Cimarrón, an ambitious pan-Latin American production shingle, is readying new high-profile features by Cannes-prized Agustín Toscano and Sundance best director winner Lucía Garibaldi as it gears up to shoot its first drama series in Mexico and Brazil, backed by two global platforms.
Cimarrón, headquartered in Uruguay’s Montevideo and with offices in Brazil and Argentina and service company operations in Mexico, is working on four international productions to be shot over the next few months.
Apart from Toscano and Garibaldi, the company has projects in development – movies or series – with Israel Adrián Caetano, Anahí Berneri, Marina Meliande, Gustavo Taretto and Manuel Abramovich – some of the most courted of South American directors.
Toscano’s “Perro Feroz,” scheduled to shoot in May 2021 and produced by Argentina’s Rizoma and Cimarrón in co-production with France’s Gloria Films, is set in rural Argentina in 1974 and turns on Sergio, an illiterate rural laborer who...
Cimarrón, headquartered in Uruguay’s Montevideo and with offices in Brazil and Argentina and service company operations in Mexico, is working on four international productions to be shot over the next few months.
Apart from Toscano and Garibaldi, the company has projects in development – movies or series – with Israel Adrián Caetano, Anahí Berneri, Marina Meliande, Gustavo Taretto and Manuel Abramovich – some of the most courted of South American directors.
Toscano’s “Perro Feroz,” scheduled to shoot in May 2021 and produced by Argentina’s Rizoma and Cimarrón in co-production with France’s Gloria Films, is set in rural Argentina in 1974 and turns on Sergio, an illiterate rural laborer who...
- 6/23/2020
- by John Hopewell
- Variety Film + TV
Pablo Stoll’s “Summer Hit,” Matías Lucchessi’s “Las rojas,” Joaquín Peñagaricano and Pablo Abdala’s “Mateína” are some of the Uruguayan projects at different stages participating in a spotlight at Cannes’ Producers Network on the Marché du Film’s digital platform on Tuesday 23.
Five Uruguayan companies, Tarkiofilm, Cimarrón, Montelona, Nadador and Salado, have been selected by the country’s national film body Icau to pitch their production slates at the new format French market.
Recently appointed general director at Icau, Uruguay’s film-tv agency, Roberto Blatt told Variety that Uruguay shows a “maturity in its cinema, backed by a great diversity of formats, genres and styles, and the high creative and technical levels of our professionals.” He went on to say, “That was made evident by the success of titles made free through Vera TV [Uruguayan broadcaster Antel’s digital platform] during the pandemic.”
Blatt pointed out that the Uruguayan public...
Five Uruguayan companies, Tarkiofilm, Cimarrón, Montelona, Nadador and Salado, have been selected by the country’s national film body Icau to pitch their production slates at the new format French market.
Recently appointed general director at Icau, Uruguay’s film-tv agency, Roberto Blatt told Variety that Uruguay shows a “maturity in its cinema, backed by a great diversity of formats, genres and styles, and the high creative and technical levels of our professionals.” He went on to say, “That was made evident by the success of titles made free through Vera TV [Uruguayan broadcaster Antel’s digital platform] during the pandemic.”
Blatt pointed out that the Uruguayan public...
- 6/22/2020
- by Emilio Mayorga
- Variety Film + TV
HBO is planning to commission 15-minute web series as one of its plans to keep up with digital native audiences.
Nestor Hernandez, original productions manager of HBO Latin America, discussed the plans at Creative Europe’s fifth-annual European Film Forum on Sunday at the San Sebastian International Film Festival.
The web series, which will be primarily screened on HBO Now or HBO Go, will be “big-budget” to differentiate between YouTube-style content.
Hernandez said the audience isn’t necessarily having an influence on what stories HBO tells, but on how and where they tell them.
The Netflix effect is changing all networks, he added. “Big digital companies like Netflix, Apple and Amazon weren’t direct competitors but they could become enemies because they know how to talk the language of people connecting to the digital worlds.
“Netflix is incredible [because of] the audience access it has. Amazon too. They’ve taken the best of what we did and contributed the best...
Nestor Hernandez, original productions manager of HBO Latin America, discussed the plans at Creative Europe’s fifth-annual European Film Forum on Sunday at the San Sebastian International Film Festival.
The web series, which will be primarily screened on HBO Now or HBO Go, will be “big-budget” to differentiate between YouTube-style content.
Hernandez said the audience isn’t necessarily having an influence on what stories HBO tells, but on how and where they tell them.
The Netflix effect is changing all networks, he added. “Big digital companies like Netflix, Apple and Amazon weren’t direct competitors but they could become enemies because they know how to talk the language of people connecting to the digital worlds.
“Netflix is incredible [because of] the audience access it has. Amazon too. They’ve taken the best of what we did and contributed the best...
- 9/20/2015
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
Exclusive: German indie powerhouse signs slew of deals.
German sales outfit The Match Factory will be at the Berlinale with a typically strong line-up, which has already piqued plenty of buyer interest.
Four of the company’s titles compete for the Golden Bear, two will premiere in Panorama and one in Forum.
45 Years, the Golden Bear contender starring Charlotte Rampling and Tom Courtenay by Weekend director Andrew Haigh has recently sold to Benelux (ABC Cinemien), Switzerland (Filmcoopi), Australia/ New Zealand (Madman) and Germany (Piffl Medien).
The Match Factory previously secured a deal for the UK (Artificial Eye).
Competition title As We Were Dreaming, which continues The Match Factory’s relationship with director Andreas Dresen and producer Peter Rommel, has been sold to France (Sophie Dulac), Switzerland (Filmcoopi), Greece (Ama Films) and ex-Yugoslavia (McF Megacom).
Pandora Film Verleih will release the drama in Germany after its Berlinale premiere.
Meanwhile, Laura Bispuri’ s debut film Sworn Virgin, also in competition...
German sales outfit The Match Factory will be at the Berlinale with a typically strong line-up, which has already piqued plenty of buyer interest.
Four of the company’s titles compete for the Golden Bear, two will premiere in Panorama and one in Forum.
45 Years, the Golden Bear contender starring Charlotte Rampling and Tom Courtenay by Weekend director Andrew Haigh has recently sold to Benelux (ABC Cinemien), Switzerland (Filmcoopi), Australia/ New Zealand (Madman) and Germany (Piffl Medien).
The Match Factory previously secured a deal for the UK (Artificial Eye).
Competition title As We Were Dreaming, which continues The Match Factory’s relationship with director Andreas Dresen and producer Peter Rommel, has been sold to France (Sophie Dulac), Switzerland (Filmcoopi), Greece (Ama Films) and ex-Yugoslavia (McF Megacom).
Pandora Film Verleih will release the drama in Germany after its Berlinale premiere.
Meanwhile, Laura Bispuri’ s debut film Sworn Virgin, also in competition...
- 2/5/2015
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
Exclusive: German indie powerhouse signs slew of deals.
German sales outfit The Match Factory will be at the Berlinale with a typically strong line-up, which has already piqued plenty of buyer interest.
Four of the company’s titles compete for the Golden Bear, two will premiere in Panorama and one in Forum.
45 Years, the Golden Bear contender starring Charlotte Rampling and Tom Courtenay by Weekend director Andrew Haigh has recently sold to Benelux (ABC Cinemien), Switzerland (Filmcoopi), Australia/ New Zealand (Madman) and Germany (Piffl Medien).
