Mubi Podcast: Encuentros returns this week with a new episode.The fifth episode features:Laura Paredes, an Argentine actress, recognized in the theater scene for being part of Piel de Lava, one of the most outstanding groups inside and outside her country for its strong experimental approach. Paredes has worked in film with Argentine directors such as Martín Rejtman, Santiago Mitre, and Matías Piñeiro. She has starred in Laura Citarella's two feature films: Ostende (2011) and Trenque Lauquen (2022), the latter of which premiered at the most recent edition of the Venice Film Festival. The second guest is Manuela Martelli, a Chilean actress and director whose career began with outstanding performances in films in her country directed by Andrés Wood and Gonzalo Justiniano. Since then, she has appeared in films by renowned Latin American directors such as Sebastián Lelio, Martín Rejtman, and Alicia Scherson, as well as in projects in Italy,...
- 12/21/2022
- MUBI
Auteur recently attended Efm with Damn Kids.
Chilean director Gonzalo Justiniano is moving ahead on his next project after attending the Efm in Berlin last month with market title and activism drama Damn Kids (Cabros de Mierda).
Justiniano, known for films like drama Berlinale 2004 Berlinale Forum C.I.C.E.A. Award winner B-Happy and 1991 best Spanish-language foreign film Goya nominee Candy Or Mint (Caluga o Menta), is preparing The Photographer Of God (El Fotógrafo de Dios) for Imago Producciones and Sahara Films.
The Photographer Of God follows two men on the trail of a world-renowned former Magnum photographer who...
Chilean director Gonzalo Justiniano is moving ahead on his next project after attending the Efm in Berlin last month with market title and activism drama Damn Kids (Cabros de Mierda).
Justiniano, known for films like drama Berlinale 2004 Berlinale Forum C.I.C.E.A. Award winner B-Happy and 1991 best Spanish-language foreign film Goya nominee Candy Or Mint (Caluga o Menta), is preparing The Photographer Of God (El Fotógrafo de Dios) for Imago Producciones and Sahara Films.
The Photographer Of God follows two men on the trail of a world-renowned former Magnum photographer who...
- 3/20/2018
- by Jeremy Kay
- ScreenDaily
Auteur recently attended Efm with Damn Kids.
Chilean director Gonzalo Justiniano is lining up his next project after attending the Efm in Berlin last month with market title and activism drama Damn Kids (Cabros de Mierda).
Justiniano, known for films like drama Berlinale 2004 Berlinale Forum C.I.C.E.A. Award winner B-Happy and 1991 best Spanish-language foreign film Goya nominee Candy Or Mint (Caluga o Menta), is preparing The Photographer Of God (El Fotógrafo de Dios) for Imago Producciones and Sahara Films.
The Photographer Of God follows two men on the trail of a world-renowned former Magnum photographer who has...
Chilean director Gonzalo Justiniano is lining up his next project after attending the Efm in Berlin last month with market title and activism drama Damn Kids (Cabros de Mierda).
Justiniano, known for films like drama Berlinale 2004 Berlinale Forum C.I.C.E.A. Award winner B-Happy and 1991 best Spanish-language foreign film Goya nominee Candy Or Mint (Caluga o Menta), is preparing The Photographer Of God (El Fotógrafo de Dios) for Imago Producciones and Sahara Films.
The Photographer Of God follows two men on the trail of a world-renowned former Magnum photographer who has...
- 3/20/2018
- by Jeremy Kay
- ScreenDaily
The 15th Cine Las Americas International Film Festival opens in Austin this Tuesday, April 24, and runs for six glorious film-filled days featuring narrative features, documentaries, shorts and animation from all over Latin America (U.S. included, naturalmente) as well as the mother-tongue homelands of Spain and Portugal. Films are playing at the Alamo Drafthouse on South Lamar and the Mexican American Cultural Center. Check the Claiff website for details about screen times, festival badges and single tickets.
