In an acquisition which underscores the often shared sensibility between Canal+, France’s biggest pay TV operator, and Movistar Plus+, the largest Spanish pay TV player, Canal+ has acquired Canneseries winner “The Left-Handed Son” (“El hijo zurdo”), a Movistar Plus+ original series.
The series will bow on Canal+ on April 5 in a deal brokered by Movistar Plus+ International.
A psychological thriller with a lyrical undertow which surfaces to moving effect in key scenes, “The Left-Handed Son” marks the auspicious directorial debut of Rafael Cobos, the career-long co-scribe of Alberto Rodríguez, from 2005’s “7 Virgins” through international hit “Marshland” to 2017’s “The Plague,” still one of the biggest series which Movistar Plus+ has ever made.
World premiering at Canneseries in April 2023, “The Left-Handed Son” went on to win best series in the TV festival’s short form competition.
Produced with Átipica Films and co-directed by Paco R. Baños, who helmed four of its six episodes,...
The series will bow on Canal+ on April 5 in a deal brokered by Movistar Plus+ International.
A psychological thriller with a lyrical undertow which surfaces to moving effect in key scenes, “The Left-Handed Son” marks the auspicious directorial debut of Rafael Cobos, the career-long co-scribe of Alberto Rodríguez, from 2005’s “7 Virgins” through international hit “Marshland” to 2017’s “The Plague,” still one of the biggest series which Movistar Plus+ has ever made.
World premiering at Canneseries in April 2023, “The Left-Handed Son” went on to win best series in the TV festival’s short form competition.
Produced with Átipica Films and co-directed by Paco R. Baños, who helmed four of its six episodes,...
- 4/4/2024
- by John Hopewell
- Variety Film + TV
Jean Labadie’s Le Pacte and sales agency Film Factory have joined Spanish pay giant Movistar Plus on the next film from Alberto Rodríguez (“Marshland”), which is shaping up fast with as one of the biggest packages from Spain this year at the Berlinale’s European Film Market.
Le Pacte will co-produce the thriller out of France and handle French distribution rights. Film Factory is launching international sales at Berlin. Movistar Plus, co-producing out of Spain with Kowalski Films and Feelgood Media, will bring the deepest pocket of any production powerhouse in Spain, backing what looks like a potentially big-budgeted movie.
Currently in pre-production, Rodríguez’s latest is scheduled for release in Spanish theaters via Buena Vista Intl. in 2025.
The film is also the latest from one of the most prominent Spanish directors of his generation, co-writer-director of both “The Plague,” still one of Movistar Plus+ biggest series, and “Prison 77,...
Le Pacte will co-produce the thriller out of France and handle French distribution rights. Film Factory is launching international sales at Berlin. Movistar Plus, co-producing out of Spain with Kowalski Films and Feelgood Media, will bring the deepest pocket of any production powerhouse in Spain, backing what looks like a potentially big-budgeted movie.
Currently in pre-production, Rodríguez’s latest is scheduled for release in Spanish theaters via Buena Vista Intl. in 2025.
The film is also the latest from one of the most prominent Spanish directors of his generation, co-writer-director of both “The Plague,” still one of Movistar Plus+ biggest series, and “Prison 77,...
- 2/18/2024
- by John Hopewell
- Variety Film + TV
erea Barros, both make their market debut at next March’s Malaga Festival Fund & Co-Production Event (Maff), one of the top forums for arthouse projects in the Spanish-speaking world.
Some seven further projects have been added to the initial opine announced at December’s Ventana Sur, including a pair from Paraguay, Málaga’s country of honour, and “Women in the City,” a doc feature exec produced by Rafael Cobos, creator, director and showrunner of the Canneseries-awarded show, “El hijo zurdo.”
Proving the possibility to carve out an international film career based out of Panama, “The Simple Life” (“La Vida Simple”) marks the sixth feature from Benaim, Oscar shortlisted for “Plaza Catedral.”
Marking a departure, “The Simple Life” looks like a more personal turn, about a film director, sans camera and crew, in Panama, compelled by unforeseen circumstances to live the very movie he’s longed to capture on film, suffering existential crisis.
Some seven further projects have been added to the initial opine announced at December’s Ventana Sur, including a pair from Paraguay, Málaga’s country of honour, and “Women in the City,” a doc feature exec produced by Rafael Cobos, creator, director and showrunner of the Canneseries-awarded show, “El hijo zurdo.”
Proving the possibility to carve out an international film career based out of Panama, “The Simple Life” (“La Vida Simple”) marks the sixth feature from Benaim, Oscar shortlisted for “Plaza Catedral.”
Marking a departure, “The Simple Life” looks like a more personal turn, about a film director, sans camera and crew, in Panama, compelled by unforeseen circumstances to live the very movie he’s longed to capture on film, suffering existential crisis.
- 1/12/2024
- by John Hopewell and Anna Marie de la Fuente
- Variety Film + TV
In a significant play for audience growth at Telefonica’s Movistar+, Domingo Corral has been promoted to the position of director of fiction and entertainment at the company, the biggest Spanish pay TV/SVOD service.
The move, which in some ways echoes the larger oversight of ITV Studios’ Ruth Berry, marks further recognition for the former director of original fiction who has spearheaded Movistar+’s notably successful drive into scripted production, begun with its first releases in 2017.
Playing off Corral’s innate flair at forge talent relationships his passion for premium entertainment and willingness to explore flexible market models, Movistar+ has created some of the most lauded and prized series in Spain, such as Canneseries double winner “A Perfect Life,” Rodrigo Sorogoyen’s “Riot Police” and “Offworld,” chosen by Variety as one of its best international TV shows of 2022.
Most recently, Alberto Rodriguez “Prison 1977” has bowed on Movistar+ to become...
The move, which in some ways echoes the larger oversight of ITV Studios’ Ruth Berry, marks further recognition for the former director of original fiction who has spearheaded Movistar+’s notably successful drive into scripted production, begun with its first releases in 2017.
Playing off Corral’s innate flair at forge talent relationships his passion for premium entertainment and willingness to explore flexible market models, Movistar+ has created some of the most lauded and prized series in Spain, such as Canneseries double winner “A Perfect Life,” Rodrigo Sorogoyen’s “Riot Police” and “Offworld,” chosen by Variety as one of its best international TV shows of 2022.
Most recently, Alberto Rodriguez “Prison 1977” has bowed on Movistar+ to become...
- 4/26/2023
- by John Hopewell
- Variety Film + TV
Norwegian political satire “Power Play” proved unbeatable at Canneseries, just like its headstrong protagonist, picking up awards for best series and music.
The show, focusing on Norway’s first female Prime Minister, Gro Harlem Brundtland, and starting out in the 1970s, turned out to be a timely proposition, as noted by showrunner Johan Fasting, who co-wrote with Silje Storstein and Kristin Grue.
“It’s hard to persevere in politics, especially for women. We wanted to go behind the scenes of social democracy as well, see how it has dissolved and turned into what we have today. It felt like the right time to look at the mechanisms of power,” he told Variety earlier this week.
While the show delves into local politics, its youthful “punk” attitude and humor, which already drew early comparisons to the works of Armando Iannucci, seems to have paid off, seducing jurors Lior Raz, Zabou Breitman,...
The show, focusing on Norway’s first female Prime Minister, Gro Harlem Brundtland, and starting out in the 1970s, turned out to be a timely proposition, as noted by showrunner Johan Fasting, who co-wrote with Silje Storstein and Kristin Grue.
“It’s hard to persevere in politics, especially for women. We wanted to go behind the scenes of social democracy as well, see how it has dissolved and turned into what we have today. It felt like the right time to look at the mechanisms of power,” he told Variety earlier this week.
While the show delves into local politics, its youthful “punk” attitude and humor, which already drew early comparisons to the works of Armando Iannucci, seems to have paid off, seducing jurors Lior Raz, Zabou Breitman,...
- 4/19/2023
- by Marta Balaga
- Variety Film + TV
Spanish titles at MipTV:
“The Argonauts and the Golden Coin,” (Rtve)
A live action kids adventure, targeting 8-12s, from national public broadcaster Rtve and Galician powerhouse Portocabo as Rtve drives into regional co-production. Set over a summer in Galicia and inspired by the spirit of “The Famous Five” and “The Goonies,” translated to the 21st century.
“The Caravan,” (Cabal Films)
Selected for the inaugural MipDoc International Buyer Screenings, a first-person account of an eight-month pregnant woman in a caravan of Central American immigrants heading to the U.S.
“Dating in Barcelona,” (Filmax)
The latest from Filmax, behind “The Red Band Society” and “They All Lie,” following different romantic encounters of people who have met online.
“Dover: Die for Rock & Roll,” (Begin Again Films)
Doc feature on the Seattle/Jean Jett-inspired Spanish band, behind “Devil Came to Me,” and icon of late ‘90s Spanish alternative pop rock.
“Greenpeace,” (Zona Mixta...
“The Argonauts and the Golden Coin,” (Rtve)
A live action kids adventure, targeting 8-12s, from national public broadcaster Rtve and Galician powerhouse Portocabo as Rtve drives into regional co-production. Set over a summer in Galicia and inspired by the spirit of “The Famous Five” and “The Goonies,” translated to the 21st century.
“The Caravan,” (Cabal Films)
Selected for the inaugural MipDoc International Buyer Screenings, a first-person account of an eight-month pregnant woman in a caravan of Central American immigrants heading to the U.S.
“Dating in Barcelona,” (Filmax)
The latest from Filmax, behind “The Red Band Society” and “They All Lie,” following different romantic encounters of people who have met online.
“Dover: Die for Rock & Roll,” (Begin Again Films)
Doc feature on the Seattle/Jean Jett-inspired Spanish band, behind “Devil Came to Me,” and icon of late ‘90s Spanish alternative pop rock.
“Greenpeace,” (Zona Mixta...
- 4/14/2023
- by John Hopewell
- Variety Film + TV
In the run-up to its Canneseries world premiere, Movistar Plus+ has shared in exclusivity with Variety the international trailer to “The Left Handed Son” (“El hijo zurdo”), the directorial debut of Rafael Cobos, writer of Alberto Rodríguez international hit “Marshland” banner TV series “The Plague.”
Cobos also wrote Rodriguez’s memorable episode in “Offworld,” a market screening at this year’s MipTV.
