's panicked new pope seeks therapy from Moretti's secular psychoanalyst.
Surviving Life (15)
(Jan Svankmajer, 2010, Cze) Václav Helsus, Klára Issová, Zuzana Krónerová. 109 mins.
More light-hearted Freudian comedy, with Monty Python-style cut-out animation, as a middle-aged man prefers his dream world to reality,...
- 12/3/2011
- by Steve Rose
- The Guardian - Film News
★★★★☆ Camera d'Or winner Las Acacias (2011), directed by Argentinian filmmaker Pablo Giorgelli and starring Germán de Silva and Hebe Duarte, is a potent film of subtlety, silence and charm. This is a road movie with a difference following single mother Jancita (Duarte) and baby Anahí (Nayra Calle Mamani) as they travel to Buenos Aires to visit Jancita's cousin. This simple premise is treated with deft skill and tenderness as it explores the themes of isolation, loss and loneliness.
Read more »...
Read more »...
- 12/2/2011
- by Daniel Green
- CineVue
A genre-straddling gem from south America which leaves you breathless despite being almost wordless
A relationship movie, a road movie, a silent movie: Las Acacias is all these. Pablo Giorgelli has made a film that unfolds almost wordlessly, but very eloquently, and the unforced performances of its two leads make it absolutely beguiling. German de Silva plays Ruben, a middle-aged truck driver who has the regular task of hauling lumber from Paraguay to Buenos Aires. Yet this time he has a passenger, a young woman called Jacinta, played by Hebe Duarte, whom he is taking as a favour for a friend. To Ruben's very obvious dismay, however, Jacinta is bringing along her five-month-old baby. This was not part of the deal. With tremendous skill and easy charm, De Silva and Duarte show how the relationship between the two gradually changes. We appear to be living with Ruben and Jacinta in...
A relationship movie, a road movie, a silent movie: Las Acacias is all these. Pablo Giorgelli has made a film that unfolds almost wordlessly, but very eloquently, and the unforced performances of its two leads make it absolutely beguiling. German de Silva plays Ruben, a middle-aged truck driver who has the regular task of hauling lumber from Paraguay to Buenos Aires. Yet this time he has a passenger, a young woman called Jacinta, played by Hebe Duarte, whom he is taking as a favour for a friend. To Ruben's very obvious dismay, however, Jacinta is bringing along her five-month-old baby. This was not part of the deal. With tremendous skill and easy charm, De Silva and Duarte show how the relationship between the two gradually changes. We appear to be living with Ruben and Jacinta in...
- 12/2/2011
- by Peter Bradshaw, The Guardian
- The Guardian - Film News
Lynne Ramsay's drama starring Tilda Swinton fights off opposition from a strong shortlist to win best film at ceremony
• Lff awards: in pictures
Lynne Ramsay's bold and memorable adaptation of Lionel Shriver's novel We Need to Talk About Kevin was named best film at the BFI London film festival awards on Wednesday.
The film is Ramsay's first in nearly 10 years and only her third since her breakthrough, Ratcatcher. At a ceremony in London her new film, which came out on general release last Friday, was named best film from a strong shortlist including Steve McQueen's Shame and Terence Davies's The Deep Blue Sea.
The director John Madden, who chaired the category's jury, said they had been struck by the "sheer panache" of a shortlist with "great storytellers".
He added: "In the end, we were simply bowled over by one film – a sublime, uncompromising tale of...
• Lff awards: in pictures
Lynne Ramsay's bold and memorable adaptation of Lionel Shriver's novel We Need to Talk About Kevin was named best film at the BFI London film festival awards on Wednesday.
The film is Ramsay's first in nearly 10 years and only her third since her breakthrough, Ratcatcher. At a ceremony in London her new film, which came out on general release last Friday, was named best film from a strong shortlist including Steve McQueen's Shame and Terence Davies's The Deep Blue Sea.
The director John Madden, who chaired the category's jury, said they had been struck by the "sheer panache" of a shortlist with "great storytellers".
He added: "In the end, we were simply bowled over by one film – a sublime, uncompromising tale of...
- 10/27/2011
- by Mark Brown
- The Guardian - Film News
Tilda Swinton's harrowing new movie We Need To Talk About Kevin has won the top prize at the London Film Festival (Lff).