Since there are too many films to cover, here is a personal list of narrative features and documentaries I am most interested in seeing, including a few I have already enjoyed. The best thing to do is carefully explore the Cine Las Americas schedule and watch the helpful trailers in order to plot your own course through the overwhelming lineup.
Tuesday's opening night at Alamo South Lamar will feature two showings of Alguien ha visto a Lupita?...
Since there are too many films to cover, here is a personal list of narrative features and documentaries I am most interested in seeing, including a few I have already enjoyed. The best thing to do is carefully explore the Cine Las Americas schedule and watch the helpful trailers in order to plot your own course through the overwhelming lineup.
Tuesday's opening night at Alamo South Lamar will feature two showings of Alguien ha visto a Lupita?...
- 4/23/2012
- by Chale Nafus
- Slackerwood
New York -- The fifth annual Miami International Film Festival has announced a tribute for director Luc Besson, participants in the Miami Encuentros program for emerging Latino directors, the Reel Education Seminar Series and 16 features in its World & Ibero-American Cinema documentary competition.
Besson, the French helmer of "La Femme Nikita" and "The Fifth Element," will appear at the Career Achievement Tribute and present the East Coast premiere of his tenth film, the black-and-white fable "Angel-a."
The Encuentros program, presented by Eastman Kodak and Entertainment Partners, will give filmmakers from nine Latino projects the chance to present new work to producers, agents, TV stations and distributors. The features set to be screened include Andre Ristum's Brazilian "Square Man," Carlos Moreno's Colombian "Dog Eat Dog," Gonzalo Justiniano's Chilean "Lokas" and Adrian Biniez's Argentinian "Giant." Paramount Vantage's Matt Brodlie, Warner Independent Pictures' Paul Federbush, Kodak's Anne Hubbell, Cinetic Media's Sarah Lash and Wma's Eric Rovner and Jerome Duboz are among the 22 delegates participating as filmmaker advisors.
This year's World & Ibero-American Cinema documentary feature contenders include Tali Shemesh's Holocaust survivor portrait "The Cemetery Club," Marco Williams' tale of post-Civil War discrimination, "Banished," John Fiege's immigration study "Mississippi Chicken" and Jennifer Baichwal's Toronto International Film Festival prizewinner "Manufactured Landscapes."
The winner will receive a $25,000 award sponsored by the John S. and James L. Night Foundation. Two other competitions for dramatic features, World Cinema and Ibero-American Cinema, will also award each winning film a $25,000 prize.
The 2007 World Cinema dramatic features jury includes writer/director Raoul Peck and producers Christine Vachon and Bernardo Zupnik. Sarajevo Film Festival programmer Howard Feinstein and producers Bertha Navarro and Jim Stark will judge the Ibero-American Cinema dramatic competition. American Documentary vp Cynthia Lopez, Film Forum programmer Mike Maggiore and acquisitions exec Rob Williams will judge the World & Ibero-American docu competition.
The fest's Reel Education Seminars Series will feature a hefty 26 panels. including "Agents, Packaging & Financing -- At What Stage Do I Look for Representation?" with The Collective's Shaun Redick, CAA's Roeg Sutherland, Endeavor Independent's Graham Taylor and UTA's Keya Khayatian. Other discussions include "Pitch to the Pros --? Writing Treatments That Sell" with Silverwood Films' Lynette Howell and UTA's Jon Huddle, "Documentaries --? Why Have They Become So Popular Recently?" with Submarine's Josh Braun and ThinkFilm's Daniel Katz, and "Us Distribution" with Brodlie, Federbush, Focus Features' Jason Resnick and IFC Films' Arianna Bocco.
The festival, presented by Miami Dade College, runs March 2-11.
Besson, the French helmer of "La Femme Nikita" and "The Fifth Element," will appear at the Career Achievement Tribute and present the East Coast premiere of his tenth film, the black-and-white fable "Angel-a."