Movistar Plus+, which produces with José Antonio Félez’s Atipica Films, its partner on “The Plague” and “Prison 1977,” has also announced the release date for “The Left-Handed Son,” whose episodes will all be made available on Movistar Plus+, Spain’s biggest SVOD/pay TV platform, on April 27.
Distribution outside Spain on “The Left-Handed Son” is handled by Movistar Plus+ International.
A six-part short format series, it reps Movistar+’s fourth title at Canneseries in six editions. “The Left Handed Son” delivers a probing, fast-paced psychological thriller which adds...
Cobos also wrote Rodriguez’s memorable episode in “Offworld,” a market screening at this year’s MipTV.
Movistar Plus+, which produces with José Antonio Félez’s Atipica Films, its partner on “The Plague” and “Prison 1977,” has also announced the release date for “The Left-Handed Son,” whose episodes will all be made available on Movistar Plus+, Spain’s biggest SVOD/pay TV platform, on April 27.
Distribution outside Spain on “The Left-Handed Son” is handled by Movistar Plus+ International.
A six-part short format series, it reps Movistar+’s fourth title at Canneseries in six editions. “The Left Handed Son” delivers a probing, fast-paced psychological thriller which adds...
- 4/3/2023
- by John Hopewell and Pablo Sandoval
- Variety Film + TV
CBS Studios has expanded its international co-production slate to include projects in Australia, Spain and France. These productions include “Gold Diggers” from Australia, and “Electric Years” from Spain and France.
“Gold Diggers” is produced by CBS Studios with The Alliance (a Stampede Ventures and Kojo Studios joint venture) for The ABC in Australia. It is set in 1850s Gold Rush, Australia. Thousands of men from around the world flock to the country to hit the jackpot, and so do two women in search of their own jackpot: newly rich idiots. Gert, a heavy-drinking sociopath, and Marigold, her virginal, dummy sister, are willing to do anything to get their fortune; but first they must suffer the lads, lice and lechery of outback Australia. Jack Yabsley serves as writer.
While hiding near the French/Spanish border, Campano, a mysterious wanderer and fugitive on the run, turns a group of artists into sophisticated art thieves.
“Gold Diggers” is produced by CBS Studios with The Alliance (a Stampede Ventures and Kojo Studios joint venture) for The ABC in Australia. It is set in 1850s Gold Rush, Australia. Thousands of men from around the world flock to the country to hit the jackpot, and so do two women in search of their own jackpot: newly rich idiots. Gert, a heavy-drinking sociopath, and Marigold, her virginal, dummy sister, are willing to do anything to get their fortune; but first they must suffer the lads, lice and lechery of outback Australia. Jack Yabsley serves as writer.
While hiding near the French/Spanish border, Campano, a mysterious wanderer and fugitive on the run, turns a group of artists into sophisticated art thieves.
- 12/1/2022
- by Leo Barraclough
- Variety Film + TV
CBS Studios has teamed with Damon Wayans Jr to create a Baltimore-set version of its African drama MTV Shuga for streaming sister company Paramount+ and is co-producing shows in Australia and on the France-Spain border.
Shuga: Baltimore will follow the lives of six people seeking to find beauty in their futures while surviving in the rapidly tech-gentrifying Maryland city. Billed as a “hyper-surrealist tale,” the show is now in development, with Greg ‘Mellow’ Brown’ writing.
Wayans Jr. and Kameron Tarlow are co-producing through their Two Shakes Entertainment banner, with Paramount Global and MTV Staying Alive Foundation’s Georgia Arnold, Sara Piot and Richard Warburton sitting alongside them as executive producers. Mellow is a co-executive producer.
CBS Studios acquired rights to Shuga from the MTV Staying Alive Foundation, which is a Paramount initiative aimed at using the power of entertainment to change the attitudes and behavior of young people.
MTV Shuga:...
Shuga: Baltimore will follow the lives of six people seeking to find beauty in their futures while surviving in the rapidly tech-gentrifying Maryland city. Billed as a “hyper-surrealist tale,” the show is now in development, with Greg ‘Mellow’ Brown’ writing.
Wayans Jr. and Kameron Tarlow are co-producing through their Two Shakes Entertainment banner, with Paramount Global and MTV Staying Alive Foundation’s Georgia Arnold, Sara Piot and Richard Warburton sitting alongside them as executive producers. Mellow is a co-executive producer.
CBS Studios acquired rights to Shuga from the MTV Staying Alive Foundation, which is a Paramount initiative aimed at using the power of entertainment to change the attitudes and behavior of young people.
MTV Shuga:...
- 12/1/2022
- by Jesse Whittock
- Deadline Film + TV
Rodrigo Sorogoyen’s ’The Beasts’ has 17 nominations.
Rodrigo Sorogoyen’s The Beasts leads the nominees for Spain’s prestigious Goya awards, with 17, followed closely by Alberto Rodríguez’s Prison 77 on 16.
The Beasts, which had its world premiere at Cannes, centres around a French couple who cause tensions in the local village to which they move. The psychological thriller is nominated in all major categories including best film where it lines up with Prison 77, Alauda Ruiz de Azúa’s Lullaby, Pilar Palomero’s La Maternal and Carla Simón’s Golden Bear winner Alcarràs.
Scroll down for the full nominations
Alcarràs is...
Rodrigo Sorogoyen’s The Beasts leads the nominees for Spain’s prestigious Goya awards, with 17, followed closely by Alberto Rodríguez’s Prison 77 on 16.
The Beasts, which had its world premiere at Cannes, centres around a French couple who cause tensions in the local village to which they move. The psychological thriller is nominated in all major categories including best film where it lines up with Prison 77, Alauda Ruiz de Azúa’s Lullaby, Pilar Palomero’s La Maternal and Carla Simón’s Golden Bear winner Alcarràs.
Scroll down for the full nominations
Alcarràs is...
- 12/1/2022
- by Ellie Calnan
- ScreenDaily
“La Mesías,” from “Veneno” creators Javier Ambrossi and Javier Calvo, drinks deep from Catholic tradition from its very title — literally, “The Female Messiah” — to iconography and focus on faith.
Another awaited Movistar+ series, “The Left-Handed Son,” created by “The Plague” screenwriter Rafael Cobos, was presented to the press in July against a spectacular backdrop taking in, just across a waterway, Seville’s iconic Torre de Oro and, a little further away, the Giralda bell tower of Seville’s Cathedral.
In line with platform production trends the world over, rather than playing down local elements, Movistar+ is playing them up. For the Telefonica SVOD/pay TV player in Spain, this has been a longterm philosophy, reaching back to its earliest series in 2017.
No big European SVOD player has insisted as much as Movistar+ on capturing the hot button issues, history, culture (“Spanish Shame”), traumas (“The Invisible Line”) and landscapes (“Félix”) of its local market.
Another awaited Movistar+ series, “The Left-Handed Son,” created by “The Plague” screenwriter Rafael Cobos, was presented to the press in July against a spectacular backdrop taking in, just across a waterway, Seville’s iconic Torre de Oro and, a little further away, the Giralda bell tower of Seville’s Cathedral.
In line with platform production trends the world over, rather than playing down local elements, Movistar+ is playing them up. For the Telefonica SVOD/pay TV player in Spain, this has been a longterm philosophy, reaching back to its earliest series in 2017.
No big European SVOD player has insisted as much as Movistar+ on capturing the hot button issues, history, culture (“Spanish Shame”), traumas (“The Invisible Line”) and landscapes (“Félix”) of its local market.
- 10/14/2022
- by John Hopewell
- Variety Film + TV
The San Sebastian Festival opens on Sept. 16 with a bang: Alberto Rodriguez’s “Prison 77,” most probably the biggest Spanish film of 2022, the latest title from one of the Spain’s most preeminent auteurs and a foretaste of one possible future face of Spanish cinema, thanks to Movistar+.
“Prison 77” begins as a fish-out-of-water jail survival thriller. Manuel, in 1977, a young accountant, played by Miguel Herrán, is sent to Barcelona’s legendary Modelo penitentiary pending trial for embezzlement.
It grows, however, for all of its length, as a character-driven tale of psychological observance, as Miguel gradually befriends Pino, his seen-it-all cell mate, who just wants a quiet life.
Charting “the evolving relationship between two completely different people, a young accountant with his whole life before him, and Pino, who’s lived nearly his whole life behind bars,” “Prison 77” is a story of friendship and solidarity, says José Antonio Félez...
“Prison 77” begins as a fish-out-of-water jail survival thriller. Manuel, in 1977, a young accountant, played by Miguel Herrán, is sent to Barcelona’s legendary Modelo penitentiary pending trial for embezzlement.
It grows, however, for all of its length, as a character-driven tale of psychological observance, as Miguel gradually befriends Pino, his seen-it-all cell mate, who just wants a quiet life.
Charting “the evolving relationship between two completely different people, a young accountant with his whole life before him, and Pino, who’s lived nearly his whole life behind bars,” “Prison 77” is a story of friendship and solidarity, says José Antonio Félez...
- 9/12/2022
- by John Hopewell
- Variety Film + TV
Rafael Cobos, the co-screenwriter of Alberto Rodríguez’s Goya best picture winner “Marshland” and “The Plague,” one of Movistar Plus’ most ambitious series ever, is getting his own show.
Moving into production on July 18, “El hijo zurdo” stars María León, a stunning 2011 San Sebastian best actress winner for “The Sleeping Voice,” in a series which Cobos describes an “emotional thriller.”
Movistar Plus’ newly announced original is not only written by Cobos but co-directed too in the directorial debut of the Seville-based scribe.
A six part, half hour drama, “El Hijo Zurdo” is scheduled for release first half of 2023. Movistar Plus Internacional is handling worldwide distribution.
Cobos’ career-long relationship with Rodríguez takes in the Spanish director’s 2022 San Sebastian opening movie “Prison 77” and his episode in “Offworld,” a Movistar Plus anthology series which world premieres out of competition at San Sebastián.
Cobos has also co-written “The Unit,” Movistar Plus’ hit action-espionage series,...
Moving into production on July 18, “El hijo zurdo” stars María León, a stunning 2011 San Sebastian best actress winner for “The Sleeping Voice,” in a series which Cobos describes an “emotional thriller.”
Movistar Plus’ newly announced original is not only written by Cobos but co-directed too in the directorial debut of the Seville-based scribe.
A six part, half hour drama, “El Hijo Zurdo” is scheduled for release first half of 2023. Movistar Plus Internacional is handling worldwide distribution.
