In the debut feature of Mexican filmmaker-siblings Mariana and Santiago Arriaga, revenge is indeed a dish best served cold. Competing at the Venice Film Festival’s Orizzonti sidebar, the coming-of-age road movie “A Cielo Abierto” turns on two teen brothers who are bent on avenging the death of their father in a road accident. They are joined by their new stepsister who, unaware of their intentions at first, later becomes a willing accomplice. As they pause and deliberate on what to do with their prey, what follows helps the brothers come to terms with the deep pain of their loss.
Based on the first original screenplay by their Oscar-nominated father, Guillermo Arriaga, “A Cielo Abierto” (“Upon Open Sky”) takes place in the arid region of Northern Mexico, specifically in the Coahuila desert, where, as children, the siblings would go on many hunting trips with their father. “Much more than the films we’ve seen,...
Based on the first original screenplay by their Oscar-nominated father, Guillermo Arriaga, “A Cielo Abierto” (“Upon Open Sky”) takes place in the arid region of Northern Mexico, specifically in the Coahuila desert, where, as children, the siblings would go on many hunting trips with their father. “Much more than the films we’ve seen,...
- 9/2/2023
- by Anna Marie de la Fuente
- Variety Film + TV
Argentina’s Murillo Cine, whose credits take in Cannes sidebar entries “The Snatch Thief” and “Land of Ashes,” is dipping its toe into TV drama production with “Vertientes del Paraná,” a miniseries project exposing the social tragedy of femicide, from writer-director María Florencia Álvarez.
Álvarez turned heads with her 2013 feature debut, “Habi la Extranjera,” a Walter Sales, Hugo Sigman and Lita Stantic production, selected for Berlin’s Panorama and picked up by HBO.
The “Vertientes del Paraná” project will be pitched for the first time ever at the current edition of Los Cabos International Film Festival’s Gabriel Figueroa Film Fund sidebar.
The seven-episode TV drama is inspired by the novel “Chicas muertas,” written by Selva Almada, co-author of the script alongside Álvarez, Alejandro Millán Pastori and Maximiliano Schonfeld.
Set in Villa del Rosario, a 8,000-inhabitant town located on the Argentine coast, the story starts with a car crash, and a...
Álvarez turned heads with her 2013 feature debut, “Habi la Extranjera,” a Walter Sales, Hugo Sigman and Lita Stantic production, selected for Berlin’s Panorama and picked up by HBO.
The “Vertientes del Paraná” project will be pitched for the first time ever at the current edition of Los Cabos International Film Festival’s Gabriel Figueroa Film Fund sidebar.
The seven-episode TV drama is inspired by the novel “Chicas muertas,” written by Selva Almada, co-author of the script alongside Álvarez, Alejandro Millán Pastori and Maximiliano Schonfeld.
Set in Villa del Rosario, a 8,000-inhabitant town located on the Argentine coast, the story starts with a car crash, and a...
- 11/14/2019
- by Emiliano De Pablos
- Variety Film + TV
Fox International Productions and Twentieth Century Fox have set a theatrical release for Pablo Trapero’s Argentinian Oscar submission and local box office record-breaker.
The Clan (El Clan) will open in limited release on January 29 2016 in New York and Los Angeles. Fox International Productions will market and Twentieth Century Fox will distribute.
The film has grossed more than $16m and recounts the extraordinary true story of middle-class patriarch Arquímedes Puccio who manipulated his family – including his eldest son, a star rugby player for the Pumas national team – to help him carry out a series of kidnaps and murders.
Guillermo Francella and Peter Lanzani star alongside Lili Popovich, Gastón Cocchiarale, Giselle Motta, Franco Masini, Antonia Bengoechea and Stefania Koessl.
Hugo Sigman, Matías Mosteirín, Agustín Almodóvar, Pedro Almodóvar and Esther García produced with Trapero.
Fox International Productions presents a Kramer & Sigman Films, Matanza Cine and El Deseo production in association with Telefónica Studios and Telefé.
The Clan (El Clan) will open in limited release on January 29 2016 in New York and Los Angeles. Fox International Productions will market and Twentieth Century Fox will distribute.
