Argentina’s Ajimolido Films and Mostra Cine, Mexico’s Beita also co-producing.
Ángeles Hernández and David Matamoros from Spain’s Mr Miyagi, a co-producer on Netflix hit and 2019 TIFF Midnight Madness audience winner The Platform, has announced on the first day of Ventana Sur that the company has come on board The Virgin Of The Quarry Lake (La Virgen De La Tosquera) from Laura Casabé, who presented The Returned at the market in 2019.
Mr Miyagi will co-produce Argentinian filmmaker Casabé’s next film alongside Argentina’s Ajimolido Films (The Returned) and Mostra Cine (Delfina Castagnino’s 2019 Mar del Plata best...
Ángeles Hernández and David Matamoros from Spain’s Mr Miyagi, a co-producer on Netflix hit and 2019 TIFF Midnight Madness audience winner The Platform, has announced on the first day of Ventana Sur that the company has come on board The Virgin Of The Quarry Lake (La Virgen De La Tosquera) from Laura Casabé, who presented The Returned at the market in 2019.
Mr Miyagi will co-produce Argentinian filmmaker Casabé’s next film alongside Argentina’s Ajimolido Films (The Returned) and Mostra Cine (Delfina Castagnino’s 2019 Mar del Plata best...
- 11/28/2022
- by Emilio Mayorga
- ScreenDaily
Craig reporting from the London Film Festival.
Argentinian film editor Delfina Castagnino makes her directorial feature debut with What I Love the Most / Lo que más quiero, a slight but thoughtfully quiet film full of long takes and extended pauses. The slim plot follows Pilar, who has recently lost her father, visiting her friend Maria, who is absconding from her boyfriend. The two spend their days by nearby lakes, at gigs or on the beach, idling away the time. Pilar ties up her father’s business loose ends and Maria meets a local guy (Esteban Lamothe) who takes her mind off her relationship and the friends begin to drift apart.
What I Love is a cleanly directed, well-composed film. Each scene is clinically precise in its framing, though often deliberately askew – actors awkwardly shot from just below waist-height, tree-lined landscapes partially obscure parts of the film frame. Most shots outlast...
Argentinian film editor Delfina Castagnino makes her directorial feature debut with What I Love the Most / Lo que más quiero, a slight but thoughtfully quiet film full of long takes and extended pauses. The slim plot follows Pilar, who has recently lost her father, visiting her friend Maria, who is absconding from her boyfriend. The two spend their days by nearby lakes, at gigs or on the beach, idling away the time. Pilar ties up her father’s business loose ends and Maria meets a local guy (Esteban Lamothe) who takes her mind off her relationship and the friends begin to drift apart.
What I Love is a cleanly directed, well-composed film. Each scene is clinically precise in its framing, though often deliberately askew – actors awkwardly shot from just below waist-height, tree-lined landscapes partially obscure parts of the film frame. Most shots outlast...
- 10/24/2010
- by Craig Bloomfield
- FilmExperience
Wow, that's a lot of flicks. Everything from Peter Mullan's Neds to Benedek Fliegauf's Womb (that's right, it's a trailer!) to more Greek weirdness in Athena Tsangari's Attenberg. I wish I was going.
It's late so I'm not writing much of a post here.. Maybe I'll update tomorrow.
Full list after the break via Variety.
Contemporary World Cinema
(World preems)
* "Home for Christmas," Bent Hamer (Norway/Germany/Sweden)
* "Behind Blue Skies," Hannes Holm (Sweden)
* "Even The Rain," Iciar Bollain (Spain/France/Mexico)
* "The First Grader," Justin Chadwick (I.K.)
* "Neds," Peter Mullan (U.K./France/Italy)
* "White Irish Drinkers," John Gray (U.S.)
* "22nd of May," Koen Mortier (Belgium)
* "African United," Deb Gardner-Paterson (U.K.)
* "Blessed Events," Isabelle Stever (Germany)
* "The Edge," Alexey Uchitel (Russia)
* "Jucy," Louise Alston (Australia)
* "Lapland Odyssey," Dome Karukoski (Finland)
* "Late Autumn," Kim Teo-Yong (South Korea)
* "Matariki" Michael Bennet (New Zealand)
* "Tracker" Ian Sharp (U.
