The 42 Film, a new Madrid and Mexico City-based film-tv company of producer Alberto Müffelmann, an executive producer on early Sundance hit “Cassandro,” is forging a first slate of titles, led by “El Origen,” to be voiced by Gael García Bernal.
Based out of Madrid and Mexico City, the new shingle is headed by Müfflemann whose producer credits take in “Museum,” Alfonso Ruizpalacios’ Berlin 2018 best screenplay winner, Fernando Frías’ 2019 “I’m No Longer Here” – a jolting, timely piece of cinema I urge everyone to see,” said Guillermo del Toro – and 2013 best film Ariel winner “The Prize,” directed by Paola Markovitch.
The 42 Film underscores the drive into international co-production by the world big arthouse players as they seek to make titles of theatrical potential in a contracted market.
News of Müffelmann’s new shingle comes as “Cassandro,” starring García Bernal as the openly gay lucha libre wrestler Saul Armendáriz, has won large critical...
Based out of Madrid and Mexico City, the new shingle is headed by Müfflemann whose producer credits take in “Museum,” Alfonso Ruizpalacios’ Berlin 2018 best screenplay winner, Fernando Frías’ 2019 “I’m No Longer Here” – a jolting, timely piece of cinema I urge everyone to see,” said Guillermo del Toro – and 2013 best film Ariel winner “The Prize,” directed by Paola Markovitch.
The 42 Film underscores the drive into international co-production by the world big arthouse players as they seek to make titles of theatrical potential in a contracted market.
News of Müffelmann’s new shingle comes as “Cassandro,” starring García Bernal as the openly gay lucha libre wrestler Saul Armendáriz, has won large critical...
- 1/23/2023
- by John Hopewell
- Variety Film + TV
The recent success of Cannes Directors’ Fortnight urban noir “Ashkal” from helmer Youssef Chebbi, and the 2021 international feature Oscar nomination for the provocative art world drama “The Man Who Sold His Skin” from director Kaouther Ben Hania reignited industry interest in projects from Tunisian directors. The Cairo Film Connection’s work-in-progress section supports this interest by offering the first Arab world look at “Red Path,” the second feature from Tunisian theater and cinema helmer Lotfi Achour (“Burning Hope”). The production is very different in style and genre from those of his aforementioned compatriots.
Inspired by real events and deeply rooted in a particular social context, “Red Path” is set in an extremely poor and isolated region of Tunisia’s northwest where, in 2015, terrorists attacked two young shepherds. They decapitated the older boy and commanded his younger cousin to bring the severed head back to the family as a gruesome message.
Inspired by real events and deeply rooted in a particular social context, “Red Path” is set in an extremely poor and isolated region of Tunisia’s northwest where, in 2015, terrorists attacked two young shepherds. They decapitated the older boy and commanded his younger cousin to bring the severed head back to the family as a gruesome message.
- 11/11/2022
- by Alissa Simon
- Variety Film + TV
Mexico’s Cuevas de Altamira and Avanti Cinema and Argentina’s Gualicho Cine and Isla Bonita have joined forces to co-produce “Ángeles,” the latest feature from director-producer-writer Paula Markovitch, whose feature film debut, coming-of-age drama “The Prize,” won two Berlin Silver Bears in 2011.
Cuevas de Altamira is Markovitch’s label. A tough drama, its main characters are a poor kid who sells candies in the street and a fifty-something man sunk in despair, said the director.
First directing 1999’s “Perriférico,” a short starring Diego Luna, Markovitch has developed into an influential Latin American cineaste, co-wroting Fernando Eimbcke’s “Duck Season” which swept Guadalajara in 2004 snagging eight awards, and Lorenzo’s Vigas’ 2021 Venice hit, “The Box.”
“Ángeles” will be Markovitch’s fourth feature as director. It explores the unexpected and raw story of David and Ángeles. “One afternoon, David confesses to Ángeles that he’s going to jump off a building and kill himself.
Cuevas de Altamira is Markovitch’s label. A tough drama, its main characters are a poor kid who sells candies in the street and a fifty-something man sunk in despair, said the director.
First directing 1999’s “Perriférico,” a short starring Diego Luna, Markovitch has developed into an influential Latin American cineaste, co-wroting Fernando Eimbcke’s “Duck Season” which swept Guadalajara in 2004 snagging eight awards, and Lorenzo’s Vigas’ 2021 Venice hit, “The Box.”
“Ángeles” will be Markovitch’s fourth feature as director. It explores the unexpected and raw story of David and Ángeles. “One afternoon, David confesses to Ángeles that he’s going to jump off a building and kill himself.
- 10/1/2021
- by Emilio Mayorga
- Variety Film + TV
Back in 2015, in what already feels like a slightly different era of the Venice Film Festival — currently on a roll of crowning big-name Oscar players — Venezuelan filmmaker Lorenzo Vigas won the Golden Lion for his debut feature “From Afar.” A small, subtle queer relationship study, riddled with ambiguity, it never made quite the impression it deserved to on the post-festival art-house circuit. (Its total U.S. box office was in the low five figures.) That was our loss more than his, and for his superb second narrative feature, Vigas shows no inclination to compromise: “The Box” may see him relocating to Mexico, but it’s otherwise wholly of a piece with his debut in its terse, cut-to-the-quick refinement, its loaded, exquisitely composed images, and its fixation on shifting, complex man-versus-boy dynamics.
Though it’s ultimately no easier a sell than “From Afar,” there’s more of a heated genre thrust...
Though it’s ultimately no easier a sell than “From Afar,” there’s more of a heated genre thrust...
- 9/7/2021
- by Guy Lodge
- Variety Film + TV
Former Golden Lion winner Lorenzo Vigas (From Afar) returns to the Venice Film Festival with his second feature, La Caja, aka The Box. Set in northern Mexico, it’s a grueling insight into the plight of casual workers as well as a mystery about a son and his possible father.
Teenager Hatzín (Hatzín Navarrete) arrives in an industrial town to collect the remains of his estranged father, whom he’s told has died in a mining accident. But when he sees a man in the street who resembles his father, he’s convinced there’s been a mistake.
Pursuing Mario (Hernán Mendoza) relentlessly, he refuses to believe that he’s not his father. Eventually, Mario allows Hatzín to run errands for him, and gives him shelter. But Mario’s line of work is not for the faint hearted: he hires laborers for factories, where the conditions are harsh. Innocent Hatzín...
Teenager Hatzín (Hatzín Navarrete) arrives in an industrial town to collect the remains of his estranged father, whom he’s told has died in a mining accident. But when he sees a man in the street who resembles his father, he’s convinced there’s been a mistake.
Pursuing Mario (Hernán Mendoza) relentlessly, he refuses to believe that he’s not his father. Eventually, Mario allows Hatzín to run errands for him, and gives him shelter. But Mario’s line of work is not for the faint hearted: he hires laborers for factories, where the conditions are harsh. Innocent Hatzín...
- 9/6/2021
- by Anna Smith
- Deadline Film + TV
Leading arthouse sales agency The Match Factory has acquired “The Box” (La Caja), the second feature of Mexican filmmaker Lorenzo Vigas, winner of Venice Film Festival’s Golden Lion with “From Afar.” “The Box” is likely to find a berth at Cannes or Venice.
The film follows Hatzin, a teenager from Mexico City, who travels to collect the remains of his father, which have been found in a communal grave in the northern part of Mexico. But a casual encounter with a man who shares a physical resemblance with his father fills Hatzin with both doubts and hope about his parent’s true whereabouts.
Vigas says that in the film he reflects on “the theme of identity from various points of view.” He adds: “Latin American history is very young. Until a relatively short time ago, we were still European colonies; as a continent, we are trying to understand who...
The film follows Hatzin, a teenager from Mexico City, who travels to collect the remains of his father, which have been found in a communal grave in the northern part of Mexico. But a casual encounter with a man who shares a physical resemblance with his father fills Hatzin with both doubts and hope about his parent’s true whereabouts.
Vigas says that in the film he reflects on “the theme of identity from various points of view.” He adds: “Latin American history is very young. Until a relatively short time ago, we were still European colonies; as a continent, we are trying to understand who...
- 4/3/2021
- by Leo Barraclough
- Variety Film + TV
Mexico-us co-production is the latest feature from the Venezuelan director of ‘From Afar’.
Leading German sales firm The Match Factory has secured world sales rights to Lorenzo Vigas’ anticipated drama The Box.
The Mexico-us co-production marks the second narrative feature from the Venezuelan writer/director, whose romantic drama From Afar won the Golden Lion at Venice Film Festival in 2015, making him the first Latin American filmmaker to win the coveted award.
Vigas’ latest centres on a teenager named Hatzin from Mexico City, who travels to collect the remains of his father, which have been found in a communal grave in the northern part of Mexico.