The film has grossed more than $16m and recounts the extraordinary true story of middle-class patriarch Arquímedes Puccio who manipulated his family – including his eldest son, a star rugby player for the Pumas national team – to help him carry out a series of kidnaps and murders.
Guillermo Francella and Peter Lanzani star alongside Lili Popovich, Gastón Cocchiarale, Giselle Motta, Franco Masini, Antonia Bengoechea and Stefania Koessl.
Hugo Sigman, Matías Mosteirín, Agustín Almodóvar, Pedro Almodóvar and Esther García produced with Trapero.
Fox International Productions presents a Kramer & Sigman Films, Matanza Cine and El Deseo production in association with Telefónica Studios and Telefé.
- 10/23/2015
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Damian Szifrón’s Wild Tales swept the 2nd Platino awards, launched to boost Spanish and Latin-American cinema.
Damian Szifrón’s Wild Tales dominated the 2nd Platino awards in Marbella, Spain, on Saturday [18], taking eight awards including best film, director, screenplay and actress.
A Spanish-Argentinian co-production, Wild Tales’ best film prize was picked up by Agustín Almódovar of production outfit El Deseo and Hugo Sigman from Argentina’s K&S films, who both called for stronger collaboration between the Spanish and South American industries.
The film’s main rival on the night, Alberto Rodriguez’s multi-Goya-winner Marshland, took home prizes for best cinematography for Alex Catalán and the audience awards for best picture and best actor (Javier Gutiérrez).
Other winners on the night included Brazilian film The Boy And The World as best animated feature, Wim Wenders and Joao Ribeiro Salgado’s The Salt Of The Earth as best documentary, and director Claudia Pinto’s Venezuelan-Spanish co-production The [link...
Damian Szifrón’s Wild Tales dominated the 2nd Platino awards in Marbella, Spain, on Saturday [18], taking eight awards including best film, director, screenplay and actress.
A Spanish-Argentinian co-production, Wild Tales’ best film prize was picked up by Agustín Almódovar of production outfit El Deseo and Hugo Sigman from Argentina’s K&S films, who both called for stronger collaboration between the Spanish and South American industries.
The film’s main rival on the night, Alberto Rodriguez’s multi-Goya-winner Marshland, took home prizes for best cinematography for Alex Catalán and the audience awards for best picture and best actor (Javier Gutiérrez).
Other winners on the night included Brazilian film The Boy And The World as best animated feature, Wim Wenders and Joao Ribeiro Salgado’s The Salt Of The Earth as best documentary, and director Claudia Pinto’s Venezuelan-Spanish co-production The [link...
- 7/20/2015
- by jsardafr@hotmail.com (Juan Sarda)
- ScreenDaily
Title: Wild Tales (Relatos Salvajes) Director: Damián Szifrón Starring: Ricardo Darín, Óscar Martínez, Leonardo Sbaraglia, Érica Rivas, Rita Cortese, Julieta Zylbergberg, Darío Grandinetti. ‘Wild Tales’ (Relatos Salvajes) is a beautifully cynical Argentine black comedy drama, that has been selected as the Argentine entry for the Best Foreign Language Film at the 87th Academy Awards. The movie can boast the blessing of producers Pedro and Agustín Almldóvar, who teamed up with co-producers Hugo Sigman, Matías Mosteirín, Esther García, Claudio Belocopitt, Gerardo Rozín. The cast (Ricardo Darín, Óscar Martínez, Leonardo Sbaraglia, Érica Rivas, Rita Cortese, Julieta Zylbergberg, Darío Grandinetti), is absolutely brilliant in giving life to the wildest and darkest sides of [ Read More ]
The post Wild Tales (Relatos Salvajes) Movie Review appeared first on Shockya.com.
The post Wild Tales (Relatos Salvajes) Movie Review appeared first on Shockya.com.
- 12/5/2014
- by Chiara Spagnoli Gabardi
- ShockYa
"It's socially committed, it's fun and it's massive"
The Argentine film "Wild Tales" (Relatos Salvajes) was part of this year's Cannes Official Selection. Here is piece on the film's recent press conference in its home country published by Filming in Argentina.
