Malaga, Spain — Traditionally, until a few years back, a Spanish film industry debate led to a “Wall of Laments” which ended up as a call for increased governmental support.
That was then. €70 million ($76.8 million) in 2023, €100 million ($109 million) last year, Spain’s Icaa film institute budget could add another €30 million ($32.7 million) with a little luck this year, said Rocío Juanas de Toledo, its secretary general at a panel, Spanish Cinema Models Examined, one of the key industry debates at this week’s Malaga Festival.
Panelists represented Spain’s three biggest content investors – Movistar Plus+, Atresmedia and Rtve – and two top producers: Morena Films and Elástica Films.
It took speakers less than two minutes to zero in on Spain’s biggest immediate challenge: Its still underperforming box office, down 24% on pre-pandemic levels.
“Our major concern is how to recuperate the cinema theater audiences we had before the pandemic,” said Jaime Ortiz, Atresmedia Cine director general.
That was then. €70 million ($76.8 million) in 2023, €100 million ($109 million) last year, Spain’s Icaa film institute budget could add another €30 million ($32.7 million) with a little luck this year, said Rocío Juanas de Toledo, its secretary general at a panel, Spanish Cinema Models Examined, one of the key industry debates at this week’s Malaga Festival.
Panelists represented Spain’s three biggest content investors – Movistar Plus+, Atresmedia and Rtve – and two top producers: Morena Films and Elástica Films.
It took speakers less than two minutes to zero in on Spain’s biggest immediate challenge: Its still underperforming box office, down 24% on pre-pandemic levels.
“Our major concern is how to recuperate the cinema theater audiences we had before the pandemic,” said Jaime Ortiz, Atresmedia Cine director general.
- 3/6/2024
- by John Hopewell
- Variety Film + TV
Anonymous Content and Spain’s Morena Films, behind box office breakouts “Cell 211” and Champions, have named former Studiocanal executive Beatriz Campos as the managing director of their Spain-based film-tv production venture Anonymous Content España.
Campos will oversee the company’s day-to-day operations working closely with David Davoli, Anonymous Content’s president of international, and Morena Films CEO Pilar Benito, Anonymous Content and Morena Films announced Monday. Launched in May 2023, Anonymous Content España aims to develop and produce premium Spanish projects for a global market.
That is easily said, but several factors work in its favor and will be aided now by Campos’ appointment. As film and TV producers still battle a hugely competitive market and spiralling production costs, companies are reaching out for partners beyond national markets, a structure embodied in Anonymous Content España. Anonymous can also help Morena access U.S.-stars, which may allow their productions to stand out in the crowd.
Campos will oversee the company’s day-to-day operations working closely with David Davoli, Anonymous Content’s president of international, and Morena Films CEO Pilar Benito, Anonymous Content and Morena Films announced Monday. Launched in May 2023, Anonymous Content España aims to develop and produce premium Spanish projects for a global market.
That is easily said, but several factors work in its favor and will be aided now by Campos’ appointment. As film and TV producers still battle a hugely competitive market and spiralling production costs, companies are reaching out for partners beyond national markets, a structure embodied in Anonymous Content España. Anonymous can also help Morena access U.S.-stars, which may allow their productions to stand out in the crowd.
- 2/12/2024
- by John Hopewell
- Variety Film + TV
Spanish film-tv’s good and great joined illustrious international figures to sketch out a roadmap for Europe’s film-tv future at a Conference on Sunday at San Sebastian.
Hosted by Spain’s government, coinciding with its E.U. Council Presidency, the event delivered a bullish vote of confidence in film, TV and audiovisual in general.
Such confidence is natural given the panelists, such as Movistar Plus’ Domingo Corral, Morena Films’ Pilar Benito and Atresmedia TV’s José Antonio Antón, Beta Film’s Jan Mojto and Mario Gianani, at Italy’s Wildside at a first session turning on the consolidation of business models.
Another panel broke down three European hits – Netflix’s “The Snow Girl” and animated pic franchise “Tadeo Jones,” both from Spain, and mega European co-production “The Three Musketeers: D’Artagnan,” led by France’s Pathé.
Below, eight takeaways:
Size Matters
99% of companies in Europe’s Av sector are SMEs,...
Hosted by Spain’s government, coinciding with its E.U. Council Presidency, the event delivered a bullish vote of confidence in film, TV and audiovisual in general.
Such confidence is natural given the panelists, such as Movistar Plus’ Domingo Corral, Morena Films’ Pilar Benito and Atresmedia TV’s José Antonio Antón, Beta Film’s Jan Mojto and Mario Gianani, at Italy’s Wildside at a first session turning on the consolidation of business models.