Leading German sales firm The Match Factory has secured world sales rights to Lorenzo Vigas’ anticipated drama The Box.
The Mexico-us co-production marks the second narrative feature from the Venezuelan writer/director, whose romantic drama From Afar won the Golden Lion at Venice Film Festival in 2015, making him the first Latin American filmmaker to win the coveted award.
Vigas’ latest centres on a teenager named Hatzin from Mexico City, who travels to collect the remains of his father, which have been found in a communal grave in the northern part of Mexico.
- 4/1/2021
- by Michael Rosser
- ScreenDaily
There will be some events on the ground in San Sebastian.
As the Donostia-San Sebastian International Film Festival kicks off in Spain, the festival is ensuring its industry activities are available online to those international delegates who are not able to travel this year.
“It is very important to continue maintaining the industry activities. They have been a fundamental part of our festival for years now and also San Sebastian is a bridge between Latin America and Europe, which has to be preserved,” explained festival director Jose Luis Rebordinos.
The Industry Office, headed by Saioa Riba and Esperanza Luffiego, has...
As the Donostia-San Sebastian International Film Festival kicks off in Spain, the festival is ensuring its industry activities are available online to those international delegates who are not able to travel this year.
“It is very important to continue maintaining the industry activities. They have been a fundamental part of our festival for years now and also San Sebastian is a bridge between Latin America and Europe, which has to be preserved,” explained festival director Jose Luis Rebordinos.
The Industry Office, headed by Saioa Riba and Esperanza Luffiego, has...
- 9/19/2020
- by Screen staff
- ScreenDaily
There will be some events on the ground in San Sebastian.
As the Donostia-San Sebastian International Film Festival kicks off in Spain, the festival is ensuring its industry activities are available online to those international delegates who are not able to travel this year.
“It is very important to continue maintaining the industry activities. They have been a fundamental part of our festival for years now and also San Sebastian is a bridge between Latin America and Europe, which has to be preserved,” explained festival director Jose Luis Rebordinos.
The Industry Office, headed by Saioa Riba and Esperanza Luffiego, has...
As the Donostia-San Sebastian International Film Festival kicks off in Spain, the festival is ensuring its industry activities are available online to those international delegates who are not able to travel this year.
“It is very important to continue maintaining the industry activities. They have been a fundamental part of our festival for years now and also San Sebastian is a bridge between Latin America and Europe, which has to be preserved,” explained festival director Jose Luis Rebordinos.
The Industry Office, headed by Saioa Riba and Esperanza Luffiego, has...
- 9/19/2020
- by Screen staff
- ScreenDaily
Three of Argentina’s foremost auteurs – “Rojo’s” Benjamin Naishtat, “The Third Side of the River’s” Celina Murga, and “Two Shots Fired’s” Martin Rejtman – will present new movie projects at a 9th Europe-Latin America Co-Production Forum, the industry centerpiece at this year’s San Sebastian Film Festival.
They will be joined by up-and-coming directors such as “The Heiresses’” Marcelo Martinessi, “The Sharks’” Lucia Garibaldi and “The Future Perfect’s” Nele Wohlatz in a lineup that is long on strong and fairly established Argentine talent, has a clutch of new Colombian directors, and presses the urgent social-issue concerns that have come to characterize Latin American cinema.
Catapulted to fame when Martin Scorsese executive produced “The Third Side of the River,” Murga will present “The Smell of Freshly Cut Grass,” a high-concept gender drama starring “Paulina’s” Dolores Fonzi and co-written with partner and fellow film director Juan Villegas (“Las...
They will be joined by up-and-coming directors such as “The Heiresses’” Marcelo Martinessi, “The Sharks’” Lucia Garibaldi and “The Future Perfect’s” Nele Wohlatz in a lineup that is long on strong and fairly established Argentine talent, has a clutch of new Colombian directors, and presses the urgent social-issue concerns that have come to characterize Latin American cinema.
Catapulted to fame when Martin Scorsese executive produced “The Third Side of the River,” Murga will present “The Smell of Freshly Cut Grass,” a high-concept gender drama starring “Paulina’s” Dolores Fonzi and co-written with partner and fellow film director Juan Villegas (“Las...
- 8/13/2020
- by John Hopewell and Emiliano De Pablos
- Variety Film + TV
Mexico’s Cinema226, run by Marco Antonio Salgado and Sam Guillén, is driving into a raft of Mexico, Argentina and Spain co-productions, playing off the current vibrancy of Mexican film production funding and distribution outlets.
Among the projects are titles which have been standouts at Ventana Sur’s Blood Window, the next film by Mexico-based Argentine filmmaker Paula Markovitch and films by young Mexican and Argentine cineasts which have participated in laboratories and co-production events around the world.
Salgado and Guillén are also tapping into production partnerships with producers based out of Córdoba, which can bring extra film financing to productions beyond federal support from Incaa. Whilst some past incentive lines from Incaa have closed, Córdoba film support, though finite in budget, looks still to be strong.
“Thanks to Eficine 189 Mexico is a more active participant in the field of international co-productions,” Salgado told Variety. “Because of this, between 50% and...
Among the projects are titles which have been standouts at Ventana Sur’s Blood Window, the next film by Mexico-based Argentine filmmaker Paula Markovitch and films by young Mexican and Argentine cineasts which have participated in laboratories and co-production events around the world.
Salgado and Guillén are also tapping into production partnerships with producers based out of Córdoba, which can bring extra film financing to productions beyond federal support from Incaa. Whilst some past incentive lines from Incaa have closed, Córdoba film support, though finite in budget, looks still to be strong.
“Thanks to Eficine 189 Mexico is a more active participant in the field of international co-productions,” Salgado told Variety. “Because of this, between 50% and...
- 12/15/2018
- by Jamie Lang
- Variety Film + TV
New York-based Kino Lorber has taken North American rights to “The Chambermaid,” the feature debut of Mexico’s Lila Aviles that took the Best Film and the Warrior of the Press awards at Morelia Intl. Film Festival last week.
“The Chambermaid” will get an U.S. premiere on Nov. 10 at the AFI Fest in Los Angeles. A national theatrical release is scheduled for summer 2019.
Kino Lorber senior vice president Wendy Lidell said, “Using an incredible economy of means, Avilés makes palpable the inner life of an irrepressible soul imbued with dignity by actress Gabriela Cartol, who gives an unforgettable performance. ‘The Chambermaid’ gives new meaning, with a feminist twist, to our idea of the working class hero.”
Kino Lorber’s recent titles include Talal Derki’s “Of Fathers and Sons,” the Grand Jury Prize for World Documentary at the Sundance Film Festival; Jean Luc Godard’s “The Image Book”; and...
“The Chambermaid” will get an U.S. premiere on Nov. 10 at the AFI Fest in Los Angeles. A national theatrical release is scheduled for summer 2019.
Kino Lorber senior vice president Wendy Lidell said, “Using an incredible economy of means, Avilés makes palpable the inner life of an irrepressible soul imbued with dignity by actress Gabriela Cartol, who gives an unforgettable performance. ‘The Chambermaid’ gives new meaning, with a feminist twist, to our idea of the working class hero.”
Kino Lorber’s recent titles include Talal Derki’s “Of Fathers and Sons,” the Grand Jury Prize for World Documentary at the Sundance Film Festival; Jean Luc Godard’s “The Image Book”; and...
- 11/1/2018
- by Emilio Mayorga
- Variety Film + TV
In today’s film news roundup, California legislators have started working on an extension of the production tax credit, Golden Lion winner Lorenzo Vigas is working on his next film and Tribeca zombie thriller “The Night Eats the World” gets sold.
Tax Credits
California legislators have begun the process of extending the California Film and Television production tax credit for five years beyond its 2020 expiration with bills introduced in the State Senate and Assembly.
The Senate Governance and Finance Committee approved Senate Bill 832 this week. The bill would maintain the annual allocation of credits at its current level of $330 million. The program, which allocates as much as 25% of the budget to credits, was expanded in 2015 to compete effectively with incentives in New York and Georgia.
The program is overseen by the California Film Commission, which selects the TV and movie projects to qualify partly based on the number of jobs created.
Tax Credits
California legislators have begun the process of extending the California Film and Television production tax credit for five years beyond its 2020 expiration with bills introduced in the State Senate and Assembly.
The Senate Governance and Finance Committee approved Senate Bill 832 this week. The bill would maintain the annual allocation of credits at its current level of $330 million. The program, which allocates as much as 25% of the budget to credits, was expanded in 2015 to compete effectively with incentives in New York and Georgia.
The program is overseen by the California Film Commission, which selects the TV and movie projects to qualify partly based on the number of jobs created.