Cobos’ career-long relationship with Rodríguez takes in the Spanish director’s 2022 San Sebastian opening movie “Prison 77” and his episode in “Offworld,” a Movistar Plus anthology series which world premieres out of competition at San Sebastián.
Cobos has also co-written “The Unit,” Movistar Plus’ hit action-espionage series,...
- 7/18/2022
- by Pablo Sandoval and John Hopewell
- Variety Film + TV
Movistar Plus, the streaming and broadcast arm of Spanish telco giant Telefonica, has confirmed a breathtaking roster of talent which will helm its upcoming five-part anthology series “Apagón,” produced by Buendía Estudios.
Inspired by the popular “El gran apagón” podcast, the series features five stand-alone stories, connected only in that they take place after a solar flair causes a worldwide blackout – “apagón” in Spanish – and deals with the consequences that such a catastrophe might impose.
The series’ impressive lineup of writing talent was first announced in June of this year, and Movistar has today confirmed that award-winning directors Rodrigo Sorogoyen, Alberto Rodríguez, Raúl Arévalo, Isa Campo, and Isaki Lacuesta will helm the five stories. For the first two filmmakers, the series is a return to Movistar Plus. The three new recruits further establishes the broadcaster as one of the Spanish industry’s premier platforms for upscale Spanish talent to express...
Inspired by the popular “El gran apagón” podcast, the series features five stand-alone stories, connected only in that they take place after a solar flair causes a worldwide blackout – “apagón” in Spanish – and deals with the consequences that such a catastrophe might impose.
The series’ impressive lineup of writing talent was first announced in June of this year, and Movistar has today confirmed that award-winning directors Rodrigo Sorogoyen, Alberto Rodríguez, Raúl Arévalo, Isa Campo, and Isaki Lacuesta will helm the five stories. For the first two filmmakers, the series is a return to Movistar Plus. The three new recruits further establishes the broadcaster as one of the Spanish industry’s premier platforms for upscale Spanish talent to express...
- 11/11/2021
- by Jamie Lang
- Variety Film + TV
Since 2017, when it released its first original production, “Velvet Collection,” Movistar Plus has produced and aired 45 original or returning series in Spain.
Now it’s looking to raise the ante, investing more in original production than ever before, says Movistar Plus president Sergio Oslé.
“Original production is a brutal anti-churn driver. Consumption of our original content is directly linked to customer satisfaction and consequently to loyalty,” says Movistar Plus CEO Cristina Burzako.
“In such a disruptive environment with a huge proliferation of brands and platforms and somehow, with some fatigue of entertainment, we must ensure we deliver a complete, personalized and curated entertainment proposal.”
This involves “integrating all key global brands [although they tend not to be exclusive deals anymore] and building our original production, which is more important than ever to drive differentiation.”
Building original production now cuts several ways. Movistar Plus is maintaining its original series output. It is also plowing more into non-fiction.
At September’s San Sebastian Festival,...
Now it’s looking to raise the ante, investing more in original production than ever before, says Movistar Plus president Sergio Oslé.
“Original production is a brutal anti-churn driver. Consumption of our original content is directly linked to customer satisfaction and consequently to loyalty,” says Movistar Plus CEO Cristina Burzako.
“In such a disruptive environment with a huge proliferation of brands and platforms and somehow, with some fatigue of entertainment, we must ensure we deliver a complete, personalized and curated entertainment proposal.”
This involves “integrating all key global brands [although they tend not to be exclusive deals anymore] and building our original production, which is more important than ever to drive differentiation.”
Building original production now cuts several ways. Movistar Plus is maintaining its original series output. It is also plowing more into non-fiction.
At September’s San Sebastian Festival,...
- 9/13/2021
- by John Hopewell
- Variety Film + TV
Opening up what could be a rich vein in Spanish movies coming onto the open market, Film Factory Entertainment has acquired world sales rights outside Spain to “Modelo 77,” the next film by Alberto Rodríguez, director of “Marshland” and “The Plague.”
A potential jewel in Spanish cinema’s 2022 crown, “Modelo 77” is produced by Spanish pay TV/VOD giant Movistar Plus and Madrid-based Atípica Films, Rodríguez’s career-long producer. It raises the large question of whether “Modelo 77” will mark a fully-fledged embarkment by Movistar Plus into regular movie co-production with Spain’s film industry.
Few titles, if that were to happen, will tick more boxes than Rodríguez’s “Modelo 77,” which Film Factory will bring onto the open market at this week’s Toronto Festival.
A penitentiary drama-thriller feature directed by Alberto Rodríguez and written by Rafael Cobos and the director, the creative powerhouses behind “Marshland” and Movistar Plus banner series “The Plague,...
A potential jewel in Spanish cinema’s 2022 crown, “Modelo 77” is produced by Spanish pay TV/VOD giant Movistar Plus and Madrid-based Atípica Films, Rodríguez’s career-long producer. It raises the large question of whether “Modelo 77” will mark a fully-fledged embarkment by Movistar Plus into regular movie co-production with Spain’s film industry.
Few titles, if that were to happen, will tick more boxes than Rodríguez’s “Modelo 77,” which Film Factory will bring onto the open market at this week’s Toronto Festival.
A penitentiary drama-thriller feature directed by Alberto Rodríguez and written by Rafael Cobos and the director, the creative powerhouses behind “Marshland” and Movistar Plus banner series “The Plague,...
- 9/10/2021
- by John Hopewell
- Variety Film + TV
Miguel Herrán, who plays Aníbal “Río” Cortés in “Money Heist” and Christian Varela in “Elite,” will star with “Below Zero” lead Javier Gutiérrez in “Modelo 77,” produced by Movistar Plus and Madrid-based Atípica Films.
The feature film will be released in Spanish cinema theaters by Buena Vista Intl. before screening in exclusivity on Movistar Plus.
Directed by Alberto Rodríguez and written by Rafael Cobos and Rodríguez, the creative powerhouses behind Movistar Plus banner series “The Plague,” the movie sees Movistar Plus maintaining in a movie a key talent relationship forged by a drama series. As competition for top talent becomes the key battleground between pay TV operators and platforms the world over, that looks like a crucial coup.
Set to go into production on Aug. 2, “Modelo 77” also begs the question as to whether Movistar Plus, one of Spain’s key drama series investors, will now be driving into movie production in...
The feature film will be released in Spanish cinema theaters by Buena Vista Intl. before screening in exclusivity on Movistar Plus.
Directed by Alberto Rodríguez and written by Rafael Cobos and Rodríguez, the creative powerhouses behind Movistar Plus banner series “The Plague,” the movie sees Movistar Plus maintaining in a movie a key talent relationship forged by a drama series. As competition for top talent becomes the key battleground between pay TV operators and platforms the world over, that looks like a crucial coup.
Set to go into production on Aug. 2, “Modelo 77” also begs the question as to whether Movistar Plus, one of Spain’s key drama series investors, will now be driving into movie production in...
- 7/28/2021
- by John Hopewell
- Variety Film + TV
Spain’s Movistar Plus and Buendía Estudios are teaming to create groundbreaking series “El Apagón,” Movistar Plus’ first original to explore global dystopia and Buendía Estudios’ first full production for the Telefonica Spanish pay TV operator.
Scheduled to shoot in fall 2021, and inspired by the Spanish podcast “El gran apagón,” the series will bring together a top-of-their-class Spanish team of creatives, led by Fran Araujo as co-creator and executive producer on this show.
Araujo’s illustrious writers’ room includes Isabel Peña, Rodrigo Sorogoyen’s longtime co-scribe (“Riot Police”) and Isa Campo, co-writer of Isaki Lacuesta’s two San Sebastian Golden Shell winners “Between Two Waters” and “The Double Steps.”
Further writers are Rafael Cobos, scribe of “The Plague,” one of Movistar Plus’ biggest series swings to date; and Alberto Marini, a preeminent writer-director of Spanish genre movies who also co-penned Movistar Plus’ 2020 espionage action thriller “The Unit.”
“As Movistar Plus’ first incursion into dystopia,...
Scheduled to shoot in fall 2021, and inspired by the Spanish podcast “El gran apagón,” the series will bring together a top-of-their-class Spanish team of creatives, led by Fran Araujo as co-creator and executive producer on this show.
Araujo’s illustrious writers’ room includes Isabel Peña, Rodrigo Sorogoyen’s longtime co-scribe (“Riot Police”) and Isa Campo, co-writer of Isaki Lacuesta’s two San Sebastian Golden Shell winners “Between Two Waters” and “The Double Steps.”
Further writers are Rafael Cobos, scribe of “The Plague,” one of Movistar Plus’ biggest series swings to date; and Alberto Marini, a preeminent writer-director of Spanish genre movies who also co-penned Movistar Plus’ 2020 espionage action thriller “The Unit.”
“As Movistar Plus’ first incursion into dystopia,...
- 6/16/2021
- by Pablo Sandoval
- Variety Film + TV
ViacomCBS International Studios (Vis) has unveiled a new slate of projects tapping talents as diverse as “Guilt” writer-creator Neil Forsyth, “The Great” writer Vanessa Alexander, “Wild District” originator Cristian Conti and “High School Musical” writer Peter Barsocchini.
Underscoring Vis’ ambitions to play in the big league of international local content producer-distributors, both in production volume and breadth of content, Vis also confirmed its drive into documentary production, of both doc features and series, and unveiled its first four titles.
This year will, moreover, see Vis bow development and production of its first made-for-streaming movies and first content for Vis Kids, created last year.
Launched in 2018, Vis has proved one of the fastest-growing production powers on the Latin American and Latinx scene, signing first-look deals with Argentina’s Juan José Campanella, writer-director of the Oscar winning “The Secret in Their Eyes,” and Ariel Winograd, director of remake phenomenon “Ten Days Without Mom.
Underscoring Vis’ ambitions to play in the big league of international local content producer-distributors, both in production volume and breadth of content, Vis also confirmed its drive into documentary production, of both doc features and series, and unveiled its first four titles.
This year will, moreover, see Vis bow development and production of its first made-for-streaming movies and first content for Vis Kids, created last year.
Launched in 2018, Vis has proved one of the fastest-growing production powers on the Latin American and Latinx scene, signing first-look deals with Argentina’s Juan José Campanella, writer-director of the Oscar winning “The Secret in Their Eyes,” and Ariel Winograd, director of remake phenomenon “Ten Days Without Mom.