The Encuentros program, presented by Eastman Kodak and Entertainment Partners, will give filmmakers from nine Latino projects the chance to present new work to producers, agents, TV stations and distributors. The features set to be screened include Andre Ristum's Brazilian "Square Man," Carlos Moreno's Colombian "Dog Eat Dog," Gonzalo Justiniano's Chilean "Lokas" and Adrian Biniez's Argentinian "Giant." Paramount Vantage's Matt Brodlie, Warner Independent Pictures' Paul Federbush, Kodak's Anne Hubbell, Cinetic Media's Sarah Lash and Wma's Eric Rovner and Jerome Duboz are among the 22 delegates participating as filmmaker advisors.
This year's World & Ibero-American Cinema documentary feature contenders include Tali Shemesh's Holocaust survivor portrait "The Cemetery Club," Marco Williams' tale of post-Civil War discrimination, "Banished," John Fiege's immigration study "Mississippi Chicken" and Jennifer Baichwal's Toronto International Film Festival prizewinner "Manufactured Landscapes."
The winner will receive a $25,000 award sponsored by the John S. and James L. Night Foundation. Two other competitions for dramatic features, World Cinema and Ibero-American Cinema, will also award each winning film a $25,000 prize.
The 2007 World Cinema dramatic features jury includes writer/director Raoul Peck and producers Christine Vachon and Bernardo Zupnik. Sarajevo Film Festival programmer Howard Feinstein and producers Bertha Navarro and Jim Stark will judge the Ibero-American Cinema dramatic competition. American Documentary vp Cynthia Lopez, Film Forum programmer Mike Maggiore and acquisitions exec Rob Williams will judge the World & Ibero-American docu competition.
The fest's Reel Education Seminars Series will feature a hefty 26 panels. including "Agents, Packaging & Financing -- At What Stage Do I Look for Representation?" with The Collective's Shaun Redick, CAA's Roeg Sutherland, Endeavor Independent's Graham Taylor and UTA's Keya Khayatian. Other discussions include "Pitch to the Pros --? Writing Treatments That Sell" with Silverwood Films' Lynette Howell and UTA's Jon Huddle, "Documentaries --? Why Have They Become So Popular Recently?" with Submarine's Josh Braun and ThinkFilm's Daniel Katz, and "Us Distribution" with Brodlie, Federbush, Focus Features' Jason Resnick and IFC Films' Arianna Bocco.
The festival, presented by Miami Dade College, runs March 2-11.
- 8/18/2008
- by By Gregg Goldstein
- The Hollywood Reporter - Movie News
Los Angeles-based sales company Cinema Management Group has acquired international distribution rights to Jose Roberto Torero's Como Fazer Um Filme de Amor (Manual for Love Stories) from Brazilian distributor Lumiere, which is releasing the film in Brazil Oct. 29. The romantic comedy, which had its world premiere at the recent Montreal World Film Festival, was produced by Zita Carvalhosa and Lumiere with financial support from Brazilian tax funds and the support of the Brazilian Film Agency. It was acquired by CMG's Edward Noeltner after the Montreal screening. "For a first-time director, Jose Roberto Torero shows considerable talent and craftsmanship as well as a thorough understanding of the Genre," Noeltner said. "Only when you know film and the conventions of genre can you have so much fun with turning things upside down -- and what has come out is wall-to-wall laughter right through the end credits of this film." The deal marks CMG's third acquisition of a Latin American film in as many months. In July, it picked up Elia Schneider's Venezuelan hit Step Forward, which is Venezuela's contender for a best foreign language Academy Award nimination. In August, CMG acquired international rights to Gonzalo Justiniano's award-winning Chilean feature B-Happy.
- 10/5/2004
- The Hollywood Reporter - Movie News
NEW YORK -- Chilean director Gonzalo Justiniano's feature "B-Happy" is a testimonial to the resilience of youth. The coming-of-age story shows how a teenage girl overcomes all the horrors that life throws at her because she has no other option. It's a thoughtful work that opts for careful observation and quiet deliberation over histrionics and drama. This approach results in a satisfying and well-rounded film.