- 4/21/2018
- by Dave McNary
- Variety Film + TV
Stranger Things and Mr. Mercedes actor Peyton Wich has been cast in Sony’s Goosebumps 2, joining Wendi McLendon-Covey, Ken Jeong, Chris Parnell, Madison Iseman, Ben O’Brien, Caleel Harris, and Jeremy Ray Taylor. Ari Sandel is developing this latest version based on the popular book series by R.L. Stine. Rob Lieber penned the screenplay for the sequel, which will open in theaters October 12. Neal H. Moritz is producing the pic under his Original Film shingle, along with Silvertongue Films, and Deborah Forte, who was previously with books’ publisher Scholastic Entertainment. Wich is repped by People Store, Abrams Artist Agency, and La Management.
Wme has signed filmmaker Gregory Caruso, who directed and co-wrote Flock of Four, which premiered at the Austin Film Festival. Set in 1959, the pic centers around four high-school friends who venture to South Central, Los Angeles in search of a famous jazz musician (played by the late Reg E. Cathey...
Wme has signed filmmaker Gregory Caruso, who directed and co-wrote Flock of Four, which premiered at the Austin Film Festival. Set in 1959, the pic centers around four high-school friends who venture to South Central, Los Angeles in search of a famous jazz musician (played by the late Reg E. Cathey...
- 4/19/2018
- by Amanda N'Duka
- Deadline Film + TV
Mexico shoot underway on From Afar director’s second feature.
Los Angeles-based Ivanhoe Pictures has partnered with Mexico City-based Lucia Films to finance and produce drama The Box (La Caja), the second film from Venice Golden Lion winner Lorenzo Vigas.
The Box marks Vigas’ follow-up to Venice 2015 winner From Afar and is based on a screenplay by Vigas and Argentinian filmmaker Paula Markovitch (El Premio).
The Spanish-language project is currently shooting in Chihuahua, Mexico, in 35 mm in association with film services group Labodigital and the support of Panavision Mexico.
Mexico’s Hernán Mendoza (After Lucia) stars alongside newcomer Hatzín Oscar...
Los Angeles-based Ivanhoe Pictures has partnered with Mexico City-based Lucia Films to finance and produce drama The Box (La Caja), the second film from Venice Golden Lion winner Lorenzo Vigas.
The Box marks Vigas’ follow-up to Venice 2015 winner From Afar and is based on a screenplay by Vigas and Argentinian filmmaker Paula Markovitch (El Premio).
The Spanish-language project is currently shooting in Chihuahua, Mexico, in 35 mm in association with film services group Labodigital and the support of Panavision Mexico.
Mexico’s Hernán Mendoza (After Lucia) stars alongside newcomer Hatzín Oscar...
- 4/18/2018
- by Jeremy Kay
- ScreenDaily
goEast winners in Wiesbaden; Polish Film Institute backs Ida producers; Berlin-based A Company launches Ukrainian distributor.
Russian director Aleksandr Kott’s Insight was named Best Film at this year’s goEast Festival of Central and European Cinema (20-26 April) in Wiesbaden, Germany.
The intimate drama charting a love affair between a blind man and his nurse premiered at last year’s Kinotavr festival in Sochi and was also shown at the Black Nights Film Festival in Tallinn.
During the festival, Kott, whose previous films include the 2010 war drama The Brest Fortress and 2014’s Test, confirmed to Screen that his next feature project, Soyuz Spaseniya (Union Of Salvation), will begin shooting from next year for a release date at the end of 2018.
The $10.7m (RUB700m) production from Direktsiya Kino with Russia’s Channel One Television is a historical drama set at the beginning of the 19th century about the founding of secret political society the Decembrists.
This...
Russian director Aleksandr Kott’s Insight was named Best Film at this year’s goEast Festival of Central and European Cinema (20-26 April) in Wiesbaden, Germany.
The intimate drama charting a love affair between a blind man and his nurse premiered at last year’s Kinotavr festival in Sochi and was also shown at the Black Nights Film Festival in Tallinn.
During the festival, Kott, whose previous films include the 2010 war drama The Brest Fortress and 2014’s Test, confirmed to Screen that his next feature project, Soyuz Spaseniya (Union Of Salvation), will begin shooting from next year for a release date at the end of 2018.
The $10.7m (RUB700m) production from Direktsiya Kino with Russia’s Channel One Television is a historical drama set at the beginning of the 19th century about the founding of secret political society the Decembrists.
This...
- 4/27/2016
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
Berlinale director discusses ticket sales, VOD platforms and the spirit of ‘Baumi’.
The 65th Berlinale (Feb 5-15) will be remembered in many respects as a Berlinale in the spirit of ‘Baumi’“, according to festival director Dieter Kosslick with reference to the late producer-distributor Karl ‘Baumi’ Baumgartner.
Speaking to Screen as the festival enters its final days, Kosslick recalled that “many of the films shown this year reflect his philosophy: ‘Baumi’ was the pioneer of those so-called ‘little’ films which make a really big impression, and he was a great inspiration for so many film-makers through his co-productions.“
Indeed, as just one example, Malgorzata Szumowska, whose latest feature Body is showing in the Berlinale’s competition this year, said during the goEast Film Festival that Baumgartner – who died at the age of 65 in March 2014 - had been the guiding inspiration for her career as a film-maker.
It is therefore fitting that this year’s Berlinale edition provided the setting...
The 65th Berlinale (Feb 5-15) will be remembered in many respects as a Berlinale in the spirit of ‘Baumi’“, according to festival director Dieter Kosslick with reference to the late producer-distributor Karl ‘Baumi’ Baumgartner.
Speaking to Screen as the festival enters its final days, Kosslick recalled that “many of the films shown this year reflect his philosophy: ‘Baumi’ was the pioneer of those so-called ‘little’ films which make a really big impression, and he was a great inspiration for so many film-makers through his co-productions.“
Indeed, as just one example, Malgorzata Szumowska, whose latest feature Body is showing in the Berlinale’s competition this year, said during the goEast Film Festival that Baumgartner – who died at the age of 65 in March 2014 - had been the guiding inspiration for her career as a film-maker.
It is therefore fitting that this year’s Berlinale edition provided the setting...
- 2/12/2015
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
The Mexican Academy of Film Arts and Sciences (Amacc) confirmed that Amat Escalante's Heli is Mexico's submission for the Best Foreign Language Film at the upcoming Academy Awards. Heli was chosen over such films as Eugenio Derbez's Instructions Not Included, Claudia Sainte-Luce's The Amazing Catfish (winner at Tiff 2013), Rafa Lara's Cinco de Mayo: La Batalla, Hari Sama's The Dream of Lu, and Paula Markovitch's The Prize. Mexico has never won the Best Foreign Language Film Oscar, achieving only eight nominations in the history of the award: Macario (1960), The Important Man (1962), Tlayucan (1962), Letters from Marusia (1976), Amores Perros (aka Love's a Bitch, 2000), The Crime of Father Amaro (2002), Pan's Labyrinth (2006) and Biutiful (2010). The 86th Academy Awards will announce its nominations on January...
[Read the whole post on twitchfilm.com...]...
[Read the whole post on twitchfilm.com...]...
- 9/19/2013
- Screen Anarchy
With the 20th Toronto Jewish Film Festival now behind us, it’s time to look back at all the films screened and determine which were the good, the bad, or the ugly.
The Good
Oss 117: Lost in Rio
The most complimentary thing you can say about Michel Hazanavicius is something everyone acknowledged after his Oscar-winning 21st century silent film, The Artist – Hazanavicius knows his cinema. Oss 117: Lost in Rio boasts endearing performances and successfully taps into the nostalgia for 1960’s cinema. This is the spoof that the Austin Powers trilogy wished it could be. Just don’t expect this spy film to be revelatory.
The Day I Saw Your Heart
Although wildly imperfect, The Day I Saw Your Heart magically conciliates its flaws with French charm. From any other country, this film might not have worked, but because it’s French, it does. It’s clearly unfair, but,...
The Good
Oss 117: Lost in Rio
The most complimentary thing you can say about Michel Hazanavicius is something everyone acknowledged after his Oscar-winning 21st century silent film, The Artist – Hazanavicius knows his cinema. Oss 117: Lost in Rio boasts endearing performances and successfully taps into the nostalgia for 1960’s cinema. This is the spoof that the Austin Powers trilogy wished it could be. Just don’t expect this spy film to be revelatory.
The Day I Saw Your Heart
Although wildly imperfect, The Day I Saw Your Heart magically conciliates its flaws with French charm. From any other country, this film might not have worked, but because it’s French, it does. It’s clearly unfair, but,...
- 5/14/2012
- by Justin Li
- SoundOnSight
The Prize
Written and directed by Paula Markovitch
Mexico, 2011
After winning an essay contest at her school, seven-year old Cecilia (Paula Galinelli Hertzog) is showered with praise. Her teacher has the entire class form a line, and one-by-one, she has everyone give Cecilia a congratulatory kiss on the cheek. That is, except for one.