The Match Factory previously secured a deal for the UK (Artificial Eye).
Competition title As We Were Dreaming, which continues The Match Factory’s relationship with director Andreas Dresen and producer Peter Rommel, has been sold to France (Sophie Dulac), Switzerland (Filmcoopi), Greece (Ama Films) and ex-Yugoslavia (McF Megacom).
Pandora Film Verleih will release the drama in Germany after its Berlinale premiere.
Meanwhile, Laura Bispuri’ s debut film Sworn Virgin, also in competition...
German sales outfit The Match Factory will be at the Berlinale with a typically strong line-up, which has already piqued plenty of buyer interest.
Four of the company’s titles compete for the Golden Bear, two will premiere in Panorama and one in Forum.
45 Years, the Golden Bear contender starring Charlotte Rampling and Tom Courtenay by Weekend director Andrew Haigh has recently sold to Benelux (ABC Cinemien), Switzerland (Filmcoopi), Australia/ New Zealand (Madman) and Germany (Piffl Medien).
The Match Factory previously secured a deal for the UK (Artificial Eye).
Competition title As We Were Dreaming, which continues The Match Factory’s relationship with director Andreas Dresen and producer Peter Rommel, has been sold to France (Sophie Dulac), Switzerland (Filmcoopi), Greece (Ama Films) and ex-Yugoslavia (McF Megacom).
Pandora Film Verleih will release the drama in Germany after its Berlinale premiere.
Meanwhile, Laura Bispuri’ s debut film Sworn Virgin, also in competition...
- 2/5/2015
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
Irrfan Khan, Christina Voros and Catherine Dussart to preside over feature competition juries; seven world premieres of Arab films in feature competitions.
Abu Dhabi Film Festival (Oct 23-Nov 1) has released the names of its jury members, who will select the award winners of this year’s Adff competitions.
This year’s Narrative Features jury led by Mumbai-based actor Irrfan Khan (The Lunchbox, Life of Pi) will be rounded out by Algerian novelist and academic Waciny Laredj, award-winning English writer-director Steven Shainberg, Australian film director Cate Shortland and Palestinian actor Ali Suliman.
The panel evaluating the New Horizons section led by Paris-based film producer Catherine Dussart (The Missing Picture) includes Syrian actor Bassel Al Khayat, Moroccan filmmaker Leila Kilani, Geneva-based Indian filmmaker Anup Singh and film critic Charles Tesson, artistic director of Critics’ Week at the Cannes Film Festival.
Heading the Documentary Features jury is Brooklyn-based director and cinematographer Christina Voros. The other jury...
Abu Dhabi Film Festival (Oct 23-Nov 1) has released the names of its jury members, who will select the award winners of this year’s Adff competitions.
This year’s Narrative Features jury led by Mumbai-based actor Irrfan Khan (The Lunchbox, Life of Pi) will be rounded out by Algerian novelist and academic Waciny Laredj, award-winning English writer-director Steven Shainberg, Australian film director Cate Shortland and Palestinian actor Ali Suliman.
The panel evaluating the New Horizons section led by Paris-based film producer Catherine Dussart (The Missing Picture) includes Syrian actor Bassel Al Khayat, Moroccan filmmaker Leila Kilani, Geneva-based Indian filmmaker Anup Singh and film critic Charles Tesson, artistic director of Critics’ Week at the Cannes Film Festival.
Heading the Documentary Features jury is Brooklyn-based director and cinematographer Christina Voros. The other jury...
- 10/20/2014
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
As a film fan, self-professed cinenerd, and an ex-film programmer at the New York International Latino Film Festival, the closure of the long-running fest last year was soul crushing. There are very few spaces dedicated to exhibiting Latino cinema and a lot of the remaining ones are on shaky ground.
Simultaneously though — as many U.S. Latino film institutions are on their last legs — movies directed by Latin American-born filmmakers are circling the globe at prestigious film festivals, winning awards, and garnering praise from critics. Production numbers, south of our border, have risen astronomically. It’s a renewal, renaissance, new wave — whatever you want to call it — that began in the mid-nineties. The Film Society of Lincoln Center, with its eye on this rebirth, founded a film series in 1997. A yearly showcase of the newest voices in Latin American cinema, it would eventually be called Latinbeat.
This year’s Latinbeat, running July 11 – 20, carries on with its mission of presenting emerging directors and film trends from across Latin America with movies from powerhouses like Argentina, Mexico, Chile, and Brazil plus countries with smaller film industries like Uruguay, Colombia, Ecuador, Costa Rica, Venezuela, and the Dominican Republic. From films about a Mexican garage band ("We Are Mari Pepa") to heavy metal in the Andes ("Holiday") and from first-time directors as well as established ones, this year’s lineup is centered on young protagonists.
In advance of the series’ opening night, I got the chance to chat with Marcela Goglio — Latinbeat’s film programmer since 1999 — about the origins of the longstanding showcase, how she ended up at the Film Society of Lincoln Center, and the constant rebirth of Latin American cinema. Plus, there are some good stories about the struggles of getting filmmakers to their screenings on time. Spoiler alert: if something can go wrong, it will.
When did the Latinbeat series start? Was there something specific that motivated the creation of the series?
Latinbeat started in 1997, conceived by Richard Peña, the Programming Director of the Film Society of Lincoln Center at the time (and until the end of 2012.) He actually programmed that first edition. I came in as an intern that year and helped with the marketing, outreach, and with Q&As. He came up with the idea mainly because at the time there was a very evident explosion or renaissance of film in Latin America, mainly Argentina, Brazil, and Mexico (the so called “New Argentine Cinema” started in the mid 90s). By explosion I mean not only a spike in quantity but mainly there was some really interesting formal exploration going on and new kinds of films emerging as a reaction to drastically changing socio-political realities — end of dictatorships in some countries, devastating economic crises that changed the social landscape in others — in a film landscape that, up until then, had become rather stale. It was the perfect time and there was a real need, as no other venues existed that were showcasing that cinema in New York. Latinbeat was the very first to showcase these new emerging filmmakers that later became such symbols of their time.
Where did the name Latinbeat come from?
Richard Peña chose the name. I think it was a reference to precisely an urgent, watershed moment, urgent films, something palpitating in the air that the festival wanted to capture. Also, it was a reference to a new rhythm or language that was being created.
How did you end up programming the series?
Newly arrived in New York City in 1997, after having lived in Costa Rica for four years where I worked as a journalist and programmed a series of Latin American cinema at the Spanish Cultural Center, I heard that Richard Peña, whom I had studied under at Columbia University before moving to Costa Rica, was organizing a Latin American film festival. (At the time it was called “Latin American Cinema Now.”) I called him up and volunteered to help on that festival that he programmed. So I became an intern at the Film Society helping with Latin American outreach and other stuff. In 1998, he asked me and a fellow colleague, Cord Dueppe, to program the following edition in 1999 (it was biannual back then) and we programmed the subsequent editions together. Ines Aslan, from the Public Relations department, joined our team around 2003 under Richard’s guidance. In 2007, I became the sole programmer (Ines and Cord left the Film Society) and have programmed it since.
Richard Peña, former Programming Director at the Film Society of Lincoln Center
Can you describe the process of discovering and selecting the films each year? How is the process different now than when you first started?
