Countries around the world have slowly begun announcing their official submissions for the Best Foreign Language Film Academy Award or shortlists of films that are being considered for the distinction. In the case of Mexico there is no clear candidate for the Mexican Academy to select this year, which leaves an open field of diverse films from the art house and commercial realms.
Undoubtedly, the best Mexican film audiences around the world, and in Mexico itself, have had the chance to see in 2015 is Alonso Ruiz Palacios “Güeros,” and some have even speculated that the black-and-white love letter to Mexico City could become the country’s Oscar candidate and even be among the favorites. Unfortunately, the film doesn’t qualify because it was considered to become the official entry last year, when it lost the opportunity to represent Mexico to the financially successful biopic “Cantinflas.” Ruiz Palacios' film would go on to win five Ariel Awards (Mexican Academy Awards) including Best Film and Best Director. It’s in fact the best choice, yet it simply can’t be anymore.
Each year the Mexican Academy sends out a call for entries for filmmakers and producers to submit their films. The organization will only consider those films that are entered by their respective creators, which means that even if a film qualifies if it’s not submitted it won’t be considered. The submission period is over now and the Mexican Academy will announce a list of films competing to represent the nation at the Oscars and the Spanish Goya’s in the upcoming days. Even without a gem like “Güeros” there are still other likely choices and many others that don’t stand a chance against the world-class works that will be send from across the globe. Commercial successes like “A la Mala,” “Tiempos Felices” or “Visitantes” will have a hard time finding support, but I wouldn’t be surprised if they are entered to be in the running anyway.
After looking carefully at release dates, festivals, last year’s films in competition, and having seen several of them, here is a list of 15 films that look like reasonable choices to represent the Mexican film industry at Hollywood’s most prestigious award show. Let’s see how many of these are actually on the official list.
"600 Millas" (600 Miles)
Dir. Gabriel Ripstein
Winner of the Best First Feature at this year’s Berlinale and starring Tim Roth, Gabriel Ripstein’s gun trafficking drama is a gritty and powerful statement about one of the numerous complex issues afflicting both Mexico and the U.S. However, giving the duality it deals with, the film is partially in English, which could become a tricky problem when deciding if it can compete as a foreign language work or not. Furthermore, “600 Miles” hasn’t had a theatrical release in Mexico yet, something that AMPAS requires for a film to qualify. If selected a one-week qualifying run would be mandatory.
"Alicia en el País de Maria" (Alice in Marialand)
Dir. Jesús Magaña Vázquez
Starring Stephanie Sigman ("Spectre") and Uruguayan-born actress Barbara Mori, this highly stylized romantic fantasy follows a love triangle between reality and a strange dreamland. This is Magaña Vázquez highest profile film to date and premiered at the Guadalajara International Film Festival earlier this year. It’s non-linear narrative and the fact that it hasn’t screen much outside its homeland might play against it, but it’s still appears to be an interesting choice. The film opens August 28 in Mexico.
"Carmín Tropical"
Dir. Rigoberto Pérezcano
A personal favorite from what I’ve seen and one of the strongest candidates on this list, “Carmin Tropical” tells the story of Mabel, a “muxe” or physical male who lives as a woman, who returns to her hometown to investigate the death of her estranged best friend, also a "muxe." After winning the highest award at the Morelia International Film Festival, the film has gone to screen in festivals around the world including Outfest Los Angeles and the Sarajevo Film Festival. Added to this, Pérezcano’s work earned him the Ariel Award for Best Original Screenplay at this year’s ceremony. Its relevant ideas regarding gender identity and hate crimes could give it some traction.
"Club Sandwich"
Dir. Fernando Eimbcke
While Fernando Eimbcke’s most recent indie has been around since 2013 in the festival circuit, the film was not considered last year to become the country’s entry as it only open theatrically in Mexico last November. Given these facts this delightful comedy technically qualifies, though it’s hard to say if the filmmaker will pursue the candidacy. “Club Sandwich” uses deadpan charm to explore the relationship between a teenage boy and his mother while on vacation yo a beachside town. The film screened during last year’s Los Angeles Film Festival.
"Las Elegidas" (The Chosen Ones)
Dir. David Pablos
This is the obvious heavyweight at least on paper. In recent years Mexican films that were selected to participate in the Cannes Film Festival have become ideal selections for Oscar consideration. Carlos Reygadas “Silent Light,” Gerardo Naranjo’s “Miss Bala,” Michel Franco’s “After Lucia,” and Amat Escalante’s “Heli,” represented the country in their respective years. Despite being highly regarded internationally, these type of hyperrealist art house films have failed to garner a nomination from AMPAS, which could mean the Mexican Academy might want to look towards more commercial projects like they did last year. Pablos' film is similar to some of the aforementioned titles in terms of the crude realities they depict. Reviews were mostly positive and the film could definitely continue with the Cannes-to-Oscar pattern, but might prove another hard sale for Academy voters. “Las Elegidas” still hasn’t open theatrically in Mexico.