Another panel broke down three European hits – Netflix’s “The Snow Girl” and animated pic franchise “Tadeo Jones,” both from Spain, and mega European co-production “The Three Musketeers: D’Artagnan,” led by France’s Pathé.
Below, eight takeaways:
Size Matters
99% of companies in Europe’s Av sector are SMEs,...
- 9/25/2023
- by John Hopewell and Callum McLennan
- Variety Film + TV
Anonymous Content has partnered with Spain’s Morena Films, one of the country’s top production companies, to launch a joint venture aimed at developing and producing Spanish-language content for the global market.
The alliance marks the fifth international joint venture for Anonymous Content as they continue to build partnerships with local producers and companies in key territories around the world.
Anonymous Content’s president of international, David Davoli, and Morena Films CEO Pilar Benito will oversee the joint venture, whose managing director will be named in the coming weeks, the companies announced Friday in a statement.
The partnership aims “to leverage Morena’s long-standing reputation” as one of the key production companies in Spain “to continue developing and producing premium film and TV projects,” the statement added.
Launched in 1999 to produce innovative, high-quality content for the international market, Morena is behind more than 100 titles, taking in feature films, TV series and documentaries,...
The alliance marks the fifth international joint venture for Anonymous Content as they continue to build partnerships with local producers and companies in key territories around the world.
Anonymous Content’s president of international, David Davoli, and Morena Films CEO Pilar Benito will oversee the joint venture, whose managing director will be named in the coming weeks, the companies announced Friday in a statement.
The partnership aims “to leverage Morena’s long-standing reputation” as one of the key production companies in Spain “to continue developing and producing premium film and TV projects,” the statement added.
Launched in 1999 to produce innovative, high-quality content for the international market, Morena is behind more than 100 titles, taking in feature films, TV series and documentaries,...
- 5/19/2023
- by Emiliano De Pablos
- Variety Film + TV
Further expanding its already robust talent roster in Spain, Latin America and the U.S. Latino market, Vis, Paramount’s international studio, has signed an exclusive first-look deal with Madrid and Los Angeles-based Morena Films to develop and produce films and series for the company’s portfolio.
The titles will have a strong focus on Latin America, Spain, and U.S. Hispanic markets, Vis and Morena announced Thursday. The deal is one of the biggest to be unveiled during this week’s Conecta Fiction & Entertainment, where reference will be made to the agreement during two on-stage conversations on Thursday, one between Laura Abril, senior VP and head of Vis Emea and Asia and Federico Cuervo, senior VP, and head of Vis Americas, and the other featuring Abril and Morena Films producer-partner Pedro Uriol.
The agreement plays off the two partners’ production of “Las Invisibles,” about five hotel maids working at...
The titles will have a strong focus on Latin America, Spain, and U.S. Hispanic markets, Vis and Morena announced Thursday. The deal is one of the biggest to be unveiled during this week’s Conecta Fiction & Entertainment, where reference will be made to the agreement during two on-stage conversations on Thursday, one between Laura Abril, senior VP and head of Vis Emea and Asia and Federico Cuervo, senior VP, and head of Vis Americas, and the other featuring Abril and Morena Films producer-partner Pedro Uriol.
The agreement plays off the two partners’ production of “Las Invisibles,” about five hotel maids working at...
- 6/23/2022
- by John Hopewell
- Variety Film + TV
Documentary short “Les Filles de Sète” (“Sète’s Daughters”) and series episode “Eva y el abedul del Edén” (“Eve and the Birch of Eden”) have secured funding through the Platino Crowdfunding platform, a new financing initiative launched last December.
Initiated by the Platino Awards organization, the crowdfunding online platform for film, series and other formats was officially presented Thursday March 24 at Málaga’s Picasso Museum along with an array of industry activities at a Malaga Film Festival presentation under the motto, “Universo Platino.”
Platform already has 26 ongoing projects, mainly shorts but also documentaries and mini-series.
“Eva y el abedul del Edén,” from TV show “Nunca nos dijeron la verdad,” and docu short “Les Filles de Sète” are the first two productions to be completed through the platform. Young creators Andrés Ribagorda and Pablo Jimeno attended the event and explained that not only did they get the financing they needed but...
Initiated by the Platino Awards organization, the crowdfunding online platform for film, series and other formats was officially presented Thursday March 24 at Málaga’s Picasso Museum along with an array of industry activities at a Malaga Film Festival presentation under the motto, “Universo Platino.”