I take submissions — and I watch everything that is sent to me — but I don’t do an open call for entries. Up until recently, I had traveled to the Havana Film Festival almost every year since 1996 and to every Bafici (Buenos Aires Independent Film Festival) since its first edition 12 years ago and I go to a few other festivals. Distribution companies send me titles and screeners but mostly the process involves keeping up to date with productions in the region through connections with film schools, institutes, filmmakers, and producers with whom I have developed a relationship with over the years. Also, of course, I follow the programming at all the other festivals.
The process now is different in that there are many more films to watch because, amongst other things, of an explosion in production in other countries in the region (and more production too in the aforementioned strongest countries: Argentina, Mexico, Brazil). The programming, necessarily, must become more complex because there is more to choose from and more variety but also more festivals that compete for the same films. There are more films to watch but because of technology it is also easier, in a sense, since viewing links get sent quickly instead of having to wait for screeners or videos via mail.
What was the biggest challenge in the first year of the series?
Getting a crossover audience, in terms of nationality.
Marcela Goglio with Yamandu Ross, co-director of '3 Million'
What years do you feel were the heyday of the series? What are some of your favorite memories of that time?
Definitely 2003 – 2004, when the festival was hugely successful — we had sold out screenings back to back — and longer, it ran for three weeks. We had a lot of Cuban cinema and my very favorite sidebar (in 2003) was these fabulous archival Cuban music documentaries (from the 50s, 60s, 70s) that we brought back from Havana and were never again shown in the city, or the U.S. The theater was packed and now, looking back, I realize we should have repeated that program. It was also the first year that I started to notice some crossover amongst audiences — Mexicans coming to see Chilean films, Argentines to see Cuban, etc — and that was thrilling.
One of my favorite memories is recognizing a Mexican bus boy from a neighborhood restaurant who came to see Carlos Sorin’s "Intimate Stories" (a small independent film from Argentina). He was standing in the back — there were no empty seats in the theater — laughing like crazy. One of the great things of those years too was that this “renaissance of Latin American cinema” that had started in the early/mid 90s was starting to come into its own and become more well known and popular abroad. Seeing such a new independent cinema gain popularity and fill the theaters — at least in NY, it definitely was not happening in Latin America, which made it even more exciting and special — was very gratifying. It felt like we were really a part of that big change that Latin America was experiencing cinematically.
Have you ever had trouble getting filmmakers to New York for their screenings?
In 2011, we opened the festival with Gustavo Taretto’s "Sidewalls" from Argentina. Taretto, who is of Italian descent and had a beard at the time, was coming for opening night and he almost didn’t make it because he was held up at the airport and being questioned. He claimed it was because of his “Middle Eastern” appearance. The irony is that Coca Cola was one of his clients; when the officers stopped him at the airport (because of his beard) and asked him his profession he made a joke about how he actually helped the American Empire — I’m paraphrasing — impose its products on the rest of the world.
Gustavo Taretto and Marcela Goglio
Something similar happened to another opening night guest, Roxana Blanco, coming to introduce the Uruguayan film "Kill Them All", a political thriller set in Uruguay. This time it was not because of her appearance, but because of the title of the film.
It also happened to the director and producer (Kenya Marquez and Karla Uribe) of Expiration Date, the opening night film in 2012. There was a storm so they were delayed arriving from the airport and couldn’t introduce the film. They finally showed up as the film was ending, direct from the airport and soaking wet, and practically changed in the lobby before marching into the theater to do the Q&A.
To Gustavo Taretto, it actually happened twice in that trip. After opening night (a Friday, I think) he had to travel to Mexico for a publicity gig. On his way back to New York, where he had to introduce his second screening, he was singled out in the immigration line (supposedly again because of his beard) and questioned right there.
Are there filmmakers who screened their first film at Latinbeat and are now big names? Do you feel like you took part in discovering them?
None of these are “big names” but are well known now in the Latin American film world, with a respected body of work; I feel like we took part in discovering many of them, but not all: Celina Murga, Argentina ("Ana y los otros," ‘04), Damian Szifron, Argentina ("En el fondo del mar," ‘03 ), Matias Bize, Chile ("Sabado" ‘04), Marite Ugas and Mariana Rondon from Venezuela ("A la medianoche y media," ‘01), Juan Pablo Rebella and Pablo Stoll from Uruguay ("25 Watts," ‘01), Everardo Gonzalez, Mexico ("Cancion del pulque," ‘04), Nicolas Pereda, Mexico ( "Perpetuum Mobile"— his second feature film, ‘09), Matias Meyer, Mexico ("Wadley," ‘08 ), Martin Rejtman, Argentina ("Silvia Prieto" — his second film, ‘99), Mercedes Moncada, Mexico/Nicaragua ("La pasion de Maria Elena," ‘03), Pedro Gonzales Rubio and Carlos Armella, Mexico ( "Toro Negro," ‘05), and finally Juan Jose Campanella from Argentina, we showed his "El mismo amor, la misma lluvia" in 1999. He went on to win an Oscar for Best Foreign Language Film in 2009 for "El secreto de sus ojos."
Matias Meyer, director of 'The Cramp' with Marcela Goglio
How does film production compare now to when Latinbeat started?
Numbers of films have increased twenty fold or more, in most countries — a lot. Mexico, Argentina and Brazil continue to produce the most but the main difference is that countries like Chile, Uruguay, Colombia and Venezuela — though Venezuela always had a high production — underwent their own explosion in the last years, as you might have heard. So, they are also important players. Another big difference is precisely the variety of themes, formal approaches and, storylines — political and personal, different genres — though the “independent”, low budget, formal exploration strain continues to be strong in all the countries, which is what is so fascinating. It’s as if the cinema in the region is constantly renewing itself. Also, the fact that there is this variety of genres, levels of production, styles — and the fact that there are some solid commercial films produced and consumed regularly in some of these countries — to me is an indication that there is an industry that’s getting strong. That is really great, even if we may not love everything that is being produced.
Have you ever considered including U.S. Latino films in Latinbeat?
We did include a few over the years — the Dominican-American "Red Passport" and the films of U.S.-based Puerto Rican director Mario Diaz. But, we focused on Latin America mostly and we understood that as separate from “Latino”. Also, the New York International Latino Film Festival seemed to have that area covered those years. [The Nyilff launched in 1999.] Now that that festival is gone [Nyilff], I would want to consider more Latino films. I also don’t see the “Latino” and “Latin American” as that separate anymore.
What is your favorite part of being a film programmer?
I love almost all aspects of it: watching the films (even when they’re not always great); choosing them and finding the best ways to make them work together; and finally, meeting the filmmakers and having conversations with them and the audience, onstage, brings everything full circle.
Pablo Cerda, director of 'P.E.' with Marcela Goglio
When you want to just sit on the couch and unwind what sort of films do you watch in your spare time?
I generally don’t watch films to unwind — I prefer to read. But these days I enjoy watching Argentine public television — many filmmakers are directing great series.
Did you ever want to be a filmmaker?
I did, a screenwriter. But wasn’t 100% sure. I went to film school briefly at the Universidad del Cine, in Buenos Aires, while I studied Journalism at Universidad de Buenos Aires.
