Debut edition of festival wrapped on October 12.
Spanish series Entrevias has won the audience award in the fiction section of the inaugural South International Series Festival which wrapped yesterday (October 12). Music documentary series Macarena won the audience prize in the festival’s non-fiction section.
Entrevias, now in its third season, is produced by Mediaset España and Alea Media for Telecinco. The series centres on a war veteran who takes matters into his own hands when his teenage granddaughter falls victim to the drug dealers overtaking his neighbourhood.
Documentary series Macarena, produced by Producciones del Barrio for Spanish streamer Movistar Plus...
Spanish series Entrevias has won the audience award in the fiction section of the inaugural South International Series Festival which wrapped yesterday (October 12). Music documentary series Macarena won the audience prize in the festival’s non-fiction section.
Entrevias, now in its third season, is produced by Mediaset España and Alea Media for Telecinco. The series centres on a war veteran who takes matters into his own hands when his teenage granddaughter falls victim to the drug dealers overtaking his neighbourhood.
Documentary series Macarena, produced by Producciones del Barrio for Spanish streamer Movistar Plus...
- 10/13/2023
- by Tim Dams
- ScreenDaily
As earning significant profile for shows in a packed marketplace has become one of Europe’s most pressing industry concerns, a new and ambitious TV series festival is launching in Cadiz, southern Spain, as an initiative of Mediaset España and backed by shows from other key players on the Spanish TV scene, such as The Mediapro Studio and Movistar Plus+.
Speakers from the Spanish-speaking world take in writer-director-producer Armando Bo (“El Presidente”), an Oscar winning scribe for “Birdman, or the Unexpected Virtue of Ignorance,” and Daniel Écija, an executive producer on key hits in the last decade in Spain such as the multi-genre free-to-air series “Estoy Vivo,” and “Locked Up” “(Vis a vis,” a key into its lift-off into premium drama selling worldwide.
Some titles screening at Cadiz are already celebrated, such as Russell T. Davies’ “Nolly,” starring Helena Bonham-Carter.
Also in the Coming Next section is Norwegian political satire “Power Play,...
Speakers from the Spanish-speaking world take in writer-director-producer Armando Bo (“El Presidente”), an Oscar winning scribe for “Birdman, or the Unexpected Virtue of Ignorance,” and Daniel Écija, an executive producer on key hits in the last decade in Spain such as the multi-genre free-to-air series “Estoy Vivo,” and “Locked Up” “(Vis a vis,” a key into its lift-off into premium drama selling worldwide.
Some titles screening at Cadiz are already celebrated, such as Russell T. Davies’ “Nolly,” starring Helena Bonham-Carter.
Also in the Coming Next section is Norwegian political satire “Power Play,...
- 10/6/2023
- by Pablo Sandoval
- Variety Film + TV
MADRID -- Madrid-based production boutique Alquimia Cinema has added two Spanish-language films to its 2007 production slate, Alquimia president and founder Francisco Ramos said Monday.
The first is the €2.2 million ($2.93 million) comedy "Big, Fat Lies", directed by Alfonso Albacete and David Menkes, with a script from Angeles Gonzalez-Sinde. Set to shoot in Spain in May, the film depicts a typical weekend for youngsters in Spain.
The next up is "4 Dances", to be directed by Maria Ripoll. The drama reteams Ripoll with scriptwriter Albert Espinosa ("Tu Vida en 65 Minutos") and will cost €2 million ($2.67 million). The film turns on a boy who grew up too fast, his brother and a special girl and is told in the span of four nights at a dance school.
Alquimia has decided cast for Manuel Toledano's "Monday can Wait" about gay nightlife. The €1.2 million ($1.6 million) musical comedy was written by Toledano ("Shampoo Horns") and stars Hugo Silva, Asier Etxeandia, Alex Gonzalez and Daniele Liotti.
The producer of films like "El Metodo" and "Condom Express" has slowed its rhythm of production over the past few years, while maintaining a festival and boxoffice friendly slate.
The first is the €2.2 million ($2.93 million) comedy "Big, Fat Lies", directed by Alfonso Albacete and David Menkes, with a script from Angeles Gonzalez-Sinde. Set to shoot in Spain in May, the film depicts a typical weekend for youngsters in Spain.