There's no reason why "B-Happy" shouldn't pick up international exposure in select art house cinemas. It's a good story well told, and it touches the viewer without resorting to emotional mugging. Films about moody teens can be lugubrious, but short scenes and fade-to-blacks keep this one well paced. It played at the New Directors, New Films Festival, though -- as director Justiniano is something of a veteran -- here that must mean "new" to the United States.
The screenplay by the director and three collaborators centers on the trials of 14-year-old Kathy, played with admirable restraint by newcomer Manuela Martelli. Kathy has to deal with a criminal father, the death of her mother, accidental imprisonment and prostitution as she tries to go forward with her life. Her mantra -- "I'm not afraid of anything" -- helps her to deal with each problem as it arises. Finally, she manages to break clear of everything, though whether her life will improve as a result is left open.
The story certainly has some melodramatic elements. But a restrained performance by Martelli, along with some detached direction by Justiniano, manage to keep things looking real onscreen. Martelli uses an internal approach to depict sullen teenage feelings -- she never slams a door, stamps her foot or screams. Director Justiniano also holds back on the drama, preferring to keep life's big events on a flat plane with its smaller ones.
There's no reason why "B-Happy" shouldn't pick up international exposure in select art house cinemas. It's a good story well told, and it touches the viewer without resorting to emotional mugging. Films about moody teens can be lugubrious, but short scenes and fade-to-blacks keep this one well paced. It played at the New Directors, New Films Festival, though -- as director Justiniano is something of a veteran -- here that must mean "new" to the United States.
The screenplay by the director and three collaborators centers on the trials of 14-year-old Kathy, played with admirable restraint by newcomer Manuela Martelli. Kathy has to deal with a criminal father, the death of her mother, accidental imprisonment and prostitution as she tries to go forward with her life. Her mantra -- "I'm not afraid of anything" -- helps her to deal with each problem as it arises. Finally, she manages to break clear of everything, though whether her life will improve as a result is left open.
The story certainly has some melodramatic elements. But a restrained performance by Martelli, along with some detached direction by Justiniano, manage to keep things looking real onscreen. Martelli uses an internal approach to depict sullen teenage feelings -- she never slams a door, stamps her foot or screams. Director Justiniano also holds back on the drama, preferring to keep life's big events on a flat plane with its smaller ones.
Sahara Films
NEW YORK -- Simultaneously underdeveloped and overcooked, this Chilean melodrama depicting the tragic consequences resulting from an adulterous love triangle attempts to have the portentous weight of a biblical allegory. While its more extreme elements are less than convincing, "El Leyton" does boast an undeniable exoticism that makes its all-too-familiar elements more palatable. This feature from director Gonzalo Justiniano ("B-Happy") is receiving its U.S. theatrical premiere at New York's Quad Cinema.
The tale is told in flashback form, beginning with the return of the bedraggled, one-eyed title character to his rural seaside village. Leyton (Juan Pablo Saez), begging the villagers' forgiveness, proceeds to tell his story and attempt to provide justification for his actions.
It seems that he was partners with his best friend Modesto (Luis Wigdorsky) in a fishing business, when the latter fell in love with and married the beautiful and demure Marta (Siboney Lo). Modesto, rough-hewed and inexperienced in love, proves a less-than-exciting husband for his wife, who soon enters a depressed and sexually deprived state. Enter Leyton, the village bon vivant and playboy, who decides to take advantage of the situation by seducing the initially resistant but ultimately agreeable Marta.
Needless to say, the liaison, which becomes less than a secret to the rest of the community, eventually becomes known to the outraged Modesto, who proves to be less of a patsy than previously assumed by the reckless Leyton.
Ultimately, there's little to distinguish this tale from the countless similar efforts that have preceded it, other than the exoticism of its setting. The performers do manage to bring some life to their characters: Saez makes Leyton strangely likable despite his often violently aggressive behavior, Wigdorsky brings some odd and intriguing grace notes to his portrayal of the hapless but ultimately violent Modesto, and Lo well delineates Marta's gradual sexual awakening.
