The road movie is a frequently tread subgenre, rife with comedic, episodic and dramatic potential. It can also pose a challenge for those seeking a varied mise-en-scene, and in this deconstruction of Dominga Sotomayor’s Thursday Till Sunday, Kevin B. Lee looks at the 83 ways in which the characters are framed in their rather contained environment. It’s a good primer on how to read a scene’s construction, and, from a directorial stand point, how to keep a static environment fresh.
- 8/20/2015
- by Sarah Salovaara
- Filmmaker Magazine - Blog
The road movie is a frequently tread subgenre, rife with comedic, episodic and dramatic potential. It can also pose a challenge for those seeking a varied mise-en-scene, and in this deconstruction of Dominga Sotomayor’s Thursday Till Sunday, Kevin B. Lee looks at the 83 ways in which the characters are framed in their rather contained environment. It’s a good primer on how to read a scene’s construction, and, from a directorial stand point, how to keep a static environment fresh.
- 8/20/2015
- by Sarah Salovaara
- Filmmaker Magazine-Director Interviews
The plot of Dominga Sotomayor Castillo’s debut feature, De jueves a domingo (Thursday Till Sunday, 2012), can be easily summarized: a couple in crisis, Ana (Paola Giannini) and her never-named husband (Francisco Pérez-Bannen), take their two kids, Lucía (Santi Ahumada) and Manuel (Emiliano Freifeld), for a family trip to the north of Chile during a long weekend. The film, however, manages to tell a greater story transcending this physical journey, while always remaining related to it. And it is through its mise en scène that it achieves this.>> - Cristina Alvarez Lopez...
- 7/31/2015
- Fandor: Keyframe
The plot of Dominga Sotomayor Castillo’s debut feature, De jueves a domingo (Thursday Till Sunday, 2012), can be easily summarized: a couple in crisis, Ana (Paola Giannini) and her never-named husband (Francisco Pérez-Bannen), take their two kids, Lucía (Santi Ahumada) and Manuel (Emiliano Freifeld), for a family trip to the north of Chile during a long weekend. The film, however, manages to tell a greater story transcending this physical journey, while always remaining related to it. And it is through its mise en scène that it achieves this.>> - Cristina Alvarez Lopez...
- 7/31/2015
- Keyframe
On its surface, Dominga Sotomayor Castillo's Thursday Till Sunday (De jueves a domingo) is a placid, sun-drenched chronicle of a family road trip through the Chilean countryside. The trek is seen largely from the backseat vantage of an adolescent girl slowly awakening to the mysterious tensions emanating from her parents in the front. This slowly unfolding perspective plays out largely in and around the family's station wagon: scenes in the car take up fifty-eight percent of the film's runtime, making it a true road movie. The standard risk that road movies run is to have so much of their proceedings take place in the limited confines of an automobile. Sotomayor tackles this dilemma with coverage, employing an extensive repertoire of shots from both within and around the vehicle, eighty-three shots total, and very few of them identical. The following video essay compiles all of these shots, resulting in a...
- 7/31/2015
- Fandor: Keyframe
On its surface, Dominga Sotomayor Castillo's Thursday Till Sunday (De jueves a domingo) is a placid, sun-drenched chronicle of a family road trip through the Chilean countryside. The trek is seen largely from the backseat vantage of an adolescent girl slowly awakening to the mysterious tensions emanating from her parents in the front. This slowly unfolding perspective plays out largely in and around the family's station wagon: scenes in the car take up fifty-eight percent of the film's runtime, making it a true road movie. The standard risk that road movies run is to have so much of their proceedings take place in the limited confines of an automobile. Sotomayor tackles this dilemma with coverage, employing an extensive repertoire of shots from both within and around the vehicle, eighty-three shots total, and very few of them identical. The following video essay compiles all of these shots, resulting in a...
- 7/31/2015
- Keyframe
Chilean cinema, more than in any other year in the history of the Berlin Film Festival, is present and with the greatest odds to win one or two awards once the fest comes to an end. There are new films by established masters like Patricio Guzmán (The Battle of Chile) and the festival favorite Pablo Larraín (No, Post Mortem, Tony Manero). But besides those two big events, there's the return of a lauded new filmmaker, Dominga Sotomayor, who after From Thursday Till Sunday has now returned with her second feature, Mar, which could be translated from Spanish as "Sea" but is actually the name of the protagonist, who is named Martin, but nicknamed "Mar."As inane as the fact about what the movie is named after is the...
[Read the whole post on twitchfilm.com...]...
[Read the whole post on twitchfilm.com...]...
- 2/7/2015
- Screen Anarchy
Sales outfit secures sci-fi feature and a Berlinale Forum film ahead of next week’s Efm.
Jan Naszewski’s Warsaw-based sales outlet New Europe Film Sales has picked up Miguel Llansó’s post-apocalyptic sci-fi film Crumbs.
Produced by a Spanish-Ethiopian team Sergio Uguet de Resayre, Meseret Argaw, Daniel Taye Workou and Miguel Llansó, the film received its world premiere on Tuesday (Jan 27) at the International Film Festival Rotterdam (Iffr) and will have its market premiere at the European Film Market (Efm) in Berlin next week.
Crumbs is the story of Candy, a strange-looking scrap collector, who embarks on a surreal epic journey through the post-apocalyptic Ethiopian landscape.
Llansó’s 2013 short film Chigger Ale about “Hitler´s Ethiopian clone”, also starring Daniel Tadesse Gagano, premiered at Locarno Film Festival and has been screened at Bafici, Tampere, Hamburg among others. Crumbs is his debut feature.
Naszewski described Llansó as having “a very distinctive voice… and we want...
Jan Naszewski’s Warsaw-based sales outlet New Europe Film Sales has picked up Miguel Llansó’s post-apocalyptic sci-fi film Crumbs.
Produced by a Spanish-Ethiopian team Sergio Uguet de Resayre, Meseret Argaw, Daniel Taye Workou and Miguel Llansó, the film received its world premiere on Tuesday (Jan 27) at the International Film Festival Rotterdam (Iffr) and will have its market premiere at the European Film Market (Efm) in Berlin next week.
Crumbs is the story of Candy, a strange-looking scrap collector, who embarks on a surreal epic journey through the post-apocalyptic Ethiopian landscape.
Llansó’s 2013 short film Chigger Ale about “Hitler´s Ethiopian clone”, also starring Daniel Tadesse Gagano, premiered at Locarno Film Festival and has been screened at Bafici, Tampere, Hamburg among others. Crumbs is his debut feature.
Naszewski described Llansó as having “a very distinctive voice… and we want...
- 1/29/2015
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Now that a new year is upon us let's reflect back on 2013. Something like a year in Latino film. Latin American filmmakers continued to kill it on the international film festival circuit. Chile, in particular, has been conquering the world one film festival award at a time.
Sadly, American Latino filmmakers were mostly absent from big name festivals like Sundance, Toronto, Berlin, and Cannes. Normally, the major Latino film festivals in New York, Los Angeles, Chicago, and San Diego offer a home to these overlooked films. The surprising collapse of the New York International Latino Film Festival this past summer and with the Los Angeles Latino International Film Festival barely recovering from financial difficulties, the exhibition of American Latino indies remains in a precarious position.
Still, there is much to celebrate. Starting in the early part of the year, at Sundance, Chilean director Sebastian Silva joined a very elite club of filmmakers -- those who have premiered two films at the same festival. His mescaline-fueled odyssey Crystal Fairy won the World Cinema Dramatic Directing Award and the psychological thriller Magic, Magic starring Michael Cera went on to play Director's Fortnight in Cannes.
The Berlinale, in February, brought the much anticipated world premiere of Sebastian Lelio's fourth film Gloria and the charming Uruguayan family comedy Tanta Agua. Cementing 2013 as the year of Chile, actress Paulina Garcia won the Silver Bear for her dazzling and dynamic performance as a middle-aged divorcee in Gloria.
Mid-year, Mexican filmmakers took Cannes by storm again, winning the Best Director prize for the second year in a row. In 2013, the victor was Amat Escalante for his feature film Heli. The year prior Carlos Reygadas took home the prize for Post Tenebras Lux.
In the fall, Toronto spoiled us with Latin American riches. The gargantuan fest showcased more than 300 films from 70 different countries including the Mexican documentary El Alcalde, Venezuela's Pelo Malo (Bad Hair), Peruvian black comedy El Mudo (The Mute), the Brazilian drama O lobo atras da porta (A Wolf at the Door), and the world premiere of Fernando Eimbcke's Club Sandwich. Costa Rica made a first-time appearance at the Toronto Film Festival with Por las plumas (All About the Feathers) and the Dominican Republic showcased Cristo Rey.
Over Labor Day weekend, Eugenio Derbez, a Mexican actor most Americans had never heard of released his sleeper hit Instructions Not Included. Totally ignored by mainstream film critics, the Spanish-language family comedy went on to shatter box office records. It beat out Woody Allen's Blue Jasmine and critical darling 12 Years a Slave making it the top grossing indie film of the year. It also became the highest grossing Spanish-language film ever in the United States. A few weeks later, when Instructions opened in Derbez's home country, it became the most-watched Mexican film of all time.
Despite being snubbed by the Academy Awards (no Latin American productions made the shortlist for Best Foreign Language Film), Latino films ended the year on a high note. The triumph of our films abroad coupled with a Spanish-language box office hit at home bodes well for the Latino films of 2014.
In case you were living under a rock this past year and missed it all, we've got you covered. Thankfully, there are professionals who get paid to keep track of what Latino movies are receiving accolades, have the most buzz, and got picked up for distribution. LatinoBuzz went straight to the experts, film programmers, to ask, "What are your top 5 Latino films of 2013?"