Platform already has 26 ongoing projects, mainly shorts but also documentaries and mini-series.
“Eva y el abedul del Edén,” from TV show “Nunca nos dijeron la verdad,” and docu short “Les Filles de Sète” are the first two productions to be completed through the platform. Young creators Andrés Ribagorda and Pablo Jimeno attended the event and explained that not only did they get the financing they needed but...
- 3/24/2022
- by Emilio Mayorga
- Variety Film + TV
The Spanish rural thriller premiered in Sundance’s Midnight section.
Vertigo Releasing has acquired UK and Ireland distribution rights for Spanish rural thriller Piggy following its world premiere in Sundance’s Midnight section in January.
Paris-based Charades is handling international sales on the title.
“We fell in love with Piggy at Sundance,” said Ed Caffrey, head of acquisitions at Vertigo Releasing, which has previously acquired hot titles Revenge, Shorta and Bafta-nominated UK indie Boiling Point from Charades. Caffrey negotiated the deal with Jean-Félix Dealberto at Charades.
Other new deals for the feature include to Germany (Alamode), Switzerland (Praesens), Italy (I...
Vertigo Releasing has acquired UK and Ireland distribution rights for Spanish rural thriller Piggy following its world premiere in Sundance’s Midnight section in January.
Paris-based Charades is handling international sales on the title.
“We fell in love with Piggy at Sundance,” said Ed Caffrey, head of acquisitions at Vertigo Releasing, which has previously acquired hot titles Revenge, Shorta and Bafta-nominated UK indie Boiling Point from Charades. Caffrey negotiated the deal with Jean-Félix Dealberto at Charades.
Other new deals for the feature include to Germany (Alamode), Switzerland (Praesens), Italy (I...
- 2/23/2022
- by Melanie Goodfellow
- ScreenDaily
The Spanish rural thriller premiered in Sundance’s Midnight section.
Vertigo Releasing has acquired UK and Ireland distribution rights for Spanish rural thriller Piggy following its world premiere in Sundance’s Midnight section in January.
Paris-based Charades is handling international sales on the title.
“We fell in love with Piggy at Sundance,” said Ed Caffrey, head of acquisitions at Vertigo Releasing, which has previously acquired hot titles Revenge, Shorta and Bafta-nominated UK indie Boiling Point from Charades.
Other new deals for the feature include to Germany (Alamode), Switzerland (Praesens), Italy (I Wonder), Scandinavia and Baltics (Nonstop Entertainment) and Hungary (Ads Service).
As previously announced,...
Vertigo Releasing has acquired UK and Ireland distribution rights for Spanish rural thriller Piggy following its world premiere in Sundance’s Midnight section in January.
Paris-based Charades is handling international sales on the title.
“We fell in love with Piggy at Sundance,” said Ed Caffrey, head of acquisitions at Vertigo Releasing, which has previously acquired hot titles Revenge, Shorta and Bafta-nominated UK indie Boiling Point from Charades.
Other new deals for the feature include to Germany (Alamode), Switzerland (Praesens), Italy (I Wonder), Scandinavia and Baltics (Nonstop Entertainment) and Hungary (Ads Service).
As previously announced,...
- 2/23/2022
- by Melanie Goodfellow
- ScreenDaily
The Spanish rural thriller premiered in Sundance’s Midnight section.
Vertigo Releasing has acquired UK and Ireland distribution rights for Spanish rural thriller Piggy following its world premiere in Sundance’s Midnight section in January.
Paris-based company Charades is handling international sales on the title.
“We fell in love with Piggy at Sundance,” said Ed Caffrey, head of acquisitions at Vertigo Releasing, which has previously acquired hot titles Revenge, Shorta and Bafta-nominated UK indie Boiling Point from Charades.
Other fresh deals for the feature include to Germany (Alamode), Switzerland (Praesens), Italy (I Wonder), Scandinavia and Baltics (Nonstop Entertainment) and Hungary (Ads Service).
As previously announced,...
Vertigo Releasing has acquired UK and Ireland distribution rights for Spanish rural thriller Piggy following its world premiere in Sundance’s Midnight section in January.
Paris-based company Charades is handling international sales on the title.
“We fell in love with Piggy at Sundance,” said Ed Caffrey, head of acquisitions at Vertigo Releasing, which has previously acquired hot titles Revenge, Shorta and Bafta-nominated UK indie Boiling Point from Charades.
Other fresh deals for the feature include to Germany (Alamode), Switzerland (Praesens), Italy (I Wonder), Scandinavia and Baltics (Nonstop Entertainment) and Hungary (Ads Service).