By Benjamín Harguindey
"Wild Tales" (Relatos Salvajes) is easily the most hyped movie of the year: an international big-budget co-production signed by Pedro Almodóvar, scored by Academy Award winner Gustavo Santaolalla, directed by the immensely popular TV showrunner Damián Szifron (in a comeback no less) and featuring a star-studded cast of A-list actors such as Ricardo Darín, Leonardo Sbaraglia, Oscar Martínez , Julieta Zylberberg, Rita Cortese, Erica Rivas and Darío Grandinetti . You haven’t seen a crowd-pleaser this big since "The Secret in Their Eyes."
The film is composed of a series of segments that are thematically related by everyday “slice of life” spiraling out of control and usually into the realm of dark comedy. Following a press screening, the director and his leading cast gathered around for a conference at Hoyts Abasto. They were joined by producers Axel Kuschevatzky and Hugo Sigman.
Actress Érica Rivas and writer/director Damián Szifron.
A lot of the stories in the movie are linked by the motif of social violence. Is that a comment on actuality? There’re those that refer to this social malaise. Did you mean to address it?
Szifron : I must’ve meant something by it, but I think the movie expresses so much more than just the stuff I consciously decided to address. I’m more interested in your view of the movie than mine. Regarding this “malaise”, one evidently becomes a sort of antenna that goes around picking up what’s happening in your surroundings. That happens to anybody dedicated to any form of artistic discipline. You feed on reality, and what you put up on that big screen feeds reality back. For as long as I have memory I’ve experienced this social malaise you talk about. I’ve seen it in many countries. But yes, the movie casts a critical eye on society and the distortion of social behavior.
Left to right: producer Hugo Sigman, actors Ricardo Darín, Oscar Martínez, Julieta Zylberberg, Leonardo Sbaraglia, Érica Rivas, Darío Grandinetti, Rita Cortese, writer/director Damián Szifron and producer Axel Kuschevatzky.
How did you go about putting up this “dream team” for the making of this movie?
Sigman : The actors and actresses were enormously generous in taking part of the project, their collaboration was extraordinary and I’m not just talking about their performances. We saw the finished movie at the Warner Bros. studios in Spain, with Agustín and Pedro Almodóvar. When the screening ended, the Warner CEO said “This doesn’t feel like a Spanish or a Latin American movie”. We always dreamt of doing a movie this big. Our objectives were to do a movie with [social] content, to make it fun and to make it massive. To have such a wonderful writer and director like Damián [Szifron] as well as this group of exceptional professionals is what made it possible.
Left to right: actors Julieta Zylberberg, Darío Grandinetti and Érica Rivas.
The press questions started veering towards the cast and working with Damián Szifron.
Sbaraglia : Damián is a very precise director about what he wants, absolutely precise. He always directs you with the spectator in mind. He says “I’d like the audience to think this here, I’d like the audience to feel this there”. Sure enough, once you see the movie with an audience you realize how every little tweak adds up to that one effect he was going for.
Grandinetti : It was my first time working with him, and I was pleased to find a man that knew full well what he wanted and created a very good workplace atmosphere. When we actors find a director in whom we can trust, there’s nothing we like more than letting him direct us, letting him tell us what to do. That doesn’t happen a lot. You’re thankful when that happens.
Szifron : I could speak just as gratefully about them. They say it was easy for them, but for me it was even easier because they’d come and perform excellently since take one. We bui
Left to right: actors Ricardo Darín and Oscar Martínez.
Then there was some talk about the movie’s successful stint at the Cannes Film Festival earlier this year.
Szifron : We spent hours filling the entry application, trying to figure out what genre it belonged to. It has humor, but I wouldn’t say it’s a comedy. It has drama, but I wouldn’t call it drama either, there’s a lot of laughter. One of our producers suggested the term “catastrophe movie”. I thought that sounded good. It’s about characters that go through a process of unleashing themselves. And people can relate to that pleasure of losing yourself in something.