Christine Davila, Director of Ambulante California
There is no shortage of original and compelling Us Latino writer/directors working across different genres out there, and this list proves it. These confident artists have captured fresh and mighty perspectives far too underrepresented, and they are storming through the cluster neck of homogeneity that continues to reign in film content.
Water & Power (Richard Montoya, USA)
Los Wild Ones (Elise Salomon, USA)
Delusions of Grandeur (Iris Almaraz, Gustavo Ramos, USA)
Sleeping with the Fishes (Nicole Gomez Fisher, USA)
The House that Jack Built (Henry Barrial, USA)
Marcela Goglio, Programmer at the Film Society of Lincoln Center
No special criteria in these choices, just some of the many accomplished Latin American films that, in my opinion, create universes or make statements in beautiful, original and/or powerful ways.
Viola (Matias Pineiro, Argentina)
El alcalde (Emiliano Altuna/Carlos Rossini/Diego Osorno, Mexico)
La eterna noche de las doce lunas (Priscilla Padilla, Colombia)
El futuro (Alicia Scherson, Chile)
Gloria (Sebastian Lelio, Chile)
Carlos A. Gutierrez, Co-founder and Executive Director of Cinema Tropical
For practical purposes, my list features five Latin American films (my area of expertise) that I highly recommend, and that screened in the U.S. in 2013 (in alphabetical order):
El Alcalde / The Mayor (Carlos F. Rossini, Emiliano Altuna and Diego Osorno, Mexico)
El otro dia / The Other Day (Ignacio Aguero, Chile)
Los mejores temas / Greatest Hits (Nicolas Pereda, Mexico)
Tanta Agua / So Much Water (Ana Guevara and Leticia Jorge, Uruguay)
Viola (Matias Pineiro, Argentina)
Lucho Ramirez, Founder & Executive Director of Cine+Mas Sf, presenter of the Cm San Francisco Latino Film Festival
There are so many works by Latino and Latin American filmmakers that merit the public and the tastemaker's attention. Compiling a list of 5 is difficult for me as a festival director because each film that we program is beloved. In addition, there are the other films I see at other fests or at theaters, particularly the bigger ones replete with distribution, celebrity, and marketing budgets. It's hard for independent, quality films to break through and that's part of the reason I seek those out. I believe there is an audience for artisanal films with substance, creativity, and diversity.
I went on memory for this list. Included are films that I saw this year that really stuck with me long after watching them. What's important to me is seeing images of Latinos by Latinos on the screen. This doesn't mean sanitized. Bless Me, Ultima is an important literary work. It was a huge accomplishment to get this on the screen for all us non-readers. Sex, Love, & Salsa packs all the punch of a big romantic comedy in very local and Latino way; Tlatelolco is a historical drama that's really well done, revisiting a chaotic time in Mexico's history but interpreted in a narrow sliver of a relationship that can't be; Porcelain Horse mixes sex, drugs, and rich-kid problems and really does something different with a crime-drama; Delusions of Grandeuer is purely Latino hipster fun.
Bless Me, Ultima (Carl Franklin, USA)
Sex, Love, & Salsa (Adrian Manzano, USA)
Tlatelolco, Summer of 68 (Carlos Bolado, Mexico)
Porcelain Horse (Javier Andrade, Ecuador)
Delusions of Grandeur (Iris Almaraz, Gustavo Ramos, USA)
Glenn Heath Jr., Artistic Director of the San Diego Latino Film Festival
De Jueves a Domingo is a fascinating and subtext-heavy debut from director Dominga Sotomayor Castillo about a family road trip that could be the beginning of the end. In Viola Shakespeare is reinvented, it's art house cinema meets the off-note pacing of jazz. My Sister's Quinceañera is an honest and poignant look at the complexities of family and identity in small town America. Aqui y Alla is riveting in its acute understanding of how the mundane adds up to something grand. Fecha de Caducidad is dark comedy at its finest.
De Jueves a Domingo (Dominga Sotomayor Castillo, Chile)
Viola (Matias Pineiro, Argentina)
My Sister's Quinceanera (Aaron Douglas Johnston, USA)
Aqui y Alla (Antonio Mendez Esparza, Mexico)
Fecha de Caducidad (Kenya Marquez , Mexico)
Diana Vargas, Artistic Director at the Havana Film Festival New York
In Gloria Paulina Garcia's performance is unforgettable and the way the director talks about the middle life crisis of a woman that seems unremarkable until she finds out she can make her own choices and maybe to be single is not that bad, haha. La Sirga portrays the crude reality of the Colombian conflict without showing explicit violence, through impeccable cinematography. In a cinema verite style, La jaula de oro shows 3 Guatemalan adolescents experiencing the harshness of the journey of those who want to immigrate to U.S. 7 Cajas, the biggest Paraguayan box office hit, is as entertaining as well done. With an impeccable screenplay and Guarani dialogues, the film shows a country that usually don't have a strong representation in the festivals around the world. Sibila de Teresa Arredondo (Chile). Sibila Arguedas is the widow of one of the most iconic public figures in Peruvian literature. She's also Chilean and a political prisoner, accused of being a Sendero Luminoso collaborator. This documentary made by Sibila's niece brings to light one of the most fascinating, enimagtic and contradictory characters of the last century.
Gloria (Sebastian Lelio, Chile)
La Sirga (William Vega, Colombia).
La jaula de oro (Diego Quemada-Diez, Mexico)
7 Cajas (Tana Schembori, Juan Carlos Maneglia, Paraguay)
Sibila (Teresa Arredondo, Chile)
Juan Caceres, Director of Programming at the New York International Latino Film Festival
2013 was a great year for Latin American films. Ecuador, Panama, Guatemala and Paraguay, countries with no real infrastructure for filmmaking, all were present in festivals. Chile in particular showed no sign of slowing down their own presence on the festival circuit, taking home prizes at the major festivals. I think it's no coincidence that they share this wonderful genuine camaraderie where there is a support system that includes producing each others projects to simply rooting for one another when it comes to award nominations (you can go to all their Fb pages and occasionally they have each others films as their cover pics! It's uber dope). It's as real as it gets and I think it's something lacking here in the Us. So my list is the Chilean films you should not miss.
Gloria, (Sebastian Lelio, Chile)
No (Pablo Larrain, Chile)
Il Futuro / The Future (Alicia Scherson, Chile)
El verano de los peces voladores / The Summer of Flying Fish (Marcela Said, Chile)
Las cosas como son / Things The Way They Are (Fernando Lavanderos, Chile)
Marlene Dermer, Director/Programmer at the Los Angeles Latino International Film Festival
It has been really hard to narrow it to five I have to say. I find Latino cinema and its creators in a wonderful period. It’s alive and beats like a heart. There is so much talent in our communities and they are doing some of the most interesting work in world cinema. It's thought provoking or personal and universal. It's also tough to include U.S. works with Latin American work because there are many more countries and many with support. This year in our festival we had the largest showcase of U.S.A. films which was very exciting to see. As a programmer for 22 years I find it stimulating to discover all these new voices coming up in our community and truly sharing the screens at festivals and theaters around the world. There is a new generation in every country, that is very exciting and promising for the future of cinema, our community and the audio visual world.
Club Sandwich (Fernando Eimbcke, Mexico)
Pelo Malo (Mariana Rondón, Venezuela)
Gloria (Sebastian Lelio, Chile)
O lobo atras da porta (Fernando Coimbra, Brazil)
Tanta Agua / So Much Water (Ana Guevara and Leticia Jorge, Uruguay)
Written by Vanessa Erazo. LatinoBuzz is a weekly feature on SydneysBuzz that highlights Latino indie talent and upcoming trends in Latino film with the specific objective of presenting a broad range of Latino voices. Follow @LatinoBuzz on Twitter and Facebook.
Sadly, American Latino filmmakers were mostly absent from big name festivals like Sundance, Toronto, Berlin, and Cannes. Normally, the major Latino film festivals in New York, Los Angeles, Chicago, and San Diego offer a home to these overlooked films. The surprising collapse of the New York International Latino Film Festival this past summer and with the Los Angeles Latino International Film Festival barely recovering from financial difficulties, the exhibition of American Latino indies remains in a precarious position.
Still, there is much to celebrate. Starting in the early part of the year, at Sundance, Chilean director Sebastian Silva joined a very elite club of filmmakers -- those who have premiered two films at the same festival. His mescaline-fueled odyssey Crystal Fairy won the World Cinema Dramatic Directing Award and the psychological thriller Magic, Magic starring Michael Cera went on to play Director's Fortnight in Cannes.
The Berlinale, in February, brought the much anticipated world premiere of Sebastian Lelio's fourth film Gloria and the charming Uruguayan family comedy Tanta Agua. Cementing 2013 as the year of Chile, actress Paulina Garcia won the Silver Bear for her dazzling and dynamic performance as a middle-aged divorcee in Gloria.
Mid-year, Mexican filmmakers took Cannes by storm again, winning the Best Director prize for the second year in a row. In 2013, the victor was Amat Escalante for his feature film Heli. The year prior Carlos Reygadas took home the prize for Post Tenebras Lux.
In the fall, Toronto spoiled us with Latin American riches. The gargantuan fest showcased more than 300 films from 70 different countries including the Mexican documentary El Alcalde, Venezuela's Pelo Malo (Bad Hair), Peruvian black comedy El Mudo (The Mute), the Brazilian drama O lobo atras da porta (A Wolf at the Door), and the world premiere of Fernando Eimbcke's Club Sandwich. Costa Rica made a first-time appearance at the Toronto Film Festival with Por las plumas (All About the Feathers) and the Dominican Republic showcased Cristo Rey.
