Santiago Miter’s political thriller Argentina, 1985, and the Colombian series News of a Kidnapping, created by Andrés Wood and Rodrigo García, swept the top awards at the tenth Platino Awards Saturday evening.
Miter’s film took home six gongs, including Best Ibero-American Fiction film, Best Screenplay for co-writers Mitre and Mariano Llinas, Best Actor for Ricardo Darín, and the Audience Award.
The film is the tale of Argentinian lawyers Julio Strassera and Luis Moreno Ocampo, who bravely prosecuted members of the country’s former bloody military dictatorship. Under the regime, from 1976 to 1983, an estimated 30,000 people disappeared. The pic debuted in Competition at Venice, where it picked up the Fipresci prize, and was Argentina’s entry for the international Oscar race.
News of a Kidnapping (Noticia de un kidnapping) dominated the TV section taking four awards, including Best Miniseries or Series, Best Series Creator, and Best Actress in a Series or mini-series for Cristina Umaña.
Miter’s film took home six gongs, including Best Ibero-American Fiction film, Best Screenplay for co-writers Mitre and Mariano Llinas, Best Actor for Ricardo Darín, and the Audience Award.
The film is the tale of Argentinian lawyers Julio Strassera and Luis Moreno Ocampo, who bravely prosecuted members of the country’s former bloody military dictatorship. Under the regime, from 1976 to 1983, an estimated 30,000 people disappeared. The pic debuted in Competition at Venice, where it picked up the Fipresci prize, and was Argentina’s entry for the international Oscar race.
News of a Kidnapping (Noticia de un kidnapping) dominated the TV section taking four awards, including Best Miniseries or Series, Best Series Creator, and Best Actress in a Series or mini-series for Cristina Umaña.
- 4/23/2023
- by Zac Ntim
- Deadline Film + TV
Utama wins first awards for a Bolivian film.
In a one-two for Amazon’s original film and TV businesses Santiago Mitre’s courtroom drama Argentina, 1985 took five top honours at the 2023 Platino Awards on Saturday night (April 22), while News Of a Kidnapping from Andrés Wood and Rodrigo García claimed four.
Amazon Studios’ Argentina, 1985 won best Ibero-American fiction film, best actor for Ricardo Darín, best screenplay for co-writers Mitre and Mariano Llinas, best art direction, and film & education in values awards.
Satuday’s triumph here at Madrid’s Ifema Municipal Palace follows Oscar and Bafta nominations and the Goya for best Iberoamerican film.
In a one-two for Amazon’s original film and TV businesses Santiago Mitre’s courtroom drama Argentina, 1985 took five top honours at the 2023 Platino Awards on Saturday night (April 22), while News Of a Kidnapping from Andrés Wood and Rodrigo García claimed four.
Amazon Studios’ Argentina, 1985 won best Ibero-American fiction film, best actor for Ricardo Darín, best screenplay for co-writers Mitre and Mariano Llinas, best art direction, and film & education in values awards.
Satuday’s triumph here at Madrid’s Ifema Municipal Palace follows Oscar and Bafta nominations and the Goya for best Iberoamerican film.
- 4/23/2023
- by Emilio Mayorga
- ScreenDaily
Utama wins first awards for a Bolivian film.
Santiago Mitre’s courtroom drama Argentina, 1985 from Amazon Studios took five top honours at the 2023 Platino Awards at Madrid’s Ifema Municipal Palace on Saturday night (April 22), while stablemate Prime Video’s News Of a Kidnapping from Andrés Wood and Rodrigo García claimed four.
Oscar- and Bafta-nominated Argentina, 1985 premiered in Competition at Venice last year and added to an awards haul that also earned recognition at the Goya awards, among others.
Mitre’s latest film won best Ibero-American fiction film, best actor for Ricardo Darín, best screenplay co-written by Mitre and Mariano Llinas,...
Santiago Mitre’s courtroom drama Argentina, 1985 from Amazon Studios took five top honours at the 2023 Platino Awards at Madrid’s Ifema Municipal Palace on Saturday night (April 22), while stablemate Prime Video’s News Of a Kidnapping from Andrés Wood and Rodrigo García claimed four.