The next up is "4 Dances", to be directed by Maria Ripoll. The drama reteams Ripoll with scriptwriter Albert Espinosa ("Tu Vida en 65 Minutos") and will cost €2 million ($2.67 million). The film turns on a boy who grew up too fast, his brother and a special girl and is told in the span of four nights at a dance school.
Alquimia has decided cast for Manuel Toledano's "Monday can Wait" about gay nightlife. The €1.2 million ($1.6 million) musical comedy was written by Toledano ("Shampoo Horns") and stars Hugo Silva, Asier Etxeandia, Alex Gonzalez and Daniele Liotti.
The producer of films like "El Metodo" and "Condom Express" has slowed its rhythm of production over the past few years, while maintaining a festival and boxoffice friendly slate.
- 3/27/2007
- The Hollywood Reporter - Movie News
In Mad Love (Juana La Loca), veteran Spanish writer-director Vicente Aranda subjects a remote historical figure to modern-day psychological treatment. Joan of Castile (1479-1555) has gone down in history as "Joan the Mad." Obsessively jealous of her husband -- and we can pretty much guess what the problem was when we learn he was known as Philip the Handsome -- Joan was devastated by his early death. Behaving erratically before and after Philip's death, Joan was confined for the remainder of her life in a castle by her father and later her son.
To Aranda, all this smacks of "mad love," an unbridled passion we moderns know all too well. So he portrays Joan as something of a spoiled Beverly Hills wife, unfortunate to love her husband excessively but none too wisely. Newcomer Pilar Lopez de Ayala won a Goya for her portrayal of Mad Joan, and the film was Spain's entry for this year's foreign language film Oscar. Yet the distant subject matter and the unavoidably gloomy tale that engulfs these characters probably doom the Sony Pictures Classics release to a limited audience.
Aranda's script takes pains to contemporize its medieval characters. There are only passing references to the religious austerity of the Spanish court and its persecution of non-Catholics. Otherwise, Joan and Philip (Italian actor Daniele Liotti, who is dubbed) are like any dysfunctional couple. He barely troubles to conceal his love affairs with other women, while she suffers jealous rages within the royal apartments. Apparently, Joan has an insatiable need for the pleasures of the marital bed. Even breast-feeding her children -- the only maternal act we witness in the movie -- sends her into ecstasy.
Upon her unexpected ascension to the Castilian throne because of the deaths of an older brother, sister and finally her mother in 1504, Joan ignores her duties as a monarch to pursue evidence of her husband's transgressions. Egged on by his supporters, Philip decides to have his wife declared mad so he can seize the throne. Only his sudden death delays this action.
The trouble with making this queen a thoroughly modern maiden is that it also makes her appear foolish and shallow rather than, as was more likely, a victim of mental illness. It's hard to sympathize with a ruler who has so little regard for her own subjects, children or the role history has thrust upon her.
The two main actors do fine jobs of humanizing their characters, but the time leaps make them struggle to ascribe motives and subtleties to ever-shifting behavior patterns. Courtiers come off as a conniving lot, as is common in costume dramas, but the actors do create vivid personalities. Especially noteworthy is Manuela Arcuri, who manages to be sensual yet hugely vulnerable as Philip's Moorish mistress.
Aranda sometimes drifts into cliches. A heavy downpour accompanies the announcement of the death of Joan's mother. Joan's father is seen eating like a pig while conspiring with her husband to make certain we really don't like him. A voice-over narration turns the film into a history lesson rather than a tale of doomed love.
The pomp and circumstance, art direction, elegant lighting and cinematography evoke the medieval world well. Jose Nieto's orchestrations are in a restrained classical mode. But the milieu on display, not quite medieval and not quite modern , never comes to life.
MAD LOVE
Sony Pictures Classics
An Enrique Cerezo PC/Production Group/Take 2000 production in association with TVE, Canal Plus, TeleMadrid
Credits:
Screenwriter-director: Vicente Aranda
Producer: Enrique Cerezo
Director of photography: Paco Femenia
Production designer: Josep Rosell
Music: Jose Nieto
Costume designer: Javier Artinano
Editor: Teresa Font
Cast:
Joan: Pilar Lopez de Ayala
Philip: Daniele Liotti
Aixa: Mannuela Arcuri
Alvaro de Estuniga: Eloy Azorin
Elvira: Rosana Pastor
De Vere: Guiliano Gemma
Admiral: Roberto Alvarez
Ines: Caroline Bona
Running time -- 117 minutes
MPAA rating: R...