It's late so I'm not writing much of a post here.. Maybe I'll update tomorrow.
Full list after the break via Variety.
Contemporary World Cinema
(World preems)
* "Home for Christmas," Bent Hamer (Norway/Germany/Sweden)
* "Behind Blue Skies," Hannes Holm (Sweden)
* "Even The Rain," Iciar Bollain (Spain/France/Mexico)
* "The First Grader," Justin Chadwick (I.K.)
* "Neds," Peter Mullan (U.K./France/Italy)
* "White Irish Drinkers," John Gray (U.S.)
* "22nd of May," Koen Mortier (Belgium)
* "African United," Deb Gardner-Paterson (U.K.)
* "Blessed Events," Isabelle Stever (Germany)
* "The Edge," Alexey Uchitel (Russia)
* "Jucy," Louise Alston (Australia)
* "Lapland Odyssey," Dome Karukoski (Finland)
* "Late Autumn," Kim Teo-Yong (South Korea)
* "Matariki" Michael Bennet (New Zealand)
* "Tracker" Ian Sharp (U.
- 8/25/2010
- QuietEarth.us
Rachel Weisz in The Whistleblower The Toronto International Film Festival has added even more films to their line-up today as the complete line-up was announced, which ended up causing the festival's server to crash, but I was lucky enough to get in and get out before missing out on the information.
First off, the festival's Mavericks line-up is quite interesting, which includes a series of guest presentations and this year will see Edward Norton interview Bruce Springsteen, NBA All-Star and native Canadian Steve Nash will present his hour-long film Into the Wind, Apichatpong Weerasethakul will talk with the audience as his Cannes Palm d'Or-winning film Uncle Boonmee Who Can Recall his Past Lives was just added to the Masters programme, Ken Loach and Paul Laverty will be interviewed by Michael Moore on politics and cinema and Philip Seymour Hoffman will have his own panel. Also on hand will be Bill Gates,...
First off, the festival's Mavericks line-up is quite interesting, which includes a series of guest presentations and this year will see Edward Norton interview Bruce Springsteen, NBA All-Star and native Canadian Steve Nash will present his hour-long film Into the Wind, Apichatpong Weerasethakul will talk with the audience as his Cannes Palm d'Or-winning film Uncle Boonmee Who Can Recall his Past Lives was just added to the Masters programme, Ken Loach and Paul Laverty will be interviewed by Michael Moore on politics and cinema and Philip Seymour Hoffman will have his own panel. Also on hand will be Bill Gates,...
- 8/24/2010
- by Brad Brevet
- Rope of Silicon
From evil Santas to Australian killers, the Discovery program brings the best of the coming generation of film talent to Toronto. Making the grade this year are:
As If I Am Not There Juanita Wilson, Ireland/Macedonia/Sweden World Premiere
As If I Am Not There explores one woman's experience of the horrors that took place at the beginning of the Bosnian War. Disturbing and powerful, the film is an important testament to the survivors of the atrocities in the former Yugoslavia.
Attenberg Athina Rachel Tsangiri, Greece North American Premiere
A dying architect and his emotionally stunted daughter inhabit a once booming industrial community in the middle of nowhere, now populated by the precious few who didn't have the heart to leave it behind.
Autumn Aamir Bashir, India World Premiere
Shot in striking, widescreen images in India's Kashmir region, Bashir's debut tells the story of Rafiq, a young man struggling...
As If I Am Not There Juanita Wilson, Ireland/Macedonia/Sweden World Premiere
As If I Am Not There explores one woman's experience of the horrors that took place at the beginning of the Bosnian War. Disturbing and powerful, the film is an important testament to the survivors of the atrocities in the former Yugoslavia.
Attenberg Athina Rachel Tsangiri, Greece North American Premiere
A dying architect and his emotionally stunted daughter inhabit a once booming industrial community in the middle of nowhere, now populated by the precious few who didn't have the heart to leave it behind.
Autumn Aamir Bashir, India World Premiere
Shot in striking, widescreen images in India's Kashmir region, Bashir's debut tells the story of Rafiq, a young man struggling...
- 8/24/2010
- Screen Anarchy
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