This year, there are lots of films about young people, from "Somos Mari Pepa" (Mexico) to "Holiday" (Ecuador) and "Mateo" (Colombia). The opening night film "Casa Grande" also centers on a teenager but in Brazil. Was this on purpose? Is it a reflection of a larger trend in Latin American filmmaking?
"The Militant," "Root," "The Summer of Flying Fish" and "Natural Sciences" are also about young people and are a variation of “coming of age” stories. So it is definitely a recurring theme in the program. Yes, it’s on purpose. Most of our past editions have had many young first-time directors; it has been like this from the start. We look to reflect the region’s new trends with the program, to highlight emerging talents always, even if they might have imperfect films. And some of these titles mentioned are definitely by filmmakers to watch.
Latinbeat runs July 11 – 20 at The Film Society of Lincoln Center’s Walter Reade Theater.
Simultaneously though — as many U.S. Latino film institutions are on their last legs — movies directed by Latin American-born filmmakers are circling the globe at prestigious film festivals, winning awards, and garnering praise from critics. Production numbers, south of our border, have risen astronomically. It’s a renewal, renaissance, new wave — whatever you want to call it — that began in the mid-nineties. The Film Society of Lincoln Center, with its eye on this rebirth, founded a film series in 1997. A yearly showcase of the newest voices in Latin American cinema, it would eventually be called Latinbeat.
This year’s Latinbeat, running July 11 – 20, carries on with its mission of presenting emerging directors and film trends from across Latin America with movies from powerhouses like Argentina, Mexico, Chile, and Brazil plus countries with smaller film industries like Uruguay, Colombia, Ecuador, Costa Rica, Venezuela, and the Dominican Republic. From films about a Mexican garage band ("We Are Mari Pepa") to heavy metal in the Andes ("Holiday") and from first-time directors as well as established ones, this year’s lineup is centered on young protagonists.
In advance of the series’ opening night, I got the chance to chat with Marcela Goglio — Latinbeat’s film programmer since 1999 — about the origins of the longstanding showcase, how she ended up at the Film Society of Lincoln Center, and the constant rebirth of Latin American cinema. Plus, there are some good stories about the struggles of getting filmmakers to their screenings on time. Spoiler alert: if something can go wrong, it will.
When did the Latinbeat series start? Was there something specific that motivated the creation of the series?
Latinbeat started in 1997, conceived by Richard Peña, the Programming Director of the Film Society of Lincoln Center at the time (and until the end of 2012.) He actually programmed that first edition. I came in as an intern that year and helped with the marketing, outreach, and with Q&As. He came up with the idea mainly because at the time there was a very evident explosion or renaissance of film in Latin America, mainly Argentina, Brazil, and Mexico (the so called “New Argentine Cinema” started in the mid 90s). By explosion I mean not only a spike in quantity but mainly there was some really interesting formal exploration going on and new kinds of films emerging as a reaction to drastically changing socio-political realities — end of dictatorships in some countries, devastating economic crises that changed the social landscape in others — in a film landscape that, up until then, had become rather stale. It was the perfect time and there was a real need, as no other venues existed that were showcasing that cinema in New York. Latinbeat was the very first to showcase these new emerging filmmakers that later became such symbols of their time.
Where did the name Latinbeat come from?
Richard Peña chose the name. I think it was a reference to precisely an urgent, watershed moment, urgent films, something palpitating in the air that the festival wanted to capture. Also, it was a reference to a new rhythm or language that was being created.
How did you end up programming the series?
Newly arrived in New York City in 1997, after having lived in Costa Rica for four years where I worked as a journalist and programmed a series of Latin American cinema at the Spanish Cultural Center, I heard that Richard Peña, whom I had studied under at Columbia University before moving to Costa Rica, was organizing a Latin American film festival. (At the time it was called “Latin American Cinema Now.”) I called him up and volunteered to help on that festival that he programmed. So I became an intern at the Film Society helping with Latin American outreach and other stuff. In 1998, he asked me and a fellow colleague, Cord Dueppe, to program the following edition in 1999 (it was biannual back then) and we programmed the subsequent editions together. Ines Aslan, from the Public Relations department, joined our team around 2003 under Richard’s guidance. In 2007, I became the sole programmer (Ines and Cord left the Film Society) and have programmed it since.
Richard Peña, former Programming Director at the Film Society of Lincoln Center
Can you describe the process of discovering and selecting the films each year? How is the process different now than when you first started?
I take submissions — and I watch everything that is sent to me — but I don’t do an open call for entries. Up until recently, I had traveled to the Havana Film Festival almost every year since 1996 and to every Bafici (Buenos Aires Independent Film Festival) since its first edition 12 years ago and I go to a few other festivals. Distribution companies send me titles and screeners but mostly the process involves keeping up to date with productions in the region through connections with film schools, institutes, filmmakers, and producers with whom I have developed a relationship with over the years. Also, of course, I follow the programming at all the other festivals.
The process now is different in that there are many more films to watch because, amongst other things, of an explosion in production in other countries in the region (and more production too in the aforementioned strongest countries: Argentina, Mexico, Brazil). The programming, necessarily, must become more complex because there is more to choose from and more variety but also more festivals that compete for the same films. There are more films to watch but because of technology it is also easier, in a sense, since viewing links get sent quickly instead of having to wait for screeners or videos via mail.
What was the biggest challenge in the first year of the series?
Getting a crossover audience, in terms of nationality.
Marcela Goglio with Yamandu Ross, co-director of '3 Million'
What years do you feel were the heyday of the series? What are some of your favorite memories of that time?
Definitely 2003 – 2004, when the festival was hugely successful — we had sold out screenings back to back — and longer, it ran for three weeks. We had a lot of Cuban cinema and my very favorite sidebar (in 2003) was these fabulous archival Cuban music documentaries (from the 50s, 60s, 70s) that we brought back from Havana and were never again shown in the city, or the U.S. The theater was packed and now, looking back, I realize we should have repeated that program. It was also the first year that I started to notice some crossover amongst audiences — Mexicans coming to see Chilean films, Argentines to see Cuban, etc — and that was thrilling.
One of my favorite memories is recognizing a Mexican bus boy from a neighborhood restaurant who came to see Carlos Sorin’s "Intimate Stories" (a small independent film from Argentina). He was standing in the back — there were no empty seats in the theater — laughing like crazy. One of the great things of those years too was that this “renaissance of Latin American cinema” that had started in the early/mid 90s was starting to come into its own and become more well known and popular abroad. Seeing such a new independent cinema gain popularity and fill the theaters — at least in NY, it definitely was not happening in Latin America, which made it even more exciting and special — was very gratifying. It felt like we were really a part of that big change that Latin America was experiencing cinematically.
Have you ever had trouble getting filmmakers to New York for their screenings?
In 2011, we opened the festival with Gustavo Taretto’s "Sidewalls" from Argentina. Taretto, who is of Italian descent and had a beard at the time, was coming for opening night and he almost didn’t make it because he was held up at the airport and being questioned. He claimed it was because of his “Middle Eastern” appearance. The irony is that Coca Cola was one of his clients; when the officers stopped him at the airport (because of his beard) and asked him his profession he made a joke about how he actually helped the American Empire — I’m paraphrasing — impose its products on the rest of the world.
Gustavo Taretto and Marcela Goglio
Something similar happened to another opening night guest, Roxana Blanco, coming to introduce the Uruguayan film "Kill Them All", a political thriller set in Uruguay. This time it was not because of her appearance, but because of the title of the film.