Cecilia’s best friend, Silvia (Sharon Herrera), refuses to acknowledge her achievements, and when she is confronted, she says to her, “you pretend to be intelligent, but you’re just bad.”
This statement is prophetic in its simplistic irony, because Paula Markovitch’s The Prize, which won a host of accolades at the 61st Berlin Film Festival, is a film that tries to affect greater importance and artistic significance, but under the many layers of pretention, it’s just simply bad.
Set during Argentina’s ‘Dirty War’, Cecilia Edelstein and her mother (Laura Agorreca) have recently...
Written and directed by Paula Markovitch
Mexico, 2011
After winning an essay contest at her school, seven-year old Cecilia (Paula Galinelli Hertzog) is showered with praise. Her teacher has the entire class form a line, and one-by-one, she has everyone give Cecilia a congratulatory kiss on the cheek. That is, except for one.
Cecilia’s best friend, Silvia (Sharon Herrera), refuses to acknowledge her achievements, and when she is confronted, she says to her, “you pretend to be intelligent, but you’re just bad.”
This statement is prophetic in its simplistic irony, because Paula Markovitch’s The Prize, which won a host of accolades at the 61st Berlin Film Festival, is a film that tries to affect greater importance and artistic significance, but under the many layers of pretention, it’s just simply bad.
Set during Argentina’s ‘Dirty War’, Cecilia Edelstein and her mother (Laura Agorreca) have recently...
- 5/10/2012
- by Justin Li
- SoundOnSight
Finally a way to track festival winners that eliminates our need to track all festivals separately. Festival Scope, the online platform known for providing film professionals with online screening of films from more than 60 of the most prestigious international film festivals (including Berlinale, Rotterdam, Locarno, Venice, Cannes' Directors' Fortnight and Critics' Week, Toronto and San Sebastian) has developed a new section. The section is called "Labels" and is aimed at providing additional visibility to the films awarded in festivals or selected by partner organizations. The "Labels" has been launched with a special partnership with Fipresci, the International Federation of Film Critics. On the Fipresci page Festival Scope presents a selection of films that have been awarded the Fipresci Award. About 30 titles are already available for screening, including recently awarded Salesman (Isa: EOne) (awarded in Torino), The Tiniest Place (Mar del Plata), Eighty Letters (Thessaloniki), Yatasto (Viennale). More will be added throughout the year. Klaus Eder, General Secretary of Fipresci says: "Our aim is not only to present, at festivals, the critics' prize to the films we like. We also wish to help them [get a larger audience]. Festival Scope offers a wonderful chance to make our engagement better known to the professionals of cinema and to provoke the interest of other festivals and of buyers.
One of my first reactions on reading thus far was that this seems more self serving on Fipresci's part than inclusive of winners in general. I realize that I have absorbed an industry criticism of Fipresci itself which deserves further investigation. My criticism is that, in creating a label of its own prizes on a general platform, it is furthering its own mission. Fipresci, a critics' organization, chooses one festival per country to put their labeled prize upon, and to the outsider their endorsement automatically carries a sort of prestige. However, I have heard from one top festival director that they then impose certain rules upon that festival and to this festival director, they represent a sort of mafia. As I said, this merits greater investigation, perhaps I or another reader will write a blog upon Fipresci itself.
As I read further, I realize that the Festival Scope "Labels" extends beyond Fipresci itself, and as such is a boon to people seeking certain types of films. One of the labels presents the Global Lens 2012, Global Film Initiative’s critically acclaimed independent world cinema exhibition and distribution platform. The line-up includes ten award-winning narrative feature films from around the world including Morteza Farshbaf's darkly comic road trip, Mourning (Iran, Isa: Wide) (Fipresci Prize and New Currents Award, Pusan Iff) , Paula Markovitch's The Prize (Mexico, Isa: Urban Media) (Silver Bear, Berlin Iff and Best Film, Morelia Iff) and Toll Booth, Tolga Karaçelik's acclaimed Turkish "everyman" story.
Santhosh Daniel from Global Film Initiative says “We’re honored that Global Lens is one of three inaugural “labels” on Festival Scope, as the distinction not only reflects a recognition of quality, but also a mutual respect for the impact our two organizations can create by working together.” I stand with Santhosh here. The Global Film Initiative is a great platform honoring seldom heard voices from countries upon which the camera rarely focuses.
Last but not least, Festival Scope dedicates a showcase to Binger Filmlab, the Amsterdam-based organization welcoming the best and brightest filmmakers providing them intensive series of labs, workshops and events. Selected filmmakers are presented to the international film community together with their previous work. Already highlighted the films by Darius Devas from Australia, Caroline Kamya from Uganda, Jonathan Ostos Yaber from Mexico and Kevin Meul from Belgium. The Binger is very dear to me, as Jeanne Wikler, a longtime American resident of The Netherlands and a documentary filmmaker herself, invited us for many years to be coaches. She created a warm and welcoming environment ("Gezellig") which to this day retains this atmosphere, even at their Cannes Reception Days where we are always warmly greeted by Greetje Schuring, Assistant to the Directors and by former Binger participant, now Artistic Director, Marten Rabarts and by the beautiful longtime film event organizer Daan Gielis Head of Talent & Communications. In raising startup funds for this event from the government she was aided by former parliament member Gamila Ylstra who is now CEO of Binger. Jeanne herself is now the Director of the Institute of The Netherlands in Paris. Gamila Ylstra states, “Festival Scope is the perfect partner for Binger Filmlab: a unique platform for film professionals that enables us to showcase previous work and contextualize the projects and filmmakers in our Writers and Directors Labs. We are honored to be part of this!” I find this use of Festival Scope especially appealing in light of current government moves to cut cultural events; Festival Scope helps prove that such organizations as Binger contribute to the world's well-being in the context of cultural freedom is very important. Alessandro Raja, founder of Festival Scope, says: "We are thrilled to widen the scope of our activities with the creation of the "Labels". It’s an additional way for us to contribute to the promotion of the films we like and that play a significant role in today’s and tomorrow’s cinema".
I think Festival Scope should go further in award posting; let Fipresci have its and let others have their own pages if they merit it. Certainly Binger and The Global Film Initiative merit pages of their own.
One of my first reactions on reading thus far was that this seems more self serving on Fipresci's part than inclusive of winners in general. I realize that I have absorbed an industry criticism of Fipresci itself which deserves further investigation. My criticism is that, in creating a label of its own prizes on a general platform, it is furthering its own mission. Fipresci, a critics' organization, chooses one festival per country to put their labeled prize upon, and to the outsider their endorsement automatically carries a sort of prestige. However, I have heard from one top festival director that they then impose certain rules upon that festival and to this festival director, they represent a sort of mafia. As I said, this merits greater investigation, perhaps I or another reader will write a blog upon Fipresci itself.
As I read further, I realize that the Festival Scope "Labels" extends beyond Fipresci itself, and as such is a boon to people seeking certain types of films. One of the labels presents the Global Lens 2012, Global Film Initiative’s critically acclaimed independent world cinema exhibition and distribution platform. The line-up includes ten award-winning narrative feature films from around the world including Morteza Farshbaf's darkly comic road trip, Mourning (Iran, Isa: Wide) (Fipresci Prize and New Currents Award, Pusan Iff) , Paula Markovitch's The Prize (Mexico, Isa: Urban Media) (Silver Bear, Berlin Iff and Best Film, Morelia Iff) and Toll Booth, Tolga Karaçelik's acclaimed Turkish "everyman" story.
Santhosh Daniel from Global Film Initiative says “We’re honored that Global Lens is one of three inaugural “labels” on Festival Scope, as the distinction not only reflects a recognition of quality, but also a mutual respect for the impact our two organizations can create by working together.” I stand with Santhosh here. The Global Film Initiative is a great platform honoring seldom heard voices from countries upon which the camera rarely focuses.