NEW YORK -- Simultaneously underdeveloped and overcooked, this Chilean melodrama depicting the tragic consequences resulting from an adulterous love triangle attempts to have the portentous weight of a biblical allegory. While its more extreme elements are less than convincing, "El Leyton" does boast an undeniable exoticism that makes its all-too-familiar elements more palatable. This feature from director Gonzalo Justiniano ("B-Happy") is receiving its U.S. theatrical premiere at New York's Quad Cinema.
The tale is told in flashback form, beginning with the return of the bedraggled, one-eyed title character to his rural seaside village. Leyton (Juan Pablo Saez), begging the villagers' forgiveness, proceeds to tell his story and attempt to provide justification for his actions.
It seems that he was partners with his best friend Modesto (Luis Wigdorsky) in a fishing business, when the latter fell in love with and married the beautiful and demure Marta (Siboney Lo). Modesto, rough-hewed and inexperienced in love, proves a less-than-exciting husband for his wife, who soon enters a depressed and sexually deprived state. Enter Leyton, the village bon vivant and playboy, who decides to take advantage of the situation by seducing the initially resistant but ultimately agreeable Marta.
Needless to say, the liaison, which becomes less than a secret to the rest of the community, eventually becomes known to the outraged Modesto, who proves to be less of a patsy than previously assumed by the reckless Leyton.
Ultimately, there's little to distinguish this tale from the countless similar efforts that have preceded it, other than the exoticism of its setting. The performers do manage to bring some life to their characters: Saez makes Leyton strangely likable despite his often violently aggressive behavior, Wigdorsky brings some odd and intriguing grace notes to his portrayal of the hapless but ultimately violent Modesto, and Lo well delineates Marta's gradual sexual awakening.
NEW YORK -- Chilean director Gonzalo Justiniano's feature "B-Happy" is a testimonial to the resilience of youth. The coming-of-age story shows how a teenage girl overcomes all the horrors that life throws at her because she has no other option. It's a thoughtful work that opts for careful observation and quiet deliberation over histrionics and drama. This approach results in a satisfying and well-rounded film.
There's no reason why "B-Happy" shouldn't pick up international exposure in select art house cinemas. It's a good story well told, and it touches the viewer without resorting to emotional mugging. Films about moody teens can be lugubrious, but short scenes and fade-to-blacks keep this one well paced. It played at the New Directors, New Films Festival, though -- as director Justiniano is something of a veteran -- here that must mean "new" to the United States.
The screenplay by the director and three collaborators centers on the trials of 14-year-old Kathy, played with admirable restraint by newcomer Manuela Martelli. Kathy has to deal with a criminal father, the death of her mother, accidental imprisonment and prostitution as she tries to go forward with her life. Her mantra -- "I'm not afraid of anything" -- helps her to deal with each problem as it arises. Finally, she manages to break clear of everything, though whether her life will improve as a result is left open.
The story certainly has some melodramatic elements. But a restrained performance by Martelli, along with some detached direction by Justiniano, manage to keep things looking real onscreen. Martelli uses an internal approach to depict sullen teenage feelings -- she never slams a door, stamps her foot or screams. Director Justiniano also holds back on the drama, preferring to keep life's big events on a flat plane with its smaller ones.
There's no reason why "B-Happy" shouldn't pick up international exposure in select art house cinemas. It's a good story well told, and it touches the viewer without resorting to emotional mugging. Films about moody teens can be lugubrious, but short scenes and fade-to-blacks keep this one well paced. It played at the New Directors, New Films Festival, though -- as director Justiniano is something of a veteran -- here that must mean "new" to the United States.
The screenplay by the director and three collaborators centers on the trials of 14-year-old Kathy, played with admirable restraint by newcomer Manuela Martelli. Kathy has to deal with a criminal father, the death of her mother, accidental imprisonment and prostitution as she tries to go forward with her life. Her mantra -- "I'm not afraid of anything" -- helps her to deal with each problem as it arises. Finally, she manages to break clear of everything, though whether her life will improve as a result is left open.