Over Labor Day weekend, Eugenio Derbez, a Mexican actor most Americans had never heard of released his sleeper hit Instructions Not Included. Totally ignored by mainstream film critics, the Spanish-language family comedy went on to shatter box office records. It beat out Woody Allen's Blue Jasmine and critical darling 12 Years a Slave making it the top grossing indie film of the year. It also became the highest grossing Spanish-language film ever in the United States. A few weeks later, when Instructions opened in Derbez's home country, it became the most-watched Mexican film of all time.
Despite being snubbed by the Academy Awards (no Latin American productions made the shortlist for Best Foreign Language Film), Latino films ended the year on a high note. The triumph of our films abroad coupled with a Spanish-language box office hit at home bodes well for the Latino films of 2014.
In case you were living under a rock this past year and missed it all, we've got you covered. Thankfully, there are professionals who get paid to keep track of what Latino movies are receiving accolades, have the most buzz, and got picked up for distribution. LatinoBuzz went straight to the experts, film programmers, to ask, "What are your top 5 Latino films of 2013?"
Christine Davila, Director of Ambulante California
There is no shortage of original and compelling Us Latino writer/directors working across different genres out there, and this list proves it. These confident artists have captured fresh and mighty perspectives far too underrepresented, and they are storming through the cluster neck of homogeneity that continues to reign in film content.
Water & Power (Richard Montoya, USA)
Los Wild Ones (Elise Salomon, USA)
Delusions of Grandeur (Iris Almaraz, Gustavo Ramos, USA)
Sleeping with the Fishes (Nicole Gomez Fisher, USA)
The House that Jack Built (Henry Barrial, USA)
Marcela Goglio, Programmer at the Film Society of Lincoln Center
No special criteria in these choices, just some of the many accomplished Latin American films that, in my opinion, create universes or make statements in beautiful, original and/or powerful ways.
Viola (Matias Pineiro, Argentina)
El alcalde (Emiliano Altuna/Carlos Rossini/Diego Osorno, Mexico)
La eterna noche de las doce lunas (Priscilla Padilla, Colombia)
El futuro (Alicia Scherson, Chile)
Gloria (Sebastian Lelio, Chile)
Carlos A. Gutierrez, Co-founder and Executive Director of Cinema Tropical
For practical purposes, my list features five Latin American films (my area of expertise) that I highly recommend, and that screened in the U.S. in 2013 (in alphabetical order):
El Alcalde / The Mayor (Carlos F. Rossini, Emiliano Altuna and Diego Osorno, Mexico)
El otro dia / The Other Day (Ignacio Aguero, Chile)
Los mejores temas / Greatest Hits (Nicolas Pereda, Mexico)
Tanta Agua / So Much Water (Ana Guevara and Leticia Jorge, Uruguay)
Viola (Matias Pineiro, Argentina)
Lucho Ramirez, Founder & Executive Director of Cine+Mas Sf, presenter of the Cm San Francisco Latino Film Festival
There are so many works by Latino and Latin American filmmakers that merit the public and the tastemaker's attention. Compiling a list of 5 is difficult for me as a festival director because each film that we program is beloved. In addition, there are the other films I see at other fests or at theaters, particularly the bigger ones replete with distribution, celebrity, and marketing budgets. It's hard for independent, quality films to break through and that's part of the reason I seek those out. I believe there is an audience for artisanal films with substance, creativity, and diversity.
I went on memory for this list. Included are films that I saw this year that really stuck with me long after watching them. What's important to me is seeing images of Latinos by Latinos on the screen. This doesn't mean sanitized. Bless Me, Ultima is an important literary work. It was a huge accomplishment to get this on the screen for all us non-readers. Sex, Love, & Salsa packs all the punch of a big romantic comedy in very local and Latino way; Tlatelolco is a historical drama that's really well done, revisiting a chaotic time in Mexico's history but interpreted in a narrow sliver of a relationship that can't be; Porcelain Horse mixes sex, drugs, and rich-kid problems and really does something different with a crime-drama; Delusions of Grandeuer is purely Latino hipster fun.
Bless Me, Ultima (Carl Franklin, USA)
Sex, Love, & Salsa (Adrian Manzano, USA)
Tlatelolco, Summer of 68 (Carlos Bolado, Mexico)
Porcelain Horse (Javier Andrade, Ecuador)
Delusions of Grandeur (Iris Almaraz, Gustavo Ramos, USA)
Glenn Heath Jr., Artistic Director of the San Diego Latino Film Festival
De Jueves a Domingo is a fascinating and subtext-heavy debut from director Dominga Sotomayor Castillo about a family road trip that could be the beginning of the end. In Viola Shakespeare is reinvented, it's art house cinema meets the off-note pacing of jazz. My Sister's Quinceañera is an honest and poignant look at the complexities of family and identity in small town America. Aqui y Alla is riveting in its acute understanding of how the mundane adds up to something grand. Fecha de Caducidad is dark comedy at its finest.
De Jueves a Domingo (Dominga Sotomayor Castillo, Chile)
Viola (Matias Pineiro, Argentina)
My Sister's Quinceanera (Aaron Douglas Johnston, USA)
Aqui y Alla (Antonio Mendez Esparza, Mexico)
Fecha de Caducidad (Kenya Marquez , Mexico)
Diana Vargas, Artistic Director at the Havana Film Festival New York
In Gloria Paulina Garcia's performance is unforgettable and the way the director talks about the middle life crisis of a woman that seems unremarkable until she finds out she can make her own choices and maybe to be single is not that bad, haha. La Sirga portrays the crude reality of the Colombian conflict without showing explicit violence, through impeccable cinematography. In a cinema verite style, La jaula de oro shows 3 Guatemalan adolescents experiencing the harshness of the journey of those who want to immigrate to U.S. 7 Cajas, the biggest Paraguayan box office hit, is as entertaining as well done. With an impeccable screenplay and Guarani dialogues, the film shows a country that usually don't have a strong representation in the festivals around the world. Sibila de Teresa Arredondo (Chile). Sibila Arguedas is the widow of one of the most iconic public figures in Peruvian literature. She's also Chilean and a political prisoner, accused of being a Sendero Luminoso collaborator. This documentary made by Sibila's niece brings to light one of the most fascinating, enimagtic and contradictory characters of the last century.
Gloria (Sebastian Lelio, Chile)
La Sirga (William Vega, Colombia).
La jaula de oro (Diego Quemada-Diez, Mexico)
7 Cajas (Tana Schembori, Juan Carlos Maneglia, Paraguay)
Sibila (Teresa Arredondo, Chile)
Juan Caceres, Director of Programming at the New York International Latino Film Festival
2013 was a great year for Latin American films. Ecuador, Panama, Guatemala and Paraguay, countries with no real infrastructure for filmmaking, all were present in festivals. Chile in particular showed no sign of slowing down their own presence on the festival circuit, taking home prizes at the major festivals. I think it's no coincidence that they share this wonderful genuine camaraderie where there is a support system that includes producing each others projects to simply rooting for one another when it comes to award nominations (you can go to all their Fb pages and occasionally they have each others films as their cover pics! It's uber dope). It's as real as it gets and I think it's something lacking here in the Us. So my list is the Chilean films you should not miss.
Gloria, (Sebastian Lelio, Chile)
No (Pablo Larrain, Chile)
Il Futuro / The Future (Alicia Scherson, Chile)
El verano de los peces voladores / The Summer of Flying Fish (Marcela Said, Chile)
Las cosas como son / Things The Way They Are (Fernando Lavanderos, Chile)
Marlene Dermer, Director/Programmer at the Los Angeles Latino International Film Festival
It has been really hard to narrow it to five I have to say. I find Latino cinema and its creators in a wonderful period. It’s alive and beats like a heart. There is so much talent in our communities and they are doing some of the most interesting work in world cinema. It's thought provoking or personal and universal. It's also tough to include U.S. works with Latin American work because there are many more countries and many with support. This year in our festival we had the largest showcase of U.S.A. films which was very exciting to see. As a programmer for 22 years I find it stimulating to discover all these new voices coming up in our community and truly sharing the screens at festivals and theaters around the world. There is a new generation in every country, that is very exciting and promising for the future of cinema, our community and the audio visual world.
Club Sandwich (Fernando Eimbcke, Mexico)
Pelo Malo (Mariana Rondón, Venezuela)
Gloria (Sebastian Lelio, Chile)
O lobo atras da porta (Fernando Coimbra, Brazil)
Tanta Agua / So Much Water (Ana Guevara and Leticia Jorge, Uruguay)
Written by Vanessa Erazo. LatinoBuzz is a weekly feature on SydneysBuzz that highlights Latino indie talent and upcoming trends in Latino film with the specific objective of presenting a broad range of Latino voices. Follow @LatinoBuzz on Twitter and Facebook.
- 1/1/2014
- by Vanessa Erazo
- Sydney's Buzz
The line-up of the 2nd edition of the Dharamshala International Film festival has been announced. The festival will showcase feature films, documentaries and short films.
Organised by White Crane Arts & Media; the festival will be held from October 24 – 27, 2013 in McLeod Ganj, Dharamshala.
This year, a new section ‘Art and Film’ has been introduced at the festival in collaboration with Vienna-based Thyssen-Bornemisza Art Contemporary Foundation. The section will feature art films made by international artists Sean Snyder, Wael Shawky, Marine Hugonnier, Omer Fast, Walid Raad and Rabih Mroué.