"Elvira, Te Dariá Mi Vida Pero La Estoy Usando" (Elvira, I'd Give You My Life But I'm Using It)
Dir. Manolo Caro
A sophisticated romantic dramedy starring two of Mexico’s most prolific actors Cecilia Suarez and Luis Gerardo Mendez (Netflix’ “Club de Cuervos”), the film represents a departure for filmmaker Manolo Caro from the more conventional romantic comedies he’s done in the past. When Elvira’s husband goes missing she embarks on a search to find him, even if the outcome of her quest is not what she expects her devotion is unwavering. The film had its U.S. premiere at the Los Angeles Film Festival in June and it’s opening in Mexico this weekend.
"Estrellas Solitarias" (Lonely Stars)
Dir. Fernando Urdapilleta
By far the most unconventional choice, this irreverent comedy about dreams of stardom focuses on a pair of transvestites hoping to get their big break while working in a dingy and unglamorous bar. Music plays a big role in Fernando Urdapilleta’s sophomore feature, which shines a light on characters rarely seen in Mexican cinema. Produced by the Centro de Capacitación Cinematográfica the film has screened around the country and competed for the Maguey Award to Lgbt films at the 30th edition of Guadalajara International Film Festival (Ficg).
"Gloria"
Dir. Christian Keller
Working from a screenplay by Sabina Berman, Swiss filmmaker Christian Keller crafted a searing biopic about one of Mexico’s most iconic pop stars, Gloria Trevi, and her tumultuous career. The film took audiences and critics by surprise mainly because of the authenticity brought to it by the young actress Sofia Espinosa, who truly embodied Trevi’s outrageous personality and commanding stage presence. “Gloria” opened in Mexico back in February and it screened at SXSW in Austin last March. It’s also the only film in the list that has already had a U.S. theatrical release, which has handled by Picturehouse. This would definitely be a divisive selection given that Gloria is not widely known in the English-speaking world.
"La Guerra de Manuela Jankovic" (Manuela Jankovic's War)
Dir. Diana Cardozo
Nominated for 3 Ariel Awards including Best Actress and Best Supporting Actress this year, this peculiar drama opened late last year and hasn’t travel much internationally. Set in the early 90s the film deals with Manuela, a middle-aged woman who must take care of her bitter Serbian grandmother who escaped to Mexico during World War II. Beautifully executed and acted the film is a sleeper that could actually be an ideal choice given its unique premise and approach. Stories about the Eastern European community in Mexico have rarely been explored in film.
"Hilda"
Dir. Andres Clariond
Dealing with classicism within Mexican society, this Audience Award-winning film at the last Morelia Film Festival paints a disturbing picture about the divide between the elite and the working class. Starring Veronica Langer as Mrs. Le Marchand, a wealthy woman depressed due to her unfulfilled ambitions, the film is a psychological drama with darkly comedic undertones. When Hilda (Adriana Paz) a new housemaid is hired, Le Marchand’s obsessive behavior unravels. Andres Clariond’s debut feature is based on a French play by Marie Ndiaye, the filmmaker certainly found parallels between the playwright’s work and his homeland. “Hilda” will open in Mexico in early September.
"Las Horas Contigo" (The Hours With You)
Dir. Catalina Aguilar Mastretta
This endearing dram about a young woman coming to terms with her grandmother’s imminent death has been a quiet success since it’s premiere at the 2014 Ficg where it won the Best Director award for debutant Catalina Aguilar Mastretta. “Las Horas Contigo” was nominated for three Ariel Awards winning the Best Supporting Actress statuette for veteran thespian Isela Vega. The film’s U.S. premiere took place during the 4th edition of Ficg in La and was also part of the Latin Cinema section at the Palm Springs International Film Festival. It’s a well-made film that offers a handful of moving moments that could resonate with voters, though in my opinion it’s a bit slight.