Last but not least, Festival Scope dedicates a showcase to Binger Filmlab, the Amsterdam-based organization welcoming the best and brightest filmmakers providing them intensive series of labs, workshops and events. Selected filmmakers are presented to the international film community together with their previous work. Already highlighted the films by Darius Devas from Australia, Caroline Kamya from Uganda, Jonathan Ostos Yaber from Mexico and Kevin Meul from Belgium. The Binger is very dear to me, as Jeanne Wikler, a longtime American resident of The Netherlands and a documentary filmmaker herself, invited us for many years to be coaches. She created a warm and welcoming environment ("Gezellig") which to this day retains this atmosphere, even at their Cannes Reception Days where we are always warmly greeted by Greetje Schuring, Assistant to the Directors and by former Binger participant, now Artistic Director, Marten Rabarts and by the beautiful longtime film event organizer Daan Gielis Head of Talent & Communications. In raising startup funds for this event from the government she was aided by former parliament member Gamila Ylstra who is now CEO of Binger. Jeanne herself is now the Director of the Institute of The Netherlands in Paris. Gamila Ylstra states, “Festival Scope is the perfect partner for Binger Filmlab: a unique platform for film professionals that enables us to showcase previous work and contextualize the projects and filmmakers in our Writers and Directors Labs. We are honored to be part of this!” I find this use of Festival Scope especially appealing in light of current government moves to cut cultural events; Festival Scope helps prove that such organizations as Binger contribute to the world's well-being in the context of cultural freedom is very important. Alessandro Raja, founder of Festival Scope, says: "We are thrilled to widen the scope of our activities with the creation of the "Labels". It’s an additional way for us to contribute to the promotion of the films we like and that play a significant role in today’s and tomorrow’s cinema".
I think Festival Scope should go further in award posting; let Fipresci have its and let others have their own pages if they merit it. Certainly Binger and The Global Film Initiative merit pages of their own.
- 2/3/2012
- by Sydney Levine
- Sydney's Buzz
The general mood of journalists at the 61st Berlin Film Festival was disappointment: reports generally characterised the selection as dismal. The Independent’s Jonathan Romney explained that the festival tended to ‘test your tolerance for the worthy’, just like every other year. The term ‘worthy’ makes the films sound depressing and dull, but as Romney also observed, the Berlinale had ‘no lemons’: many films looked at real-life problems in a new way and so, for my part, I typically left the cinema feeling stimulated and uplifted rather than sad or irritated.
It seems that the festival juries, too, found plenty to praise: of the nearly 400 films in the festival, 45 won awards. The ceremony for the 61st Berlin Film Festival took place on Saturday, Feburary 19th, and while the full list of awards is too lengthy to summarise in detail, the following should provide you with a nice list of...
It seems that the festival juries, too, found plenty to praise: of the nearly 400 films in the festival, 45 won awards. The ceremony for the 61st Berlin Film Festival took place on Saturday, Feburary 19th, and while the full list of awards is too lengthy to summarise in detail, the following should provide you with a nice list of...
- 2/22/2011
- by Alison Frank
- The Moving Arts Journal
Why did I watch a bizarre 'Holocaust farce' when I could've been enjoying festival winner Nader and Simin, a Separation?
A rifle butt swung and opened a hole and blood spurted out. The child fell to the ground. The policeman shot him in the head, told his partner to collect the fallen dealer's weapon ("I can get 20 grand for that") and strolled back to his squad car.
Brutal, polemical, awfully dumb, José Padilha's Elite Squad 2, the shoot-first-take-names-later sequel to the winner of the Berlin film festival's main prize in 2008, was made for a walk-out. Across Berlin French director Céline Sciamma's Tomboy – a quirky study of gender politics centred on a young girl who enjoys being mistaken for a boy – had other critics talking ("My favourite film of the year so far" – Hollywood News. "Pick of Berlin" – Film4) but I couldn't hear them. My ears were ringing from the...
A rifle butt swung and opened a hole and blood spurted out. The child fell to the ground. The policeman shot him in the head, told his partner to collect the fallen dealer's weapon ("I can get 20 grand for that") and strolled back to his squad car.
Brutal, polemical, awfully dumb, José Padilha's Elite Squad 2, the shoot-first-take-names-later sequel to the winner of the Berlin film festival's main prize in 2008, was made for a walk-out. Across Berlin French director Céline Sciamma's Tomboy – a quirky study of gender politics centred on a young girl who enjoys being mistaken for a boy – had other critics talking ("My favourite film of the year so far" – Hollywood News. "Pick of Berlin" – Film4) but I couldn't hear them. My ears were ringing from the...
- 2/21/2011
- by Henry Barnes
- The Guardian - Film News
By A.J. Goldmann - February 20, 2011
Asghar Farhadi’s “Nader and Simin” was the big winner at this year’s Berlin Film Festival, which announced its awards Saturday evening, a day prior to the end of the fest.
Farhadi won the Silver Bear for best director two years ago for his film “About Elly.” “Nader and Simin” was widely seen as a shoo-in for the Golden Bear, both for its outstanding quality in a year of insipid competition fare and the spotlight thrown on Iranian cinema by incarcerated director Jafar Panahi, for whom the festival kept an open jury seat for the duration of the festival.
The international jury of the 61st Berlin Film Festival, presided over by actress Isabella Rossellini, jointly awarded the Silver Bears for acting to the ensemble cast of “Nader and Simin.” Among the six actors and actresses who shared the two statues was the director’s teenage daughter,...
Asghar Farhadi’s “Nader and Simin” was the big winner at this year’s Berlin Film Festival, which announced its awards Saturday evening, a day prior to the end of the fest.
Farhadi won the Silver Bear for best director two years ago for his film “About Elly.” “Nader and Simin” was widely seen as a shoo-in for the Golden Bear, both for its outstanding quality in a year of insipid competition fare and the spotlight thrown on Iranian cinema by incarcerated director Jafar Panahi, for whom the festival kept an open jury seat for the duration of the festival.
The international jury of the 61st Berlin Film Festival, presided over by actress Isabella Rossellini, jointly awarded the Silver Bears for acting to the ensemble cast of “Nader and Simin.” Among the six actors and actresses who shared the two statues was the director’s teenage daughter,...
- 2/21/2011
- by Screen Comment
- Screen Comment
Nader and Simin, a Separation and the other winners of the 2011 Berlin International Film Festival have been announced. The 61st Annual Berlin International Film Festival, often called the Berlinale, is “one of the world’s leading film festivals and most reputable media events.With 274,000 tickets sold and 487,000 admissions it is considered the largest publicly-attended film festival worldwide. Up to 400 films are shown in several sections, representing a comprehensive array of the cinematic world.” The full listing of the 2011 Berlin International Film Festival winners is below.
Golden Bear for Best Film
Jodaeiye Nader az Simin (Nader And Simin, A Separation) by Asghar Farhadi
Silver Bear – The Jury Grand Prix
A torinói ló (The Turin Horse) by Béla Tarr
Silver Bear – Best Director
Ulrich Köhler for Schlafkrankheit (Sleeping Sickness)
Silver Bear – Best Actress
to the actress-ensemble in Jodaeiye Nader az Simin (Nader And Simin, A Separation) by Asghar Farhadi
Silver Bear – Best...
Golden Bear for Best Film
Jodaeiye Nader az Simin (Nader And Simin, A Separation) by Asghar Farhadi
Silver Bear – The Jury Grand Prix
A torinói ló (The Turin Horse) by Béla Tarr
Silver Bear – Best Director
Ulrich Köhler for Schlafkrankheit (Sleeping Sickness)
Silver Bear – Best Actress
to the actress-ensemble in Jodaeiye Nader az Simin (Nader And Simin, A Separation) by Asghar Farhadi
Silver Bear – Best...
- 2/20/2011
- by filmbook
- Film-Book
Nader and Simin, a Separation
The competition at the 61st Berlin Film Festival just came to an end so it’s right time to announce some winners!
For the first time in the history of the Berlinale, The Golden Bear went to Iran! Asghar Farhadi‘s drama Nader and Simin, a Separation (a look at contemporary Iranian society) took the top three awards including the Golden Bear for best pic and ensemble male and female casts for actor and actress Silver Bears.
Now, that’s what we call a warm reception!
On receiving his Golden Bear, Farhadi said that he had never thought that he would win and then took a moment to think of his country and his imprisoned colleague Jafar Panahi who had been prevented from coming to Berlin to serve on the International Jury.
Nader and Simin, a Separation follows the title’s couple when the husband,...
The competition at the 61st Berlin Film Festival just came to an end so it’s right time to announce some winners!
For the first time in the history of the Berlinale, The Golden Bear went to Iran! Asghar Farhadi‘s drama Nader and Simin, a Separation (a look at contemporary Iranian society) took the top three awards including the Golden Bear for best pic and ensemble male and female casts for actor and actress Silver Bears.
Now, that’s what we call a warm reception!
On receiving his Golden Bear, Farhadi said that he had never thought that he would win and then took a moment to think of his country and his imprisoned colleague Jafar Panahi who had been prevented from coming to Berlin to serve on the International Jury.
Nader and Simin, a Separation follows the title’s couple when the husband,...
- 2/20/2011
- by Fiona
- Filmofilia
HollywoodNews.com: The Awards of the 61st Berlin International Film Festival were bestowed yesterday in Berlin. Below all the awards – official and independent juries – of the 61st Berlin International Film Festival.