- 1/21/2021
- by John Hopewell
- Variety Film + TV
Spain’s Oscar entry, “The Endless Trench,” a multi-award-winning feature from the Basque trio of Aitor Arregi, Jon Garaño and Jose Mari Goenaga, has also become a flagship production for the Andalusian film sector.
The film was set and shot in Andalusia, with Andalusian actors and co-produced by Seville-based La Claqueta. Released last year in Spain by eOne, the film was acquired by Netflix, and bowed in the U.S. on Nov. 6.
Inspired by real-life events after the Spanish Civil War, “Trench” mainly filmed in Huelva’s Higuera de la Sierra, Carboneras and Paymogo for its Andalusian leg. Olmo Figueredo and Manuel H. Martín’s outfit La Claqueta was key for “Trench’s” financing, documentation and narrative support.
“Trench” exemplifies the possibilities of inter-regional partnerships in the Spanish film industry, this time between Andalusia and the Basque Country. Co-produced by La Claqueta with Basque companies Irusoin and Moriarti Produkzioak, alongside France’s Manny Films,...
The film was set and shot in Andalusia, with Andalusian actors and co-produced by Seville-based La Claqueta. Released last year in Spain by eOne, the film was acquired by Netflix, and bowed in the U.S. on Nov. 6.
Inspired by real-life events after the Spanish Civil War, “Trench” mainly filmed in Huelva’s Higuera de la Sierra, Carboneras and Paymogo for its Andalusian leg. Olmo Figueredo and Manuel H. Martín’s outfit La Claqueta was key for “Trench’s” financing, documentation and narrative support.
“Trench” exemplifies the possibilities of inter-regional partnerships in the Spanish film industry, this time between Andalusia and the Basque Country. Co-produced by La Claqueta with Basque companies Irusoin and Moriarti Produkzioak, alongside France’s Manny Films,...
- 12/2/2020
- by Emiliano De Pablos
- Variety Film + TV
Madrid — Writer-creator Rafael Cobos hosted the first market screenings for Season 2 Movistar Plus’ tentpole series “La Peste” (“The Plague”) at Mipcom this afternoon.
Season 1 bowed in Spain in January 2018 to the best opening results of any series, aired or available, on the Telefonica-owned pay TV giant, who have promised that Season 2 will be bigger still with increased action, new characters and a sped up tempo enhanced by agile camera-work focusing on a larger cast of key characters.
Set in 16th century Seville, a thriving global center recovering after a dark era of disease and political upheaval, Season 2 focuses on the arrival and rapid growth of the violent Garduña crime family. To combat the new threat, the monarchy has assigned Pontecorvo, a loyal military leader known for quelling criminal uprisings as the city’s new mayor.
Meanwhile, Season 1 protagonist Mateo is in Chile’s Patagonia establishing Spanish colonies, while Teresa...
Season 1 bowed in Spain in January 2018 to the best opening results of any series, aired or available, on the Telefonica-owned pay TV giant, who have promised that Season 2 will be bigger still with increased action, new characters and a sped up tempo enhanced by agile camera-work focusing on a larger cast of key characters.
Set in 16th century Seville, a thriving global center recovering after a dark era of disease and political upheaval, Season 2 focuses on the arrival and rapid growth of the violent Garduña crime family. To combat the new threat, the monarchy has assigned Pontecorvo, a loyal military leader known for quelling criminal uprisings as the city’s new mayor.
Meanwhile, Season 1 protagonist Mateo is in Chile’s Patagonia establishing Spanish colonies, while Teresa...
- 10/14/2019
- by Jamie Lang
- Variety Film + TV
Madrid, Spain — On Jan. 28 this year, the cast and crew of the Movistar Plus’s 16th century adventure drama “The Plague” wrapped shooting on Season 2. Variety visited the set and interview members of the team responsible for what could well be the country’s most ambitious TV project ever.
Here are five take-aways from the visit.
New Ambition
The six-hour Season 1 of the “The Plague” used 130 filming locations, a technical crew of 200, 2,000 extras over 250 sequences and multiple Vhf effects to recreate 16th century Seville. Its budget of €1.5 million ($1.7 million) per episode, in a country with typically-modest TV production costs of around €500,000-€600,000, ranked alongside high-end Canal Plus series in France such as the Luc Besson-produced “Séction Zero.”
“’The Plague’ was originally very ambitious, but also very risky,” Movistar Plus director of original fiction Domingo Corral told Variety. “We produced it when we were just getting into series. We didn...
Here are five take-aways from the visit.
New Ambition
The six-hour Season 1 of the “The Plague” used 130 filming locations, a technical crew of 200, 2,000 extras over 250 sequences and multiple Vhf effects to recreate 16th century Seville. Its budget of €1.5 million ($1.7 million) per episode, in a country with typically-modest TV production costs of around €500,000-€600,000, ranked alongside high-end Canal Plus series in France such as the Luc Besson-produced “Séction Zero.”
“’The Plague’ was originally very ambitious, but also very risky,” Movistar Plus director of original fiction Domingo Corral told Variety. “We produced it when we were just getting into series. We didn...
- 2/11/2019
- by Jamie Lang
- Variety Film + TV
Movistar+ hit a home-run when the first season of historical-fiction thriller “The Plague” – the most ambitious original series of the most forceful push into high-end series production of any telecom in Europe – bowed in Spain in January 2018 to the best results of any series, aired or available, on the Telefonica-owned pay TV giant.
On Jan. 28 this year, the cast and crew of the 16th century adventure drama wrapped shooting on Season 2. Variety was invited to visit the set, and has given exclusive access to some first stills.
A six-hour series, Season 1 of the “The Plague” used 130 locations, a 200-technician crew, 2,000 extras over 250 sequences and multiple Vhf effects to recreate c. 1585 Seville. Its budget of €1.5 million ($1.7 million) per episode, in a country of relatively contained TV production costs, ranked alongside high-end Canal Plus France series such as the Luc Besson produced “Séction Zero.”
“’The Plague’ was originally very ambitious, but also very risky,...
On Jan. 28 this year, the cast and crew of the 16th century adventure drama wrapped shooting on Season 2. Variety was invited to visit the set, and has given exclusive access to some first stills.
A six-hour series, Season 1 of the “The Plague” used 130 locations, a 200-technician crew, 2,000 extras over 250 sequences and multiple Vhf effects to recreate c. 1585 Seville. Its budget of €1.5 million ($1.7 million) per episode, in a country of relatively contained TV production costs, ranked alongside high-end Canal Plus France series such as the Luc Besson produced “Séction Zero.”
“’The Plague’ was originally very ambitious, but also very risky,...
- 2/4/2019
- by Jamie Lang and John Hopewell
- Variety Film + TV
Keep up with the glitzy awards world with our weekly Awards Roundup column.
Awards
– The Spanish Film Academy’s annual Goyas — think Oscars, Spain style — fell in love with Juan Antonio Bayona’s “A Monster Calls,” which walked away from this week’s ceremony with a massive nine awards. Although it missed out on Best Film to “Fury of Patient Man,” Bayona picked up Best Director and the film was showered with a slew of below the line nods. Check out the full list of winners below.
Film
“Fury of a Patient Man”
Director
J.A. Bayona for “A Monster Calls”
New Director
Raul Arevalo for “Fury of a Patient Man”
Original Screenplay
David Pulido, Raul Arevalo for “Fury of a Patient Man”
Adapted Screenplay
Alberto Rodriguez, Rafael Cobos for “Smoke and Mirrors”
Original Score
Fernando Velazquez for “A Monster Calls”
Original Song
“Ai, Ai, Ai” by Silvia Perez Cruz for...
Awards
– The Spanish Film Academy’s annual Goyas — think Oscars, Spain style — fell in love with Juan Antonio Bayona’s “A Monster Calls,” which walked away from this week’s ceremony with a massive nine awards. Although it missed out on Best Film to “Fury of Patient Man,” Bayona picked up Best Director and the film was showered with a slew of below the line nods. Check out the full list of winners below.
Film
“Fury of a Patient Man”
Director
J.A. Bayona for “A Monster Calls”
New Director
Raul Arevalo for “Fury of a Patient Man”
Original Screenplay
David Pulido, Raul Arevalo for “Fury of a Patient Man”
Adapted Screenplay
Alberto Rodriguez, Rafael Cobos for “Smoke and Mirrors”
Original Score
Fernando Velazquez for “A Monster Calls”
Original Song
“Ai, Ai, Ai” by Silvia Perez Cruz for...
- 2/10/2017
- by Kate Erbland
- Indiewire
J.A. Bayona’s adaptation of Patrick Ness’ novel wins nine awards at the Spanish Goyas but Raúl Arévalo’s debut as a director takes best film.
A Monster Calls went into the Goya Awards on Saturday night (Feb 4) with 12 nominations and ended up taking home nine prizes from the Spanish Film Academy, including best director for Juan Antonio Bayona.
Scroll down for full list of winners
The director, just weeks away from starting shoot on a Jurassic World sequel, was visibly moved with the film’s performance, not only when he took to the stage to collect his Goya for best director, but also when his collaborators on the film did so for the film’s other eight wins of the night, including best cinematography, special effects, sound and production design.
With a box office of $28.6m (€26.5m), A Monster Calls was the biggest film in Spain last year.
The Fury Of A Patient Man director [link=nm...
A Monster Calls went into the Goya Awards on Saturday night (Feb 4) with 12 nominations and ended up taking home nine prizes from the Spanish Film Academy, including best director for Juan Antonio Bayona.
Scroll down for full list of winners
The director, just weeks away from starting shoot on a Jurassic World sequel, was visibly moved with the film’s performance, not only when he took to the stage to collect his Goya for best director, but also when his collaborators on the film did so for the film’s other eight wins of the night, including best cinematography, special effects, sound and production design.
With a box office of $28.6m (€26.5m), A Monster Calls was the biggest film in Spain last year.
The Fury Of A Patient Man director [link=nm...
- 2/5/2017
- ScreenDaily
Spain might be very well-known for its fantasy and horror films, but it has also proven that it can master thrillers. In 2014, Alberto Rodríguez' Marshland was (almost) everyone's favorite after its premiere at the San Sebastián Film Festival and ended up scooping 10 Goyas. Looking at its thrilling trailer, Toro might follow a similar path. Shot in the legendary region of Almería, Toro is the sophomore feature film by Kike Maíllo, whose first effort was the very promising robot drama Eva (2011). The script is co-written by Fernando Navarro (Anacleto: Agente secreto) and Rafael Cobos, who penned Marshland along with its director. Here's a synopsis: Toro is completing a two-year sentence in prison for a robbery where he seriously wounded a police officer, a...