The Oscar-winning actress stars as a mother coming to terms with the fact her son, Kevin, has committed mass murder at his high school.
The film, based on Lionel Shriver's 2003 novel of the same name, saw off competition from George Clooney's latest offering, The Descendants, to win the coveted Best Picture at the British Film Institute's (BFI) movie event on Wednesday night.
Judging panel chairman John Madden says, "In the end, we were simply bowled over by one film - a sublime, uncompromising tale of the torment that can stand in the place of love. We Need To Talk About Kevin is made with the kind of singular vision that links great directors across all the traditions of cinema."
Actress Candese Reid won the British Newcomer award for her movie debut in Junkhearts, while Argentinian director Pablo Giorgelli scooped The Sutherland Award for Las Acacias.
Canadian director David Cronenberg and British actor Ralph Fiennes were awarded the festival's highest accolade, the BFI Fellowship.
The Oscar-winning actress stars as a mother coming to terms with the fact her son, Kevin, has committed mass murder at his high school.
The film, based on Lionel Shriver's 2003 novel of the same name, saw off competition from George Clooney's latest offering, The Descendants, to win the coveted Best Picture at the British Film Institute's (BFI) movie event on Wednesday night.
Judging panel chairman John Madden says, "In the end, we were simply bowled over by one film - a sublime, uncompromising tale of the torment that can stand in the place of love. We Need To Talk About Kevin is made with the kind of singular vision that links great directors across all the traditions of cinema."
Actress Candese Reid won the British Newcomer award for her movie debut in Junkhearts, while Argentinian director Pablo Giorgelli scooped The Sutherland Award for Las Acacias.
Canadian director David Cronenberg and British actor Ralph Fiennes were awarded the festival's highest accolade, the BFI Fellowship.
- 10/27/2011
- WENN
We Need to Talk About Kevin, directed by Lynne Ramsay, won the Best Film at 55th BFI London Film Festival. The awards were announced Wednesday night.
On behalf of the jury, John Madden, chairperson said: “In the end, we were simply bowled over by one film, a sublime, uncompromising tale of the torment that can stand in the place of love. We Need to Talk About Kevin is made with the kind of singular vision that links great directors across all the traditions of cinema”.
The award for Best British Newcomer went to actor Candese Reid for her role in Junkhearts.
The Sutherland Award went to Argentinean director Pablo Giorgelli, director of Las Acacias. This award is presented to the director of the most original and imaginative feature debut in the festival.
The Grierson Award for Best Documentary went to Into the Abyss: A Tale of Death, A Tale of Life directed by Werner Herzog.
On behalf of the jury, John Madden, chairperson said: “In the end, we were simply bowled over by one film, a sublime, uncompromising tale of the torment that can stand in the place of love. We Need to Talk About Kevin is made with the kind of singular vision that links great directors across all the traditions of cinema”.
The award for Best British Newcomer went to actor Candese Reid for her role in Junkhearts.
The Sutherland Award went to Argentinean director Pablo Giorgelli, director of Las Acacias. This award is presented to the director of the most original and imaginative feature debut in the festival.
The Grierson Award for Best Documentary went to Into the Abyss: A Tale of Death, A Tale of Life directed by Werner Herzog.
- 10/27/2011
- by NewsDesk
- DearCinema.com
Tilda Swinton, We Need to Talk About Kevin Lynne Ramsay's British family drama We Need to Talk About Kevin, which stars Tilda Swinton as the mother of a young mass murderer, won the Best Film Award at the 2011 BFI London Film Festival (Lff). The Lff awards ceremony was held this evening in Central London; comedian Marcus Brigstocke hosted the event. Jury chair John Madden and fellow judge Gillian Anderson presented the Best Film award. The Best British Newcomer award went to actress Candese Reid for her performance in Tinge Krishnan's dark social drama Junkhearts. Edgar Wright and Minnie Driver presented the award. Pablo Giorgelli was given the Sutherland Award Winner for the Argentinean drama Las Acacias, described as "a slow-burning, uplifting and enchanting story of a truck driver and his passengers." The Sutherland Award, this year presented by Terry Gilliam, is given to the director "of the most...
- 10/27/2011
- by Steve Montgomery
- Alt Film Guide
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