It also happened to the director and producer (Kenya Marquez and Karla Uribe) of Expiration Date, the opening night film in 2012. There was a storm so they were delayed arriving from the airport and couldn’t introduce the film. They finally showed up as the film was ending, direct from the airport and soaking wet, and practically changed in the lobby before marching into the theater to do the Q&A.
To Gustavo Taretto, it actually happened twice in that trip. After opening night (a Friday, I think) he had to travel to Mexico for a publicity gig. On his way back to New York, where he had to introduce his second screening, he was singled out in the immigration line (supposedly again because of his beard) and questioned right there.
Are there filmmakers who screened their first film at Latinbeat and are now big names? Do you feel like you took part in discovering them?
None of these are “big names” but are well known now in the Latin American film world, with a respected body of work; I feel like we took part in discovering many of them, but not all: Celina Murga, Argentina ("Ana y los otros," ‘04), Damian Szifron, Argentina ("En el fondo del mar," ‘03 ), Matias Bize, Chile ("Sabado" ‘04), Marite Ugas and Mariana Rondon from Venezuela ("A la medianoche y media," ‘01), Juan Pablo Rebella and Pablo Stoll from Uruguay ("25 Watts," ‘01), Everardo Gonzalez, Mexico ("Cancion del pulque," ‘04), Nicolas Pereda, Mexico ( "Perpetuum Mobile"— his second feature film, ‘09), Matias Meyer, Mexico ("Wadley," ‘08 ), Martin Rejtman, Argentina ("Silvia Prieto" — his second film, ‘99), Mercedes Moncada, Mexico/Nicaragua ("La pasion de Maria Elena," ‘03), Pedro Gonzales Rubio and Carlos Armella, Mexico ( "Toro Negro," ‘05), and finally Juan Jose Campanella from Argentina, we showed his "El mismo amor, la misma lluvia" in 1999. He went on to win an Oscar for Best Foreign Language Film in 2009 for "El secreto de sus ojos."
Matias Meyer, director of 'The Cramp' with Marcela Goglio
How does film production compare now to when Latinbeat started?
Numbers of films have increased twenty fold or more, in most countries — a lot. Mexico, Argentina and Brazil continue to produce the most but the main difference is that countries like Chile, Uruguay, Colombia and Venezuela — though Venezuela always had a high production — underwent their own explosion in the last years, as you might have heard. So, they are also important players. Another big difference is precisely the variety of themes, formal approaches and, storylines — political and personal, different genres — though the “independent”, low budget, formal exploration strain continues to be strong in all the countries, which is what is so fascinating. It’s as if the cinema in the region is constantly renewing itself. Also, the fact that there is this variety of genres, levels of production, styles — and the fact that there are some solid commercial films produced and consumed regularly in some of these countries — to me is an indication that there is an industry that’s getting strong. That is really great, even if we may not love everything that is being produced.
Have you ever considered including U.S. Latino films in Latinbeat?
We did include a few over the years — the Dominican-American "Red Passport" and the films of U.S.-based Puerto Rican director Mario Diaz. But, we focused on Latin America mostly and we understood that as separate from “Latino”. Also, the New York International Latino Film Festival seemed to have that area covered those years. [The Nyilff launched in 1999.] Now that that festival is gone [Nyilff], I would want to consider more Latino films. I also don’t see the “Latino” and “Latin American” as that separate anymore.
What is your favorite part of being a film programmer?
I love almost all aspects of it: watching the films (even when they’re not always great); choosing them and finding the best ways to make them work together; and finally, meeting the filmmakers and having conversations with them and the audience, onstage, brings everything full circle.
Pablo Cerda, director of 'P.E.' with Marcela Goglio
When you want to just sit on the couch and unwind what sort of films do you watch in your spare time?
I generally don’t watch films to unwind — I prefer to read. But these days I enjoy watching Argentine public television — many filmmakers are directing great series.
Did you ever want to be a filmmaker?
I did, a screenwriter. But wasn’t 100% sure. I went to film school briefly at the Universidad del Cine, in Buenos Aires, while I studied Journalism at Universidad de Buenos Aires.
This year, there are lots of films about young people, from "Somos Mari Pepa" (Mexico) to "Holiday" (Ecuador) and "Mateo" (Colombia). The opening night film "Casa Grande" also centers on a teenager but in Brazil. Was this on purpose? Is it a reflection of a larger trend in Latin American filmmaking?
"The Militant," "Root," "The Summer of Flying Fish" and "Natural Sciences" are also about young people and are a variation of “coming of age” stories. So it is definitely a recurring theme in the program. Yes, it’s on purpose. Most of our past editions have had many young first-time directors; it has been like this from the start. We look to reflect the region’s new trends with the program, to highlight emerging talents always, even if they might have imperfect films. And some of these titles mentioned are definitely by filmmakers to watch.
Latinbeat runs July 11 – 20 at The Film Society of Lincoln Center’s Walter Reade Theater.
- 7/16/2014
- by Vanessa Erazo
- Sydney's Buzz
Fourteen films have been competing in iber.film.america, the first-ever Latin American film festival online, organized by VoD platform filmotech.com. “The aim is to bring Hispanic cinema closer to Latin American communities from both continents, America and Europe, through new distribution channels,” said festival and platform director Juan Alía. “Internet is the ideal venue for the general public to have access to these types of films, that are of great quality but have not been released either in cinemas or as DVDs.” Until April 16, the platform’s Latin American visitors will be able to see the films for free, with up to 10,000 viewings possible for each film. The selected films, produced in Latin American countries between 2009 and 2011, will vie for the Critics Award, decided on by a jury made up of five journalists and with a prize of $3,000, and for the Audience Award. Fifteen countries, from Argentina to Mexico via Spain, Nicaragua, and Colombia, are represented in a selection that includes:
Ticket to Paradise (Isa: Icaic) by Gerardo Chijona Valdés
Undertow (Isa: Greenburg Taurig) by Javier Fuentes León
Des-autorizados by Elia Schneider
García (Isa: Bogeydom Liscensing) by José Luis Rugeles
Guest (Isa: Roxbury) by José Luis Guerín
Jean Gentil (Isa: Aurora Dominicana) by Laura Amelia Guzmán and Israel Cárdenas
The Colors of the Mountain (Isa: Urban Distribution Int.) by Carlos César Arbeláez
La mala verdad (lit. “The bad truth”) by Miguel Ángel Rocca
Half of Oscar (Isa: FiGa FIlms) by Manuel Martín Cuenca
La Yuma (Isa: All Rights Ent.) by Florence Jauguey
Medianeras by Gustavo Taretto
Norberto’s Deadline (Isa: Outsider Pictures) by Daniel Hendler
Pescador (Isa: Latinofusion) (lit. “Fisherman”) by Sebastián Cordero
Transeúnte by Eryck Rocha
iber.film.america is supported by the Icaa, the Latin American Federation of Cinema and Audiovisual Producers (Fipca), and the Cervantes Institute.