MartÍNez : People were laughing and stomping all throughout the eve of the premiere, in every single segment. They would applaud gestures, punchlines, endings, jokes, characters’ exit… Almodóvar himself was sitting right next to me that evening and he told me that this kind of reaction was uncommon in that kind of audience, who tend to express themselves more economically. It was a wonderful night. It felt like we were watching the movie back in a theater in Argentina.
"Wild Tales" premieres August 14th in Argentina; September 17th in France, Spain and Poland and October 30th in the Netherlands.
The Argentine film "Wild Tales" (Relatos Salvajes) was part of this year's Cannes Official Selection. Here is piece on the film's recent press conference in its home country published by Filming in Argentina.
By Benjamín Harguindey
"Wild Tales" (Relatos Salvajes) is easily the most hyped movie of the year: an international big-budget co-production signed by Pedro Almodóvar, scored by Academy Award winner Gustavo Santaolalla, directed by the immensely popular TV showrunner Damián Szifron (in a comeback no less) and featuring a star-studded cast of A-list actors such as Ricardo Darín, Leonardo Sbaraglia, Oscar Martínez , Julieta Zylberberg, Rita Cortese, Erica Rivas and Darío Grandinetti . You haven’t seen a crowd-pleaser this big since "The Secret in Their Eyes."
The film is composed of a series of segments that are thematically related by everyday “slice of life” spiraling out of control and usually into the realm of dark comedy. Following a press screening, the director and his leading cast gathered around for a conference at Hoyts Abasto. They were joined by producers Axel Kuschevatzky and Hugo Sigman.
Actress Érica Rivas and writer/director Damián Szifron.
A lot of the stories in the movie are linked by the motif of social violence. Is that a comment on actuality? There’re those that refer to this social malaise. Did you mean to address it?
Szifron : I must’ve meant something by it, but I think the movie expresses so much more than just the stuff I consciously decided to address. I’m more interested in your view of the movie than mine. Regarding this “malaise”, one evidently becomes a sort of antenna that goes around picking up what’s happening in your surroundings. That happens to anybody dedicated to any form of artistic discipline. You feed on reality, and what you put up on that big screen feeds reality back. For as long as I have memory I’ve experienced this social malaise you talk about. I’ve seen it in many countries. But yes, the movie casts a critical eye on society and the distortion of social behavior.
Left to right: producer Hugo Sigman, actors Ricardo Darín, Oscar Martínez, Julieta Zylberberg, Leonardo Sbaraglia, Érica Rivas, Darío Grandinetti, Rita Cortese, writer/director Damián Szifron and producer Axel Kuschevatzky.
How did you go about putting up this “dream team” for the making of this movie?
Sigman : The actors and actresses were enormously generous in taking part of the project, their collaboration was extraordinary and I’m not just talking about their performances. We saw the finished movie at the Warner Bros. studios in Spain, with Agustín and Pedro Almodóvar. When the screening ended, the Warner CEO said “This doesn’t feel like a Spanish or a Latin American movie”. We always dreamt of doing a movie this big. Our objectives were to do a movie with [social] content, to make it fun and to make it massive. To have such a wonderful writer and director like Damián [Szifron] as well as this group of exceptional professionals is what made it possible.
Left to right: actors Julieta Zylberberg, Darío Grandinetti and Érica Rivas.
The press questions started veering towards the cast and working with Damián Szifron.
Sbaraglia : Damián is a very precise director about what he wants, absolutely precise. He always directs you with the spectator in mind. He says “I’d like the audience to think this here, I’d like the audience to feel this there”. Sure enough, once you see the movie with an audience you realize how every little tweak adds up to that one effect he was going for.
Grandinetti : It was my first time working with him, and I was pleased to find a man that knew full well what he wanted and created a very good workplace atmosphere. When we actors find a director in whom we can trust, there’s nothing we like more than letting him direct us, letting him tell us what to do. That doesn’t happen a lot. You’re thankful when that happens.
Szifron : I could speak just as gratefully about them. They say it was easy for them, but for me it was even easier because they’d come and perform excellently since take one. We bui
Left to right: actors Ricardo Darín and Oscar Martínez.