Prizes Of The International Jury
Golden Bear For The Best Film
Jodaeiye Nader az Simin
Nader And Simin, A Separation
by Asghar Farhadi
Jury Grand Prix-silver Bear
A torinói ló
The Turin Horse
by Béla Tarr
Silver Bear For Best Director
Ulrich Köhler for
Schlafkrankheit (Sleeping Sickness)
Silver Bear For Best Actress
to the actress-ensemble in
Jodaeiye Nader az Simin (Nader And Simin, A Separation) by Asghar Farhadi
Silver Bear For Best Actor
to the actor-ensemble in
Jodaeiye Nader az Simin (Nader And Simin, A Separation) by Asghar Farhadi
Silver Bear For An Outstanding Artistic Achievement
In The Categorycamera
Wojciech Staron for the camera in
El premio (The Prize) by Paula Markovitch
ex aequo
In The Category Production Design...
Prizes Of The International Jury
Golden Bear For The Best Film
Jodaeiye Nader az Simin
Nader And Simin, A Separation
by Asghar Farhadi
Jury Grand Prix-silver Bear
A torinói ló
The Turin Horse
by Béla Tarr
Silver Bear For Best Director
Ulrich Köhler for
Schlafkrankheit (Sleeping Sickness)
Silver Bear For Best Actress
to the actress-ensemble in
Jodaeiye Nader az Simin (Nader And Simin, A Separation) by Asghar Farhadi
Silver Bear For Best Actor
to the actor-ensemble in
Jodaeiye Nader az Simin (Nader And Simin, A Separation) by Asghar Farhadi
Silver Bear For An Outstanding Artistic Achievement
In The Categorycamera
Wojciech Staron for the camera in
El premio (The Prize) by Paula Markovitch
ex aequo
In The Category Production Design...
- 2/19/2011
- by HollywoodNews.com
- Hollywoodnews.com
Nader And Simin, A Separation by Asghar Farhadi won the Golden Bear for the Best Film at the 61st Berlinale. The Silver Bear went to The Turin Horse by Béla Tarr. Ulrich Köhler won the Silver Bear for Best Director for Schlafkrankheit (Sleeping Sickness).
The festival concluded on Saturday evening. Indian actor-producer Aamir Khan served on the main Jury of the festival. Patang (The Kite) by Prashant Bhargava was screened in the 41st Berlinale Forum. Vishal Bhardwaj’s 7 Khoon Maaf, Kaushik Mukherjee’s Gandu and Phil Cox’s The Bengali Detective were presented in the Panorama section.
List of Main Awards at Berlinale:
Golden Bear For The Best Film
Jodaeiye Nader az Simin
Nader And Simin, A Separation
by Asghar Farhadi
Jury Grand Prix-silver Bear
A torinói ló
The Turin Horse
by Béla Tarr
Silver Bear For Best Director
Ulrich Köhler for
Schlafkrankheit (Sleeping Sickness)
Silver Bear For Best Actress...
The festival concluded on Saturday evening. Indian actor-producer Aamir Khan served on the main Jury of the festival. Patang (The Kite) by Prashant Bhargava was screened in the 41st Berlinale Forum. Vishal Bhardwaj’s 7 Khoon Maaf, Kaushik Mukherjee’s Gandu and Phil Cox’s The Bengali Detective were presented in the Panorama section.
List of Main Awards at Berlinale:
Golden Bear For The Best Film
Jodaeiye Nader az Simin
Nader And Simin, A Separation
by Asghar Farhadi
Jury Grand Prix-silver Bear
A torinói ló
The Turin Horse
by Béla Tarr
Silver Bear For Best Director
Ulrich Köhler for
Schlafkrankheit (Sleeping Sickness)
Silver Bear For Best Actress...
- 2/19/2011
- by NewsDesk
- DearCinema.com
The Awards of the International Jury of the Berlinale 2011 Golden Bear for Best Film Jodaeiye Nader az Simin (Nader And Simin, A Separation) by Asghar Farhadi Silver Bear - The Jury Grand Prix A torinói ló (The Turin Horse) by Béla Tarr Silver Bear - Best Director Ulrich Köhler for Schlafkrankheit (Sleeping Sickness) Silver Bear - Best Actress to the actress-ensemble in Jodaeiye Nader az Simin (Nader And Simin, A Separation) by Asghar Farhadi Farhadi Sarina, Bayat Sareh, Hatami Leila Silver Bear - Best Actor to the actor-ensemble in Jodaeiye Nader az Simin (Nader And Simin, A Separation) by Asghar Farhadi Silver Bear - Outstanding Artistic Achievement Wojciech Staron for the camera in El premio (The Prize) by Paula Markovitch ex aequo Barbara Enriquez for the production design in El premio (The Prize) by Paula Markovitch Silver Bear - Best Script Joshua Marston and Andamion Murataj for The Forgiveness Of Blood...
- 2/19/2011
- by TIM ADLER in London
- Deadline London
By A.J. Goldmann - February 14, 2011
Last Thursday the 61st Berlin International Film Festival kicked off with a star-studded red carpet gala for Joel and Ethan Coen’s “True Grit,” the stateside hit (and Best Picture Oscar nominee) that was celebrating its international premiere here. The Coen’s revenge epic about a fourteen-year-old girl out to bring her father’s murderer to justice seemed an appropriate opening shot for a festival which, in its opening weekend, has included a fair number of films about children and adolescents in peril.
The Berlinale, as it is known here, is by far the most down-to-earth of the three main European film festivals. Compared to Cannes and Venice, it is a decidedly unglamorous affair partly due to the time of year it occurs, the general gritty aesthetic of the Germany capital and the eclecticism (and often obscurity) of the offerings.
It is also the...
Last Thursday the 61st Berlin International Film Festival kicked off with a star-studded red carpet gala for Joel and Ethan Coen’s “True Grit,” the stateside hit (and Best Picture Oscar nominee) that was celebrating its international premiere here. The Coen’s revenge epic about a fourteen-year-old girl out to bring her father’s murderer to justice seemed an appropriate opening shot for a festival which, in its opening weekend, has included a fair number of films about children and adolescents in peril.
The Berlinale, as it is known here, is by far the most down-to-earth of the three main European film festivals. Compared to Cannes and Venice, it is a decidedly unglamorous affair partly due to the time of year it occurs, the general gritty aesthetic of the Germany capital and the eclecticism (and often obscurity) of the offerings.
It is also the...
- 2/14/2011
- by Screen Comment
- Screen Comment
Opening on a long, single-take shot of a young girl attempting to roller skate on an overcast beach, competition entrant El Premio (The Prize) starts as it means to go on. It’s another piece of bleak, festival-friendly slow cinema with repetitive images and little dialogue or music. In the spirit of an international film festival, it’s a decidedly multi-national affair too, with the film preceded by so many different film funding logos that people began to laugh as each new one came up. In the end it’s listed as a Mexican/French/Polish and German co-production, although that seems like a dishonest description as it fails to mention that the film is set in Argentina and written and directed by Argentine Paula Markovitch.
It is a very specific Argentinian story in fact, based on the life of its author as a seven year old girl growing up in the 1970s.
It is a very specific Argentinian story in fact, based on the life of its author as a seven year old girl growing up in the 1970s.
- 2/12/2011
- by Robert Beames
- Obsessed with Film
The Berlin International Film Festival, or if you prefer – the Berlinale, is one of the world’s leading film festivals, and something that’s definitely worth our attention.
And if you thought we were going to miss this spectacle – you were wrong, because we’re also curious to find out who will return home with the Golden and Silver Bears statues!
The 2011 Berlin film festival opens tonight with the Coen brothers‘ Western remake True Grit, so let’s get started.
We all know, this remake of a 1969 classic Western, is already a nominee in even 10 categories, including best picture for the upcoming Oscar. And, by the way the filmmaking team Joel and Ethan Cohen also earned Oscar nods as best director.
The remake is already out in North America and so is not eligible for prizes at the closing ceremony on February 19, but it will screen out of competition today.
And if you thought we were going to miss this spectacle – you were wrong, because we’re also curious to find out who will return home with the Golden and Silver Bears statues!
The 2011 Berlin film festival opens tonight with the Coen brothers‘ Western remake True Grit, so let’s get started.
We all know, this remake of a 1969 classic Western, is already a nominee in even 10 categories, including best picture for the upcoming Oscar. And, by the way the filmmaking team Joel and Ethan Cohen also earned Oscar nods as best director.
The remake is already out in North America and so is not eligible for prizes at the closing ceremony on February 19, but it will screen out of competition today.