To Aranda, all this smacks of "mad love," an unbridled passion we moderns know all too well. So he portrays Joan as something of a spoiled Beverly Hills wife, unfortunate to love her husband excessively but none too wisely. Newcomer Pilar Lopez de Ayala won a Goya for her portrayal of Mad Joan, and the film was Spain's entry for this year's foreign language film Oscar. Yet the distant subject matter and the unavoidably gloomy tale that engulfs these characters probably doom the Sony Pictures Classics release to a limited audience.
Aranda's script takes pains to contemporize its medieval characters. There are only passing references to the religious austerity of the Spanish court and its persecution of non-Catholics. Otherwise, Joan and Philip (Italian actor Daniele Liotti, who is dubbed) are like any dysfunctional couple. He barely troubles to conceal his love affairs with other women, while she suffers jealous rages within the royal apartments. Apparently, Joan has an insatiable need for the pleasures of the marital bed. Even breast-feeding her children -- the only maternal act we witness in the movie -- sends her into ecstasy.
Upon her unexpected ascension to the Castilian throne because of the deaths of an older brother, sister and finally her mother in 1504, Joan ignores her duties as a monarch to pursue evidence of her husband's transgressions. Egged on by his supporters, Philip decides to have his wife declared mad so he can seize the throne. Only his sudden death delays this action.
The trouble with making this queen a thoroughly modern maiden is that it also makes her appear foolish and shallow rather than, as was more likely, a victim of mental illness. It's hard to sympathize with a ruler who has so little regard for her own subjects, children or the role history has thrust upon her.
The two main actors do fine jobs of humanizing their characters, but the time leaps make them struggle to ascribe motives and subtleties to ever-shifting behavior patterns. Courtiers come off as a conniving lot, as is common in costume dramas, but the actors do create vivid personalities. Especially noteworthy is Manuela Arcuri, who manages to be sensual yet hugely vulnerable as Philip's Moorish mistress.
Aranda sometimes drifts into cliches. A heavy downpour accompanies the announcement of the death of Joan's mother. Joan's father is seen eating like a pig while conspiring with her husband to make certain we really don't like him. A voice-over narration turns the film into a history lesson rather than a tale of doomed love.
The pomp and circumstance, art direction, elegant lighting and cinematography evoke the medieval world well. Jose Nieto's orchestrations are in a restrained classical mode. But the milieu on display, not quite medieval and not quite modern , never comes to life.
MAD LOVE
Sony Pictures Classics
An Enrique Cerezo PC/Production Group/Take 2000 production in association with TVE, Canal Plus, TeleMadrid
Credits:
Screenwriter-director: Vicente Aranda
Producer: Enrique Cerezo
Director of photography: Paco Femenia
Production designer: Josep Rosell
Music: Jose Nieto
Costume designer: Javier Artinano
Editor: Teresa Font
Cast:
Joan: Pilar Lopez de Ayala
Philip: Daniele Liotti
Aixa: Mannuela Arcuri
Alvaro de Estuniga: Eloy Azorin
Elvira: Rosana Pastor
De Vere: Guiliano Gemma
Admiral: Roberto Alvarez
Ines: Caroline Bona
Running time -- 117 minutes
MPAA rating: R...
- 8/27/2002
- The Hollywood Reporter - Movie News
In "Mad Love" (Juana La Loca), veteran Spanish writer-director Vicente Aranda subjects a remote historical figure to modern-day psychological treatment. Joan of Castile (1479-1555) has gone down in history as "Joan the Mad". Obsessively jealous of her husband -- and we can pretty much guess what the problem was when we learn he was known as Philip the Handsome -- Joan was devastated by his early death. Behaving erratically before and after Philip's death, Joan was confined for the remainder of her life in a castle by her father and later her son.
To Aranda, all this smacks of "mad love," an unbridled passion we moderns know all too well. So he portrays Joan as something of a spoiled Beverly Hills wife, unfortunate to love her husband excessively but none too wisely. Newcomer Pilar Lopez de Ayala won a Goya for her portrayal of Mad Joan, and the film was Spain's entry for this year's foreign language film Oscar. Yet the distant subject matter and the unavoidably gloomy tale that engulfs these characters probably doom the Sony Pictures Classics release to a limited audience.