Then there was some talk about the movie’s successful stint at the Cannes Film Festival earlier this year.
Szifron : We spent hours filling the entry application, trying to figure out what genre it belonged to. It has humor, but I wouldn’t say it’s a comedy. It has drama, but I wouldn’t call it drama either, there’s a lot of laughter. One of our producers suggested the term “catastrophe movie”. I thought that sounded good. It’s about characters that go through a process of unleashing themselves. And people can relate to that pleasure of losing yourself in something.
MartÍNez : People were laughing and stomping all throughout the eve of the premiere, in every single segment. They would applaud gestures, punchlines, endings, jokes, characters’ exit… Almodóvar himself was sitting right next to me that evening and he told me that this kind of reaction was uncommon in that kind of audience, who tend to express themselves more economically. It was a wonderful night. It felt like we were watching the movie back in a theater in Argentina.
"Wild Tales" premieres August 14th in Argentina; September 17th in France, Spain and Poland and October 30th in the Netherlands.
- 8/5/2014
- by Sydney Levine
- Sydney's Buzz
Sony Pictures Classics has snapped up buzzed about competition contender Wild Tales for North America, Australia and New Zealand.
The film, sold by Film Factory, receives its premiere in Cannes today.
Wild Tales is coproduced by Pedro and Agustín Almodóvar’s El Deseo in Spain and Hugo Sigman’s Kramer & Sigman in Argentina and directed by Damián Szifron.
The film is made up of six separate stories. It’s billed as “a darkly comic story of tragedy, love, deception, the past, and the violence lurking beneath the surface of the everyday. The characters of Wild Tales are pushed toward the abyss and into the undeniable pleasure of losing control, crossing the thin line that divides civilization from brutality.”
The cast is led by Ricardo Darín (The Secret in Their Eyes), Óscar Martínez (Empty Nest), Leonardo Sbaraglia (Red Lights), Rita Cortese (Brother and Sister), Julieta Zylberberg (A Boyfriend for My Wife), Erica Rivas (Lock Charmer) and Darío Grandinetti ([link...
The film, sold by Film Factory, receives its premiere in Cannes today.
Wild Tales is coproduced by Pedro and Agustín Almodóvar’s El Deseo in Spain and Hugo Sigman’s Kramer & Sigman in Argentina and directed by Damián Szifron.
The film is made up of six separate stories. It’s billed as “a darkly comic story of tragedy, love, deception, the past, and the violence lurking beneath the surface of the everyday. The characters of Wild Tales are pushed toward the abyss and into the undeniable pleasure of losing control, crossing the thin line that divides civilization from brutality.”
The cast is led by Ricardo Darín (The Secret in Their Eyes), Óscar Martínez (Empty Nest), Leonardo Sbaraglia (Red Lights), Rita Cortese (Brother and Sister), Julieta Zylberberg (A Boyfriend for My Wife), Erica Rivas (Lock Charmer) and Darío Grandinetti ([link...
- 5/16/2014
- by geoffrey@macnab.demon.co.uk (Geoffrey Macnab)
- ScreenDaily
Sony Pictures Classics has acquired Argentinean director Damian Szifron's competition film Wild Tales for North America, Australia and New Zealand. The film, co-produced by Pedro and Agustín Almodóvar’s El Deseo in Spain and Hugo Sigman’s Kramer & Sigman in Argentina, is a comedy thriller comprised of six separate stories. Photos: The Scene at Cannes 2014 Szifron, best known for creating Argentine TV series Los Simuladores, is the only South American representative in the lineup. Wild Tales will premiere on Saturday, May 17. The cast is led by Ricardo Darín (The Secret in Their Eyes), Óscar Martínez (Empty Nest), Leonardo
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- 5/16/2014
- by Rebecca Ford
- The Hollywood Reporter - Movie News
More from the Latino scene from our woman in L.A., free lance festival programmer extraordinaire, Christine Davila, from her blog Chicana from Chicago:
Looking at yesterday’s announcement of Film Independent’s Los Angeles Film Festival reveals a healthy Latino presence among the 62 features and 48 short films in the program. Here’s how I break down the Latino/ Ibero/ U.S. Latino component of the program.