[Read the whole post on twitchfilm.com...]...
[Read the whole post on twitchfilm.com...]...
- 1/24/2016
- Screen Anarchy
Caught in the Quagmire: Rodriguez’s Satisfying Period Neo-Noir
Having swept the 2014 Goya Awards back home (winning ten of its sixteen nominations, including Best Film), Spanish director Alberto Rodriguez’s Marshland is a character driven cop thriller with the brooding intensity attributed to the contemporary movement of Nordic Noir. Incorporating specific historical elements into its pulpy tapestry for a bit of extra resonance, Rodriguez and his regular co-scribe Rafael Cobos unveil their central mystery with such painstaking deliberateness it’s easy to overlook some of the narrative’s generalities.
Set in rural Spain, just five years after the death of Franco and the fall of his ruthless dictatorship, Rodriguez recalls a nation in transition, introducing an easily fueled binary of good cop vs. bad cop based on the juxtaposing political tenor. As usual, women are relentlessly maligned, even though its dire misogyny transpires off-screen, a typicality more easily forgiven thanks to its ‘period.
Having swept the 2014 Goya Awards back home (winning ten of its sixteen nominations, including Best Film), Spanish director Alberto Rodriguez’s Marshland is a character driven cop thriller with the brooding intensity attributed to the contemporary movement of Nordic Noir. Incorporating specific historical elements into its pulpy tapestry for a bit of extra resonance, Rodriguez and his regular co-scribe Rafael Cobos unveil their central mystery with such painstaking deliberateness it’s easy to overlook some of the narrative’s generalities.
Set in rural Spain, just five years after the death of Franco and the fall of his ruthless dictatorship, Rodriguez recalls a nation in transition, introducing an easily fueled binary of good cop vs. bad cop based on the juxtaposing political tenor. As usual, women are relentlessly maligned, even though its dire misogyny transpires off-screen, a typicality more easily forgiven thanks to its ‘period.
- 10/30/2015
- by Nicholas Bell
- IONCINEMA.com
Marshland (original title: La isla minima)
Written by Alberto Rodriguez and Rafael Cobos
Directed by Alberto Rodriguez
Spain, 2014
Reprimanded by their superiors for a previous folly, Madrid-based homicide detectives Pedro Suarez (Raul Arévalo) and Javier Gutiérrez (Juan Robles) are dispatched to the countryside to investigate the disappearance of two teenage girls in a small town that lives and dies by its agricultural produce. The year is 1980 and the Francisco Franco dictatorship came to a close only a few years ago following the tyrant’s passing. Spanish democracy is still in its infancy, remnants of the violence and fear that governed the land for years still remain. As Pedro and Javier collect information as to the whereabouts of the girls, it becomes painstakingly clear that this little town, surrounded by marshland, is wrestling with a few demons of its own, as are the two protagonists who come from very generations (Javier...
Written by Alberto Rodriguez and Rafael Cobos
Directed by Alberto Rodriguez
Spain, 2014
Reprimanded by their superiors for a previous folly, Madrid-based homicide detectives Pedro Suarez (Raul Arévalo) and Javier Gutiérrez (Juan Robles) are dispatched to the countryside to investigate the disappearance of two teenage girls in a small town that lives and dies by its agricultural produce. The year is 1980 and the Francisco Franco dictatorship came to a close only a few years ago following the tyrant’s passing. Spanish democracy is still in its infancy, remnants of the violence and fear that governed the land for years still remain. As Pedro and Javier collect information as to the whereabouts of the girls, it becomes painstakingly clear that this little town, surrounded by marshland, is wrestling with a few demons of its own, as are the two protagonists who come from very generations (Javier...
- 8/21/2015
- by Edgar Chaput
- SoundOnSight
Marshland
Written by Rafael Cobos and Alberto Rodríguez
Directed by Alberto Rodríguez
Spain, 2014
On the surface, the Spanish film Marshland, by director/co-writer Alberto Rodríguez, is a mere procedural. A gripping one, complete with a thrilling third act car chase and a compelling whodunit at its heart, and ornamented by gorgeous cinematography from Alex Catalán, but a buddy cop procedural nonetheless. Just underneath this captivating veneer, though, is a haunting tale about violence’s lack of transience, and one which situates it within the aftermath of political upheaval.
Not that any of this overshadows the mystery. Marshland begins in 1980, just after the the fall of the Franco dictatorship, with the mysterious disappearance of two teenage sisters in the titular countryside of Spain. Juan (Javier Gutiérrez) and Pedro (Raúl Arévalo) are the detectives assigned to the case, and their search soon turns up the girls—albeit dead, mutilated, and with evidence of having been raped.
Written by Rafael Cobos and Alberto Rodríguez
Directed by Alberto Rodríguez
Spain, 2014
On the surface, the Spanish film Marshland, by director/co-writer Alberto Rodríguez, is a mere procedural. A gripping one, complete with a thrilling third act car chase and a compelling whodunit at its heart, and ornamented by gorgeous cinematography from Alex Catalán, but a buddy cop procedural nonetheless. Just underneath this captivating veneer, though, is a haunting tale about violence’s lack of transience, and one which situates it within the aftermath of political upheaval.
Not that any of this overshadows the mystery. Marshland begins in 1980, just after the the fall of the Franco dictatorship, with the mysterious disappearance of two teenage sisters in the titular countryside of Spain. Juan (Javier Gutiérrez) and Pedro (Raúl Arévalo) are the detectives assigned to the case, and their search soon turns up the girls—albeit dead, mutilated, and with evidence of having been raped.
- 8/4/2015
- by Max Bledstein
- SoundOnSight
On Wednesday, May 27th, Premios Platino's hosts Alessandra Rosaldo and Juan Carlos Arciniegas alongside actor Eugenio Derbez, as well as Elvi Cano (Director Egeda Us) and Gonzalo Elvira (Fipca Mexico) will announce the nominees for the Awards in Los Angeles, CA.
During the press conference Mexican actress Kate Del Castillo will announce the recipient of the Premio de Honor (Lifetime Achievement Award). In addition Rick Nicita, Chairman of the American Cinematheque, will accept a special Platino Award to The American Cinematheque for its contribution to Iberoamerican Cinema.
Produced by Egeda, in collaboration with Fipca, the Premios Platino of Iberoamerican Cinema was born with the vocation to establish itself as a major international ceremony, promoting Latin American cinema as a whole and transcending borders. It is one of the most important tools to promote and support our film industry and all the professionals who, day after day, put forth all their effort and commitment so that audiences can enjoy the best films.
The candidates for the 2nd Platino Awards (Premios Platino) were announced during the 18th Málaga Film Festival in Spain. 73 feature films and 18 Ibero- American countries compete for the final nominations in the 14 categories for this prestigious award. The competing films had to be commercially released or premiered in an A-List Film Festival during 2014. The final nominations will be announced tomorrow at the Andaz Hotel West Hollywood. The Premios Platino Award Ceremony will take place on July 18, 2015 at Starlite Marbella in Spain.
As part of the same event The Premios Platino has distinguished the Málaga Film Festival with a special award for its contribution to the circulation and promotion of Spanish and Ibero- American cinema.
Here is the list of preselected candidates in each category ahead of tomorrow's final nominations
Premio Platino for the Best Ibero-American Fictional Film
· "Cantinflas"
(Kenio Films) (Mexico).
· "Conducta" (Behavior)
(Instituto Cubano Del Arte E Industria Cinematográfica, Rtv Comercial) (Cuba).
· "El Mudo" (The Mute)
(Maretazo Cine, Urban Factory) (Peru, Mexico).
· "El Niño"
(Vaca Films Studio, S.L., Telecinco Cinema, S.A., Ikiru Films, S.L., La Ferme! Productions, El Niño la película, A.I.E.) (Spain).
· "La Danza de la Realidad" (The Dance of Reality)
(Camera One, Pathe Y Le Soleil Films) (Chile).
· "La Dictadura Perfecta" (The Perfect Dictatorship)
(Imcine - Instituto Mexicano De Cinematografía, Estudios Churubusco Azteca, S.A., Bandidos Films, Fidecine, Eficine 226) (Mexico).
· "La Isla Mínima" (Marshland)
(Antena 3 Films, S.L., Atípica Films, S.L. y Sacromonte Films S.L.) (Spain).
· "Libertador" (The Liberator)
(Producciones Insurgentes, San Mateo Films) (Venezuela, Spain).
· "Matar a un Hombre" (To Kill a Man)
(Arizona Production, El Remanso Cine Ltda) (Chile).
· "Mr. Kaplan"
(Baobab 66 Films, S.L., Salado Media, Expresso Films) (Uruguay, Spain).
· "O Lobo Atrás da Porta" (A Wolf at the Door)
(Tc Filmes, Gullane Filmes) (Brazil).
· "Os gatos não têm vertigens" (Cats Don't Have Vertigo)
(Mgn Filmes) (Portugal).
· "Pelo Malo" (Bad Hair)
(Sudaca Films, Hanfgarn & Ufer Filmproduktion, Artefactos S.F., Imagen Latina, La Sociedad Post) (Venezuela Peru, Argentina).
· "Refugiado"
(Gale Cine, Burning Blue, El Campo Cine, Staron Films, Bellota Films, Río Rojo Contenidos) (Argentina, Colombia).
. "Relatos Salvajes" (Wild Tales)
(Kramer & Sigman Films, El Deseo P.C - S.A.) (Argentina, Spain).