As previously announced,...
- 2/23/2022
- by Melanie Goodfellow
- ScreenDaily
Magnet Releasing, the genre arm of Magnolia Pictures, has acquired North American rights Carlota Pereda’s “Piggy” following its world premiere at this year’s Sundance Film Festival.
The film is a feature-length adaptation of Pereda’s Goya award-winning 2018 short film of the same name. It centers on a small-town butcher’s daughter (newcomer Laura Galán) who is routinely ridiculed for her appearance by a clique of mean girls in her rural Spanish village. Magnet plans to release “Piggy” later this year.
Variety‘s Guy Lodge praised the film as an “impressive debut” for Pereda, writing that it “draws its terror from the same well of adolescent female insecurity as ‘Carrie,’ before going its own grisly way.”
In the film, the girl’s usual trip to the local pool is disrupted by the presence of a mysterious stranger and an exceptionally grueling bout of abuse at the hands of her bullies.
The film is a feature-length adaptation of Pereda’s Goya award-winning 2018 short film of the same name. It centers on a small-town butcher’s daughter (newcomer Laura Galán) who is routinely ridiculed for her appearance by a clique of mean girls in her rural Spanish village. Magnet plans to release “Piggy” later this year.
Variety‘s Guy Lodge praised the film as an “impressive debut” for Pereda, writing that it “draws its terror from the same well of adolescent female insecurity as ‘Carrie,’ before going its own grisly way.”
In the film, the girl’s usual trip to the local pool is disrupted by the presence of a mysterious stranger and an exceptionally grueling bout of abuse at the hands of her bullies.
- 2/9/2022
- by Brent Lang and Elsa Keslassy
- Variety Film + TV
Morena Films, one of Spain’s biggest movie production forces, has closed Spanish distribution on “On the Fringe,” starring Penelope Cruz and Luis Tosar (“The Minions of Midas”).
The feature debut of actor-turned-director Juan Diego Botto, “On the Fringe” (“En las margenes”) will be released in Spain by Vértice Cine.
Scheduled to shoot in Madrid from October and sold by the U.K.’s Bankside Films, “On the Fringe” is produced by Morena’s Alvaro Longoria and Cruz and co-produced by André Logie at Belgium’s Panache Productions and by Spanish public broadcaster Rtve. Amazon Prime Video handles Spanish SVOD rights.
“On the Fringe” interweaves three stories, which unspool over 24 hours: of Rafael (Tosar), an activist lawyer; of Azucena (Cruz), a woman battling to save her son from a new wave of economic crisis, which has destroyed her life; and of Teodora, a grandmother wishing to say goodbye to her son.
The feature debut of actor-turned-director Juan Diego Botto, “On the Fringe” (“En las margenes”) will be released in Spain by Vértice Cine.
Scheduled to shoot in Madrid from October and sold by the U.K.’s Bankside Films, “On the Fringe” is produced by Morena’s Alvaro Longoria and Cruz and co-produced by André Logie at Belgium’s Panache Productions and by Spanish public broadcaster Rtve. Amazon Prime Video handles Spanish SVOD rights.
“On the Fringe” interweaves three stories, which unspool over 24 hours: of Rafael (Tosar), an activist lawyer; of Azucena (Cruz), a woman battling to save her son from a new wave of economic crisis, which has destroyed her life; and of Teodora, a grandmother wishing to say goodbye to her son.
- 5/10/2021
- by John Hopewell
- Variety Film + TV
Despite dramatic times, there is room for some encouragement in recent moves by the Spanish film industry. Basque global hit “The Platform” proved the most-watched movie on Netflix in the U.S. The Mediapro Studio is upping film production with high-profile projects such as the Penélope Cruz and Antonio Banderas drama “Official Competition.” Meanwhile, Mr. Fields and Friends, headed by Bambú founders Ramón Campos and Teresa Fernández-Valdés, debuted with “Malasaña 32,” as well as plans to produce three to five movies every two years. Powerhouse Morena Films is in production with “Historias lamentables,” a drama from the team behind Spanish box office smash “Champions.”
Six days before producers will be allowed to restart production shoots in Spain, Pedro Sánchez’s Psoe socialist government has powered up the tax breaks cap for Hollywood and other foreign shoots as part of a relief package for Spain’s cultural industries.
Plowed through a...
Six days before producers will be allowed to restart production shoots in Spain, Pedro Sánchez’s Psoe socialist government has powered up the tax breaks cap for Hollywood and other foreign shoots as part of a relief package for Spain’s cultural industries.