"Manto Acuífero" ( The Well)
Dir. Michael Rowe
Australian filmmaker Michael Rowe, who has made a career working in Mexico, received great acclaim and accolades for his debut feature “Año Bisiesto,” including the Camera d’Or prize at the Cannes Film Festival. “Manto Acuífero,” his sophomore effort, premiered at the Rome Film Festival in 2013 and was produced by Gael Garcia Bernal and Diego Luna’s Canana. Centered on a young girl dealing with troubling situations at home, the film also screened at the Morelia Film Festival. Its theatrical release didn’t happen until November of last year, which based on AMPAS rules qualifies it for consideration. “Manto Acuífero” was not considered last year.
"El Más Buscasdo" (Mexican Gangster)
Dir. José Manuel Cravioto
By far the most commercial and most expensive-looking film on the list, this action tale revolves around a bank robber whose alter ego is a mysterious masked singer. Jose Manuel Cravioto’s narrative debut stars Tenoch Huerta (“Güeros”) as skillful criminal Alfredo Rios Galeana and as al El Charro Misterioso, the elusive and talented performer. Set in the 1980s “El Más Buscado” showcases costumes, production design, and music from that period in a Robin Hood-like story of a unique antihero. The film screened in L.A. as part of the Hola Mexico Film Festival back in May but other than that lacks noticeable international presence.
"Las Oscuras Primaveras" (The Obscure Spring)
Dir. Ernesto Contreras
Moody and darkly sensual, this intense drama from director Ernesto Contreras won the Knight Competition Grand Jury Prize as well as the Best Performance Grand Jury Prize and the Miami International Film Festival. Cecilia Suarez and Jose Maria Yazpik star as a childless married couple whose relationship is threaten when he starts having a steamy affair with a lonely single mother in need of companionship. “Las Oscuras Primaveras” also received three Ariel Awards at the most recent ceremony for Best Editing, Best Sound, and Best Original Score.
"La Tirisia" (Perpetual Sadness)
Dir. Jorge Pérez Solano
Last but definitely not least, the one film that, in this writer’s opinion, is the best opinion from the pack. Jose Perez Solano’s poetic feature follows two women in a remote community who have to choose between their children and their partner in a chauvinist society. The beauty and authenticity of “La Tirisia” have connected with audiences and juries from diverse backgrounds. Karlovy Vary, Palm Springs, Thessaloniki, Chicago, and Guadalajara were a few of the festivals that screened the film where it often was awarded prizes for its director and cast. Actress Adriana Paz (“Hilda”) won the Ariel Award for Best Actress for her work in the film, while Noé Hernandez took home the award for Best Supporting Actor. It’s art house roots and segmented narrative might work against it, but if voters at the Mexican Academy can look past that, this might be the one to bet on.
Undoubtedly, the best Mexican film audiences around the world, and in Mexico itself, have had the chance to see in 2015 is Alonso Ruiz Palacios “Güeros,” and some have even speculated that the black-and-white love letter to Mexico City could become the country’s Oscar candidate and even be among the favorites. Unfortunately, the film doesn’t qualify because it was considered to become the official entry last year, when it lost the opportunity to represent Mexico to the financially successful biopic “Cantinflas.” Ruiz Palacios' film would go on to win five Ariel Awards (Mexican Academy Awards) including Best Film and Best Director. It’s in fact the best choice, yet it simply can’t be anymore.
Each year the Mexican Academy sends out a call for entries for filmmakers and producers to submit their films. The organization will only consider those films that are entered by their respective creators, which means that even if a film qualifies if it’s not submitted it won’t be considered. The submission period is over now and the Mexican Academy will announce a list of films competing to represent the nation at the Oscars and the Spanish Goya’s in the upcoming days. Even without a gem like “Güeros” there are still other likely choices and many others that don’t stand a chance against the world-class works that will be send from across the globe. Commercial successes like “A la Mala,” “Tiempos Felices” or “Visitantes” will have a hard time finding support, but I wouldn’t be surprised if they are entered to be in the running anyway.
After looking carefully at release dates, festivals, last year’s films in competition, and having seen several of them, here is a list of 15 films that look like reasonable choices to represent the Mexican film industry at Hollywood’s most prestigious award show. Let’s see how many of these are actually on the official list.
"600 Millas" (600 Miles)
Dir. Gabriel Ripstein
Winner of the Best First Feature at this year’s Berlinale and starring Tim Roth, Gabriel Ripstein’s gun trafficking drama is a gritty and powerful statement about one of the numerous complex issues afflicting both Mexico and the U.S. However, giving the duality it deals with, the film is partially in English, which could become a tricky problem when deciding if it can compete as a foreign language work or not. Furthermore, “600 Miles” hasn’t had a theatrical release in Mexico yet, something that AMPAS requires for a film to qualify. If selected a one-week qualifying run would be mandatory.