Aranda's script takes pains to contemporize its medieval characters. There are only passing references to the religious austerity of the Spanish court and its persecution of non-Catholics. Otherwise, Joan and Philip (Italian actor Daniele Liotti, who is dubbed) are like any dysfunctional couple. He barely troubles to conceal his love affairs with other women, while she suffers jealous rages within the royal apartments. Apparently, Joan has an insatiable need for the pleasures of the marital bed. Even breast-feeding her children -- the only maternal act we witness in the movie -- sends her into ecstasy.
Upon her unexpected ascension to the Castilian throne because of the deaths of an older brother, sister and finally her mother in 1504, Joan ignores her duties as a monarch to pursue evidence of her husband's transgressions. Egged on by his supporters, Philip decides to have his wife declared mad so he can seize the throne. Only his sudden death delays this action.
The trouble with making this queen a thoroughly modern maiden is that it also makes her appear foolish and shallow rather than, as was more likely, a victim of mental illness. It's hard to sympathize with a ruler who has so little regard for her own subjects, children or the role history has thrust upon her.
The two main actors do fine jobs of humanizing their characters, but the time leaps make them struggle to ascribe motives and subtleties to ever-shifting behavior patterns. Courtiers come off as a conniving lot, as is common in costume dramas, but the actors do create vivid personalities. Especially noteworthy is Manuela Arcuri, who manages to be sensual yet hugely vulnerable as Philip's Moorish mistress.
Aranda sometimes drifts into cliches. A heavy downpour accompanies the announcement of the death of Joan's mother. Joan's father is seen eating like a pig while conspiring with her husband to make certain we really don't like him. A voice-over narration turns the film into a history lesson rather than a tale of doomed love.
The pomp and circumstance, art direction, elegant lighting and cinematography evoke the medieval world well. Jose Nieto's orchestrations are in a restrained classical mode. But the milieu on display, not quite medieval and not quite modern, never comes to life.
MAD LOVE
Sony Pictures Classics
An Enrique Cerezo PC/Production Group/Take 2000 production in association with TVE, Canal Plus, TeleMadrid
Credits:
Screenwriter-director: Vicente Aranda
Producer: Enrique Cerezo
Director of photography: Paco Femenia
Production designer: Josep Rosell
Music: Jose Nieto
Costume designer: Javier Artinano
Editor: Teresa Font
Cast:
Joan: Pilar Lopez de Ayala
Philip: Daniele Liotti
Aixa: Mannuela Arcuri
Alvaro de Estuniga: Eloy Azorin
Elvira: Rosana Pastor
De Vere: Guiliano Gemma
Admiral: Roberto Alvarez
Ines: Caroline Bona
Running time -- 117 minutes
MPAA rating: R...
To Aranda, all this smacks of "mad love," an unbridled passion we moderns know all too well. So he portrays Joan as something of a spoiled Beverly Hills wife, unfortunate to love her husband excessively but none too wisely. Newcomer Pilar Lopez de Ayala won a Goya for her portrayal of Mad Joan, and the film was Spain's entry for this year's foreign language film Oscar. Yet the distant subject matter and the unavoidably gloomy tale that engulfs these characters probably doom the Sony Pictures Classics release to a limited audience.
Aranda's script takes pains to contemporize its medieval characters. There are only passing references to the religious austerity of the Spanish court and its persecution of non-Catholics. Otherwise, Joan and Philip (Italian actor Daniele Liotti, who is dubbed) are like any dysfunctional couple. He barely troubles to conceal his love affairs with other women, while she suffers jealous rages within the royal apartments. Apparently, Joan has an insatiable need for the pleasures of the marital bed. Even breast-feeding her children -- the only maternal act we witness in the movie -- sends her into ecstasy.
Upon her unexpected ascension to the Castilian throne because of the deaths of an older brother, sister and finally her mother in 1504, Joan ignores her duties as a monarch to pursue evidence of her husband's transgressions. Egged on by his supporters, Philip decides to have his wife declared mad so he can seize the throne. Only his sudden death delays this action.
The trouble with making this queen a thoroughly modern maiden is that it also makes her appear foolish and shallow rather than, as was more likely, a victim of mental illness. It's hard to sympathize with a ruler who has so little regard for her own subjects, children or the role history has thrust upon her.