Premio Platino for Best Directing
Alberto Rodríguez (Spain), for "La Isla Mínima." Alejandro Jodorowsky (Chile), for "La danza de la Realidad." Álvaro Brechner (Uruguay), for "Mr Kaplan." António-Pedro Vasconcelos (Portugal), for "Os gatos não têm vertigens." Claudia Pinto (Venezuela), for "La Distancia más Larga." Damián Szifron (Argentina), for "Relatos Salvajes." Daniel Monzón (Spain), for "El Niño." Daniel Vega (Peru) and Diego Vega (Peru), for "El Mudo." Ernesto Daranas (Cuba), for "Conducta." Fernando Coimbra (Brazil), for "O lobo atrás da porta." Fernando Pérez (Cuba), "La Pared de las Palabras." Luis Estrada (Mexico), for "La Dictadura Perfecta." Mariana Rondón (Venezuela), for "Pelo Malo." Miguel Cohan (Argentina), for "Betibú." Sebastián del Amo (Mexico), for "Cantinflas. "
Premio Platino for Best Actor
Benicio Del Toro (Puerto Rico), for Escobar. "Paraíso Perdido." Damián Alcázar (Mexico), for "La Dictadura Perfecta. Dani Rovira (Spain), for "Ocho Apellidos Vascos." Daniel Candia (Chile), for "Matar a un Hombre." Daniel Fanego (Argentina), for "Betibú." Edgar Ramírez (Venezuela), for "Libertador." Fernando Bacilio (Peru), "El Mudo." Ghilherme Lobo (Brazil), "The Way He Looks." Javier Gutiérrez (Spain), for "La Isla Mínima." Jorge Perugorría (Cuba), for "La Pared de las Palabras." Leonardo Sbaraglia (Argentina), for "Relatos Salvajes." Oscar Jaenada (Spain), by "Cantinflas." Salvador del Solar (Peru), for "El Elefante Desaparecido." Viggo Mortensen (USA), for "Jauja." Wagner Moura (Brazil), for "Futuro Beach" .
Premio Platino for Best Actress
Angie Cepeda (Colombia), for "El Elefante Desaparecido." Bárbara Lennie (Spain), by "Magical Girl." Carme Elías (Spain), for "La Distancia Más Larga." Elena Anaya (Spain), for "Todos Están Muertos." Érica Rivas (Argentina), for "Relatos Salvajes." Geraldine Chaplin (USA), for "Dólares de Arena." Isabel Santos (Cuba), for "La Pared de las Palabras." Julieta Díaz (Argentina), for "Refugiado." Laura de la Uz (Cuba), for "Vestido de Novia." Leandra Leal (Brazil), for "O Lobo Atrás da Porta." Maria do Céu Guerra (Portugal), for "Os gatos não têm vertigens." Martha Higareda (Mexico), for "Cásese Quien Pueda." Paulina García (Chile), for "Las Analfabetas." Samantha Castillo (Venezuela), for "Pelo Malo." Silvia Navarro (Mexico), for "La Dictadura Perfecta. "
Premio Platino for Best Original Score
Adán Jodorowsky (Chile), for "La Danza de la Realidad." Antonio Pinto (Brazil), for "Trash. A esperança vem do lixo." Edilio Paredes (Dominican Republic), Ramón Cordero (Dominican Republic), Benjamín de Menil (Dominican Republic), for "Dólares de Arena." Federico Jusid (Argentina), for "Betibú" Gustavo Dudamel (Venezuela), for "Libertador." Gustavo Santaolalla (Argentina), for "Relatos Salvajes." Juan A. Leyva (Cuba), Magda R. Galbán (Cuba), for "Conducta." Julio de la Rosa (Spain), for "La iIsla Mínima." Mikel Salas (Spain), for "Mr Kaplan." Pedro Subercaseaux (Chile), for "Crystal Fairy y el Cactus Mágico." Ricardo Cutz (Brazil), "O lobo atrás da porta." Roque Baños (Spain), for "El Niño." Ruy Folguera (Argentina), for" Olvidados." Selma Mutal (Peru), for "El Elefante Desaparecido." Vicent Barrière (France), for "La Distancia más Larga."
Premio Platino for Best Animated Film
"Até que a Sbórnia nos Separe" (Otto Desenhos Animados) (Brazil). "Dixie y la Rebelión Zombi" (Abra Prod. S.L.) (Spain) "El Ultimo Mago o Bilembambudín" (Fabula Producciones, Aleph Media S.A., Filmar Uno) (Argentina, Chile). "Historia de Cronopios y de Famas" (Prodarte) (Argentina). "La Leyenda de las Momias de Guanajuato" (Ánima Estudios, S.A. De C.V.) (Mexico). "La Tropa de Trapo en la Selva del Arcoíris" (Continental Producciones, S.L, Anera Films, S.L., Abano Producions, S.L. La Tropa De Trapo, S.L.) (Spain, Brazil). "Meñique" (Ficción Producciones, S.L., Estudios De Animación Icaic) (Cuba, Spain). "Mortadelo y Filemón Contra Jimmy el Cachondo" (Zeta Audiovisual y Películas Pendelton) (Spain). "The Boy and the World" (Filme de Papel) (Brazil). "Pichinguitos. Tgus, la Película" (Non Plus Ultra) (Mexico, Honduras). "Ritos de Passagem" (Liberato Produçoes Culturais) (Brazil).
Premio Platino for Best Documentary Film
• "¿Quién es Dayani Cristal?" (Canana Films, Pulse Films Limited) (Mexico).
"2014, Nacido en Gaza" (La Claqueta Pc, S.L.Contramedia Films) (Spain). "Avant" (Trivial Media Srl, Tarkio Film) (Uruguay, Argentina). "Buscando a Gastón" (Chiwake Films) (Peru). "E agora? Lémbra-me" (C.R.I.M. Produçoes, Presente Edições De Autor) (Portugal). "El Color que Cayó del Cielo" (K & S Films) (Argentina). "El Ojo del Tiburón" (Astronauta Films, Gema Films) (Argentina, Spain). "El Río que Nos Atraviesa" (Ochi Producciones, Maraisa Films Producciones) (Venezuela). "El Sueño de Todos" (S3d Films, Tridi Films) (Chile). "El Vals de los Inútiles" (La Pata De Juana, Cusicanqui Films) (Chile, Argentina). "Invasión" (Apertura Films, Ajimolido Films) (Panama, Argentina). "Maracaná" (Coral Cine, S.R.L., Tenfield S.A.) (Uruguay, Brazil). "The Salt of the Earth" (Decia Films) (Brazil) "Paco de Lucía. La búsqueda" (Ziggurat Films, S.L.) (Spain) "Pichuco" (Puente Films) (Argentina).
Premio Platino for Best Screenplay
Alberto Rodríguez (Spain), Rafael Cobos (Spain), for" La Isla Mínima." Alejandro Jodorowsky (Chile), for "La Danza de la Realidad." Álvaro Brechner (Uruguay), for "Mr. Kaplan." Anahí Berneri (Argentina), Javier Van Couter (Argentina), for "Aire Libre." Carlos Vermut (Spain), for "Magical Girl." Claudia Pinto (Venezuela), for "La Distancia Más Larga." Damián Szifron (Argentina), for "Relatos Salvajes." Daniel Ribeiro (Brazil), for "The Way He Looks." Daniel Vega (Peru), Diego Vega (Peru), for "El Mudo." Ernesto Daranas (Cuba), for "Conducta." Fernando Coimbra (Brazil), for "O lobo atrás da porta." Luis Arambilet (Dominican Republic), for "Código Paz." Luis Estrada (Mexico), Jaime Sampietro (Mexico), for "La Dictadura Perfecta." Mariana Rondón (Venezuela), for "Pelo Malo." Tiago Santos (Portugal) for "Os gatos não têm vertigens. "
Premio Platino for Best Ibero-American Fiction Debut
"10.000 Km," by Carlos Marqués- Marcet (Lastor Media, S.L., La Panda) (Spain). "23 segundos," by Dimitry Rudakov (Clever Producciones) (Uruguay). "Branco sai, preto fica," by Adirley Queirós (Cinco Da Norte Serviços Audiovisuais) (Brazil). "Ciencias Naturales," by Matías Lucchesi (Tarea Fina, Metaluna Productions) (Argentina). "Código Paz," by Pedro Urrutia (One Alliance Srl) (Dominican Republic). "Feriado" by Diego Araujo (Cepa Audiovisual S.R.L., Abacafilms, S.A., Lunafilms Audiovisual) (Ecuador, Argentina). Historias del Canal (Hypatia Films, Manglar Films, Tvn Films and Wp Films) (Panama). "La Distancia Más Larga," by Claudia Pinto (Castro Producciones Cinematograficas, S.L.U., Sin Rodeos Films C.A., Claudia Lepage) (Venezuela). "Las Vacas con Gafas," by Alex Santiago Pérez (Cozy Light Pictures) (Puerto Rico). "Luna de Cigarras," by Jorge Bedoya (Oima Films, Koreko Gua, S.R.L., Sabate Films) (Paraguay). "Mateo," by Maria Gamboa (Hangar Filmsdiafragma, Fabrica De Peliculas, Cine Sud Promotion) (Colombia). "Perro Guardian," by Bacha Caravedo, Chinón Higashionna (Señor Z)(Peru). "Vestido de Novia," by Marilyn Solaya (Icaic) (Cuba). "Visitantes," by Acan Coen (Sobrevivientes Films, Akira Producciones, Nodancingtoday) (Mexico). "Volantín Cortao," by Diego Ayala and Aníbal Jofré (Gallinazo Films) (Chile)...
During the press conference Mexican actress Kate Del Castillo will announce the recipient of the Premio de Honor (Lifetime Achievement Award). In addition Rick Nicita, Chairman of the American Cinematheque, will accept a special Platino Award to The American Cinematheque for its contribution to Iberoamerican Cinema.
Produced by Egeda, in collaboration with Fipca, the Premios Platino of Iberoamerican Cinema was born with the vocation to establish itself as a major international ceremony, promoting Latin American cinema as a whole and transcending borders. It is one of the most important tools to promote and support our film industry and all the professionals who, day after day, put forth all their effort and commitment so that audiences can enjoy the best films.
The candidates for the 2nd Platino Awards (Premios Platino) were announced during the 18th Málaga Film Festival in Spain. 73 feature films and 18 Ibero- American countries compete for the final nominations in the 14 categories for this prestigious award. The competing films had to be commercially released or premiered in an A-List Film Festival during 2014. The final nominations will be announced tomorrow at the Andaz Hotel West Hollywood. The Premios Platino Award Ceremony will take place on July 18, 2015 at Starlite Marbella in Spain.
As part of the same event The Premios Platino has distinguished the Málaga Film Festival with a special award for its contribution to the circulation and promotion of Spanish and Ibero- American cinema.
Here is the list of preselected candidates in each category ahead of tomorrow's final nominations
Premio Platino for the Best Ibero-American Fictional Film
· "Cantinflas"
(Kenio Films) (Mexico).
· "Conducta" (Behavior)
(Instituto Cubano Del Arte E Industria Cinematográfica, Rtv Comercial) (Cuba).
· "El Mudo" (The Mute)
(Maretazo Cine, Urban Factory) (Peru, Mexico).