"Alicia en el País de Maria" (Alice in Marialand)
Dir. Jesús Magaña Vázquez
Starring Stephanie Sigman ("Spectre") and Uruguayan-born actress Barbara Mori, this highly stylized romantic fantasy follows a love triangle between reality and a strange dreamland. This is Magaña Vázquez highest profile film to date and premiered at the Guadalajara International Film Festival earlier this year. It’s non-linear narrative and the fact that it hasn’t screen much outside its homeland might play against it, but it’s still appears to be an interesting choice. The film opens August 28 in Mexico.
"Carmín Tropical"
Dir. Rigoberto Pérezcano
A personal favorite from what I’ve seen and one of the strongest candidates on this list, “Carmin Tropical” tells the story of Mabel, a “muxe” or physical male who lives as a woman, who returns to her hometown to investigate the death of her estranged best friend, also a "muxe." After winning the highest award at the Morelia International Film Festival, the film has gone to screen in festivals around the world including Outfest Los Angeles and the Sarajevo Film Festival. Added to this, Pérezcano’s work earned him the Ariel Award for Best Original Screenplay at this year’s ceremony. Its relevant ideas regarding gender identity and hate crimes could give it some traction.
"Club Sandwich"
Dir. Fernando Eimbcke
While Fernando Eimbcke’s most recent indie has been around since 2013 in the festival circuit, the film was not considered last year to become the country’s entry as it only open theatrically in Mexico last November. Given these facts this delightful comedy technically qualifies, though it’s hard to say if the filmmaker will pursue the candidacy. “Club Sandwich” uses deadpan charm to explore the relationship between a teenage boy and his mother while on vacation yo a beachside town. The film screened during last year’s Los Angeles Film Festival.
"Las Elegidas" (The Chosen Ones)
Dir. David Pablos
This is the obvious heavyweight at least on paper. In recent years Mexican films that were selected to participate in the Cannes Film Festival have become ideal selections for Oscar consideration. Carlos Reygadas “Silent Light,” Gerardo Naranjo’s “Miss Bala,” Michel Franco’s “After Lucia,” and Amat Escalante’s “Heli,” represented the country in their respective years. Despite being highly regarded internationally, these type of hyperrealist art house films have failed to garner a nomination from AMPAS, which could mean the Mexican Academy might want to look towards more commercial projects like they did last year. Pablos' film is similar to some of the aforementioned titles in terms of the crude realities they depict. Reviews were mostly positive and the film could definitely continue with the Cannes-to-Oscar pattern, but might prove another hard sale for Academy voters. “Las Elegidas” still hasn’t open theatrically in Mexico.
"Elvira, Te Dariá Mi Vida Pero La Estoy Usando" (Elvira, I'd Give You My Life But I'm Using It)
Dir. Manolo Caro
A sophisticated romantic dramedy starring two of Mexico’s most prolific actors Cecilia Suarez and Luis Gerardo Mendez (Netflix’ “Club de Cuervos”), the film represents a departure for filmmaker Manolo Caro from the more conventional romantic comedies he’s done in the past. When Elvira’s husband goes missing she embarks on a search to find him, even if the outcome of her quest is not what she expects her devotion is unwavering. The film had its U.S. premiere at the Los Angeles Film Festival in June and it’s opening in Mexico this weekend.
"Estrellas Solitarias" (Lonely Stars)
Dir. Fernando Urdapilleta
By far the most unconventional choice, this irreverent comedy about dreams of stardom focuses on a pair of transvestites hoping to get their big break while working in a dingy and unglamorous bar. Music plays a big role in Fernando Urdapilleta’s sophomore feature, which shines a light on characters rarely seen in Mexican cinema. Produced by the Centro de Capacitación Cinematográfica the film has screened around the country and competed for the Maguey Award to Lgbt films at the 30th edition of Guadalajara International Film Festival (Ficg).
"Gloria"
Dir. Christian Keller
Working from a screenplay by Sabina Berman, Swiss filmmaker Christian Keller crafted a searing biopic about one of Mexico’s most iconic pop stars, Gloria Trevi, and her tumultuous career. The film took audiences and critics by surprise mainly because of the authenticity brought to it by the young actress Sofia Espinosa, who truly embodied Trevi’s outrageous personality and commanding stage presence. “Gloria” opened in Mexico back in February and it screened at SXSW in Austin last March. It’s also the only film in the list that has already had a U.S. theatrical release, which has handled by Picturehouse. This would definitely be a divisive selection given that Gloria is not widely known in the English-speaking world.