The Best of recent Indian Shorts curated by filmmaker Umesh Kulkarni will also be showcased.
Besides, Jennifer Baichwal and Edward Burtynsky’s Watermark will make its world premiere at the festival.
Some of the film personalities who will attend the festival are: Jacek Borcuch (Lasting), Nishtha Jain (Gulabi Gang), Nitin Kakkar (Filmistaan), Avijit Mukul Kishore (To Let the World In), Nagraj Manjule (Fandry...
Organised by White Crane Arts & Media; the festival will be held from October 24 – 27, 2013 in McLeod Ganj, Dharamshala.
This year, a new section ‘Art and Film’ has been introduced at the festival in collaboration with Vienna-based Thyssen-Bornemisza Art Contemporary Foundation. The section will feature art films made by international artists Sean Snyder, Wael Shawky, Marine Hugonnier, Omer Fast, Walid Raad and Rabih Mroué.
The Best of recent Indian Shorts curated by filmmaker Umesh Kulkarni will also be showcased.
Besides, Jennifer Baichwal and Edward Burtynsky’s Watermark will make its world premiere at the festival.
Some of the film personalities who will attend the festival are: Jacek Borcuch (Lasting), Nishtha Jain (Gulabi Gang), Nitin Kakkar (Filmistaan), Avijit Mukul Kishore (To Let the World In), Nagraj Manjule (Fandry...
- 10/16/2013
- by NewsDesk
- DearCinema.com
This year started off with a Bang (with a capital 'B') for Latino film festivals. Although Latino representation at Miami is a given, it wasn't as obvious at Sundance as in previous years and is a ghost town at Tribeca leaving SXSW, as always, to pick up the slack for the “mainstream” festivals. But, it was the Latino film festivals that really pushed the rainbow of Latino cinema upon the festival landscape. San Diego Latino (Sdlff) had, in my opinion, its strongest lineup in many years. They celebrated their 20th anniversary by showcasing classics that Sdlff had screened over the years, giving the audience a chance to fall in love with them on the big screen all over again. CineFestival in Tejas, who has always played by the beat of their own drum, dropped the mic on everyone by announcing the Latino Writers Project Lab, a collaboration with Sundance Institute’s Feature Film Program, which will give filmmakers telling 'American Latino' stories a venue to have their projects mentored. Next up we have three diverse festivals with the Chicago Latino Film Festival celebrating its 29th year, Cine Las Americas in Austin, TX who very much embody their local community with an 'Hecho en Texas' and Youth specific programs, and then there's a new kid on the block in Philly, the Filadelfia Latin American Film Festival. In only its 2nd year, they have put together a two day event to bring Latino films to an underserved vibrant city. LatinoBuzz painstakingly selected our personal top picks that we think are a “must-see.” But don't just take our word for it, check out their websites for full listings and see for yourself how fly Latino cinema really is!
Chicago Latino Film Festival
The Precocious and Brief Life of Sabina Rivas (La Vida Precoz y Breve de Sabina Rivas) – Mexico
Dir. Luis Mandoki
Honduran teenager Sabina Rivas intends to get to the United States, harboring dreams of becoming a famous singer and distancing herself from her former young lover, Jovany, now a vicious gang member.
The Wild Ones (Los niños salvajes) – Spain
Dir. Patricia Ferreira
Alex, Oky and Gabi are three angry, misunderstood teens from Barcelona who have to deal with parents who have completely forgotten that they too were once teens; parents who, on most occasions, blame their children for their unfulfilled dreams. The trio has dreams and ambitions of their own and they love to test the limits imposed by society. But push comes to shove and Oky commits an unforgivable act that will leave many in shock in this thoughtful and sober drama.
Nevertheless (Y Sin Embargo) - Cuba
Dir. Rudy Mora
Lapatun is late for his math exam at a music school; to justify his tardiness he invents a wild story about having seen a UFO and spoken with its crew. The school is turned upside down by Lapatun’s claims; with some students demanding his expulsion and some teachers questioning the role creativity plays in a child’s education.
Cine Las Americas
Dust (Polvo) – Guatemala
Dir. Julio Hernández Cordón
In a small Guatemalan village where many were "disappeared" during the country's civil war, a troubled young man struggles with the memory of his murdered father — and the nearby presence of the man who turned his father in.
From Tuesday To Sunday (De Jueves A Domingo) – Chile
Dir. Dominga Sotomayor
Two children travel with their parents from Santiago Chile to the north of Chile for a family holiday. The landscape's loneliness and the car's confinement help bring out the couple's troubles and the children learn that this might turn out to be their father's farewell and their last family vacation.
Delusions of Grandeur – USA
Dir. Iris Almaraz, Gustavo Ramos
In the mid-1990s a medicated grungy girl stopped taking her medication (Prozac), crossed over a rainbow, and became a woman in a crazy, wonderful place called San Francisco. Lulu, Rocio, and Illusion are struggling with the sexuality and gender roles that we all play. It is said that there is someone for everyone, and the heroines in this story put that theory to the test in a city with a history of love at its core - but will they respect themselves in the morning?
Filadelfia Latin American Film Festival
Violeta Went to Heaven (Violeta Se Fue A Los Cielos) – Chile
Dir. Andres Wood
Violeta Went To Heaven tells the story of the iconic Chilean singer and folklorist Violeta Parra, tracing her evolution from impoverished child to international sensation and Chile's national hero, while capturing the swirling intensity of her inner contradictions, fallibilities, and passions.
Lemon – USA
Dir. Laura Brownson, Beth Levison
Three-time felon. One-time Tony award winner. Lemon Andersen is a pioneering poet whose words speak for a generation. But Lemon has landed back in the 'hood, living in the projects with thirteen family members and desperate for a way out. So he turns to the only thing he has left, his pen and his past
7 Boxes (7 Cajas) – Paraguay
Dir. Juan Carlos Maneglia, Tana Schémbor
Víctor receives an unusual proposal, to carry 7 boxes of unknown content through the Market Number 4 but things get complicated along the way.
Written by Juan Caceres and Vanessa Erazo, LatinoBuzz is a weekly feature on SydneysBuzz that highlights Latino indie talent and upcoming trends in Latino film with the specific objective of presenting a broad range of Latino voices. Follow @LatinoBuzz on Twitter and Facebook.
Chicago Latino Film Festival
The Precocious and Brief Life of Sabina Rivas (La Vida Precoz y Breve de Sabina Rivas) – Mexico
Dir. Luis Mandoki
Honduran teenager Sabina Rivas intends to get to the United States, harboring dreams of becoming a famous singer and distancing herself from her former young lover, Jovany, now a vicious gang member.
The Wild Ones (Los niños salvajes) – Spain
Dir. Patricia Ferreira
Alex, Oky and Gabi are three angry, misunderstood teens from Barcelona who have to deal with parents who have completely forgotten that they too were once teens; parents who, on most occasions, blame their children for their unfulfilled dreams. The trio has dreams and ambitions of their own and they love to test the limits imposed by society. But push comes to shove and Oky commits an unforgivable act that will leave many in shock in this thoughtful and sober drama.
Nevertheless (Y Sin Embargo) - Cuba
Dir. Rudy Mora
Lapatun is late for his math exam at a music school; to justify his tardiness he invents a wild story about having seen a UFO and spoken with its crew. The school is turned upside down by Lapatun’s claims; with some students demanding his expulsion and some teachers questioning the role creativity plays in a child’s education.
Cine Las Americas
Dust (Polvo) – Guatemala
Dir. Julio Hernández Cordón
In a small Guatemalan village where many were "disappeared" during the country's civil war, a troubled young man struggles with the memory of his murdered father — and the nearby presence of the man who turned his father in.
From Tuesday To Sunday (De Jueves A Domingo) – Chile
Dir. Dominga Sotomayor
Two children travel with their parents from Santiago Chile to the north of Chile for a family holiday. The landscape's loneliness and the car's confinement help bring out the couple's troubles and the children learn that this might turn out to be their father's farewell and their last family vacation.
Delusions of Grandeur – USA
Dir. Iris Almaraz, Gustavo Ramos
In the mid-1990s a medicated grungy girl stopped taking her medication (Prozac), crossed over a rainbow, and became a woman in a crazy, wonderful place called San Francisco. Lulu, Rocio, and Illusion are struggling with the sexuality and gender roles that we all play. It is said that there is someone for everyone, and the heroines in this story put that theory to the test in a city with a history of love at its core - but will they respect themselves in the morning?
Filadelfia Latin American Film Festival
Violeta Went to Heaven (Violeta Se Fue A Los Cielos) – Chile
Dir. Andres Wood
Violeta Went To Heaven tells the story of the iconic Chilean singer and folklorist Violeta Parra, tracing her evolution from impoverished child to international sensation and Chile's national hero, while capturing the swirling intensity of her inner contradictions, fallibilities, and passions.
Lemon – USA
Dir. Laura Brownson, Beth Levison
Three-time felon. One-time Tony award winner. Lemon Andersen is a pioneering poet whose words speak for a generation. But Lemon has landed back in the 'hood, living in the projects with thirteen family members and desperate for a way out. So he turns to the only thing he has left, his pen and his past
7 Boxes (7 Cajas) – Paraguay
Dir. Juan Carlos Maneglia, Tana Schémbor
Víctor receives an unusual proposal, to carry 7 boxes of unknown content through the Market Number 4 but things get complicated along the way.
Written by Juan Caceres and Vanessa Erazo, LatinoBuzz is a weekly feature on SydneysBuzz that highlights Latino indie talent and upcoming trends in Latino film with the specific objective of presenting a broad range of Latino voices. Follow @LatinoBuzz on Twitter and Facebook.