The story certainly has some melodramatic elements. But a restrained performance by Martelli, along with some detached direction by Justiniano, manage to keep things looking real onscreen. Martelli uses an internal approach to depict sullen teenage feelings -- she never slams a door, stamps her foot or screams. Director Justiniano also holds back on the drama, preferring to keep life's big events on a flat plane with its smaller ones.
- 6/17/2004
- The Hollywood Reporter - Movie News
Sahara Films
NEW YORK -- Simultaneously underdeveloped and overcooked, this Chilean melodrama depicting the tragic consequences resulting from an adulterous love triangle attempts to have the portentous weight of a biblical allegory. While its more extreme elements are less than convincing, "El Leyton" does boast an undeniable exoticism that makes its all-too-familiar elements more palatable. This feature from director Gonzalo Justiniano ("B-Happy") is receiving its U.S. theatrical premiere at New York's Quad Cinema.
The tale is told in flashback form, beginning with the return of the bedraggled, one-eyed title character to his rural seaside village. Leyton (Juan Pablo Saez), begging the villagers' forgiveness, proceeds to tell his story and attempt to provide justification for his actions.
It seems that he was partners with his best friend Modesto (Luis Wigdorsky) in a fishing business, when the latter fell in love with and married the beautiful and demure Marta (Siboney Lo). Modesto, rough-hewed and inexperienced in love, proves a less-than-exciting husband for his wife, who soon enters a depressed and sexually deprived state. Enter Leyton, the village bon vivant and playboy, who decides to take advantage of the situation by seducing the initially resistant but ultimately agreeable Marta.
Needless to say, the liaison, which becomes less than a secret to the rest of the community, eventually becomes known to the outraged Modesto, who proves to be less of a patsy than previously assumed by the reckless Leyton.
Ultimately, there's little to distinguish this tale from the countless similar efforts that have preceded it, other than the exoticism of its setting. The performers do manage to bring some life to their characters: Saez makes Leyton strangely likable despite his often violently aggressive behavior, Wigdorsky brings some odd and intriguing grace notes to his portrayal of the hapless but ultimately violent Modesto, and Lo well delineates Marta's gradual sexual awakening.
NEW YORK -- Simultaneously underdeveloped and overcooked, this Chilean melodrama depicting the tragic consequences resulting from an adulterous love triangle attempts to have the portentous weight of a biblical allegory. While its more extreme elements are less than convincing, "El Leyton" does boast an undeniable exoticism that makes its all-too-familiar elements more palatable. This feature from director Gonzalo Justiniano ("B-Happy") is receiving its U.S. theatrical premiere at New York's Quad Cinema.
The tale is told in flashback form, beginning with the return of the bedraggled, one-eyed title character to his rural seaside village. Leyton (Juan Pablo Saez), begging the villagers' forgiveness, proceeds to tell his story and attempt to provide justification for his actions.
It seems that he was partners with his best friend Modesto (Luis Wigdorsky) in a fishing business, when the latter fell in love with and married the beautiful and demure Marta (Siboney Lo). Modesto, rough-hewed and inexperienced in love, proves a less-than-exciting husband for his wife, who soon enters a depressed and sexually deprived state. Enter Leyton, the village bon vivant and playboy, who decides to take advantage of the situation by seducing the initially resistant but ultimately agreeable Marta.
Needless to say, the liaison, which becomes less than a secret to the rest of the community, eventually becomes known to the outraged Modesto, who proves to be less of a patsy than previously assumed by the reckless Leyton.
Ultimately, there's little to distinguish this tale from the countless similar efforts that have preceded it, other than the exoticism of its setting. The performers do manage to bring some life to their characters: Saez makes Leyton strangely likable despite his often violently aggressive behavior, Wigdorsky brings some odd and intriguing grace notes to his portrayal of the hapless but ultimately violent Modesto, and Lo well delineates Marta's gradual sexual awakening.
- 12/10/2003
- The Hollywood Reporter - Movie News
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