Plowed through a...
- 5/11/2020
- by Emiliano De Pablos
- Variety Film + TV
With Italy, France and Spain in full lockdown in the face of the unrelenting coronavirus outbreak, their respective film industries are preparing to take exceptional measures that could limit the anticipated economic damage by opening themselves up to an uncharted gamble in streaming.
To date, dozens of film releases have been postponed to between July and October across all three countries, which are the hardest hit in Europe. This could trigger a bloodbath for theaters in markets where independent distributors are already struggling to compete with U.S. majors, such as France, where Hollywood titles accounted for 59% of the nation’s record-breaking 213 million admissions in 2019.
The crux of the battle is ensuring the box office debuts of independent European movies aren’t crushed by a tsunami of movie releases. One increasingly attractive option is to offer these films immediately on demand via streamers or broadcasters — a radical move already enacted...
To date, dozens of film releases have been postponed to between July and October across all three countries, which are the hardest hit in Europe. This could trigger a bloodbath for theaters in markets where independent distributors are already struggling to compete with U.S. majors, such as France, where Hollywood titles accounted for 59% of the nation’s record-breaking 213 million admissions in 2019.
The crux of the battle is ensuring the box office debuts of independent European movies aren’t crushed by a tsunami of movie releases. One increasingly attractive option is to offer these films immediately on demand via streamers or broadcasters — a radical move already enacted...
- 3/25/2020
- by Elsa Keslassy, Nick Vivarelli and John Hopewell
- Variety Film + TV
When it comes to attracting foreign shoots in Spain, the motto could well be: “It’s the tax breaks, stupid.”
Of course, Spain has long been a foreign shoot locale: Think Samuel Bronston’s ’60s epics such as “El Cid.” International movies have always sought stunning locations, Mediterranean climate and low-cost labor. Since 2015, however, Spain has offered tax rebates for international shoots of up to 20%; 40% in the Canary Islands.
Tax credits are available to Spanish shoots and co-productions, reaching 25% in the Peninsula, 45% in the Canaries. Also, Navarre is dangling a 35% tax credit for local and international productions.
Three years after their launch, the rebates are having a huge impact on the sector: As a shooting locale, the country has never been more active in the past half century.
Benefits attract a wide range of projects. The biggest, among TV dramas, is “Game of Thrones,” which first lensed part of Season...
Of course, Spain has long been a foreign shoot locale: Think Samuel Bronston’s ’60s epics such as “El Cid.” International movies have always sought stunning locations, Mediterranean climate and low-cost labor. Since 2015, however, Spain has offered tax rebates for international shoots of up to 20%; 40% in the Canary Islands.
Tax credits are available to Spanish shoots and co-productions, reaching 25% in the Peninsula, 45% in the Canaries. Also, Navarre is dangling a 35% tax credit for local and international productions.
Three years after their launch, the rebates are having a huge impact on the sector: As a shooting locale, the country has never been more active in the past half century.
Benefits attract a wide range of projects. The biggest, among TV dramas, is “Game of Thrones,” which first lensed part of Season...
- 5/11/2018
- by Emiliano De Pablos
- Variety Film + TV
Morena Films, producer of Cannes Festival opening movie “Everybody Knows,” is teaming with David Martínez, a reputed TV executive who helped catapult Spanish fiction into a modern age, to launch Morena TV.
The new TV company will focus on fiction production. Martínez will serve as its CEO, overseeing the development and production of projects.
Backing movies by Oliver Stone (“Comandante”), Steven Soderbergh (“Che”), Pablo Trapero (“The White Elephant”) and Iciar Bollaín (“Ever the Rain”) as well as box office hits such as “Cell 211” and now “Champions,” the biggest Spanish hit of 2018, Morena Films produced entertainment formats in its early years, linking to Argentina’s Cuatro Cabezas to make “El Rayo” and El Trip” for Atresmedia.
Morena Films producers Juan Gordon and Pedro Uriol are currently producing “Diablero,” the first supernatural Mexican Netflix Original Series, show-run by J.M. Cravioto, which is finalizing production in Mexico.
Partnering with Martínez on Morena TV,...
The new TV company will focus on fiction production. Martínez will serve as its CEO, overseeing the development and production of projects.
Backing movies by Oliver Stone (“Comandante”), Steven Soderbergh (“Che”), Pablo Trapero (“The White Elephant”) and Iciar Bollaín (“Ever the Rain”) as well as box office hits such as “Cell 211” and now “Champions,” the biggest Spanish hit of 2018, Morena Films produced entertainment formats in its early years, linking to Argentina’s Cuatro Cabezas to make “El Rayo” and El Trip” for Atresmedia.