- 4/17/2013
- by Juan Caceres
- Sydney's Buzz
Tell us about the films you've seen in the past few days – and find out what our critics made of them
Did you visit the cinema this weekend? See anything good or bad? Maybe you opted to stay at home and watch movies on TV. Either way, we'd like to hear about your recent viewing in the comments thread below.
Here's what our critics had to say about recent releases:
Spring Breakers
Peter Bradshaw said: Spring Breakers is [Harmony] Korine's most technically competent and fluent movie … Korine has given us a violent pulp true romance … a preselected, pre-auditioned representation of youth and beauty … There is an undeniable directorial strut in Spring Breakers. Where, precisely, he is strutting to is another question. read more
A Late Quartet
Philip French said: A subtle, intelligent picture with a suitably resonant title, it quietly observes the internal dynamics of the Fugue String Quartet, an internationally...
Did you visit the cinema this weekend? See anything good or bad? Maybe you opted to stay at home and watch movies on TV. Either way, we'd like to hear about your recent viewing in the comments thread below.
Here's what our critics had to say about recent releases:
Spring Breakers
Peter Bradshaw said: Spring Breakers is [Harmony] Korine's most technically competent and fluent movie … Korine has given us a violent pulp true romance … a preselected, pre-auditioned representation of youth and beauty … There is an undeniable directorial strut in Spring Breakers. Where, precisely, he is strutting to is another question. read more
A Late Quartet
Philip French said: A subtle, intelligent picture with a suitably resonant title, it quietly observes the internal dynamics of the Fugue String Quartet, an internationally...
- 4/8/2013
- The Guardian - Film News
Spring Breakers | A Late Quartet | The Expatriate | Thursday Till Sunday | Dark Skies | The Odd Life Of Timothy Green | Papdopoulos & Sons | All Things To All Men | Home
Spring Breakers (18)
(Harmony Korine, 2012, Us) Selena Gomez, James Franco, Gucci Mane. 94 mins
The new American dream/nightmare of the endless beach party is both celebrated and satirised in Korine's woozy Florida tale. The story is fittingly loose – four naive teens turn to criminal means to fund their hedonism – but it's more of an experience: a dubstep-tracked collage of neon, Day-Glo and tanned flesh, all facilitated by Franco's fantastically watchable gangsta rapper.
A Late Quartet (15)
(Yaron Zilberman, 2012, Us) Christopher Walken, Philip Seymour Hoffman, Catherine Keener. 106 mins
A respected New York string quartet is struck by an excess of issues here: terminal illness, infidelity, professional jealousy, you name it. Without the distinguished cast, its highbrow melodramas would seem ludicrous.
The Expatriate (15)
(Philipp Stölzl, 2012, Us/Bel/Can/UK) Aaron Eckhart,...
Spring Breakers (18)
(Harmony Korine, 2012, Us) Selena Gomez, James Franco, Gucci Mane. 94 mins
The new American dream/nightmare of the endless beach party is both celebrated and satirised in Korine's woozy Florida tale. The story is fittingly loose – four naive teens turn to criminal means to fund their hedonism – but it's more of an experience: a dubstep-tracked collage of neon, Day-Glo and tanned flesh, all facilitated by Franco's fantastically watchable gangsta rapper.
A Late Quartet (15)
(Yaron Zilberman, 2012, Us) Christopher Walken, Philip Seymour Hoffman, Catherine Keener. 106 mins
A respected New York string quartet is struck by an excess of issues here: terminal illness, infidelity, professional jealousy, you name it. Without the distinguished cast, its highbrow melodramas would seem ludicrous.
The Expatriate (15)
(Philipp Stölzl, 2012, Us/Bel/Can/UK) Aaron Eckhart,...
- 4/6/2013
- by Steve Rose
- The Guardian - Film News
★★★★☆ Taking the cinematic conventions of the road movie and weaving them into an intimate portrayal of a family on the brink of breakup, Thursday Till Sunday (De jueves a domingo, 2012) is a well-acted and heartfelt coming-of-age tale. Ten year-old Lucia (Santi Ahumada) and younger brother Manuel (Emiliano Freifeld) set off on a trip with their parents across an arid, picturesque Chilean countryside for a long weekend of camping. Unbeknownst to the children, their parents are at an emotional crossroads, and the dissolution of their marriage grows increasingly clear as the four of them venture further into the landscape.
Read more »...
Read more »...
- 4/4/2013
- by CineVue UK
- CineVue
In The House | Trance | Good Vibrations | 12 In A Box | The Host | GI Joe: Retaliation | One Mile Away | King Of The Travellers | We Went To War | Point Blank | Finding Nemo 3D
In The House (15)
(François Ozon, 2012, Fra) Fabrice Luchini, Kristin Scott Thomas, Ernst Umhauer, Emmanuelle Seigner. 105 mins
A French teacher is instantly drawn in by a student's essay on infiltrating his friend's family, and so are we. Before we know it, we're swept off on a self-reflexive journey into storytelling, voyeurism and ethical boundaries. Both the boy's story and the movie struggle to find an ending, but it's another distinctly "Ozonian" comedy-thriller.
Trance (15)
(Danny Boyle, 2013, UK) James McAvoy, Rosario Dawson, Vincent Cassel. 101 mins
Boyle chucks everything he can (maybe too much) at this twisty, visceral art-heist thriller, which hinges on McAvoy's hypnosis to reveal the whereabouts of a stolen Goya painting. The result is more of a Jackson Pollock.
Good Vibrations (15)
(Lisa Barros D'Sa,...
In The House (15)
(François Ozon, 2012, Fra) Fabrice Luchini, Kristin Scott Thomas, Ernst Umhauer, Emmanuelle Seigner. 105 mins
A French teacher is instantly drawn in by a student's essay on infiltrating his friend's family, and so are we. Before we know it, we're swept off on a self-reflexive journey into storytelling, voyeurism and ethical boundaries. Both the boy's story and the movie struggle to find an ending, but it's another distinctly "Ozonian" comedy-thriller.
Trance (15)
(Danny Boyle, 2013, UK) James McAvoy, Rosario Dawson, Vincent Cassel. 101 mins
Boyle chucks everything he can (maybe too much) at this twisty, visceral art-heist thriller, which hinges on McAvoy's hypnosis to reveal the whereabouts of a stolen Goya painting. The result is more of a Jackson Pollock.
Good Vibrations (15)
(Lisa Barros D'Sa,...
- 3/30/2013
- by Steve Rose
- The Guardian - Film News
As we reach the end of an inspiring year for cinema, here are ten titles that stood out for me in 2012, and an explanation of why I chose each of them. Although I saw many of these at film festivals, so they may not make it to your local art house cinema, in the coming year you may be able to catch them at small festivals of different national/regional cinemas in your city, or at least on DVD.
From Thursday to Sunday (De Jueves a domingo)(dir. Dominga Sotomayor)
On a family road trip through rural Chile, a young girl witnesses her parents’ marriage fall apart.
-For its tender portrayal of childhood, complete with extroverted playfulness and introverted worry. For its subtle but consistent exploration of foreground versus background space, which reflects two separations: between children and adults, and between husband and wife.
Neighbouring Sounds (O som ao redor) (dir.
From Thursday to Sunday (De Jueves a domingo)(dir. Dominga Sotomayor)
On a family road trip through rural Chile, a young girl witnesses her parents’ marriage fall apart.
-For its tender portrayal of childhood, complete with extroverted playfulness and introverted worry. For its subtle but consistent exploration of foreground versus background space, which reflects two separations: between children and adults, and between husband and wife.
Neighbouring Sounds (O som ao redor) (dir.
- 12/24/2012
- by Alison Frank
- The Moving Arts Journal
A look back at 2012 reveals an undeniable fact, it has been a great year for Latino film. Sundance started the year off strong with films like Aurora Guerrero’s sweet and tender Mosquita y Mari and Marialy Rivas’ rambunctious Joven y Alocada (Young & Wild). Gina Rodriguez broke out in Filly Brown, as a rapper who needs to make it big so she can raise money to get her mom out of jail. In the film, Jenni Rivera played the part of Filly’s mom in her first, and sadly last, movie role.
There was also a strong Latin American presence at Cannes this past summer, boasting films from Mexico, Brazil, Uruguay, and Argentina. It might as well have been called Mexi-Cannes, with Mexican films winning awards across all main sections of the festival. Carlos Reygadas was honored as the Best Director for his controversial film Post Tenebras Lux, despite having received boos at its premiere screening. The prize for the Critics’ Week section went to Aquí y Allá (Here and There) and Después de Lucía (After Lucia) won the top prize for Un Certain Regard.
It’s been an especially favorable year for Chilean cinema. The New York Film Festival, in its 50th edition this past Fall, included three highly anticipated films by Pablo Larraín, Valeria Sarmiento, and the late Raúl Ruiz. And Chile continued to outshine the rest of the region by winning two top spots at the Festival Internacional de Nuevo Cine Latino de La Habana (the Havana Film Festival) just a few days ago. Pablo Larraín’s No, starring Gael Garcia Bernal, won the First Coral Prize. It’s a brilliant take on the real life story of an advertising campaign that ousted General Pinochet from power during a shining moment in Chilean politics. Violeta se fue a los cielos (Violeta Went To Heaven), a biopic about internationally famous Violeta de la Parra, a Chilean singer, songwriter, and poet won the Second Prize.