The two main actors do fine jobs of humanizing their characters, but the time leaps make them struggle to ascribe motives and subtleties to ever-shifting behavior patterns. Courtiers come off as a conniving lot, as is common in costume dramas, but the actors do create vivid personalities. Especially noteworthy is Manuela Arcuri, who manages to be sensual yet hugely vulnerable as Philip's Moorish mistress.
Aranda sometimes drifts into cliches. A heavy downpour accompanies the announcement of the death of Joan's mother. Joan's father is seen eating like a pig while conspiring with her husband to make certain we really don't like him. A voice-over narration turns the film into a history lesson rather than a tale of doomed love.
The pomp and circumstance, art direction, elegant lighting and cinematography evoke the medieval world well. Jose Nieto's orchestrations are in a restrained classical mode. But the milieu on display, not quite medieval and not quite modern, never comes to life.
MAD LOVE
Sony Pictures Classics
An Enrique Cerezo PC/Production Group/Take 2000 production in association with TVE, Canal Plus, TeleMadrid
Credits:
Screenwriter-director: Vicente Aranda
Producer: Enrique Cerezo
Director of photography: Paco Femenia
Production designer: Josep Rosell
Music: Jose Nieto
Costume designer: Javier Artinano
Editor: Teresa Font
Cast:
Joan: Pilar Lopez de Ayala
Philip: Daniele Liotti
Aixa: Mannuela Arcuri
Alvaro de Estuniga: Eloy Azorin
Elvira: Rosana Pastor
De Vere: Guiliano Gemma
Admiral: Roberto Alvarez
Ines: Caroline Bona
Running time -- 117 minutes
MPAA rating: R...
- 8/27/2002
- The Hollywood Reporter - Movie News
Ramon Salazar's "Piedras" (Stones) is an artful soap opera about five women in Madrid linked by circumstance, coincidence and chance, not to mention feet and shoes. The protracted film takes a long time to kick in, but eventually the characters' overwrought emotional lives give the story lines enough dramatic urgency to provoke interest.
"Piedras" is a natural for the festival circuit, but chances of distribution deals outside Europe are slim. An adventurous North American distributor could pitch the film to older women while playing up the similarities between "Piedras" and ensemble films by such directors as Robert Altman, Paul Thomas Anderson and even fellow Spaniard Pedro Almodovar.
Initially, shoes link the characters. Isabel (Angela Molina) has a collection that fills a walk-in closet. Maricarmen (Vicky Pena), a taxi driver, suffers from bunions, so she wears slippers. Leire (Najwa Nimri) once dreamed of designing shoes but gave that up for her boyfriend.
Mildly retarded Anita (Monica Cervera) tramps around the block daily in training shoes while her mom, Adela Antonia San Juan), works in a brothel, where shoes are seldom needed.
Soon other things connect the women. Toughened by life, Adela to her astonishment finds herself falling in love with an older businessman, Leonardo Rodolfo De Souza). Adela's ardent admirer turns out to be the estranged husband of Isabel, who punishes him for his disinterest by spending money and conducting sordid affairs.
When Adela hires nursing student Joaquin (Enrique Alcides) to look after her daughter, Joaquin decides to expand Anita's world beyond her one city block. Then when Leire's boyfriend, Kun (Daniele Liotti), dumps her, he moves in with Joaquin.
Maricarmen is raising her deceased husband's son and daughter despite the fact the latter hates her. Leire, in despair with heartbreak, seeks out her estranged father, which turns out to be Maricarmen's dead husband.
Throw in drug overdoses, alcoholic binges and a near suicide, and you have a pretty good go at "Days of Our Lives, Spanish-style." Fortunately, Salazar, a first-time writer-director, does plant agreeable surprises in his story lines. Best of all, though, is his wonderful cast.
Molina is appropriately brittle and bitter as the discarded upper-class wife. Cervera gives her mentally challenged character a childlike wonder, forever searching the world for something to call her own. Neither happy hooker nor downtrodden victim, San Juan's prostitute is a matter-of-fact working mom, shorn of sentimentality. Having little to work with, Nimri nonetheless conveys the pain of her lover's rejection. Despairing of a life of work, work and more work, Pena's taxi driver finds an outlet in nonstop, stream-of-consciousness monologues whether passengers like it nor not.