Oscar- and Bafta-nominated Argentina, 1985 premiered in Competition at Venice last year and added to an awards haul that also earned recognition at the Goya awards, among others.
Mitre’s latest film won best Ibero-American fiction film, best actor for Ricardo Darín, best screenplay co-written by Mitre and Mariano Llinas,...
- 4/23/2023
- by Emilio Mayorga
- ScreenDaily
Santiago Mitre’s “Argentina, 1985” and “News of a Kidnapping,” created by Andrés Wood and Rodrigo García, swept the top prizes for best picture on Saturday night at the 2023 Platino Awards, in a sign of how the global streamers – here Amazon Studios and Prime Video – have lured top-of-their-class talent in Latin America.
One highlight of the ceremony, dedicated to films and TV shows in the Spanish-speaking world, was Benicio del Toro’s acceptance speech of a honorary Platino in which he reflected on being typecast for many years in Hollywood as a Latino actor.
“If I had to play stereotypes, I tried to find the character’s humanity, a sense of complicity, so that audiences felt what my character felt and whilst they’re watching, don’t forget who I am and where I come from.,” he said. “What’s important is to share more than be divided,” he added.
One highlight of the ceremony, dedicated to films and TV shows in the Spanish-speaking world, was Benicio del Toro’s acceptance speech of a honorary Platino in which he reflected on being typecast for many years in Hollywood as a Latino actor.
“If I had to play stereotypes, I tried to find the character’s humanity, a sense of complicity, so that audiences felt what my character felt and whilst they’re watching, don’t forget who I am and where I come from.,” he said. “What’s important is to share more than be divided,” he added.
- 4/22/2023
- by Pablo Sandoval and John Hopewell
- Variety Film + TV
You hear “Utama” before you see it: the sounds of wind interrupted suddenly by chimes tolling, underlying a simple black and white title treatment. The sound ushers us into the spectacular opening frame, the image of a man standing on an arid landscape, facing a magnificent golden horizon glowing in the distance, teeming with dramatic clouds. It’s in this image and these sounds that one can find the entire thesis of “Utama,” in which a man faces a formidable unknown.
“Utama,” which means “our home” in Aymara, is the debut feature of photographer and cinematographer Alejandro Loayza Grisi, and is the official Bolivian selection for the Best International Film Academy Award after winning the World Cinema Dramatic Grand Jury Prize at the 2022 Sundance Film Festival. It is a spare and yet unsparing film, and a bold artistic statement from an emerging filmmaker.
Non-professional actors José Calcina and Luisa Quispe,...
“Utama,” which means “our home” in Aymara, is the debut feature of photographer and cinematographer Alejandro Loayza Grisi, and is the official Bolivian selection for the Best International Film Academy Award after winning the World Cinema Dramatic Grand Jury Prize at the 2022 Sundance Film Festival. It is a spare and yet unsparing film, and a bold artistic statement from an emerging filmmaker.
Non-professional actors José Calcina and Luisa Quispe,...
- 11/3/2022
- by Katie Walsh
- The Wrap
One of the most visually striking movies coming out of Sundance Film Festival this year was Alejandro Loayza Grisi’s Grand Jury Prize (World Cinema Dramatic) winner Utama. Shot by cinematographer Barbara Álvarez (Lucrecia Martel’s The Headless Woman), the film was selected as Bolivia’s Best International Feature Film Oscar entry and ahead of a theatrical release from Kino Lorber starting November 4, the first trailer has arrived.
Utama follows an elderly Quechua couple that has been living a tranquil life for years. While Virginio takes their small herd of llamas out to graze, Sisa maintains their home and walks for miles with the other local women to fetch precious water. When an uncommonly long drought threatens everything they know, they must decide whether to stay and maintain their traditional way of life or admit defeat and move in with family members in the city. Virginio and Sisa’s dilemma...
Utama follows an elderly Quechua couple that has been living a tranquil life for years. While Virginio takes their small herd of llamas out to graze, Sisa maintains their home and walks for miles with the other local women to fetch precious water. When an uncommonly long drought threatens everything they know, they must decide whether to stay and maintain their traditional way of life or admit defeat and move in with family members in the city. Virginio and Sisa’s dilemma...