Whether it was at Cannes, Sundance, or countless other festivals, Latino films were winning award after award this year and even getting distribution (albeit usually in limited release). With the flurry of activity surrounding the region’s filmmaking, it can be hard to keep up with it all. Thankfully, there are professionals who get paid to keep track of what movies are receiving accolades, have the most buzz, and got picked up for distribution. LatinoBuzz went straight to the experts, film programmers, to ask, “What’s your top 5 Latino films of 2012?”
Carlos Gutierrez, Co-Founder and Director of Cinema Tropical
In no particular order, a list of five Latin American films that made it to Us screens in the past year (some of them are a couple of years old), which I highly recommend.
De Jueves a Domingo (Thursday Till Sunday), Director: Dominga Sotomayor, Chile
O Som ao Redor (Neighboring Sounds), Director: Kleber Mendonça Filho, Brazil
El Estudiante, Director: Santiago Mitre, Argentina
El Velador, Director: Natalia Almada, Mexico
El Lugar Más Pequeño (The Tiniest Place), Director: Tatiana Huezo, Mexico/El Salvador
Juan Caceres, Director of Programming at the New York International Latino Film Festival
Mosquita y Mari is a gorgeous film full of heart. Marialy Rivas (Director of Joven y Alocada) is an incredibly exciting new voice in Latin American cinema. She's fearless and full of love. I'm a huge fan of Lucy Mulloy (Director of Una Noche). She draws these wonderful performances from non-professional actors. A natural at using the lens to tell a story. In Las Malas Intenciones Fatima Buntinx plays the lead perfectly. Andres Wood made a beautiful film called 'Machuca', that captured the soul of Chile in the 70's and he does the same with a bio-pic of Violeta Parra, a folk singer who was a part of 'La Nueva Canción Chilena'.
Mosquita y Mari, Director: Aurora Guerrero, USA
Joven y Alocada (Young and Wild), Director: Marialy Rivas, Chile
Una Noche, Director: Lucy Mulloy, Cuba
Violeta Se Fue A Los Cielos (Violeta Went to Heaven), Director: Andrés Wood, Chile
Las Malas Intenciones (The Bad Intentions), Director: Rosario García-Montero, Perú
Christine Davila, Programming Associate at Sundance Film Festival
There are way too many Latino films and not enough coverage on American Latino films so with that -- mine are going to be strictly American Latino films.
Los Chidos, Director: Omar Rodriguez-Lopez, USA/Mexico
Mosquita y Mari, Director: Aurora Guerrero, USA
Elliot Loves, Director: Terracino, USA
Aquí y Allá (Here and There), Director: Antonio Méndez Esparza, USA/Spain/Mexico
Love, Concord, Director: Gustavo Guardado, USA
Lisa Franek, Artistic Director at the San Diego Latino Film Festival
Just 5?? That's tough! In Filly Brown, Gina Rodriguez turns in a great performance, and I expect to see more great things from her very soon. No, I saw at Cannes, and it was fascinating, especially in contrast to Larraín's previous (amazing) films. La Hora Cero has unforgettable scenes and characters! La Mujer de Ivan has amazing acting, and I believe Maria de Los Angeles Garcia is definitely a talent to watch. Reportero is also fantastic.
La Mujer de Iván, Director: Francisca Silva, Chile
No, Director: Pablo Larraín, Chile/France/USA
La Hora Cero, Director: Diego Velasco, Venezuela
Reportero, Director: Bernardo Ruiz, USA/Mexico
Filly Brown, Directors: Youssef Delara, Michael D. Olmos, USA
Marcela Goglio, Programmer for Latinbeat at The Film Society of Lincoln Center
Las Acacias, Director: Pablo Giorgelli, Argentina
As Cançoes (Songs), Director: Eduardo Coutinho, Brazil
Unfinished Spaces, Directors: Alyssa Nahmias & Benjamin Murray, USA
O Som ao Redor (Neighboring Sounds), Director: Kleber Mendonça Filho, Brazil
Aquí y Allá (Here and There), Director: Antonio Méndez Esparza, USA/Spain/Mexico
Pepe Vargas, Executive Director of the International Latino Cultural Center and Chicago Latino Film Festival
Not an easy task to come up with 5 titles - there are so many good movies.
La Piel que Habito (The Skin I Live In)
Director: Pedro Almodóvar, Spain
Salvando al Soldado Pérez, (Saving Private Perez)
Director: Beto Gómez, Mexico
Un Cuento Chino (Chinese Take-Out)
Director: Sebastián Borensztein, Argentina/Spain
Lobos de Arga (Game of Werewolves)
Director: Juan Martínez Moreno, Spain
Mariachi Gringo
Director: Tom Gustafson, USA/Mexico
Amalia Cordova, Coordinator of the Latin American Program at the Film and Video Center of the Smithsonian National Museum of the American Indian
Granito, Director: Pamela Yates, USA/Guatemala/Spain
Desterro Guarani, Directors: Patricia Ferreira y Ariel Duarte Ortega, Brazil
Violeta Se Fue A Los Cielos (Violeta Went to Heaven), Director: Andrés Wood, Chile
5 x Favela – Agora por nós Mesmos (5 x Favela, Now by Ourselves), Directors: Manaíra Carneiro, Wagner Novais, Cacau Amaral, Rodrigo Felha, Luciano Vidigal, Cadu Barcelos, and Luciana Bezerra, Brazil
Un Cuento Chino (Chinese Take-Out), Director: Sebastián Borensztein, Argentina/Spain
Written by Juan Caceres and Vanessa Erazo, LatinoBuzz is a weekly feature on SydneysBuzz that highlights Latino indie talent and upcoming trends in Latino film with the specific objective of presenting a broad range of Latino voices. Follow @LatinoBuzz on twitter.
There was also a strong Latin American presence at Cannes this past summer, boasting films from Mexico, Brazil, Uruguay, and Argentina. It might as well have been called Mexi-Cannes, with Mexican films winning awards across all main sections of the festival. Carlos Reygadas was honored as the Best Director for his controversial film Post Tenebras Lux, despite having received boos at its premiere screening. The prize for the Critics’ Week section went to Aquí y Allá (Here and There) and Después de Lucía (After Lucia) won the top prize for Un Certain Regard.
It’s been an especially favorable year for Chilean cinema. The New York Film Festival, in its 50th edition this past Fall, included three highly anticipated films by Pablo Larraín, Valeria Sarmiento, and the late Raúl Ruiz. And Chile continued to outshine the rest of the region by winning two top spots at the Festival Internacional de Nuevo Cine Latino de La Habana (the Havana Film Festival) just a few days ago. Pablo Larraín’s No, starring Gael Garcia Bernal, won the First Coral Prize. It’s a brilliant take on the real life story of an advertising campaign that ousted General Pinochet from power during a shining moment in Chilean politics. Violeta se fue a los cielos (Violeta Went To Heaven), a biopic about internationally famous Violeta de la Parra, a Chilean singer, songwriter, and poet won the Second Prize.
Whether it was at Cannes, Sundance, or countless other festivals, Latino films were winning award after award this year and even getting distribution (albeit usually in limited release). With the flurry of activity surrounding the region’s filmmaking, it can be hard to keep up with it all. Thankfully, there are professionals who get paid to keep track of what movies are receiving accolades, have the most buzz, and got picked up for distribution. LatinoBuzz went straight to the experts, film programmers, to ask, “What’s your top 5 Latino films of 2012?”
Carlos Gutierrez, Co-Founder and Director of Cinema Tropical
In no particular order, a list of five Latin American films that made it to Us screens in the past year (some of them are a couple of years old), which I highly recommend.
De Jueves a Domingo (Thursday Till Sunday), Director: Dominga Sotomayor, Chile
O Som ao Redor (Neighboring Sounds), Director: Kleber Mendonça Filho, Brazil
El Estudiante, Director: Santiago Mitre, Argentina
El Velador, Director: Natalia Almada, Mexico
El Lugar Más Pequeño (The Tiniest Place), Director: Tatiana Huezo, Mexico/El Salvador
Juan Caceres, Director of Programming at the New York International Latino Film Festival
Mosquita y Mari is a gorgeous film full of heart. Marialy Rivas (Director of Joven y Alocada) is an incredibly exciting new voice in Latin American cinema. She's fearless and full of love. I'm a huge fan of Lucy Mulloy (Director of Una Noche). She draws these wonderful performances from non-professional actors. A natural at using the lens to tell a story. In Las Malas Intenciones Fatima Buntinx plays the lead perfectly. Andres Wood made a beautiful film called 'Machuca', that captured the soul of Chile in the 70's and he does the same with a bio-pic of Violeta Parra, a folk singer who was a part of 'La Nueva Canción Chilena'.
Mosquita y Mari, Director: Aurora Guerrero, USA
Joven y Alocada (Young and Wild), Director: Marialy Rivas, Chile
Una Noche, Director: Lucy Mulloy, Cuba
Violeta Se Fue A Los Cielos (Violeta Went to Heaven), Director: Andrés Wood, Chile
Las Malas Intenciones (The Bad Intentions), Director: Rosario García-Montero, Perú
Christine Davila, Programming Associate at Sundance Film Festival
There are way too many Latino films and not enough coverage on American Latino films so with that -- mine are going to be strictly American Latino films.
Los Chidos, Director: Omar Rodriguez-Lopez, USA/Mexico
Mosquita y Mari, Director: Aurora Guerrero, USA
Elliot Loves, Director: Terracino, USA
Aquí y Allá (Here and There), Director: Antonio Méndez Esparza, USA/Spain/Mexico
Love, Concord, Director: Gustavo Guardado, USA
Lisa Franek, Artistic Director at the San Diego Latino Film Festival
Just 5?? That's tough! In Filly Brown, Gina Rodriguez turns in a great performance, and I expect to see more great things from her very soon. No, I saw at Cannes, and it was fascinating, especially in contrast to Larraín's previous (amazing) films. La Hora Cero has unforgettable scenes and characters! La Mujer de Ivan has amazing acting, and I believe Maria de Los Angeles Garcia is definitely a talent to watch. Reportero is also fantastic.