Chile continues to give Argentina a run for its cache of exciting and growing cinematic output from South America with the inclusion of Thursday Til Sunday (Isa & Distributor: FiGa) written and directed by Dominga Sotomayor ♀, in Narrative Competition.
Although the traveling Mexican film festival Ambulante is no longer a program spotlight, Mexican films continue to be a mainstay of the festival. There are four feature-length films and three short films from/about Mexico. In Narrative Competition, The Compass is Carried by the Dead Man (Isa: Kafilms, Argentina) written and directed by Arturo Pons [about a young Mexican aiming for Chicago], and in Documentary Competition, Drought by Everado González (recently awarded Best Documentary at FICG27) . Out of competition is the gorgeously shot documentary, Canícula, and although the funding is mainly stateside, Bernardo Ruiz paints a fascinating portrait of the risky journalistic practice and history of the seminal Tijuana weekly, Zeta in Reportero.
Also of note in the program is that four short films list Cuba as a co-production/origin of country.
But what of the U.S. Latino filmmakers and stories? Last year Los Angeles Film Festival was a great launchpad for Mamitas (Distributor: ScreenMedia, Producer rep: Traction Media), an authentic Chicano portrayal of young love set in Echo Parque written and directed by Nicolas Ozeki (a non-Latino), co-starring fast rising hot talents Veronica Diaz-Carranzo (Blaze You Out) and E.J. Bonilla. The film is currently in theaters now. (Big recommend,theater listings here-go support it!)
The closest we have to representing U.S. Latino in the features section is Four, the feature debut of Joshua Sanchez who hails from Houston, Texas. Based on a Christopher Shinn play, the July 4th-eve-set story is a snapshot of two disparate relationships tensely intertwined and their at-odd dynamics of desire. Coincidentally, E.J. Bonilla also stars (this guy is blowing up!). I would also include as U.S. Latino, Searching for Sugar Man, the documentary by Malik Bendjelloul about singer songwriter Sixto Rodriguez’s fascinating rise and fall into obscurity as a Uj.S. Latino story. As a matter of fact, the film seems to suggest that perhaps Sixto’s Mexican-American identity might have been a reason he was not embraced by the 60s and 70s mainstream. [Per Sydney: The film was snatched up at Sundance by Sony Pictures Classics and by Isa Protagonist who is screening it twice in Cannes.]
As for U.S. Latino shorts, Fireworks written and directed by Victor Hugo Duran, which is also incidentally centered around 4th of July, is an L.A. set story about boys trying to rap on girls.
My favorite Miami based hooligans, Jillian Mayer and Lucas Leyva, keep representing with their fresh and experimental short film, Life and Freaky Times of Uncle Luke. They are part of a collective of go-there filmmakers, Borscht Corp who had four crazy shorts screen at SXSW (and they were a riot to bootie shake dance with at SXSW Film’s Closing Night Party). You must carve out an hour and look at their work on the site (Nsfw!)
And lastly, in front of camera there’s some America Ferrera in Todd Berger’s It’s a Disaster (Isa: Maya), and rising boriqua actress April Hernandez Castillo, of hit webseries East Willy B, Dexter and other TV, is in The History of Future Folk [Per Sydney: one of 7 horror films in the festival, another being It's A Disaster per Dread Central, so take note Latino distributors like Lionsgate because horror films are a favorite of a certain Latino demographic!] by J. Anderson Mitchell and Jeremy Kipp Walker, described as a “sweet sci-fi musical comedy”. Below is the rest of the Latino and Ibero-American (includes Spain and Portugal). Descriptions provided by L.A. Film Festival, and bold cap commentary by me.