Morena Films producers Juan Gordon and Pedro Uriol are currently producing “Diablero,” the first supernatural Mexican Netflix Original Series, show-run by J.M. Cravioto, which is finalizing production in Mexico.
Partnering with Martínez on Morena TV,...
- 5/1/2018
- by John Hopewell
- Variety Film + TV
PARK CITY -- There is something about boats that bring out the worst in people, at least filmmakers seem to think so. "Cargo" uses a rundown transport ship as a claustrophobic hothouse for all sorts of twisted behavior. An atmospheric feature debut for Brit documentary veteran Clive Gordon, the film is effectively creepy but low on logic. After the festival circuit, it might find rough seas theatrically.
Inspired by a newspaper item about how cargo ships were throwing stowaways overboard rather than risk the legal penalties when discovered in European ports, "Cargo" details what happens to the human spirit when it's locked up and allowed to fester.
The hero of the film is ostensibly Chris (Daniel Bruhl), a young German traveler who gets into trouble in an African port town, loses his passport and stows away on a cargo headed for Marseilles. From the start, though, he is such a hothead he steals a bracelet in a street market and punches a cop that he is hard to root for.
Although he is more or less accepted into the motley crew of the Gull and taken under wing by the ship's taciturn Capt. Brookes (Peter Mullan), Chris continues to act recklessly. It seems he's not the only stowaway on board; a handful of Africans are hiding in the bowels of the boat. When crew members start mysteriously disappearing with only their boots left behind, the crew hunts down the interlopers and tosses them overboard.
Except one: a young woman named Subira (Nikki Amuka Bird), whom Chris befriends and brings food to even as she is pursued by the crew. But inside this game of cat and mouse is a penetrating character study. When Chris asks Brookes if there are any normal people on the ship, he answers, "just you."
There's the bearded and tortured cook Baptist (Luis Tosar), who has witnessed terrible things and done nothing about them; Herman (Gary Lewis), who climbs up the crow's nest naked, cackling like a bird; Rhombus (Samuli Edelmann), a blond, belligerent psychopath. And holding all these misfits in check is the brooding Capt. Brookes.
A man of few words, Brookes shares a terrible memory with his crew, which binds them together in a kind of secret society of cruelty. He is not a bad man, but one who has been bent out of shape by horrific events he should have but didn't control.
In a way the real main character is the ship itself, an old and rusting cargo boat salvaged by the film. Production designer Jordi Yrla has done a first-rate job dressing the sets, especially the ship's galley and cargo bay, to give them an ominous quality. Cinematographer Sean Bobbitt uses desaturated colors and documentary techniques to suggest the close quarters of the ship.
While other tech credits, including music by Stephen Warbeck, are accomplished and add to the feeling of authenticity, the film is ultimately betrayed by the storytelling. Gordon and writer Paul Laverty have not created a clear leading character and given the audience someone to care about. And Brookes big secret is too murky, as are some of the major plot points. In the end, as great as the film looks, it all leaves you a bit cold.
CARGO
Trauma and Wild Bunch present a Morena Films and Slate Films production
Credits:
Director: Clive Gordon
Screenwriter: Paul Laverty
Producers: Juan Gordon, Andrea Calderwood
Executive producers: Nigel Thomas, Pilar Benito, Tomas Eskilsson
Director of photography: Sean Bobbitt
Production designer: Jordi Yrla
Music: Stephen Warbeck, Sergio Moure
Costume designer: Bina Daigeler
Editor: Fernando Franco
Cast:
Brookes: Peter Mullan
Chris: Daniel Bruhl
Baptist: Luis Tosar
Herman: Gary Lewis
Rhombus: Samuli Edelmann
Subira: Nikki Amuka Bird
Ralph: Christopher Fairbank
No MPAA rating
Running time -- 90 minutes...
Inspired by a newspaper item about how cargo ships were throwing stowaways overboard rather than risk the legal penalties when discovered in European ports, "Cargo" details what happens to the human spirit when it's locked up and allowed to fester.
The hero of the film is ostensibly Chris (Daniel Bruhl), a young German traveler who gets into trouble in an African port town, loses his passport and stows away on a cargo headed for Marseilles. From the start, though, he is such a hothead he steals a bracelet in a street market and punches a cop that he is hard to root for.