La Mujer de Iván, Director: Francisca Silva, Chile
No, Director: Pablo Larraín, Chile/France/USA
La Hora Cero, Director: Diego Velasco, Venezuela
Reportero, Director: Bernardo Ruiz, USA/Mexico
Filly Brown, Directors: Youssef Delara, Michael D. Olmos, USA
Marcela Goglio, Programmer for Latinbeat at The Film Society of Lincoln Center
Las Acacias, Director: Pablo Giorgelli, Argentina
As Cançoes (Songs), Director: Eduardo Coutinho, Brazil
Unfinished Spaces, Directors: Alyssa Nahmias & Benjamin Murray, USA
O Som ao Redor (Neighboring Sounds), Director: Kleber Mendonça Filho, Brazil
Aquí y Allá (Here and There), Director: Antonio Méndez Esparza, USA/Spain/Mexico
Pepe Vargas, Executive Director of the International Latino Cultural Center and Chicago Latino Film Festival
Not an easy task to come up with 5 titles - there are so many good movies.
La Piel que Habito (The Skin I Live In)
Director: Pedro Almodóvar, Spain
Salvando al Soldado Pérez, (Saving Private Perez)
Director: Beto Gómez, Mexico
Un Cuento Chino (Chinese Take-Out)
Director: Sebastián Borensztein, Argentina/Spain
Lobos de Arga (Game of Werewolves)
Director: Juan Martínez Moreno, Spain
Mariachi Gringo
Director: Tom Gustafson, USA/Mexico
Amalia Cordova, Coordinator of the Latin American Program at the Film and Video Center of the Smithsonian National Museum of the American Indian
Granito, Director: Pamela Yates, USA/Guatemala/Spain
Desterro Guarani, Directors: Patricia Ferreira y Ariel Duarte Ortega, Brazil
Violeta Se Fue A Los Cielos (Violeta Went to Heaven), Director: Andrés Wood, Chile
5 x Favela – Agora por nós Mesmos (5 x Favela, Now by Ourselves), Directors: Manaíra Carneiro, Wagner Novais, Cacau Amaral, Rodrigo Felha, Luciano Vidigal, Cadu Barcelos, and Luciana Bezerra, Brazil
Un Cuento Chino (Chinese Take-Out), Director: Sebastián Borensztein, Argentina/Spain
Written by Juan Caceres and Vanessa Erazo, LatinoBuzz is a weekly feature on SydneysBuzz that highlights Latino indie talent and upcoming trends in Latino film with the specific objective of presenting a broad range of Latino voices. Follow @LatinoBuzz on twitter.
- 12/19/2012
- by Vanessa Erazo
- Sydney's Buzz
The Hubert Bals Fund of the International Film Festival Rotterdam (Iffr) has selected twenty-five film projects that receive grants for script development, digital production, postproduction, distribution or workshops. In its Fall 2012 selection round, the Fund gave 330,000 Euro to projects from seventeen Asian, Eastern European, Latin-American and African countries. (See full list below)
From many strong applications for workshop initiatives, the Hubert Bals Fund chose to support the Naas Training Workshop (Egypt), the Digital Cinema Workshops Series (Morocco) and Cinema Land (Vietnam). The Naas workshop offers a training and networking program for art house and cine club managers in the Mena region. In Morocco, the Workshop Series aims to increase digital filming skills among young film professionals. Cinema Land offers filmmaking talents expertise and training in the Central-Vietnamese cities of Danang and Hue, where there are no such facilities as yet.
In the distribution category, the Hubert Bals Fund supports the plan to screen acclaimed director Riri Riza’s Atambua 39° Celsius (pictured top) during open air screenings – the region has no cinemas - within the Indonesian province of East Nusa Tenggara, where the film was shot.
Atambua 39° Celsius received Hubert Bals Fund support for digital production earlier this year, recently premiered in competition at the Tokyo Iff and will see its European premiere during Iffr 2013. The film offers a sensitive portrait of refugees from East Timor and of their scattered families.
One of the eleven projects selected in the script development category is Tarde para morir joven (Late To Die Young), second feature film project by Chilean filmmaker Dominga Sotomayor. Her very successful début feature film De jueves a domingo (Thursday Till Sunday), also supported in script stage by the Hubert Bals Fund, won a Hivos Tiger Award in Rotterdam and subsequently screened in many film festivals worldwide. Tarde para morir joven tells about members of an isolated community that see their existence threatened by a forest fire.
Also selected for script development support is Teboho Edkins, a promising new talent from South Africa, who prepares his first feature length film Days of Cannibalism. Edkins previously made The Gangster Project, a 55-minute documentary/fiction hybrid that was selected for Fid Marseille and Iffr 2012. In Days of Cannibalism, Edkins again uses a clever mix of documentary and fictional elements to focus on the expanding trade relations between China and the African continent.
Milagros Mumenthaler, Golden Leopard-winner for her Hubert Bals Fund-supported first feature film Abrir puertas y ventanas (Back to Stay), has been granted digital production support for Pozo de aire (Air Pocket). This second film, backed again by the ‘Abrir’-team in Argentina and Switzerland, is a more low budget and experimental take on female lead characters and the notion of absence.
When finished in time, the films receiving postproduction grants are expected to screen at the 2013 International Film Festival Rotterdam. One of these is Yang Tidak Dibicarakan Ketika Membicarakan Cinta (What They Don’t Talk About When They Talk About Love), second feature film project by Mouly Surya, one the most promising female directors in Indonesia. Her film is a both sensitive and sensual examination of the dynamics among a group of teenagers played by visually and aurally impaired actors.
The harvest of newly finished Hubert Bals Fund-supported films will be screened during the next International Film Festival Rotterdam (23 January – 3 February 2013). The next application deadline for Hubert Bals Fund support is 1 March 2013. All information about the Fund may be found here.
The line up of the Iffr’s Hubert Bals Fund Fall 2013 Selection Round in full:
Post-production & final-financing
Noche (Night) / Leonardo Brzezicki / Argentina
O Rio nos pretence (Rio Belongs to Us) / Ricardo Pretti / Brazil
O Uivo da Gaita (The Harmonica’s Howl) / Bruno Safadi / Brazil
On Mother’s Head / Kusuma Widjaja Putu / Indonesia
Yang Tidak Dibicarakan Ketika Membicarakan Cinta (What They Don’t Talk About When They Talk About Love) / Mouly Surya / Indonesia
Larzanandeye Charbi (Fat Shaker) / Mohammad Shirvani / Iran
Something Necessary / Judy Kibinge / Kenya
Penumbra / Eduardo Villanueva / Mexico
Digital Production
A Corner of Heaven / Zhang Miaoyan / China
Pozo de aire (Air Pocket) / Milagros Mumenthaler / Argentina
Script and project development
Otra madre (Another Mother) / Mariano Luque / Argentina
Tabija / Igor Drljaca / Bosnia and Herzegovina
Elon Rabin Não Acredita na Morte (Elon Rabin Doesn’t Believe in Death) / Ricardo Alves Jr. / Brazil
Tarde para morir joven (Late To Die Young) / Dominga Sotomayor / Chile
Oscuro animal (Obscure Animal) / Felipe Guerrero / Colombia
Court / Chaitanya Tamhane / India
The Room on a Tree / Amit Dutta / India
Extraño pero verdadero (Strange But True) / Michel Lipkes / Mexico
Tempestad (Tempestuous) / John Torres / Philippines
Days of Cannibalism / Teboho Edkins / South Africa
Rüzgarli Bir Güne Agit (Requiem for a Windy Day) / Özcan Alper / Turkey
Distribution
Atambua 39° Celsius / Riri Riza / Indonesia
Workshops
Naas Training Workshop / Egypt
Digital Cinema Workshop Series / Morocco
Cinema Land / Vietnam
Profile of the Hubert Bals Fund
The Hubert Bals Fund (Hbf), along with the CineMart, is part of the International Film Festival Rotterdam (Iffr). The 42nd Iffr will take place January 23 – February 3, 2013. Year-round news on Iffr, Hbf and CineMart can be found on www.filmfestivalrotterdam.com.
The Hubert Bals Fund is designed to bring remarkable or urgent feature films and feature-length creative documentaries by innovative and talented filmmakers from developing countries closer to completion. The Hubert Bals Fund provides grants that often turn out to play a crucial role in enabling these filmmakers to realize their projects. Although the Fund looks closely at the financial aspects of a project, the decisive factors remain its content and artistic value. Since the Fund started in 1989, hundreds of projects from independent filmmakers in Africa, Asia, Latin America, the Middle East and parts of Eastern Europe have received support. Approximately 80% of these projects have been realized or are currently in production. Every year, the Iffr screens completed films supported by the Fund.
The Hubert Bals Fund is supported by the Dutch Ministry of Foreign Affairs, Media Mundus, Dutch non-governmental development organization Hivos Culture Foundation, the Doen Foundation and the Dioraphte Foundation and Lions Club Rotterdam: L’Esprit du Temps.
Grants and selection rounds
Annually, the Hubert Bals Fund is able to make individual grants of up to Euro 10,000 for script and project development, Euro 20,000 for digital production, Euro 30,000 for post-production, Euro 15,000 towards distribution costs in the country of origin or Euro 10,000 for special projects such as workshops. Selection rounds take place twice a year and have application deadlines on March 1 and August 1.