· "El Niño"
(Vaca Films Studio, S.L., Telecinco Cinema, S.A., Ikiru Films, S.L., La Ferme! Productions, El Niño la película, A.I.E.) (Spain).
· "La Danza de la Realidad" (The Dance of Reality)
(Camera One, Pathe Y Le Soleil Films) (Chile).
· "La Dictadura Perfecta" (The Perfect Dictatorship)
(Imcine - Instituto Mexicano De Cinematografía, Estudios Churubusco Azteca, S.A., Bandidos Films, Fidecine, Eficine 226) (Mexico).
· "La Isla Mínima" (Marshland)
(Antena 3 Films, S.L., Atípica Films, S.L. y Sacromonte Films S.L.) (Spain).
· "Libertador" (The Liberator)
(Producciones Insurgentes, San Mateo Films) (Venezuela, Spain).
· "Matar a un Hombre" (To Kill a Man)
(Arizona Production, El Remanso Cine Ltda) (Chile).
· "Mr. Kaplan"
(Baobab 66 Films, S.L., Salado Media, Expresso Films) (Uruguay, Spain).
· "O Lobo Atrás da Porta" (A Wolf at the Door)
(Tc Filmes, Gullane Filmes) (Brazil).
· "Os gatos não têm vertigens" (Cats Don't Have Vertigo)
(Mgn Filmes) (Portugal).
· "Pelo Malo" (Bad Hair)
(Sudaca Films, Hanfgarn & Ufer Filmproduktion, Artefactos S.F., Imagen Latina, La Sociedad Post) (Venezuela Peru, Argentina).
· "Refugiado"
(Gale Cine, Burning Blue, El Campo Cine, Staron Films, Bellota Films, Río Rojo Contenidos) (Argentina, Colombia).
. "Relatos Salvajes" (Wild Tales)
(Kramer & Sigman Films, El Deseo P.C - S.A.) (Argentina, Spain).
Premio Platino for Best Directing
Alberto Rodríguez (Spain), for "La Isla Mínima." Alejandro Jodorowsky (Chile), for "La danza de la Realidad." Álvaro Brechner (Uruguay), for "Mr Kaplan." António-Pedro Vasconcelos (Portugal), for "Os gatos não têm vertigens." Claudia Pinto (Venezuela), for "La Distancia más Larga." Damián Szifron (Argentina), for "Relatos Salvajes." Daniel Monzón (Spain), for "El Niño." Daniel Vega (Peru) and Diego Vega (Peru), for "El Mudo." Ernesto Daranas (Cuba), for "Conducta." Fernando Coimbra (Brazil), for "O lobo atrás da porta." Fernando Pérez (Cuba), "La Pared de las Palabras." Luis Estrada (Mexico), for "La Dictadura Perfecta." Mariana Rondón (Venezuela), for "Pelo Malo." Miguel Cohan (Argentina), for "Betibú." Sebastián del Amo (Mexico), for "Cantinflas. "
Premio Platino for Best Actor
Benicio Del Toro (Puerto Rico), for Escobar. "Paraíso Perdido." Damián Alcázar (Mexico), for "La Dictadura Perfecta. Dani Rovira (Spain), for "Ocho Apellidos Vascos." Daniel Candia (Chile), for "Matar a un Hombre." Daniel Fanego (Argentina), for "Betibú." Edgar Ramírez (Venezuela), for "Libertador." Fernando Bacilio (Peru), "El Mudo." Ghilherme Lobo (Brazil), "The Way He Looks." Javier Gutiérrez (Spain), for "La Isla Mínima." Jorge Perugorría (Cuba), for "La Pared de las Palabras." Leonardo Sbaraglia (Argentina), for "Relatos Salvajes." Oscar Jaenada (Spain), by "Cantinflas." Salvador del Solar (Peru), for "El Elefante Desaparecido." Viggo Mortensen (USA), for "Jauja." Wagner Moura (Brazil), for "Futuro Beach" .
Premio Platino for Best Actress
Angie Cepeda (Colombia), for "El Elefante Desaparecido." Bárbara Lennie (Spain), by "Magical Girl." Carme Elías (Spain), for "La Distancia Más Larga." Elena Anaya (Spain), for "Todos Están Muertos." Érica Rivas (Argentina), for "Relatos Salvajes." Geraldine Chaplin (USA), for "Dólares de Arena." Isabel Santos (Cuba), for "La Pared de las Palabras." Julieta Díaz (Argentina), for "Refugiado." Laura de la Uz (Cuba), for "Vestido de Novia." Leandra Leal (Brazil), for "O Lobo Atrás da Porta." Maria do Céu Guerra (Portugal), for "Os gatos não têm vertigens." Martha Higareda (Mexico), for "Cásese Quien Pueda." Paulina García (Chile), for "Las Analfabetas." Samantha Castillo (Venezuela), for "Pelo Malo." Silvia Navarro (Mexico), for "La Dictadura Perfecta. "
Premio Platino for Best Original Score
Adán Jodorowsky (Chile), for "La Danza de la Realidad." Antonio Pinto (Brazil), for "Trash. A esperança vem do lixo." Edilio Paredes (Dominican Republic), Ramón Cordero (Dominican Republic), Benjamín de Menil (Dominican Republic), for "Dólares de Arena." Federico Jusid (Argentina), for "Betibú" Gustavo Dudamel (Venezuela), for "Libertador." Gustavo Santaolalla (Argentina), for "Relatos Salvajes." Juan A. Leyva (Cuba), Magda R. Galbán (Cuba), for "Conducta." Julio de la Rosa (Spain), for "La iIsla Mínima." Mikel Salas (Spain), for "Mr Kaplan." Pedro Subercaseaux (Chile), for "Crystal Fairy y el Cactus Mágico." Ricardo Cutz (Brazil), "O lobo atrás da porta." Roque Baños (Spain), for "El Niño." Ruy Folguera (Argentina), for" Olvidados." Selma Mutal (Peru), for "El Elefante Desaparecido." Vicent Barrière (France), for "La Distancia más Larga."
Premio Platino for Best Animated Film
"Até que a Sbórnia nos Separe" (Otto Desenhos Animados) (Brazil). "Dixie y la Rebelión Zombi" (Abra Prod. S.L.) (Spain) "El Ultimo Mago o Bilembambudín" (Fabula Producciones, Aleph Media S.A., Filmar Uno) (Argentina, Chile). "Historia de Cronopios y de Famas" (Prodarte) (Argentina). "La Leyenda de las Momias de Guanajuato" (Ánima Estudios, S.A. De C.V.) (Mexico). "La Tropa de Trapo en la Selva del Arcoíris" (Continental Producciones, S.L, Anera Films, S.L., Abano Producions, S.L. La Tropa De Trapo, S.L.) (Spain, Brazil). "Meñique" (Ficción Producciones, S.L., Estudios De Animación Icaic) (Cuba, Spain). "Mortadelo y Filemón Contra Jimmy el Cachondo" (Zeta Audiovisual y Películas Pendelton) (Spain). "The Boy and the World" (Filme de Papel) (Brazil). "Pichinguitos. Tgus, la Película" (Non Plus Ultra) (Mexico, Honduras). "Ritos de Passagem" (Liberato Produçoes Culturais) (Brazil).
Premio Platino for Best Documentary Film
• "¿Quién es Dayani Cristal?" (Canana Films, Pulse Films Limited) (Mexico).
"2014, Nacido en Gaza" (La Claqueta Pc, S.L.Contramedia Films) (Spain). "Avant" (Trivial Media Srl, Tarkio Film) (Uruguay, Argentina). "Buscando a Gastón" (Chiwake Films) (Peru). "E agora? Lémbra-me" (C.R.I.M. Produçoes, Presente Edições De Autor) (Portugal). "El Color que Cayó del Cielo" (K & S Films) (Argentina). "El Ojo del Tiburón" (Astronauta Films, Gema Films) (Argentina, Spain). "El Río que Nos Atraviesa" (Ochi Producciones, Maraisa Films Producciones) (Venezuela). "El Sueño de Todos" (S3d Films, Tridi Films) (Chile). "El Vals de los Inútiles" (La Pata De Juana, Cusicanqui Films) (Chile, Argentina). "Invasión" (Apertura Films, Ajimolido Films) (Panama, Argentina). "Maracaná" (Coral Cine, S.R.L., Tenfield S.A.) (Uruguay, Brazil). "The Salt of the Earth" (Decia Films) (Brazil) "Paco de Lucía. La búsqueda" (Ziggurat Films, S.L.) (Spain) "Pichuco" (Puente Films) (Argentina).
Premio Platino for Best Screenplay
Alberto Rodríguez (Spain), Rafael Cobos (Spain), for" La Isla Mínima." Alejandro Jodorowsky (Chile), for "La Danza de la Realidad." Álvaro Brechner (Uruguay), for "Mr. Kaplan." Anahí Berneri (Argentina), Javier Van Couter (Argentina), for "Aire Libre." Carlos Vermut (Spain), for "Magical Girl." Claudia Pinto (Venezuela), for "La Distancia Más Larga." Damián Szifron (Argentina), for "Relatos Salvajes." Daniel Ribeiro (Brazil), for "The Way He Looks." Daniel Vega (Peru), Diego Vega (Peru), for "El Mudo." Ernesto Daranas (Cuba), for "Conducta." Fernando Coimbra (Brazil), for "O lobo atrás da porta." Luis Arambilet (Dominican Republic), for "Código Paz." Luis Estrada (Mexico), Jaime Sampietro (Mexico), for "La Dictadura Perfecta." Mariana Rondón (Venezuela), for "Pelo Malo." Tiago Santos (Portugal) for "Os gatos não têm vertigens. "
Premio Platino for Best Ibero-American Fiction Debut
"10.000 Km," by Carlos Marqués- Marcet (Lastor Media, S.L., La Panda) (Spain). "23 segundos," by Dimitry Rudakov (Clever Producciones) (Uruguay). "Branco sai, preto fica," by Adirley Queirós (Cinco Da Norte Serviços Audiovisuais) (Brazil). "Ciencias Naturales," by Matías Lucchesi (Tarea Fina, Metaluna Productions) (Argentina). "Código Paz," by Pedro Urrutia (One Alliance Srl) (Dominican Republic). "Feriado" by Diego Araujo (Cepa Audiovisual S.R.L., Abacafilms, S.A., Lunafilms Audiovisual) (Ecuador, Argentina). Historias del Canal (Hypatia Films, Manglar Films, Tvn Films and Wp Films) (Panama). "La Distancia Más Larga," by Claudia Pinto (Castro Producciones Cinematograficas, S.L.U., Sin Rodeos Films C.A., Claudia Lepage) (Venezuela). "Las Vacas con Gafas," by Alex Santiago Pérez (Cozy Light Pictures) (Puerto Rico). "Luna de Cigarras," by Jorge Bedoya (Oima Films, Koreko Gua, S.R.L., Sabate Films) (Paraguay). "Mateo," by Maria Gamboa (Hangar Filmsdiafragma, Fabrica De Peliculas, Cine Sud Promotion) (Colombia). "Perro Guardian," by Bacha Caravedo, Chinón Higashionna (Señor Z)(Peru). "Vestido de Novia," by Marilyn Solaya (Icaic) (Cuba). "Visitantes," by Acan Coen (Sobrevivientes Films, Akira Producciones, Nodancingtoday) (Mexico). "Volantín Cortao," by Diego Ayala and Aníbal Jofré (Gallinazo Films) (Chile)...