"La Guerra de Manuela Jankovic" (Manuela Jankovic's War)
Dir. Diana Cardozo
Nominated for 3 Ariel Awards including Best Actress and Best Supporting Actress this year, this peculiar drama opened late last year and hasn’t travel much internationally. Set in the early 90s the film deals with Manuela, a middle-aged woman who must take care of her bitter Serbian grandmother who escaped to Mexico during World War II. Beautifully executed and acted the film is a sleeper that could actually be an ideal choice given its unique premise and approach. Stories about the Eastern European community in Mexico have rarely been explored in film.
"Hilda"
Dir. Andres Clariond
Dealing with classicism within Mexican society, this Audience Award-winning film at the last Morelia Film Festival paints a disturbing picture about the divide between the elite and the working class. Starring Veronica Langer as Mrs. Le Marchand, a wealthy woman depressed due to her unfulfilled ambitions, the film is a psychological drama with darkly comedic undertones. When Hilda (Adriana Paz) a new housemaid is hired, Le Marchand’s obsessive behavior unravels. Andres Clariond’s debut feature is based on a French play by Marie Ndiaye, the filmmaker certainly found parallels between the playwright’s work and his homeland. “Hilda” will open in Mexico in early September.
"Las Horas Contigo" (The Hours With You)
Dir. Catalina Aguilar Mastretta
This endearing dram about a young woman coming to terms with her grandmother’s imminent death has been a quiet success since it’s premiere at the 2014 Ficg where it won the Best Director award for debutant Catalina Aguilar Mastretta. “Las Horas Contigo” was nominated for three Ariel Awards winning the Best Supporting Actress statuette for veteran thespian Isela Vega. The film’s U.S. premiere took place during the 4th edition of Ficg in La and was also part of the Latin Cinema section at the Palm Springs International Film Festival. It’s a well-made film that offers a handful of moving moments that could resonate with voters, though in my opinion it’s a bit slight.
"Manto Acuífero" ( The Well)
Dir. Michael Rowe
Australian filmmaker Michael Rowe, who has made a career working in Mexico, received great acclaim and accolades for his debut feature “Año Bisiesto,” including the Camera d’Or prize at the Cannes Film Festival. “Manto Acuífero,” his sophomore effort, premiered at the Rome Film Festival in 2013 and was produced by Gael Garcia Bernal and Diego Luna’s Canana. Centered on a young girl dealing with troubling situations at home, the film also screened at the Morelia Film Festival. Its theatrical release didn’t happen until November of last year, which based on AMPAS rules qualifies it for consideration. “Manto Acuífero” was not considered last year.
"El Más Buscasdo" (Mexican Gangster)
Dir. José Manuel Cravioto
By far the most commercial and most expensive-looking film on the list, this action tale revolves around a bank robber whose alter ego is a mysterious masked singer. Jose Manuel Cravioto’s narrative debut stars Tenoch Huerta (“Güeros”) as skillful criminal Alfredo Rios Galeana and as al El Charro Misterioso, the elusive and talented performer. Set in the 1980s “El Más Buscado” showcases costumes, production design, and music from that period in a Robin Hood-like story of a unique antihero. The film screened in L.A. as part of the Hola Mexico Film Festival back in May but other than that lacks noticeable international presence.
"Las Oscuras Primaveras" (The Obscure Spring)
Dir. Ernesto Contreras
Moody and darkly sensual, this intense drama from director Ernesto Contreras won the Knight Competition Grand Jury Prize as well as the Best Performance Grand Jury Prize and the Miami International Film Festival. Cecilia Suarez and Jose Maria Yazpik star as a childless married couple whose relationship is threaten when he starts having a steamy affair with a lonely single mother in need of companionship. “Las Oscuras Primaveras” also received three Ariel Awards at the most recent ceremony for Best Editing, Best Sound, and Best Original Score.
"La Tirisia" (Perpetual Sadness)
Dir. Jorge Pérez Solano
Last but definitely not least, the one film that, in this writer’s opinion, is the best opinion from the pack. Jose Perez Solano’s poetic feature follows two women in a remote community who have to choose between their children and their partner in a chauvinist society. The beauty and authenticity of “La Tirisia” have connected with audiences and juries from diverse backgrounds. Karlovy Vary, Palm Springs, Thessaloniki, Chicago, and Guadalajara were a few of the festivals that screened the film where it often was awarded prizes for its director and cast. Actress Adriana Paz (“Hilda”) won the Ariel Award for Best Actress for her work in the film, while Noé Hernandez took home the award for Best Supporting Actor. It’s art house roots and segmented narrative might work against it, but if voters at the Mexican Academy can look past that, this might be the one to bet on.