- 2/10/2011
- by Fiona
- Filmofilia
Matt Damon in Joel Coen and Ethan Coen's True Grit The Berlin Film Festival runs Feb. 10-20. In competition: A Torinoi Lo (The Turin Horse), Bela Tarr Bizim Buyuk Caresizligimiz (Our Grand Despair), Seyfi Teoman Coriolanus, Ralph Fiennes El premio (The Prize), Paula Markovitch Jodaeiye Nader az Simin (Nader and Simin, A Separation), Asghar Farhadi Les contes de la nuit (Tales of the Night), Michel Ocelot Lipstikka, Jonathan Sagall Margin Call, J. C. Chandor Saranghanda, Saranghaji Anneunda (Come Rain Come Shine), Lee Yoon-ki Schlafkrankheit (Sleeping Sickness), Ulrich Koehler The Forgiveness of Blood, Joshua Marston The Future, Miranda July Un Mundo Misterioso (A Mysterious World), Rodrigo Moreno V Subbotu (Innocent Saturday), Alexander Mindadze Wer wenn nicht wir (If Not Us, Who?), Andres Veiel Yelling to the Sky, Victoria Mahoney Out of competition: Almanya, Yasemin Samdereli Les femmes du 6eme etage (Service Entrance), Philippe Le Guay Mein bester Freund (My Best Enemy...
- 2/1/2011
- by Arthur Leander
- Alt Film Guide
Ralph Fiennes makes his debut as a director, Wim Wenders comes up with a 3D dance movie and a jailed Iranian filmmaker gets a boost of international solidarity at this year's Berlin International Film Festival.
Organizers on Tuesday presented the 22 top movies scheduled for this year's event, which runs from Feb. 10-20. Sixteen of the films are competing for the top Golden Bear award at the event, the first of the year's major European film festivals.
A typically diverse program has Joel and Ethan Coen's multiple-Oscar-nominated remake of a classic John Wayne classic western, True Grit, rubbing shoulders with offerings such as The Prize, the first film directed by Argentina's Paula Markovitch.
Organizers on Tuesday presented the 22 top movies scheduled for this year's event, which runs from Feb. 10-20. Sixteen of the films are competing for the top Golden Bear award at the event, the first of the year's major European film festivals.
A typically diverse program has Joel and Ethan Coen's multiple-Oscar-nominated remake of a classic John Wayne classic western, True Grit, rubbing shoulders with offerings such as The Prize, the first film directed by Argentina's Paula Markovitch.
- 2/1/2011
- by Cineplex.com and contributors
- Cineplex
Officials from the 61st Berlin Film Festival on Tuesday unveiled the Competition program for this year’s event. It includes 22 films, 16 of which will be competing for the awards.
In addition there will be two special screenings: In solidarity with the convicted Iranian director Jafar Panahi, his film “Offside” will be presented on Feb. 11, the anniversary of the Iranian Revolution. Also, the European premiere of Werner Herzog’s 3-D documentary “Cave of Forgotten Dreams” will be shown as a special screening in the Berlinale Palast.
The winner of the Golden Bear will be announced at the festival awards ceremony on Feb. 19.
The following is the complete Berlinale Competition program.
“A Torinói Ló” (“The Turin Horse”) Hungary/France/Germany/Switzerland
Directed by Béla Tarr
With János Derzsi, Erika Bók, Mihály Kormos
World premiere
“Almanya – Willkommen in Deutschland” (“Almanya”) Germany
By Yasemin Samdereli – debut film
With Vedat Erincin, Fahri Yardin, Aylin Tezel,...
In addition there will be two special screenings: In solidarity with the convicted Iranian director Jafar Panahi, his film “Offside” will be presented on Feb. 11, the anniversary of the Iranian Revolution. Also, the European premiere of Werner Herzog’s 3-D documentary “Cave of Forgotten Dreams” will be shown as a special screening in the Berlinale Palast.
The winner of the Golden Bear will be announced at the festival awards ceremony on Feb. 19.
The following is the complete Berlinale Competition program.
“A Torinói Ló” (“The Turin Horse”) Hungary/France/Germany/Switzerland
Directed by Béla Tarr
With János Derzsi, Erika Bók, Mihály Kormos
World premiere
“Almanya – Willkommen in Deutschland” (“Almanya”) Germany
By Yasemin Samdereli – debut film
With Vedat Erincin, Fahri Yardin, Aylin Tezel,...
- 1/19/2011
- by admin
- Moving Pictures Network
The 61st Berlin International Film Festival has finalised its Competition programme – including 22 diverse films, 16 of which will be competing in the awards.
The Competition programme contains a wide-range of films from countries all over the globe; ranging from USA drama Margin Call, by Jc Chandor to France’s Les femmes du 6ème étage, by Philippe Le Guay.
Adding to the Programme, there will be two special screenings, showcasing the films of acclaimed directors Jafar Panahi and Werner Herzog.
Panahi’s Offside will be presented on February 11, to coincide with the anniversary of the Iranian Revolution, while Werner Herzog’s 3D documentary Cave of Forgotten Dreams will be shown at the Berlinale Palast.
The 61st Berlin International Film Festival runs from 10 - 20 February, with the awards ceremony taking place on 19 February.
The winner of the Golden Bear will be shown as the closing film.
The contenders:
A Torinói Ló by Béla Tarr...
The Competition programme contains a wide-range of films from countries all over the globe; ranging from USA drama Margin Call, by Jc Chandor to France’s Les femmes du 6ème étage, by Philippe Le Guay.
Adding to the Programme, there will be two special screenings, showcasing the films of acclaimed directors Jafar Panahi and Werner Herzog.
Panahi’s Offside will be presented on February 11, to coincide with the anniversary of the Iranian Revolution, while Werner Herzog’s 3D documentary Cave of Forgotten Dreams will be shown at the Berlinale Palast.
The 61st Berlin International Film Festival runs from 10 - 20 February, with the awards ceremony taking place on 19 February.
The winner of the Golden Bear will be shown as the closing film.
The contenders:
A Torinói Ló by Béla Tarr...
- 1/18/2011
- by jennifer.trevorrow@lovefilm.com (Jennifer Trevorrow)
- LOVEFiLM
The Kevin Spacey/Jeremy Irons/Demi Moore financial drama joins 22 films in total, 16 of which will be competing for the Silver Bear. Unknown, the new Liam Neeson thriller with January Jones, will premiere Out of Competition at next month’s 61st Berlin Film Festival. That’s only fitting considering the Warner Bros movie was shot there. The 14 new films announced today join the 8 previously announced, including Opening Film True Grit and Coriolanus. Berlin Film Festival will run between February 10-20. The festival will also be staging 2 special screenings. Jafar Panahi’s Offside will be shown on February 11 out of solidarity of the jailed Iranian director. And Werner Herzog will premiere his 3D documentary Cave of Forgotten Dreams about prehistoric cave painting. In Competition A Torinói Ló (The Turin Horse) Hungary/France/Germany/Switzerland By Béla Tarr (Satantango, Werckmeister Harmonies) With János Derzsi, Erika Bók, Mihály Kormos World premiere Almanya -...
- 1/18/2011
- by TIM ADLER in London
- Deadline London
The World Cinema Fund (Wcf) has selected three new film projects for production funding:
Death for Sale, director: Faouzi Ben Saidi (Morocco), producer: Agora Film, Morocco. Feature film.
Funding: 30,000 €
The Prize, director: Paula Markovitch (Argentina), producer: Kung Works, Mexico. Feature film.
Funding: 50,000 €
I’am Going To Change My Name, director: Maria Saakyan (Armenia), producer: Anniko Films, Armenia.
Feature film. Funding: 50,000 €
The submission deadline for the next round of funding is August 5, 2010.
The Wcf jury 2010 comprised of film scholar and curator Viola Shafik (Germany/Egypt), programme coordinator of Swiss Television Alberto Chollet (Switzerland), dramaturge Alby James (England), as well as Wcf project managers Sonja Heinen and Vincenzo Bugno. The selections were made from 110 submissions from a total of 42 countries.
Since its establishment in October 2004, the Wcf has awarded production and distribution funding to a total of 73 projects chosen from 1275 submissions from across the globe.
Death for Sale, director: Faouzi Ben Saidi (Morocco), producer: Agora Film, Morocco. Feature film.
Funding: 30,000 €
The Prize, director: Paula Markovitch (Argentina), producer: Kung Works, Mexico. Feature film.
Funding: 50,000 €
I’am Going To Change My Name, director: Maria Saakyan (Armenia), producer: Anniko Films, Armenia.
Feature film. Funding: 50,000 €
The submission deadline for the next round of funding is August 5, 2010.
The Wcf jury 2010 comprised of film scholar and curator Viola Shafik (Germany/Egypt), programme coordinator of Swiss Television Alberto Chollet (Switzerland), dramaturge Alby James (England), as well as Wcf project managers Sonja Heinen and Vincenzo Bugno. The selections were made from 110 submissions from a total of 42 countries.
Since its establishment in October 2004, the Wcf has awarded production and distribution funding to a total of 73 projects chosen from 1275 submissions from across the globe.