- 5/26/2015
- by Sydney Levine
- Sydney's Buzz
Marshland
Written by Rafael Cobos and Alberto Rodríguez
Directed by Alberto Rodríguez
Spain, 2014
The disorientating topography of the Andalusian swamplands provides the backdrop for Marshland, an atmospheric murder mystery from Spanish director Alberto Rodríguez. It opens to a series of spectacular aerial shots, taken from directly above, which transform the landscape into something alien and organic, like brightly coloured brain tissue. Birds and agricultural workers moving across the surface only emphasise the strangeness of the territory, showing how limited the perspective is from ground level. In theory, seeing the bigger picture should add clarity – the film returns to these shots at moments of revelation – but, rather than doing so, it exposes the gaps in the characters’ understanding and seems to suggest that some puzzles are too big to solve.
Marshland is set in 1980, a time when Spain is still emerging from the Franco era and adapting to the new democratic regime.
Written by Rafael Cobos and Alberto Rodríguez
Directed by Alberto Rodríguez
Spain, 2014
The disorientating topography of the Andalusian swamplands provides the backdrop for Marshland, an atmospheric murder mystery from Spanish director Alberto Rodríguez. It opens to a series of spectacular aerial shots, taken from directly above, which transform the landscape into something alien and organic, like brightly coloured brain tissue. Birds and agricultural workers moving across the surface only emphasise the strangeness of the territory, showing how limited the perspective is from ground level. In theory, seeing the bigger picture should add clarity – the film returns to these shots at moments of revelation – but, rather than doing so, it exposes the gaps in the characters’ understanding and seems to suggest that some puzzles are too big to solve.
Marshland is set in 1980, a time when Spain is still emerging from the Franco era and adapting to the new democratic regime.
- 2/22/2015
- by Rob Dickie
- SoundOnSight
Tribeca: Tell us a little about Unit 7. How do you describe the movie in your own words? Alberto Rodriguez: Unit 7 is a film noir, a cop thriller. A film that could be interpreted as the rise and fall of a band of gangsters, with the only difference being that our gangsters are on the 'lawful' side of the line. They carry a badge. Tribeca: This is your third collaboration with your co-screenwriter Rafael Cobos. What inspired you to make Unit 7? Did you research any particular police unit or certain events surrounding the 92 Seville Expo? Alberto Rodriguez: The idea for Unit 7 rises from some files on an 80s trial. A lawyer friend loaned them to Rafael Cobos. Everything was very vulgar, petty, too familiar: a micro-universe of crime shaded by abjection. Everyone involved had some kind of addiction: gambling, drugs, money, self-indulgence. We decided that the context would ...
- 4/15/2012
- TribecaFilm.com
2012 Tribeca Film Festival announced the World Narrative and Documentary Competition film selections
HollywoodNews.com: The 2012 Tribeca Film Festival (Tff), presented by American Express®, today announced the World Narrative and Documentary Competition film selections, along with selections for the out-of-competition Viewpoints section—the program established last year that highlights personal stories in international and independent cinema. Forty-six of the 90 feature-length films were announced. The 11th edition of the Festival will take place from April 18 to April 29 at locations around New York City.
The Festival was curated by a new programming team this year. Frédéric Boyer has joined Tff as Artistic Director, having most recently served as Artistic Director and Head of Programming for the Directors’ Fortnight at the Cannes Film Festival. Geoffrey Gilmore, Chief Creative Officer of Tribeca Enterprises, has expanded his role in overseeing the Festival program. Genna Terranova has been promoted to Director of Programming and Cara Cusumano returns as Programmer.
“It’s been so gratifying to watch the new programming...
The Festival was curated by a new programming team this year. Frédéric Boyer has joined Tff as Artistic Director, having most recently served as Artistic Director and Head of Programming for the Directors’ Fortnight at the Cannes Film Festival. Geoffrey Gilmore, Chief Creative Officer of Tribeca Enterprises, has expanded his role in overseeing the Festival program. Genna Terranova has been promoted to Director of Programming and Cara Cusumano returns as Programmer.
“It’s been so gratifying to watch the new programming...
- 3/6/2012
- by Josh Abraham
- Hollywoodnews.com
The Tribeca Film Festival announced half of this year’s movie showcase, the 11th edition of the New York celebration set for April 18-29. James Franco’s behind-the-scenes General Hospital feature, Francophrenia, will have its North American premiere in the Viewpoints section – the program established last year that highlights more personal stories. “He’s kind of constructed this really interesting and well-crafted film about that experience that plays with the boundaries of documentary,” says Genna Terranova, Tribeca’s director of programming. “It’s a bit tongue in cheek, as James himself can be. He’s a bit enigmatic and the film is as well.
- 3/6/2012
- by Jeff Labrecque
- EW - Inside Movies
With The Five-Year Engagement set as the opening title for the 2012 Tribeca Film Festival, they’ve announced more of the line-up today with World Narrative & Documentary Features as the Viewpoint titles. We’ve got the next film from The Exploding Girl director Bradley Rust Gray, Jack and Diane (as well as a first look about featuring Juno Temple, thanks to Styd).
There is a new Harmony Korine short as well Kate Bosworth‘s While We Were Here and The Girl, starring Abbie Cornish. James Franco also has his latest film, Francophrenia, featuring footage from his performance on General Hospital. Nothing sticks out too greatly yet, but if I see something as interesting as Beyond the Black Rainbow or Magic Valley like last year, I’ll be a happy man. Check it out below and come back Thursday for the rest of the announcement.
World Narrative Feature Competition
• All In (La Suerte En Tus Manos...
There is a new Harmony Korine short as well Kate Bosworth‘s While We Were Here and The Girl, starring Abbie Cornish. James Franco also has his latest film, Francophrenia, featuring footage from his performance on General Hospital. Nothing sticks out too greatly yet, but if I see something as interesting as Beyond the Black Rainbow or Magic Valley like last year, I’ll be a happy man. Check it out below and come back Thursday for the rest of the announcement.
World Narrative Feature Competition
• All In (La Suerte En Tus Manos...
- 3/6/2012
- by jpraup@gmail.com (thefilmstage.com)
- The Film Stage
SXSW kicks off later this week, but once your done slurping the BBQ sauce off your fingers, pack your backs and head north to Manhattan as the Tribeca Film Festival is gearing up to unspool in April. To whet cinephile appetites, organizers have dropped the lineup for the World Narrative Feature Competition, World Documentary Feature Competition and Viewpoints lineups and there are plenty of titles to take note of.
Among the narratives, the anticipated "Jack And Diane" from Bradley Rust Gray will make its world premiere. Starring Juno Temple and Riley Keough, the film takes a teenage lesbian love tale and twists the formula, with one of them revealing she's a werewolf. Add to that a cast rounded out by Dane DeHaan, Jena Malone and pop star Kylie Minogue (as a tattooed lesbian, of course) and you can see why this will be one of the hottest tickets at the fest.
Among the narratives, the anticipated "Jack And Diane" from Bradley Rust Gray will make its world premiere. Starring Juno Temple and Riley Keough, the film takes a teenage lesbian love tale and twists the formula, with one of them revealing she's a werewolf. Add to that a cast rounded out by Dane DeHaan, Jena Malone and pop star Kylie Minogue (as a tattooed lesbian, of course) and you can see why this will be one of the hottest tickets at the fest.
- 3/6/2012
- by Kevin Jagernauth
- The Playlist
"7 Virgenes" (7 Virgins) is a discouragingly senseless 48-hour journey into the world of teenage hooliganism and criminality in the company of a pair of amoral losers. The film's only point seems to be that one youth is self-aware while the other one isn't. The film has little commercial appeal.
In a script by director Alberto Rodriguez and Rafael Cobos Lopez, Tano (Juan Jose Ballesta) gets a two-day leave from juvenile detention to attend his older brother's wedding in Seville. When the brother tells him to stay out of trouble, the film all but screams, "Fat chance!"
Tano hooks up with comrade-in-crime Richi (Jesus Carroza), a youth even more reckless than Tano. A few petty thefts, one burglary, much drinking and drug taking, an attempted rape and a couple of vicious beatings later, Richi is rushed to a hospital while Tano decides not to return to the detention center. Guess he enjoys his freedom too much.
Rodriguez sustains tension well from scene to scene as a sense of doom pervades the film's events. His young actors have energy to burn, but the director seems uninterested in exploring the whys and wherefores of their anti-social behavior. Ballesta does show enough sensitivity to make you wonder why his character persists in screwing up. Truth be told, though, a viewer is not all that interested in why he does.
In a script by director Alberto Rodriguez and Rafael Cobos Lopez, Tano (Juan Jose Ballesta) gets a two-day leave from juvenile detention to attend his older brother's wedding in Seville. When the brother tells him to stay out of trouble, the film all but screams, "Fat chance!"
Tano hooks up with comrade-in-crime Richi (Jesus Carroza), a youth even more reckless than Tano. A few petty thefts, one burglary, much drinking and drug taking, an attempted rape and a couple of vicious beatings later, Richi is rushed to a hospital while Tano decides not to return to the detention center. Guess he enjoys his freedom too much.
Rodriguez sustains tension well from scene to scene as a sense of doom pervades the film's events. His young actors have energy to burn, but the director seems uninterested in exploring the whys and wherefores of their anti-social behavior. Ballesta does show enough sensitivity to make you wonder why his character persists in screwing up. Truth be told, though, a viewer is not all that interested in why he does.
- 11/8/2005
- The Hollywood Reporter - Movie News
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