Ticket to Paradise (Isa: Icaic) by Gerardo Chijona Valdés
Undertow (Isa: Greenburg Taurig) by Javier Fuentes León
Des-autorizados by Elia Schneider
García (Isa: Bogeydom Liscensing) by José Luis Rugeles
Guest (Isa: Roxbury) by José Luis Guerín
Jean Gentil (Isa: Aurora Dominicana) by Laura Amelia Guzmán and Israel Cárdenas
The Colors of the Mountain (Isa: Urban Distribution Int.) by Carlos César Arbeláez
La mala verdad (lit. “The bad truth”) by Miguel Ángel Rocca
Half of Oscar (Isa: FiGa FIlms) by Manuel Martín Cuenca
La Yuma (Isa: All Rights Ent.) by Florence Jauguey
Medianeras by Gustavo Taretto
Norberto’s Deadline (Isa: Outsider Pictures) by Daniel Hendler
Pescador (Isa: Latinofusion) (lit. “Fisherman”) by Sebastián Cordero
Transeúnte by Eryck Rocha
iber.film.america is supported by the Icaa, the Latin American Federation of Cinema and Audiovisual Producers (Fipca), and the Cervantes Institute.
- 5/23/2012
- by Sydney Levine
- Sydney's Buzz
The technological age promised to connect people to one another like never before, but for many it has transformed true human connection into a rarity rather than a daily occurrence. Sidewalls (originally titled Medianeras) follows two such people, living in adjacent buildings, attempting to find new emotional connections after past relationships left them reeling. Director Gustavo Taretto’s first feature-length effort pays homage to Woody Allen (both thematically and visually) but unnecessarily leans on dual voiceovers to convey most of the characters’ ennui. It’s an unnecessary shortcut that ultimately sabotages Taretto’s effort to let us see inside the worlds of two people living in isolation but in different ways. Even so, Sidewalls is an insightful little film with two promising leads.
Read more...
Read more...
- 4/20/2012
- by Lex Walker
- JustPressPlay.net
DVD Playhouse—April 2012
By Allen Gardner
Extremely Loud & Incredibly Close (Warner Bros.) An eleven year-old boy (newcomer Thomas Horn, in an incredible debut) discovers a mysterious key amongst the possessions of his late father (Tom Hanks) who perished in 9/11. Determined to find the lock it matches, the boy embarks on a Picaresque odyssey across New York City. Director Stephen Daldry and screenwriter Eric Roth have fashioned a film both grand and intimate, beautifully-adapted from Jonathan Safran Foer’s novel, thought by most who read it to be unfilmable. Fine support from Jeffrey Wright, Sandra Bullock, John Goodman, Viola Davis and the great Max von Sydow. Also available on Blu-ray disc. Bonuses: Featurettes. Widescreen. Dolby and DTS-hd 5.1 surround.
Battle Royale: The Complete Collection (Anchor Bay) Adapted from Koushun Takami’s polarizing novel (compared by champions and detractors alike as a 21st century version of A Clockwork Orange) and set in a futuristic Japan,...
By Allen Gardner
Extremely Loud & Incredibly Close (Warner Bros.) An eleven year-old boy (newcomer Thomas Horn, in an incredible debut) discovers a mysterious key amongst the possessions of his late father (Tom Hanks) who perished in 9/11. Determined to find the lock it matches, the boy embarks on a Picaresque odyssey across New York City. Director Stephen Daldry and screenwriter Eric Roth have fashioned a film both grand and intimate, beautifully-adapted from Jonathan Safran Foer’s novel, thought by most who read it to be unfilmable. Fine support from Jeffrey Wright, Sandra Bullock, John Goodman, Viola Davis and the great Max von Sydow. Also available on Blu-ray disc. Bonuses: Featurettes. Widescreen. Dolby and DTS-hd 5.1 surround.
Battle Royale: The Complete Collection (Anchor Bay) Adapted from Koushun Takami’s polarizing novel (compared by champions and detractors alike as a 21st century version of A Clockwork Orange) and set in a futuristic Japan,...
- 4/13/2012
- by The Hollywood Interview.com
- The Hollywood Interview
Berlinale Co-Production Market
Kutch, a project to be directed by Bobby Bedi and produced by his company Kaleidoscope Entertainment made it to the Berlinale Co-Production Market 2012 as the first Indian project in the official selection. Bobby Bedi who has produced films like Maqbool, Saathiya and Bandit Queen and directed a documentary series called Kehta Hai Joker, will make his foray into feature film direction with Kutch, which is said to be based on female infanticide.
Berlinale announced 39 projects that will participate at the 9th Berlinale Co-Production Market to be held from February 12-14, 2012.
Ritesh Batra’s The Lunchbox has been selected for Talent Project Market. He was a participant of the Berlinale Talent Campus in 2011.
The official section for the Berlinale Co-Production Market 2012
- Odyssea (director: Pascal Deux), Alliance de Production Cinématographique, France
- Heirs of the Night (director: Marco Kreuzpaintner, tbc), Bavaria Pictures & Hamster Film, Germany
- The Santo...
Kutch, a project to be directed by Bobby Bedi and produced by his company Kaleidoscope Entertainment made it to the Berlinale Co-Production Market 2012 as the first Indian project in the official selection. Bobby Bedi who has produced films like Maqbool, Saathiya and Bandit Queen and directed a documentary series called Kehta Hai Joker, will make his foray into feature film direction with Kutch, which is said to be based on female infanticide.
Berlinale announced 39 projects that will participate at the 9th Berlinale Co-Production Market to be held from February 12-14, 2012.
Ritesh Batra’s The Lunchbox has been selected for Talent Project Market. He was a participant of the Berlinale Talent Campus in 2011.
The official section for the Berlinale Co-Production Market 2012
- Odyssea (director: Pascal Deux), Alliance de Production Cinématographique, France
- Heirs of the Night (director: Marco Kreuzpaintner, tbc), Bavaria Pictures & Hamster Film, Germany
- The Santo...
- 1/18/2012
- by NewsDesk
- DearCinema.com
Trailers are an under-appreciated art form insofar that many times they’re seen as vehicles for showing footage, explaining films away, or showing their hand about what moviegoers can expect. Foreign, domestic, independent, big budget: I celebrate all levels of trailers and hopefully this column will satisfactorily give you a baseline of what beta wave I’m operating on, because what better way to hone your skills as a thoughtful moviegoer than by deconstructing these little pieces of advertising? Some of the best authors will tell you that writing a short story is a lot harder than writing a long one, that you have to weigh every sentence. What better medium to see how this theory plays itself out beyond that than with movie trailers? Sidewalls Trailers Donde esta Wally? What I like about filmmaker Gustavo Taretto's feature about fate and how people come together looks just as refreshing...
- 10/29/2011
- by Christopher Stipp
- Slash Film
Title: Medianeras (Sidewalls) Director: Gustavo Taretto Starring: Javier Drolas, Pilar Lopez de Ayala, Ines Efron The Argentine film, Medianeras, is a subtle telling about the modern twenty-n-thirty somethings who choose, or are forced, to tackle this world on their own. Set in Buenos Aires Federal District, the flick focuses on a man (Javier Drolas) and a woman (Pilar Lopez de Ayala) who are quietly reflecting about their current stature in today’s society inside their quaint apartments. It’s almost as if their having the slowest moving epiphany of all-time. The guy gets by doing web site work in his “shoe-box” floor-plan all while he vicariously lives life through his vast collection...