- 7/7/2010
- by NewsDesk
- DearCinema.com
Paula Markovitch, Fernando Eimbcke's right arm and co-writer on Duck Season and Lake Tahoe is looking to make her feature film directorial debut with a narrative that takes place during a volatile period in Argentina's history. - Paula Markovitch, Fernando Eimbcke's right arm and co-writer on Duck Season and Lake Tahoe is looking to make her feature film directorial debut with a narrative that takes place during a volatile period in Argentina's history. In the tradition of Eimbcke's films, this will be a low-budget production with backing from Mexico's Cacao Films, Argentina's Magma Cine and France's Mille et Une Productions. El premio is a semi-autobiographical tale set in the 1970s under Argentina's military Junta. It turns on a young girl, the daughter of political dissidents, who grows up in a seaside village. Film's climax turns on her primary school competition for the best essay on the army.
- 12/13/2009
- by Ioncinema.com Staff
- IONCINEMA.com
- [Editor's Note: This was originally published during the 2008 edition of the AFI Film Festival.] Writer-director Fernando Eimbcke (Duck Season) delivers a poignant, and yet subtle coming-of-age story with his second feature film, Lake Tahoe. Set in a quiet coastal town, this tells the story of a teenage boy dealing with the grief of his father's death, but on the outset the narrative takes its time in letting the gem unravel into such territory. Instead of getting explosion of emotions, we see the characters implode with a loss of speech. Eimbcke innovates with a language and landscape of his own, telling a story that's loosely based on Vittorio De Sica's The Bicycle Thief. Eimbcke joins the lead of promising international and in the same token, Mexican filmmakers in contemporary cinema - something that Fipresci have established early on as they set up a special screening of Lake Tahoe at Cannes this past May. I met with up Fernando Eimbcke at the ArcLight Theater in Hollywood.
- 7/10/2009
- IONCINEMA.com
The lovely, unpredictable comedy "Duck Season" marks the arrival of a fresh talent in writer-director Fernando Eimbcke. His script is vibrant with unforced humanist observations, the performances are natural and endearing, and the black-and-white imagery bears a distinct visual style that well serves the present-day tale without overpowering it.
The deceptively simple story of two Mexico City teens wasting time while home alone has enjoyed a warm reception on the festival circuit, reaped 11 Ariel Awards (Mexico's highest film honors) and received a 2006 Independent Spirit Awards nomination for best foreign film. Although its gentle charms and lack of incident might be too low-key for some viewers, positive reviews and word-of-mouth should help the film reach an appreciative audience as it expands beyond Friday's bow in Los Angeles and New York.
On a random Sunday in a working-class Mexico City apartment complex, 14-year-old best friends Flama (Daniel Miranda) and Moko (Diego Catano) are hanging out in Flama's apartment, his mother (Carolina Politi) having left, somewhat nervously, for a social engagement. Video games (Bush vs. bin Laden) are the main attraction for the boys, along with a liter of Coke expertly poured into two giant glasses. The first interruption of their slacker bliss arrives with 16-year-old neighbor Rita (Danny Perea), who needs to borrow their oven in order to bake a cake. While she explores the fridge and kitchen cupboards, helping herself to samples, the boys must contend with a second disruption: a power outage that thrusts them into listless silence. Potato chips don't quite fill the void, so they order pizza.
With the electricity still out in the building, the Telepizza guy must race up many flights to meet the company's 30-minute delivery guarantee. According to the boys' ruthless timing, he arrives 11 seconds late. Thus begins a standoff, with the bespectacled Ulises (Enrique Arreola) refusing to leave until he is paid. The boys stick to their guns, not so much out of principle as from a teen need to test their power through offhand cruelty. Among the film's many strengths is the way the young actors act like kids rather than miniature adults.
A video game challenge ends the impasse between Ulises and Flama, while Rita enlists the mop-headed Moko's assistance in her string of pastry disasters. Such is the "action," the ennui interlaced with deadpan silliness, tentative flirtations, ethical debates and soul-searching confessions. Without show-stopping fireworks, Eimbcke detonates revelations full of compassion and loneliness and the ache of living.
The film's title ("Temporada de Patos" in Spanish) refers to a rather generic landscape painting in Flama's living room. For the boy, it's a symbol of his parents' bitter divorce; for the philosophical Ulises, who reassesses his life in the course of the day, it's a window onto new possibilities.
The good-looking film unfolds almost entirely inside the apartment, with the exception of a few scene-setting exterior shots, one brief dip into magic realism and a winsome visual of the foursome on the balcony, which quotes an iconic series of Beatles album covers. In its affectionate look at this quartet of souls, "Duck Season" is a delight.
Duck Season
Warner Independent Pictures
Warner Independent Pictures and Alfonso Cuaron's Esperanto Filmoj present a Cinepantera, Lulu Producciones and Fidecine production with the support of Instituto Mexicano de Cinematografia
Credits:
Writer-director: Fernando Eimbcke
Script written with the collaboration of Paula Markovitch and the advice of Felipe Cazals
Producer: Christian Valdelievre
Executive producer: Jaime B. Ramos
Director of photography: Alexis Zabe
Production designer: Diana Quiroz
Music: Alejandro Rosso, Liquits
Costume designer: Lissi De La Concha
Editor: Mariana Rodriguez
Cast:
Ulises: Enrique Arreola
Flama: Daniel Miranda
Moko: Diego Catano
Rita: Danny Perea
Flama's mother: Carolina Politi
MPAA rating R
Running time -- 87 minutes...
The deceptively simple story of two Mexico City teens wasting time while home alone has enjoyed a warm reception on the festival circuit, reaped 11 Ariel Awards (Mexico's highest film honors) and received a 2006 Independent Spirit Awards nomination for best foreign film. Although its gentle charms and lack of incident might be too low-key for some viewers, positive reviews and word-of-mouth should help the film reach an appreciative audience as it expands beyond Friday's bow in Los Angeles and New York.
On a random Sunday in a working-class Mexico City apartment complex, 14-year-old best friends Flama (Daniel Miranda) and Moko (Diego Catano) are hanging out in Flama's apartment, his mother (Carolina Politi) having left, somewhat nervously, for a social engagement. Video games (Bush vs. bin Laden) are the main attraction for the boys, along with a liter of Coke expertly poured into two giant glasses. The first interruption of their slacker bliss arrives with 16-year-old neighbor Rita (Danny Perea), who needs to borrow their oven in order to bake a cake. While she explores the fridge and kitchen cupboards, helping herself to samples, the boys must contend with a second disruption: a power outage that thrusts them into listless silence. Potato chips don't quite fill the void, so they order pizza.
With the electricity still out in the building, the Telepizza guy must race up many flights to meet the company's 30-minute delivery guarantee. According to the boys' ruthless timing, he arrives 11 seconds late. Thus begins a standoff, with the bespectacled Ulises (Enrique Arreola) refusing to leave until he is paid. The boys stick to their guns, not so much out of principle as from a teen need to test their power through offhand cruelty. Among the film's many strengths is the way the young actors act like kids rather than miniature adults.
A video game challenge ends the impasse between Ulises and Flama, while Rita enlists the mop-headed Moko's assistance in her string of pastry disasters. Such is the "action," the ennui interlaced with deadpan silliness, tentative flirtations, ethical debates and soul-searching confessions. Without show-stopping fireworks, Eimbcke detonates revelations full of compassion and loneliness and the ache of living.
The film's title ("Temporada de Patos" in Spanish) refers to a rather generic landscape painting in Flama's living room. For the boy, it's a symbol of his parents' bitter divorce; for the philosophical Ulises, who reassesses his life in the course of the day, it's a window onto new possibilities.
The good-looking film unfolds almost entirely inside the apartment, with the exception of a few scene-setting exterior shots, one brief dip into magic realism and a winsome visual of the foursome on the balcony, which quotes an iconic series of Beatles album covers. In its affectionate look at this quartet of souls, "Duck Season" is a delight.
Duck Season
Warner Independent Pictures
Warner Independent Pictures and Alfonso Cuaron's Esperanto Filmoj present a Cinepantera, Lulu Producciones and Fidecine production with the support of Instituto Mexicano de Cinematografia
Credits:
Writer-director: Fernando Eimbcke
Script written with the collaboration of Paula Markovitch and the advice of Felipe Cazals
Producer: Christian Valdelievre
Executive producer: Jaime B. Ramos
Director of photography: Alexis Zabe
Production designer: Diana Quiroz
Music: Alejandro Rosso, Liquits
Costume designer: Lissi De La Concha
Editor: Mariana Rodriguez
Cast:
Ulises: Enrique Arreola
Flama: Daniel Miranda
Moko: Diego Catano
Rita: Danny Perea
Flama's mother: Carolina Politi
MPAA rating R
Running time -- 87 minutes...
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