- 10/22/2022
- by Jordan Raup
- The Film Stage
"If we leave, our land will be left alone in silence." Kino Lorber has revealed the official US trailer for a Bolivian drama titled Utama, which originally premiered at the 2022 Sundance Film Festival earlier this year. It earned some rave reviews from critics and went on to play at the Göteborg, Seattle, Sydney, Taipei, and Transilvania Film Festivals. In the Bolivian highlands, an elderly Quechua couple has been living the same daily life for years. During an uncommonly long drought, Virginio and his wife (Sisa) face a dilemma: resist or be defeated by the environment & time itself. This visually jaw-dropping debut by photographer Alejandro Loayza Grisi is lensed by award-winning cinematographer Barbara Alvarez (also of Lucretia Martel’s The Headless Woman) and won the Grand Jury Prize (in World Cinema Dramatic) at Sundance. Featuring local actors in all the roles. Utama is a bit of a slow burn thriller, very...
- 9/16/2022
- by Alex Billington
- firstshowing.net
by Cláudio Alves
Before he became a film director, Alejandro Loayza Grisi was a still photographer. Looking at his debut feature, Utama, it's easy to see the remnants of a photographer's sensibility, now transmuted into cinematic storytelling. Along with Dp Barbara Alvarez, Grisi has framed the Bolivian highlands as a presence more important than any human. The cliché of the landscape being a character is not only present but transcended, to the point that the natural vistas become something of a cosmic deity. They're titan-like, cracked earth making up a wrinkled visage. The river is its mouth, once a gaping maw spewing life. Nowadays, it's just the sliver of a grimace, growing thinner, drying into oblivion.
This land is dying, and so are its people…...
Before he became a film director, Alejandro Loayza Grisi was a still photographer. Looking at his debut feature, Utama, it's easy to see the remnants of a photographer's sensibility, now transmuted into cinematic storytelling. Along with Dp Barbara Alvarez, Grisi has framed the Bolivian highlands as a presence more important than any human. The cliché of the landscape being a character is not only present but transcended, to the point that the natural vistas become something of a cosmic deity. They're titan-like, cracked earth making up a wrinkled visage. The river is its mouth, once a gaping maw spewing life. Nowadays, it's just the sliver of a grimace, growing thinner, drying into oblivion.
This land is dying, and so are its people…...
- 1/29/2022
- by Cláudio Alves
- FilmExperience
When one is asked to picture those who are most impacted by global warming, the imagination flashes to Inuits on a melting ice floe or Maldives natives threatened by rising tides, not Bolivian shepherds who graze their livestock on the Altiplano, nearly 12,000 feet above sea level. But the residents of these remote highlands are also endangered, as director Alejandro Loayza Grisi reveals in his sublime, quietly elegiac feature debut, “Utama,” focusing on an elderly couple who refuse to relocate to the nearby city of La Paz, even as mountain glaciers melt, rains become less reliable and their herd of llamas slowly succumb to dehydration.
Played by actual couple José Calcina and Luisa Quispe, long-married Virginio and Sisa share a small mud house without electricity or running water. Fetching water has always been a chore for Sisa — that’s her responsibility, Virginio sternly reminds her, whereas he handles the animals — but lately,...
Played by actual couple José Calcina and Luisa Quispe, long-married Virginio and Sisa share a small mud house without electricity or running water. Fetching water has always been a chore for Sisa — that’s her responsibility, Virginio sternly reminds her, whereas he handles the animals — but lately,...
- 1/28/2022
- by Peter Debruge
- Variety Film + TV
Utama (Our Home) is precisely the sort of discovery that justifies film festivals and makes them useful: a small, hitherto unheard-of work from an out-of-the-way country that grabs you from the opening minutes and afterwards makes you want to tell your friends they’ve got a real treat to look forward to. A rare Bolivian entry in a major festival, this Sundance World Dramatic Competition title and feature debut by Alejandro Loayza Grisi is gorgeously made and brings to life a backwater existence in a distant land with skill and assurance.