Although he is more or less accepted into the motley crew of the Gull and taken under wing by the ship's taciturn Capt. Brookes (Peter Mullan), Chris continues to act recklessly. It seems he's not the only stowaway on board; a handful of Africans are hiding in the bowels of the boat. When crew members start mysteriously disappearing with only their boots left behind, the crew hunts down the interlopers and tosses them overboard.
Except one: a young woman named Subira (Nikki Amuka Bird), whom Chris befriends and brings food to even as she is pursued by the crew. But inside this game of cat and mouse is a penetrating character study. When Chris asks Brookes if there are any normal people on the ship, he answers, "just you."
There's the bearded and tortured cook Baptist (Luis Tosar), who has witnessed terrible things and done nothing about them; Herman (Gary Lewis), who climbs up the crow's nest naked, cackling like a bird; Rhombus (Samuli Edelmann), a blond, belligerent psychopath. And holding all these misfits in check is the brooding Capt. Brookes.
A man of few words, Brookes shares a terrible memory with his crew, which binds them together in a kind of secret society of cruelty. He is not a bad man, but one who has been bent out of shape by horrific events he should have but didn't control.
In a way the real main character is the ship itself, an old and rusting cargo boat salvaged by the film. Production designer Jordi Yrla has done a first-rate job dressing the sets, especially the ship's galley and cargo bay, to give them an ominous quality. Cinematographer Sean Bobbitt uses desaturated colors and documentary techniques to suggest the close quarters of the ship.
While other tech credits, including music by Stephen Warbeck, are accomplished and add to the feeling of authenticity, the film is ultimately betrayed by the storytelling. Gordon and writer Paul Laverty have not created a clear leading character and given the audience someone to care about. And Brookes big secret is too murky, as are some of the major plot points. In the end, as great as the film looks, it all leaves you a bit cold.
CARGO
Trauma and Wild Bunch present a Morena Films and Slate Films production
Credits:
Director: Clive Gordon
Screenwriter: Paul Laverty
Producers: Juan Gordon, Andrea Calderwood
Executive producers: Nigel Thomas, Pilar Benito, Tomas Eskilsson
Director of photography: Sean Bobbitt
Production designer: Jordi Yrla
Music: Stephen Warbeck, Sergio Moure
Costume designer: Bina Daigeler
Editor: Fernando Franco
Cast:
Brookes: Peter Mullan
Chris: Daniel Bruhl
Baptist: Luis Tosar
Herman: Gary Lewis
Rhombus: Samuli Edelmann
Subira: Nikki Amuka Bird
Ralph: Christopher Fairbank
No MPAA rating
Running time -- 90 minutes...
PARK CITY -- There is something about boats that bring out the worst in people, at least filmmakers seem to think so. "Cargo" uses a run-down transport ship as a claustrophobic hot house for all sorts of twisted behavior. An atmospheric feature debut for Brit documentary veteran Clive Gordon, film is effectively creepy but low on logic. After the festival circuit, pic may find rough seas theatrically.
Inspired by a newspaper item about how cargo ships were throwing stowaways overboard rather than risk the legal penalties when discovered in European ports, film details what happens to the human spirit when it's locked up and allowed to fester.
Hero of the film is ostensibly Chris (Daniel Bruhl), a young German traveler who gets into trouble in an African port town, loses his passport and stows away on a cargo headed for Marseilles. From the start, though, he is such a hothead--he steals a bracelet in a street market and punches a cop--that he is hard to root for.
Although he is more or less accepted into the motley crew of the Gull and taken under wing by the ship's taciturn Captain Brookes (Peter Mullan), Chris continues to act recklessly. It seems he's not the only stowaway on board; a handful of Africans are hiding in the bowels of the boat. When crew members start mysteriously disappearing with only their boots left behind, the crew hunts down the interlopers and tosses them overboard.
Except one--a young woman named Subira (Nikki Amuka Bird), whom Chris befriends and brings food to even as she is pursued by the crew. But inside this game of cat and mouse is a penetrating character study. When Chris asks Brookes if there are any normal people on the ship, he answers, "just you."
There's the bearded and tortured cook Baptist (Luis Tosar), who has witnessed terribly things and done nothing about them; Herman (Gary Lewis), who climbs up the crow's nest naked, cackling like a bird; Rhombus (Samuli Edelman), a blond, belligerent psychopath. And holding all these misfits in check is the brooding Captain Brookes.
A man of few words, Brookes shares a terrible memory with his crew, which binds them together in a kind of secret society of cruelty. He is not a bad man, but one who has been bent out of shape by horrific events he should have but didn't control.