- 8/20/2015
- by Carlos Aguilar
- Sydney's Buzz
Last week during the nominations announcement for the second edition of the Premios Platino of Iberoamerican Cinema, the organizers brought together a stellar lineup of talent to let the press know which films made it to the final list of nominees. Among them was Mexican actress Kate del Castillo, who is one of the most prominent Latin American stars working both in the U.S. and back home today. While she had been a recurrent face in numerous shows and films, Del Castillo became a household name among the U.S. Latino community thanks to films like “Under the Same Moon” and TV series like “La Reina del Sur.”
Non-Spanish speaking audiences were also able to witness her skills in popular TV shows like “Weeds” and more recently voicing a character in the animated feature “The Book of Life.” Her eclectic career has allowed her to take risks and often step out of familiar roles to take on something unexpected like the horror film “Visitantes,” released in Mexico last year.
Due to her important place as a trailblazer paving the way for Latinos, and Iberoamericans in general (a term that includes Spain and Portugal) within the entertainment industry, Kate del Castillo will have the honor of presenting Antonio Banderas with a special award for his multiple achievements throughout his career.
We sat down with Del Castillo to talk about what the Premios Platino are and why they are needed, her multiple upcoming projects, and her dream of being part of a film screening at the Cannes Film Festival some day.
Aguilar: There are many national film awards across Latin America and the Iberian peninsula already, but do you believe the Premios Platino come to fill a void in the region? If so, what's that void?
Kate Del Castillo: They come to fill a void that in all honesty had taken to long to filled. It was about time. With need unity among us, all Iberoamericans, which doesn’t yet exist - that's the void. It’s incredible, we want to advance and see progress individually and that can’t be done. We can’t get out of the hole if we don’t help each other out. We have to support one another, and support platforms like this. I believe Premios Platino is a gigantic platform to start fostering this unity.
Aguilar: One could argue that it’s hard for Iberoamerican films to be successful in the U.S because of the language barrier, but these films also have a hard time getting exposure in their own countries and countries that share the same language.
Kate Del Castillo: That’s what’s incredible and it’s because we are often “malinchistas.” We don’t support our own cinema, our homegrown talent, and not only the cinema of our individual countries, but we also don’t support the cinema of other Iberoamerican countries. We usually prefer to go see American blockbusters, which is not to say they are bad or that we shouldn’t support them, but I believe that all of us, specially exhibitors, should support our cinema and make them a priority on the screens.
Aguilar: We need to see our own stories and be interested in the. Right?
Kate Del Castillo: Absolutely, there is so much talent in our countries.It’s a terrible thing to make films that are never seen or experienced by audiences. Often times nobody knows about them, even though they are great films. They are not promoted and that’s really sad.
Aguilar: You’ve worked extensively both in Mexico and the U.S., and you’ve achieved great success in Hollywood. What would you say is the main difference between the two industries?
Kate Del Castillo: Neither of them is better than the other from my point of view, but clearly one has more money than the other because it has much more support. In Mexico we need much more support, but really a lot more, from the government. Sadly the Mexican government has never cared for cinema, and cinema is the window to the world. Therefore, what the rest of the world knows about Mexico is what they see on films and the bad news they see on TV. We need to make films that are worthy of who we really are as Mexicans. We also need to make cinema that reflects the diversity in the region, so that Americans and Europeans know who Mexicans are, who Salvadorians are, who Cubans are, etc. We need to do it now, and all we really need is support because we have the talent.
Aguilar: Unfortunately, sometimes when talent from the region finds success in the U.S or other markets they stop working in their native language and they rarely go back to make films in their homelands. However, you've found a balance between the two sides in your career.
Kate Del Castillo: I go back much less than what I used to, but I recently did I film in Mexico titled “Visitantes” (Visitors) evidently in Spanish, and I’ve done a few other things here in the U.S that are also in Spanish. I will never stop working on Spanish-language projects because that’s my language, and because I’m a Latina and Mexican before anything else. However, they have to be projects that catch my attention whether they are here on in Mexico. All I want is to be involved in projects that are interesting to me, projects that are a challenge wherever they may happen, in Spain, in China, or in Hollywood.
Aguilar: How difficult was it for you to get opportunities and find success working int he American entertainment industry? Is it still a challenge?
Kate Del Castillo: I’m still fighting to get the things I want and to do the projects I want to do. I think it will always be a fight or a challenge, but not being in my comfort zone keeps me very excited and happy. You have to constantly be doing something and not just wait for someone to call you with an opportunity, you have to develop your own projects.