“Backwater” should actually be “no water,” as such is the case in a Bolivian high desert more than two miles above sea level where even the wells have gone dry. Young people are nowhere to be seen and the aged couple we meet, weather-beaten Virginio and Sisa, live in a small cabin, speak in a version of the ancient Incan Quechua language,...
“Backwater” should actually be “no water,” as such is the case in a Bolivian high desert more than two miles above sea level where even the wells have gone dry. Young people are nowhere to be seen and the aged couple we meet, weather-beaten Virginio and Sisa, live in a small cabin, speak in a version of the ancient Incan Quechua language,...
- 1/27/2022
- by Todd McCarthy
- Deadline Film + TV
A man is standing still, facing the camera. He wears a construction hat and a neon safety vest over a bulletproof one. It is nighttime, he’s shrouded in darkness. He closes his eyes as the camera slowly pans out, as if to better tune into his surroundings. The din around him suggests a natural scene, crickets drowning out all else. Only gradually do we begin to hear the sounds of machinery. As Justino (stoic newcomer Regis Myrupu) is lulled into sleep, a radio call brings him back into himself. It’s then we see he’s been standing in front of a shipping container, one of the many he’s tasked with patrolling during his shifts as a security guard at the Manaus cargo port.
This poignant opening moment sets up the tensions between nature and modernity, labor and rest, that structure Maya Da-Rin’s captivating debut fiction feature,...
This poignant opening moment sets up the tensions between nature and modernity, labor and rest, that structure Maya Da-Rin’s captivating debut fiction feature,...
- 3/26/2021
- by Manuel Betancourt
- Variety Film + TV
Brooklyn-based distributor KimStim has acquired North American rights to Brazilian director Maya Da-Rin’s feature debut “The Fever” (“A Febre”), which world premiered in competition at Locarno and played at Toronto in 2019.
The film is represented in international markets by Pierre Menahem’s French sales banner Still Moving, who negotiated the deal on behalf of the producers with KimStim’s Mika Kimoto. “The Fever” will have its New York premiere at New Directors/New Films in December.
“The Fever” follows Justino, a 45-year-old member of the indigenous Desana people, who is a security guard at the Manaus harbor. As his daughter prepares to study medicine in Brasilia, Justino comes down with a mysterious fever. The movie’s key crew includes the veteran cinematographer Barbara Alvarez.
“The Fever” is set to open in theaters in 2021 in France where it will be distributed by Survivance, and in the U.K. with New Wave Films handling,...
The film is represented in international markets by Pierre Menahem’s French sales banner Still Moving, who negotiated the deal on behalf of the producers with KimStim’s Mika Kimoto. “The Fever” will have its New York premiere at New Directors/New Films in December.
“The Fever” follows Justino, a 45-year-old member of the indigenous Desana people, who is a security guard at the Manaus harbor. As his daughter prepares to study medicine in Brasilia, Justino comes down with a mysterious fever. The movie’s key crew includes the veteran cinematographer Barbara Alvarez.
“The Fever” is set to open in theaters in 2021 in France where it will be distributed by Survivance, and in the U.K. with New Wave Films handling,...
- 11/20/2020
- by Elsa Keslassy
- Variety Film + TV
Take two parts De Palma, one part Zulawski, four parts “Berberian Sound Studio” and dissolve the whole in about a million parts water, and the resultant dilute solution might approximate “The Intruder,” an oddly flavorless supernatural psycho-thriller from sophomore Argentinian director Natalia Meta. The claustrophobically close-up tale of a woman’s mental unraveling in the wake of a traumatic incident, the film is an adaptation of regional cult favorite “El mal menor” (literally “The Lesser Evil”) by C.E. Feiling, which is evidently a horror-tinged riff on gender and sexual identity. As such, it comes to a stalwart but perhaps rather respectable Berlin competition lineup promising a welcome blast of genre-inflected chaotic-evil energy.
But Meta chooses not to fully embrace the story’s lurid potential. In the flat light of Dp Barbara Alvarez’s strangely prosaic photography, this relatively straightforward assembly of unusual ingredients — mysterious pipe-organ tuners, terrible boyfriends, anti-mothers, sonic...