In a way the real main character is the ship itself, an old and rusting cargo boat salvaged by the film. Production designer Jordi Yrla has done a first-rate job dressing the sets, especially the ship's galley and cargo bay, to give them an ominous quality. Cinematographer Sean Bobbitt uses desaturated colors and documentary techniques to suggest the close quarters of the ship.
While other tech credits, including music by Stephen Warbeck, are accomplished and add to the feeling of authenticity, the film is ultimately betrayed by the storytelling. Gordon and writer Paul Laverty have not created a clear leading character and given the audience someone to care about. And Brookes big secret is too murky, as are some of the major plot points. In the end, as great as the film looks, it all leaves you a bit cold.
CARGO
Trauma and Wild Bunch present a Morena Films and Slate Films production
Credits:
Director: Clive Gordon
Writer: Paul Laverty
Producers: Juan Gordon, Andrea Calderwood
Executive producers: Nigel Thomas, Pilar Benito, Tomas Eskilsson
Director of photography: Sean Bobbitt
Production designer: Jordi Yrla
Music: Stephen Warbeck, Sergio Moure
Costume designer: Bina Daigeler
Editor: Fernando Franco.
Cast:
Brookes: Peter Mullan
Chris: Daniel Bruhl
Baptist: Luis Tosar
Herman: Gary Lewis
Rhombus: Samuli Edelmann
Subira: Nikki Amuka Bird
Ralph: Christopher Fairbank
No MPAA rating
Running time -- 90 minutes...
Inspired by a newspaper item about how cargo ships were throwing stowaways overboard rather than risk the legal penalties when discovered in European ports, film details what happens to the human spirit when it's locked up and allowed to fester.
Hero of the film is ostensibly Chris (Daniel Bruhl), a young German traveler who gets into trouble in an African port town, loses his passport and stows away on a cargo headed for Marseilles. From the start, though, he is such a hothead--he steals a bracelet in a street market and punches a cop--that he is hard to root for.
Although he is more or less accepted into the motley crew of the Gull and taken under wing by the ship's taciturn Captain Brookes (Peter Mullan), Chris continues to act recklessly. It seems he's not the only stowaway on board; a handful of Africans are hiding in the bowels of the boat. When crew members start mysteriously disappearing with only their boots left behind, the crew hunts down the interlopers and tosses them overboard.
Except one--a young woman named Subira (Nikki Amuka Bird), whom Chris befriends and brings food to even as she is pursued by the crew. But inside this game of cat and mouse is a penetrating character study. When Chris asks Brookes if there are any normal people on the ship, he answers, "just you."
There's the bearded and tortured cook Baptist (Luis Tosar), who has witnessed terribly things and done nothing about them; Herman (Gary Lewis), who climbs up the crow's nest naked, cackling like a bird; Rhombus (Samuli Edelman), a blond, belligerent psychopath. And holding all these misfits in check is the brooding Captain Brookes.
A man of few words, Brookes shares a terrible memory with his crew, which binds them together in a kind of secret society of cruelty. He is not a bad man, but one who has been bent out of shape by horrific events he should have but didn't control.
In a way the real main character is the ship itself, an old and rusting cargo boat salvaged by the film. Production designer Jordi Yrla has done a first-rate job dressing the sets, especially the ship's galley and cargo bay, to give them an ominous quality. Cinematographer Sean Bobbitt uses desaturated colors and documentary techniques to suggest the close quarters of the ship.
While other tech credits, including music by Stephen Warbeck, are accomplished and add to the feeling of authenticity, the film is ultimately betrayed by the storytelling. Gordon and writer Paul Laverty have not created a clear leading character and given the audience someone to care about. And Brookes big secret is too murky, as are some of the major plot points. In the end, as great as the film looks, it all leaves you a bit cold.
CARGO
Trauma and Wild Bunch present a Morena Films and Slate Films production
Credits:
Director: Clive Gordon
Writer: Paul Laverty
Producers: Juan Gordon, Andrea Calderwood
Executive producers: Nigel Thomas, Pilar Benito, Tomas Eskilsson
Director of photography: Sean Bobbitt
Production designer: Jordi Yrla
Music: Stephen Warbeck, Sergio Moure
Costume designer: Bina Daigeler
Editor: Fernando Franco.
Cast:
Brookes: Peter Mullan
Chris: Daniel Bruhl
Baptist: Luis Tosar
Herman: Gary Lewis
Rhombus: Samuli Edelmann
Subira: Nikki Amuka Bird
Ralph: Christopher Fairbank
No MPAA rating
Running time -- 90 minutes...
- 1/30/2006
- The Hollywood Reporter - Movie News
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