- 10/27/2011
- by joe
- ShockYa
Greece may be on the verge of financial collapse, but that hasn't stopped its film festival from going ahead. Its artistic director hopes it may even create jobs
Reading the reports from most film festivals, it would be easy to forget that the world is in the grip of economic crisis. Brad and Angelina take their familiar spot on the red carpet in Cannes, gorgeous George beams yet again from the deck of his Venice water taxi , glamour and escapism still rule. These festivals pay lip service to the locals, but their main concern is image.
This year's Athens international film festival, however, has had a different outlook. As its artistic director Orestis Andreadakis puts it: "We want to give hope."
Greece, of course, is getting it in the neck; not only is its economy in shreds, but it is being paraded as the pariah of Europe, the only country...
Reading the reports from most film festivals, it would be easy to forget that the world is in the grip of economic crisis. Brad and Angelina take their familiar spot on the red carpet in Cannes, gorgeous George beams yet again from the deck of his Venice water taxi , glamour and escapism still rule. These festivals pay lip service to the locals, but their main concern is image.
This year's Athens international film festival, however, has had a different outlook. As its artistic director Orestis Andreadakis puts it: "We want to give hope."
Greece, of course, is getting it in the neck; not only is its economy in shreds, but it is being paraded as the pariah of Europe, the only country...
- 9/23/2011
- by Demetrios Matheou
- The Guardian - Film News
New York, Aug 11: The Latinbeat film festival in New York, which started Wednesday, will present 23 films of different genres from 11 countries in Latin America as well as France, Germany, Spain and the Us.
Argentina will be present in a big way at this 12th edition of the festival with six films.
Among the Argentine entries is 'Medianeras' by Gustavo Taretto, the debut film for the event.
The two-week festival will also feature films from countries that earlier have been sparsely represented, including Bolivia, the Dominican Republic, Guatemala, Uruguay and Venezuela.
Among the.
Argentina will be present in a big way at this 12th edition of the festival with six films.
Among the Argentine entries is 'Medianeras' by Gustavo Taretto, the debut film for the event.
The two-week festival will also feature films from countries that earlier have been sparsely represented, including Bolivia, the Dominican Republic, Guatemala, Uruguay and Venezuela.
Among the.
- 8/11/2011
- by Lohit Reddy
- RealBollywood.com
Updated through 6/27.
This year's Los Angeles Film Festival, running through June 26, opens tonight with the latest from Richard Linklater, and Steven Zeitchik talks with him for the Los Angeles Times: "'It was my most difficult one to get made,' he said flatly. 'It took 12 years to happen, and even then it was tough. People can say shooting in 22 days makes a movie better. It doesn't.' … Bernie is a shaggy, idiosyncratic work, possibly the strangest yet in a career full of strangeness. Set in the small town of Carthage, Texas, it tells of an effeminate, musical-loving mortician named Bernie Tiede [Jack Black] who befriends and then commits a horrible crime against a repressed wealthy matriarch [Shirley MacLaine], leaving him to face the wrath of a local prosecutor [Matthew McConaughey]. The movie is a dramatization of an actual case — the script was based on a 1998 Texas Monthly article about Tiede, and Linklater, who attended Tiede's trial,...
This year's Los Angeles Film Festival, running through June 26, opens tonight with the latest from Richard Linklater, and Steven Zeitchik talks with him for the Los Angeles Times: "'It was my most difficult one to get made,' he said flatly. 'It took 12 years to happen, and even then it was tough. People can say shooting in 22 days makes a movie better. It doesn't.' … Bernie is a shaggy, idiosyncratic work, possibly the strangest yet in a career full of strangeness. Set in the small town of Carthage, Texas, it tells of an effeminate, musical-loving mortician named Bernie Tiede [Jack Black] who befriends and then commits a horrible crime against a repressed wealthy matriarch [Shirley MacLaine], leaving him to face the wrath of a local prosecutor [Matthew McConaughey]. The movie is a dramatization of an actual case — the script was based on a 1998 Texas Monthly article about Tiede, and Linklater, who attended Tiede's trial,...
- 6/27/2011
- MUBI
The Los Angeles Film Festival has announced the world premiere of Richard Linklater's Bernie as the opening night film for the 2011 festival.
The film will kick off the festival on June 16 at Regal Cinemas Stadium 14 at L.A. Live. It is written by Skip Hollandsworth and director Linklater and stars Jack Black, Shirley MacLaine, and Matthew McConaughey.
The film follows a beloved mortician (Black) from a small Texas town, even winning over the town's richest, meanest widow (MacLaine). Even after Bernie commits a horrible crime, people still will not utter a bad word against him.
"We're thrilled to be opening the Festival with the world premiere of this delicious black comedy - a treat from one of the most original and exciting voices in independent film, Richard Linklater," said Festival director Rebecca Yeldham. "With its fabulous all-star cast, Bernie is a perfect stage setter for the incredible line-up of...
The film will kick off the festival on June 16 at Regal Cinemas Stadium 14 at L.A. Live. It is written by Skip Hollandsworth and director Linklater and stars Jack Black, Shirley MacLaine, and Matthew McConaughey.
The film follows a beloved mortician (Black) from a small Texas town, even winning over the town's richest, meanest widow (MacLaine). Even after Bernie commits a horrible crime, people still will not utter a bad word against him.
"We're thrilled to be opening the Festival with the world premiere of this delicious black comedy - a treat from one of the most original and exciting voices in independent film, Richard Linklater," said Festival director Rebecca Yeldham. "With its fabulous all-star cast, Bernie is a perfect stage setter for the incredible line-up of...
- 5/30/2011
- by alyssa@mediavine.com (Alyssa Caverley)
- Reel Movie News
Nothing can top last year's Cannes for the German Sales Agent -- Apichatpong Weerasethakul can thank the Tim Burton led jury for Uncle Boonmee being crowned with the Palme. This year The Match Factory have one in the main comp, a dark horse contender with Aki Kaurismaki's Le Havre and they have a trio in the Un Certain Regard section in Oslo, August 31st, Tatsumi and Stopped on Track. They've got a catalogue full of future items in the works such as the latest from Miguel Gomes and Peter Strickland. Visit the site or check out some of their slate below. Le Havre by Aki KAURISMÄKI - Completed Oslo, August 31St (Oslo, 31. August) by Joachim Trier - Completed Tatsumi by Eric Khoo - Completed A Mysterious World (Un Mundo Misterioso) by Rodrigo Moreno - Completed Barzakh by Mantas Kvedaravicius - Completed If Not Us, Who (Wer WENN Nicht Wir...
- 5/13/2011
- IONCINEMA.com
Holding court downtown from June 16-26, 2011, the Los Angeles Film Festival comprehensively curates the cinematic landscape across a variety of media. Produced by Film Independent, the festival has continued to grow in recent years, and now boasts many of the best independent films of the year.
With the departure of the organization’s CEO, Dawn Hudson, to run the Academy, it will be interesting to see whether the festival’s director Rebecca Yeldham will stay on board past 2011. In the meantime, they’ve announced their line-up for the 2011 festival, and it includes some much buzzed about Sundance and SxSW titles (“Project Nim,” “The Future,” “Crime After Crime,” “The Salesman,” “Terri,” “Another Earth,” “The Guard,” “Natural Selection,” “Tyrannosaur,” “Where Soldiers Come From” and “Higher Ground,” to name a few), as well as 27 world, North American and U.S. premieres.