But Meta chooses not to fully embrace the story’s lurid potential. In the flat light of Dp Barbara Alvarez’s strangely prosaic photography, this relatively straightforward assembly of unusual ingredients — mysterious pipe-organ tuners, terrible boyfriends, anti-mothers, sonic...
- 2/21/2020
- by Jessica Kiang
- Variety Film + TV
Brazilian “The Father’s Shadow” is one of those occasional arthouse quasi-horror films, like “The Spirit of the Beehive” or Aussie “Celia,” in which the supernatural elements seem a poetical extension of a child protagonist’s distress at the inexplicable realities of the adult world. Recipient of a special jury prize (as well as an acting nod to its young lead) at Fantasia, Gabriela Amaral’s sophomore feature could parlay critical acclaim into offshore distribution beyond the festival circuit. Not entirely satisfying, it’s nonetheless a curiously poignant fable of profound premature loss, both enhanced and somewhat muddled by its slippery occult elements.
Nine-year-old Dalva radiates a sullen suspicion that’s off-puttingly unusual for her age. But she has good reason for resentment: Her mother has recently died, and father Jorge (Julio Machado) is not coping well, to say the least. When not toiling at a toxic Sao Paolo building job he hates,...
Nine-year-old Dalva radiates a sullen suspicion that’s off-puttingly unusual for her age. But she has good reason for resentment: Her mother has recently died, and father Jorge (Julio Machado) is not coping well, to say the least. When not toiling at a toxic Sao Paolo building job he hates,...
- 8/7/2019
- by Dennis Harvey
- Variety Film + TV
Paris-based Still Moving has dropped a first international teaser-trailer for Maya Da-Rin’s “A Febre” (The Fever), which world premieres this week in main International Competition at the 2019 Locarno Intl. Film Festival.
One of two Latin American Locarno Golden Leopard contenders, with Maura Delpero’s Argentine-Italian “Maternal” (“Hogar”), “The Fever” marks one of the latest productions from Germany’s Komplizen Films, the recipient of Locarno’s 2019 Best Independent Producer Award.
Produced by Dar-Rin’s label, Tamandua Vermelho, and Sao Paulo-based Enquadramiento Filmes, “The Fever” is co-produced by Komplizen and Still Moving, which has also stepped up to handle international sales.
Brazil’s Vitrine Filmes, the go-to-distributor for many top Brazilian films – “Divine Love,” “Bacurau” – will release “The Fever” in Brazil.
At a time when Brazil’s president Jair Bolsonaro has drawn world attention to the fate of the Amazon, championing its predominantly illegal logging industry, “The Fever” nails the fate of many indigenous Brazilians.
One of two Latin American Locarno Golden Leopard contenders, with Maura Delpero’s Argentine-Italian “Maternal” (“Hogar”), “The Fever” marks one of the latest productions from Germany’s Komplizen Films, the recipient of Locarno’s 2019 Best Independent Producer Award.
Produced by Dar-Rin’s label, Tamandua Vermelho, and Sao Paulo-based Enquadramiento Filmes, “The Fever” is co-produced by Komplizen and Still Moving, which has also stepped up to handle international sales.
Brazil’s Vitrine Filmes, the go-to-distributor for many top Brazilian films – “Divine Love,” “Bacurau” – will release “The Fever” in Brazil.
At a time when Brazil’s president Jair Bolsonaro has drawn world attention to the fate of the Amazon, championing its predominantly illegal logging industry, “The Fever” nails the fate of many indigenous Brazilians.
- 8/5/2019
- by John Hopewell
- Variety Film + TV
Coming of age films come a dime a dozen. Seemingly once a week, a new film looking into a character’s journey from adolescence to young adulthood arrives, with varying degrees of success and intellectual import. However, few are able to balance on that line between genuinely enthralling drama and maudlin melodrama quite like writer/director Anna Muylaert’s Don’t Call Me Son.