Aguilar: With the achievements and recognition of trailblazers like Salma Hayek, Demian Bichir, Eugenio Derbez, and yourself, would you say more doors are opening for Iberoamerican talent and our films?
Kate Del Castillo: Totally, every time talented people like them become popular or are recognized is a good thing. Someone might say, “I didn’t know this actress before, but now I do” and when those films get exposure because of them that is also great. But sadly most films only get exposure if they win an award or were in a festival, which is really difficult because those things cost money! Submitting your film to a festival or campaigning for an Oscar or a Golden Globe is very expensive. Most people don’t know that, but all those events require a lot of money. If you have a small independent film, it’s very hard to get the attention of people in those circles. There is tons of talent like I said, what we lack is support to promote the films, which means we need more money. That’s why we need to support each other and unite.
Aguilar: You are right. It's hard for films to travel even within the region. We rarely get to see what other Spanish-speaking countries are making.
Kate Del Castillo: We don’t even know our own cinema in the region. They were just asking me if I knew anything about Paraguayan cinema, and I felt embarrassed but I unfortunately haven’t seen any because they don’t travel. We really need to join forces and these awards are a great platform for that. They did incredibly well last year and there was a big audience watching them. They are being noticed and hopefully this year is even better. We need stars, like Antonio Banderas who will be there this year, to be present and support so that the global press becomes more interested in our cinema.
Aguilar: Tell me about you are doing. Any upcoming projects we should watch out for?
Kate Del Castillo: I just finished working on a TV show, and I came back very tired. I’m also trying to develop a couple of my own projects, and I’m going to start promoting the film “Los 33.” Then I’m going to work on another film, right before I leave to work on a new series for Netflix.
Aguilar: Seems like you are unbelievably busy and you still found time to stop by the Hola Mexico Film Festival earlier this month to support “Visitantes.”
Kate Del Castillo: Yes, I’m very happy because “Visitantes” has done very well. It’s a film that means a lot to me because I returned to Mexico after a long time to work on a truly Mexican production. I’m very proud of everyone’s work in that film.
Aguilar: With some many projects ahead there might be an Oscar or another big festival award in the future for you.
Kate Del Castillo: Wow [Laughs] Can you imagine? I was at the Cannes Film Festival recently, and as an actor you never stop dreaming and thinking, “I’d love to be back here with a film” and competing with incredibly talented people. And it would be even more amazing if it was a film in Spanish. Is not all about working with Hollywood stars and famous directors, being present there with a Spanish-language film would make so proud. One can always fantasize about it, hopefully one day.
Non-Spanish speaking audiences were also able to witness her skills in popular TV shows like “Weeds” and more recently voicing a character in the animated feature “The Book of Life.” Her eclectic career has allowed her to take risks and often step out of familiar roles to take on something unexpected like the horror film “Visitantes,” released in Mexico last year.
Due to her important place as a trailblazer paving the way for Latinos, and Iberoamericans in general (a term that includes Spain and Portugal) within the entertainment industry, Kate del Castillo will have the honor of presenting Antonio Banderas with a special award for his multiple achievements throughout his career.
We sat down with Del Castillo to talk about what the Premios Platino are and why they are needed, her multiple upcoming projects, and her dream of being part of a film screening at the Cannes Film Festival some day.
Aguilar: There are many national film awards across Latin America and the Iberian peninsula already, but do you believe the Premios Platino come to fill a void in the region? If so, what's that void?
Kate Del Castillo: They come to fill a void that in all honesty had taken to long to filled. It was about time. With need unity among us, all Iberoamericans, which doesn’t yet exist - that's the void. It’s incredible, we want to advance and see progress individually and that can’t be done. We can’t get out of the hole if we don’t help each other out. We have to support one another, and support platforms like this. I believe Premios Platino is a gigantic platform to start fostering this unity.
Aguilar: One could argue that it’s hard for Iberoamerican films to be successful in the U.S because of the language barrier, but these films also have a hard time getting exposure in their own countries and countries that share the same language.
Kate Del Castillo: That’s what’s incredible and it’s because we are often “malinchistas.” We don’t support our own cinema, our homegrown talent, and not only the cinema of our individual countries, but we also don’t support the cinema of other Iberoamerican countries. We usually prefer to go see American blockbusters, which is not to say they are bad or that we shouldn’t support them, but I believe that all of us, specially exhibitors, should support our cinema and make them a priority on the screens.
Aguilar: We need to see our own stories and be interested in the. Right?