The movie, too, rambles. Subplots wander and characters dither as the tyro director gets lost in his own self-indulgence. Behind-the-camera credits are decent, especially David Carretero's night cinematography. However, not much is made of Madrid as a location, which might reflect the film's budgetary limitations.
PIEDRAS
Alquimia Cinema presents in association with
Ensueno Films and Telemadrid
and the collaboration of Via Digital
and the participation of Antena 3 Television
a Francisco Ramos production
Producer: Francisco Ramos
Screenwriter-director: Ramon Salazar
Director of photography: David Carretero
Production designer: Montse Sanz
Music: Pascal Gaigne
Costume designer: Estibaliz Markiegi
Editor: Teresa Font
Color/stereo
Cast:
Adela: Antonia San Juan
Leire: Najwa Nimri
Maricarmen: Vicky Pena
Anita: Monica Cervera
Isabel: Angela Molina
Joaquin: Enrique Alcides
Kun: Daniele Liotti
Leonardo: Rodolfo de Souza
Running time -- 136 minutes
No MPAA rating...
"Piedras" is a natural for the festival circuit, but chances of distribution deals outside Europe are slim. An adventurous North American distributor could pitch the film to older women while playing up the similarities between "Piedras" and ensemble films by such directors as Robert Altman, Paul Thomas Anderson and even fellow Spaniard Pedro Almodovar.
Initially, shoes link the characters. Isabel (Angela Molina) has a collection that fills a walk-in closet. Maricarmen (Vicky Pena), a taxi driver, suffers from bunions, so she wears slippers. Leire (Najwa Nimri) once dreamed of designing shoes but gave that up for her boyfriend.
Mildly retarded Anita (Monica Cervera) tramps around the block daily in training shoes while her mom, Adela Antonia San Juan), works in a brothel, where shoes are seldom needed.
Soon other things connect the women. Toughened by life, Adela to her astonishment finds herself falling in love with an older businessman, Leonardo Rodolfo De Souza). Adela's ardent admirer turns out to be the estranged husband of Isabel, who punishes him for his disinterest by spending money and conducting sordid affairs.
When Adela hires nursing student Joaquin (Enrique Alcides) to look after her daughter, Joaquin decides to expand Anita's world beyond her one city block. Then when Leire's boyfriend, Kun (Daniele Liotti), dumps her, he moves in with Joaquin.
Maricarmen is raising her deceased husband's son and daughter despite the fact the latter hates her. Leire, in despair with heartbreak, seeks out her estranged father, which turns out to be Maricarmen's dead husband.
Throw in drug overdoses, alcoholic binges and a near suicide, and you have a pretty good go at "Days of Our Lives, Spanish-style." Fortunately, Salazar, a first-time writer-director, does plant agreeable surprises in his story lines. Best of all, though, is his wonderful cast.
Molina is appropriately brittle and bitter as the discarded upper-class wife. Cervera gives her mentally challenged character a childlike wonder, forever searching the world for something to call her own. Neither happy hooker nor downtrodden victim, San Juan's prostitute is a matter-of-fact working mom, shorn of sentimentality. Having little to work with, Nimri nonetheless conveys the pain of her lover's rejection. Despairing of a life of work, work and more work, Pena's taxi driver finds an outlet in nonstop, stream-of-consciousness monologues whether passengers like it nor not.
The movie, too, rambles. Subplots wander and characters dither as the tyro director gets lost in his own self-indulgence. Behind-the-camera credits are decent, especially David Carretero's night cinematography. However, not much is made of Madrid as a location, which might reflect the film's budgetary limitations.
PIEDRAS
Alquimia Cinema presents in association with
Ensueno Films and Telemadrid
and the collaboration of Via Digital
and the participation of Antena 3 Television
a Francisco Ramos production
Producer: Francisco Ramos
Screenwriter-director: Ramon Salazar
Director of photography: David Carretero
Production designer: Montse Sanz
Music: Pascal Gaigne
Costume designer: Estibaliz Markiegi
Editor: Teresa Font
Color/stereo
Cast:
Adela: Antonia San Juan
Leire: Najwa Nimri
Maricarmen: Vicky Pena
Anita: Monica Cervera
Isabel: Angela Molina
Joaquin: Enrique Alcides
Kun: Daniele Liotti
Leonardo: Rodolfo de Souza
Running time -- 136 minutes
No MPAA rating...
- 2/27/2002
- The Hollywood Reporter - Movie News
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