For the official list of competition and other films, as well as...
With the departure of the organization’s CEO, Dawn Hudson, to run the Academy, it will be interesting to see whether the festival’s director Rebecca Yeldham will stay on board past 2011. In the meantime, they’ve announced their line-up for the 2011 festival, and it includes some much buzzed about Sundance and SxSW titles (“Project Nim,” “The Future,” “Crime After Crime,” “The Salesman,” “Terri,” “Another Earth,” “The Guard,” “Natural Selection,” “Tyrannosaur,” “Where Soldiers Come From” and “Higher Ground,” to name a few), as well as 27 world, North American and U.S. premieres.
For the official list of competition and other films, as well as...
- 5/3/2011
- by admin
- Moving Pictures Magazine
Holding court downtown from June 16-26, 2011, the Los Angeles Film Festival comprehensively curates the cinematic landscape across a variety of media. Produced by Film Independent, the festival has continued to grow in recent years, and now boasts many of the best independent films of the year.
With the departure of the organization’s CEO, Dawn Hudson, to run the Academy, it will be interesting to see whether the festival’s director Rebecca Yeldham will stay on board past 2011. In the meantime, they’ve announced their line-up for the 2011 festival, and it includes some much buzzed about Sundance and SxSW titles (“Project Nim,” “The Future,” “Crime After Crime,” “The Salesman,” “Terri,” “Another Earth,” “The Guard,” “Natural Selection,” “Tyrannosaur,” “Where Soldiers Come From” and “Higher Ground,” to name a few), as well as 27 world, North American and U.S. premieres.
For the official list of competition and other films, as well as...
With the departure of the organization’s CEO, Dawn Hudson, to run the Academy, it will be interesting to see whether the festival’s director Rebecca Yeldham will stay on board past 2011. In the meantime, they’ve announced their line-up for the 2011 festival, and it includes some much buzzed about Sundance and SxSW titles (“Project Nim,” “The Future,” “Crime After Crime,” “The Salesman,” “Terri,” “Another Earth,” “The Guard,” “Natural Selection,” “Tyrannosaur,” “Where Soldiers Come From” and “Higher Ground,” to name a few), as well as 27 world, North American and U.S. premieres.
For the official list of competition and other films, as well as...
- 5/3/2011
- by admin
- Moving Pictures Network
Film Independent Announces First Round Of Us & International
Film Selections For 2011 Los Angeles Film Festival,
Presented By The Los Angeles Times - 19 Films Chosen for Narrative & Documentary Competition - - International Spotlight to Focus on Cuba -
Los Angeles (May 3, 2011) . Today the Los Angeles Film Festival, presented by the Los Angeles Times, announced the first round of official Us and international selections. The 2011 Los Angeles Film Festival is produced by Film Independent . the non-profit arts organization that also produces the Spirit Awards . and will screen over 200 feature films, shorts, and music videos, representing more than 30 countries. Opening and Closing Night films, Galas, Conversations, Artists in Residence, Lafca.s Films That Got Away, along with additional special guests and programming for the Festival Talks will be announced at later dates.
Returning to downtown Los Angeles, with its central hub at L.A. Live, the Festival will run from Thursday, June 16 to Sunday,...
Film Selections For 2011 Los Angeles Film Festival,
Presented By The Los Angeles Times - 19 Films Chosen for Narrative & Documentary Competition - - International Spotlight to Focus on Cuba -
Los Angeles (May 3, 2011) . Today the Los Angeles Film Festival, presented by the Los Angeles Times, announced the first round of official Us and international selections. The 2011 Los Angeles Film Festival is produced by Film Independent . the non-profit arts organization that also produces the Spirit Awards . and will screen over 200 feature films, shorts, and music videos, representing more than 30 countries. Opening and Closing Night films, Galas, Conversations, Artists in Residence, Lafca.s Films That Got Away, along with additional special guests and programming for the Festival Talks will be announced at later dates.
Returning to downtown Los Angeles, with its central hub at L.A. Live, the Festival will run from Thursday, June 16 to Sunday,...
- 5/3/2011
- by Michelle McCue
- WeAreMovieGeeks.com
We haven't mentioned the Berlinale at all in the heat of Oscar week. So let's do that, shall we? Better late than never. The festival closes tomorrow but the awards were handed out over the past two days.
"Nader and Simin: A Separation" Golden Bear
Asghar Fahradi, who got a lot of Oscar buzz a couple years back (though no nomination) for About Elly, won this year's Golden Bear for Nader & Simin: A Separation (2011). The Hollywood Reporter explains the film like so.
Farhadi's drama traces the breakup of a Iranian family set against the political tensions in Tehran. While not overtly political, Nader and Simin is starkly critical of conditions in Iran, notably the country's huge class divide. It was widely tipped to win Berlin's top prize, not least because of the current upheaval in the Middle East.
Fahradi dedicated his prize to jailed filmmaker Jafar Panihi who was also...
"Nader and Simin: A Separation" Golden Bear
Asghar Fahradi, who got a lot of Oscar buzz a couple years back (though no nomination) for About Elly, won this year's Golden Bear for Nader & Simin: A Separation (2011). The Hollywood Reporter explains the film like so.
Farhadi's drama traces the breakup of a Iranian family set against the political tensions in Tehran. While not overtly political, Nader and Simin is starkly critical of conditions in Iran, notably the country's huge class divide. It was widely tipped to win Berlin's top prize, not least because of the current upheaval in the Middle East.
Fahradi dedicated his prize to jailed filmmaker Jafar Panihi who was also...
- 2/19/2011
- by NATHANIEL R
- FilmExperience
The 61st edition of Berlinale kicked off late last week, and with the inclusion of four spanish films, four less than the last year. The already well known “También La Lluvia” (“Even The Rain”) by Icíar Bollaín, “Amador” by Fernando León de Aranoa and “Medianeras” by Gustavo Taretto, all presented out of competition at the panorama section. The fourth film, “Escuchando Al Juez Garzón”, by cult filmmaker Isabel Coixet (“My Life Without Me”) is a documentary shot on black and white based on a popular figure in a Spanish judge -- this will be showcased at Specials section of the Berlinale. Although we have covered before films like “También La Lluvia” and “Amador”, the film “Medianeras” comes from out of nowhere. Directed by Argentinian Gustavo Taretto, this is an adaptation of its 2005 short film of the same title that won over forty international awards. This coproduction between Spain and Argentina...
- 2/14/2011
- IONCINEMA.com
Now that all bets are off on Terrence Malick showing up on the Lido, and Wong Kar-wai's The Grand Master appears to be on the same no-show list (the fest have announced that Andrew Lau's The Legend of the Fist: The Return of Chen Zhen has their second opening night flick celebrating the anniversary of Bruce Lee’s 70th birthday). Among the other films with odds against, I'm not seeing the Coens (True Grit), Eastwood (Hereafter), Boyle (127 Hours) and Oscar contender The Fighter was according to it's star, no going to tour the fest circuit. Just announced today, Head Jury member Quentin Tarantino's buddy Robert Rodriguez's Machete will be the third opening film - it'll screen at midnight, and I think it'll be in good company genre-wise with some of the genre titles below. Here are some titles (ranging from almost guaranteed to only minimal chance...
- 7/29/2010
- IONCINEMA.com
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.