Hubert Bals Fund-supported films in Iffr and on DVD/VOD
Most of the films supported by the Hubert Bals Fund throughout the year are screened during the International Film Festival Rotterdam in attendance of the filmmaker. Subsequently, part of the Hbf-supported films is released by the Iffr on DVD or VOD, available on www.filmfestivalrotterdam.com (VOD for viewers in the Benelux only).
From many strong applications for workshop initiatives, the Hubert Bals Fund chose to support the Naas Training Workshop (Egypt), the Digital Cinema Workshops Series (Morocco) and Cinema Land (Vietnam). The Naas workshop offers a training and networking program for art house and cine club managers in the Mena region. In Morocco, the Workshop Series aims to increase digital filming skills among young film professionals. Cinema Land offers filmmaking talents expertise and training in the Central-Vietnamese cities of Danang and Hue, where there are no such facilities as yet.
In the distribution category, the Hubert Bals Fund supports the plan to screen acclaimed director Riri Riza’s Atambua 39° Celsius (pictured top) during open air screenings – the region has no cinemas - within the Indonesian province of East Nusa Tenggara, where the film was shot.
Atambua 39° Celsius received Hubert Bals Fund support for digital production earlier this year, recently premiered in competition at the Tokyo Iff and will see its European premiere during Iffr 2013. The film offers a sensitive portrait of refugees from East Timor and of their scattered families.
One of the eleven projects selected in the script development category is Tarde para morir joven (Late To Die Young), second feature film project by Chilean filmmaker Dominga Sotomayor. Her very successful début feature film De jueves a domingo (Thursday Till Sunday), also supported in script stage by the Hubert Bals Fund, won a Hivos Tiger Award in Rotterdam and subsequently screened in many film festivals worldwide. Tarde para morir joven tells about members of an isolated community that see their existence threatened by a forest fire.
Also selected for script development support is Teboho Edkins, a promising new talent from South Africa, who prepares his first feature length film Days of Cannibalism. Edkins previously made The Gangster Project, a 55-minute documentary/fiction hybrid that was selected for Fid Marseille and Iffr 2012. In Days of Cannibalism, Edkins again uses a clever mix of documentary and fictional elements to focus on the expanding trade relations between China and the African continent.
Milagros Mumenthaler, Golden Leopard-winner for her Hubert Bals Fund-supported first feature film Abrir puertas y ventanas (Back to Stay), has been granted digital production support for Pozo de aire (Air Pocket). This second film, backed again by the ‘Abrir’-team in Argentina and Switzerland, is a more low budget and experimental take on female lead characters and the notion of absence.
When finished in time, the films receiving postproduction grants are expected to screen at the 2013 International Film Festival Rotterdam. One of these is Yang Tidak Dibicarakan Ketika Membicarakan Cinta (What They Don’t Talk About When They Talk About Love), second feature film project by Mouly Surya, one the most promising female directors in Indonesia. Her film is a both sensitive and sensual examination of the dynamics among a group of teenagers played by visually and aurally impaired actors.
The harvest of newly finished Hubert Bals Fund-supported films will be screened during the next International Film Festival Rotterdam (23 January – 3 February 2013). The next application deadline for Hubert Bals Fund support is 1 March 2013. All information about the Fund may be found here.
The line up of the Iffr’s Hubert Bals Fund Fall 2013 Selection Round in full:
Post-production & final-financing
Noche (Night) / Leonardo Brzezicki / Argentina
O Rio nos pretence (Rio Belongs to Us) / Ricardo Pretti / Brazil
O Uivo da Gaita (The Harmonica’s Howl) / Bruno Safadi / Brazil
On Mother’s Head / Kusuma Widjaja Putu / Indonesia
Yang Tidak Dibicarakan Ketika Membicarakan Cinta (What They Don’t Talk About When They Talk About Love) / Mouly Surya / Indonesia
Larzanandeye Charbi (Fat Shaker) / Mohammad Shirvani / Iran
Something Necessary / Judy Kibinge / Kenya
Penumbra / Eduardo Villanueva / Mexico
Digital Production
A Corner of Heaven / Zhang Miaoyan / China
Pozo de aire (Air Pocket) / Milagros Mumenthaler / Argentina
Script and project development
Otra madre (Another Mother) / Mariano Luque / Argentina
Tabija / Igor Drljaca / Bosnia and Herzegovina
Elon Rabin Não Acredita na Morte (Elon Rabin Doesn’t Believe in Death) / Ricardo Alves Jr. / Brazil
Tarde para morir joven (Late To Die Young) / Dominga Sotomayor / Chile
Oscuro animal (Obscure Animal) / Felipe Guerrero / Colombia
Court / Chaitanya Tamhane / India
The Room on a Tree / Amit Dutta / India
Extraño pero verdadero (Strange But True) / Michel Lipkes / Mexico
Tempestad (Tempestuous) / John Torres / Philippines
Days of Cannibalism / Teboho Edkins / South Africa
Rüzgarli Bir Güne Agit (Requiem for a Windy Day) / Özcan Alper / Turkey
Distribution
Atambua 39° Celsius / Riri Riza / Indonesia
Workshops
Naas Training Workshop / Egypt
Digital Cinema Workshop Series / Morocco
Cinema Land / Vietnam
Profile of the Hubert Bals Fund
The Hubert Bals Fund (Hbf), along with the CineMart, is part of the International Film Festival Rotterdam (Iffr). The 42nd Iffr will take place January 23 – February 3, 2013. Year-round news on Iffr, Hbf and CineMart can be found on www.filmfestivalrotterdam.com.
The Hubert Bals Fund is designed to bring remarkable or urgent feature films and feature-length creative documentaries by innovative and talented filmmakers from developing countries closer to completion. The Hubert Bals Fund provides grants that often turn out to play a crucial role in enabling these filmmakers to realize their projects. Although the Fund looks closely at the financial aspects of a project, the decisive factors remain its content and artistic value. Since the Fund started in 1989, hundreds of projects from independent filmmakers in Africa, Asia, Latin America, the Middle East and parts of Eastern Europe have received support. Approximately 80% of these projects have been realized or are currently in production. Every year, the Iffr screens completed films supported by the Fund.
The Hubert Bals Fund is supported by the Dutch Ministry of Foreign Affairs, Media Mundus, Dutch non-governmental development organization Hivos Culture Foundation, the Doen Foundation and the Dioraphte Foundation and Lions Club Rotterdam: L’Esprit du Temps.
Grants and selection rounds
Annually, the Hubert Bals Fund is able to make individual grants of up to Euro 10,000 for script and project development, Euro 20,000 for digital production, Euro 30,000 for post-production, Euro 15,000 towards distribution costs in the country of origin or Euro 10,000 for special projects such as workshops. Selection rounds take place twice a year and have application deadlines on March 1 and August 1.
Hubert Bals Fund-supported films in Iffr and on DVD/VOD
Most of the films supported by the Hubert Bals Fund throughout the year are screened during the International Film Festival Rotterdam in attendance of the filmmaker. Subsequently, part of the Hbf-supported films is released by the Iffr on DVD or VOD, available on www.filmfestivalrotterdam.com (VOD for viewers in the Benelux only).
- 12/11/2012
- by Sydney Levine
- Sydney's Buzz
The International Film Festival Rotterdam announced the first seven films selected for its Hivos Tiger Awards Competition. The complete line up of the fifteen first or second feature length films will be presented by January 8. The festival runs January 23-February 3, 2013. “The films in last year’s Hivos Tiger Awards competition, like Clip, De jueves a domingo, Egg and Stone or Neighbouring Sounds have collected great interest and prizes at festivals and theatres throughout the world. It looks as if we will be able to present an equally strong selection in our upcoming Hivos Tiger Awards Competition," Rutger Wolfson, Director of the International Film Festival Rotterdam said. "These films are powerful and convincing. I expect these will become the breakthrough works for the young filmmakers." The first seven films selected for the Hivos Tiger Awards Competition 2013 are: Noche (Night) / Leonardo Brzezicki / Argentina, 2013 World...
- 11/29/2012
- by Peter Knegt
- Indiewire
Shivendra Singh Dungarpur’s Celluloid Man has been selected to screen at the 36th edition of the Göteborg International Film Festival (Giff). The festival will run from 25th January to 4th February, 2013.
A documentary on the life and works of P.K. Nair, film historian and Founder – Director of the National Film Archive of India, Celluloid Man will get a theatrical release in India under PVR Director’s Rare label.
Celluloid Man has been selected in numerous film festivals this year namely, 14th Mumbai Film Festival, International Film Festival of Kerala, 39th Telluride Film Festival, and is scheduled to open the Non-Feature Film section at Iffi 2012.
Giff isScandinavia’s largest film festival. The festival hosts about 450 films from over 60 countries annually and also serves as a market place for film projects.
Chilean films will be on spotlight at the festival in 2013, with four titles announced so far; La noche de...
A documentary on the life and works of P.K. Nair, film historian and Founder – Director of the National Film Archive of India, Celluloid Man will get a theatrical release in India under PVR Director’s Rare label.
Celluloid Man has been selected in numerous film festivals this year namely, 14th Mumbai Film Festival, International Film Festival of Kerala, 39th Telluride Film Festival, and is scheduled to open the Non-Feature Film section at Iffi 2012.
Giff isScandinavia’s largest film festival. The festival hosts about 450 films from over 60 countries annually and also serves as a market place for film projects.
Chilean films will be on spotlight at the festival in 2013, with four titles announced so far; La noche de...
- 11/5/2012
- by NewsDesk
- DearCinema.com
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