The story found within the tautly wound 82 minute run time of Muylaert’s latest film, Son seems like one you’d find in an arch melodrama, but is in actuality a decidedly singular deeply universal journey through one person’s coming of age. Pierre (newcomer Naomi Nero) is an androgynous, handsome 17-year-old who is as tall as he is mysteriously alluring. Already trying to decipher just exactly who he is as made clear by his sexual experimentation with both men and women as well as his affinity for a good,...
The story found within the tautly wound 82 minute run time of Muylaert’s latest film, Son seems like one you’d find in an arch melodrama, but is in actuality a decidedly singular deeply universal journey through one person’s coming of age. Pierre (newcomer Naomi Nero) is an androgynous, handsome 17-year-old who is as tall as he is mysteriously alluring. Already trying to decipher just exactly who he is as made clear by his sexual experimentation with both men and women as well as his affinity for a good,...
- 11/4/2016
- by Joshua Brunsting
- CriterionCast
Rating: 2 out of 5 stars
The four-minute opening shot of Dominga Sotomayor’s feature debut, Thursday Till Sunday, very much sets the mood for what is to follow; the most patient cineastes might describe it as deliberate, but there’s little point skirting around the fact that, without wanting to appear facetious or reductive, this film is simply boring.
While it’s difficult to argue against the power of Bárbara Álvarez’ luminous cinematography nor the mythic quality of the road film, the sluggish pace undoes just about any firm atmosphere Sotomayor establishes. Familial tensions arise between a husband and wife as they take their son and daughter on what might be their last trip as a unit. We’re keen to indulge the atmosphere and read into every minor detail, populating them with our own speculation where possible, whether it’s the husband picking up two nubile young teen hitch-hikers, or...
The four-minute opening shot of Dominga Sotomayor’s feature debut, Thursday Till Sunday, very much sets the mood for what is to follow; the most patient cineastes might describe it as deliberate, but there’s little point skirting around the fact that, without wanting to appear facetious or reductive, this film is simply boring.
While it’s difficult to argue against the power of Bárbara Álvarez’ luminous cinematography nor the mythic quality of the road film, the sluggish pace undoes just about any firm atmosphere Sotomayor establishes. Familial tensions arise between a husband and wife as they take their son and daughter on what might be their last trip as a unit. We’re keen to indulge the atmosphere and read into every minor detail, populating them with our own speculation where possible, whether it’s the husband picking up two nubile young teen hitch-hikers, or...
- 10/25/2012
- by Shaun Munro
- Obsessed with Film
Release Date: Aug. 21
Director: Lucrecia Martel
Writer: Lucrecia Martel
Starring: María Onetto, Claudia Cantero, Inés Efron, Daniel Genoud
Cinematographer: Bárbara Álvarez
Studio/Run Time: Strand Releasing, 87 mins.
The story of a figuratively, mysteriously decapitated driver
I didn’t realize at first how closely I was supposed to be watching The Headless Woman, the third film by Lucrecia Martel. Boys are playing near a dusty road with their dog; somewhere else, women are chatting after a luncheon and corralling their kids into cars; then one of those women is driving along the largely deserted, rural road seen earlier. She’s alone. She reaches for her cell phone. She runs over something large. After coming to a stop, she stares at the interior of her car as if she’s afraid to consult the rearview mirror, as if she’s trying to swallow an incriminating document. It sticks in the throat. Are...
Director: Lucrecia Martel
Writer: Lucrecia Martel
Starring: María Onetto, Claudia Cantero, Inés Efron, Daniel Genoud
Cinematographer: Bárbara Álvarez
Studio/Run Time: Strand Releasing, 87 mins.
The story of a figuratively, mysteriously decapitated driver
I didn’t realize at first how closely I was supposed to be watching The Headless Woman, the third film by Lucrecia Martel. Boys are playing near a dusty road with their dog; somewhere else, women are chatting after a luncheon and corralling their kids into cars; then one of those women is driving along the largely deserted, rural road seen earlier. She’s alone. She reaches for her cell phone. She runs over something large. After coming to a stop, she stares at the interior of her car as if she’s afraid to consult the rearview mirror, as if she’s trying to swallow an incriminating document. It sticks in the throat. Are...
- 9/1/2009
- Pastemagazine.com
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