Kate Del Castillo: Absolutely, there is so much talent in our countries.It’s a terrible thing to make films that are never seen or experienced by audiences. Often times nobody knows about them, even though they are great films. They are not promoted and that’s really sad.
Aguilar: You’ve worked extensively both in Mexico and the U.S., and you’ve achieved great success in Hollywood. What would you say is the main difference between the two industries?
Kate Del Castillo: Neither of them is better than the other from my point of view, but clearly one has more money than the other because it has much more support. In Mexico we need much more support, but really a lot more, from the government. Sadly the Mexican government has never cared for cinema, and cinema is the window to the world. Therefore, what the rest of the world knows about Mexico is what they see on films and the bad news they see on TV. We need to make films that are worthy of who we really are as Mexicans. We also need to make cinema that reflects the diversity in the region, so that Americans and Europeans know who Mexicans are, who Salvadorians are, who Cubans are, etc. We need to do it now, and all we really need is support because we have the talent.
Aguilar: Unfortunately, sometimes when talent from the region finds success in the U.S or other markets they stop working in their native language and they rarely go back to make films in their homelands. However, you've found a balance between the two sides in your career.
Kate Del Castillo: I go back much less than what I used to, but I recently did I film in Mexico titled “Visitantes” (Visitors) evidently in Spanish, and I’ve done a few other things here in the U.S that are also in Spanish. I will never stop working on Spanish-language projects because that’s my language, and because I’m a Latina and Mexican before anything else. However, they have to be projects that catch my attention whether they are here on in Mexico. All I want is to be involved in projects that are interesting to me, projects that are a challenge wherever they may happen, in Spain, in China, or in Hollywood.
Aguilar: How difficult was it for you to get opportunities and find success working int he American entertainment industry? Is it still a challenge?
Kate Del Castillo: I’m still fighting to get the things I want and to do the projects I want to do. I think it will always be a fight or a challenge, but not being in my comfort zone keeps me very excited and happy. You have to constantly be doing something and not just wait for someone to call you with an opportunity, you have to develop your own projects.
Aguilar: With the achievements and recognition of trailblazers like Salma Hayek, Demian Bichir, Eugenio Derbez, and yourself, would you say more doors are opening for Iberoamerican talent and our films?
Kate Del Castillo: Totally, every time talented people like them become popular or are recognized is a good thing. Someone might say, “I didn’t know this actress before, but now I do” and when those films get exposure because of them that is also great. But sadly most films only get exposure if they win an award or were in a festival, which is really difficult because those things cost money! Submitting your film to a festival or campaigning for an Oscar or a Golden Globe is very expensive. Most people don’t know that, but all those events require a lot of money. If you have a small independent film, it’s very hard to get the attention of people in those circles. There is tons of talent like I said, what we lack is support to promote the films, which means we need more money. That’s why we need to support each other and unite.
Aguilar: You are right. It's hard for films to travel even within the region. We rarely get to see what other Spanish-speaking countries are making.
Kate Del Castillo: We don’t even know our own cinema in the region. They were just asking me if I knew anything about Paraguayan cinema, and I felt embarrassed but I unfortunately haven’t seen any because they don’t travel. We really need to join forces and these awards are a great platform for that. They did incredibly well last year and there was a big audience watching them. They are being noticed and hopefully this year is even better. We need stars, like Antonio Banderas who will be there this year, to be present and support so that the global press becomes more interested in our cinema.
Aguilar: Tell me about you are doing. Any upcoming projects we should watch out for?
Kate Del Castillo: I just finished working on a TV show, and I came back very tired. I’m also trying to develop a couple of my own projects, and I’m going to start promoting the film “Los 33.” Then I’m going to work on another film, right before I leave to work on a new series for Netflix.
Aguilar: Seems like you are unbelievably busy and you still found time to stop by the Hola Mexico Film Festival earlier this month to support “Visitantes.”
Kate Del Castillo: Yes, I’m very happy because “Visitantes” has done very well. It’s a film that means a lot to me because I returned to Mexico after a long time to work on a truly Mexican production. I’m very proud of everyone’s work in that film.
Aguilar: With some many projects ahead there might be an Oscar or another big festival award in the future for you.
Kate Del Castillo: Wow [Laughs] Can you imagine? I was at the Cannes Film Festival recently, and as an actor you never stop dreaming and thinking, “I’d love to be back here with a film” and competing with incredibly talented people. And it would be even more amazing if it was a film in Spanish. Is not all about working with Hollywood stars and famous directors, being present there with a Spanish-language film would make so proud. One can always fantasize about it, hopefully one day.
- 6/3/2015
- by Carlos Aguilar
- Sydney's Buzz
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
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