Narrative Competition:
o All Is Well – Portugal (Director Pocas Pascoal ♀, Producer Luis Correia Cast Cheila Lima, Ciomara Morais) – Strangers in a strange land, two beautiful Angolan sisters fleeing a civil war in their homeland struggle to survive in Lisbon. Pocas Pascoal’s deeply personal saga shows us the face of exile with quietly stunning power. North American Premiere
o The Compass is Carried by the Dead Man – Mexico (Director/Writer Arturo Pons Producer Ozcar Ramírez González Cast Gael Sanchez Valle, Pedro Gamez, Ana Ofelia Murguía, Eligio Melendez, Luis Bayardo, Marco Perez) – A young man and a dead man journey north through a subtly surreal desert landscape, picking up a wagonful of odd characters as they go in this darkly humorous satire of contemporary Mexico. North American Premiere
o Four – (Director/Writer Joshua Sanchez Producer Christine Giorgio Cast Wendell Pierce, Emory Cohen, Aja Naomi King, E.J. Bonilla) – Over the course of a steamy 4th of July night, a father and daughter, each trapped in loneliness, reach out for sexual connection — he with a self-hating teenage boy, she with a smooth-talking wannabe homeboy — in this psychologically complex, beautifully acted drama. World Premiere
o Thursday till Sunday – Chile (Director/Writer Dominga Sotomayor ♀ Producers Gregorio González, Benjamin Domenech Cast Santi Ahumada, Emiliano Freifeld, Francisco Pérez-Bannen, Paola Giannini) – With uncommon beauty and style, this Chilean road movie finds a family at a crossroads, as the daughter slowly realizes the divide between the adults in the front seat and the kids in back. North American Premiere
Documentary Competition:
o Drought – Mexico (Director Everado González Producer Martha Orozco) – Contrasting the lives of a cattle-ranching community with the arid northeastern Mexican landscape that surrounds them, this cinema vertité documentary paints a poetic portrait of a community on the verge of extinction. Us Premiere
o Sun Kissed – (Directors Maya Stark ♀, Adi Lavy ♀ Producers Jocelyn Glatzer, Maya Stark, Adi Lavy) – With remarkable strength of spirit, a husband and wife examine their lives and why their children and others have been struck with a rare genetic disorder in this powerful portrait of a small Navajo community. World Premiere ~ Okay Not Latino But It'S Native American So I’M Giving It A Shout Since There Are Not Enough Native American Stories.
International Showcase:
o Canícula – Mexico (Director José Álvarez Writers Sebastián Hoffman, José Álvarez Producer Mauricio Fabre Cast Hermelinda Santes, Esteban González, Mario García) – This is a hauntingly beautiful portrait of the rituals and crafts of contemporary Indians in remote Veracruz, who teach their boys to fly. ~ See My Interview With Jose Here.
o The Last Elvis – Argentina (Director Armando Bo Writers Armando Bo, Nicolás Giacobone Producers Steve Golin, Hugo Sigman, Patricio Alvarez Casado, Victor Bo, Armando Bo Cast John McInerny, Griselda Siciliani, Margarita Lopez) – John McInerny gives a staggering performance in this poignant tale of a Buenos Aires Elvis impersonator who only comes alive when he dons the King’s clothes to perform. How can he reconcile his dreams of glory with his dead end factory job and an estranged wife and daughter who can’t live inside his fantasies?
o Neighboring Sounds – Brazil (Director/Writer Kleber Mendonça Filho Producer Emilie Lesclaux Cast Irandhir Santos, Gustavo Jahn, Maeve Jinkings, W.J. Solha) – Kleber Mendonca Filho’s astonishing, suspenseful debut film focuses on one upscale street in the seaside town of Recife, where a private security team is enlisted to protect the residents from crime. By its startling conclusion, you feel you’ve seen all of Brazilian society exposed.
o The Strawberry Tree – Canada/Cuba/Italy (Director/Producer Simone Rapisarda Casanova) – Filmed in a small Cuban fishing village mere weeks before a hurricane decimated the entire region, this stunning documentary unknowingly captures the town’s final days even as it reframes the usual filmmaker-film subject relationship.
Summer Showcase:
o La Camioneta: The Journey of One American School Bus – USA/Guatemala (Director Mark Kendall Producers Mark Kendall, Rafael González, Bernardo Ruiz) – The journey and transformation of a yellow American school bus into a vibrant Central American camionetasensitively reveals both the beauty and violence of everyday life in Guatemala.
o Reportero – (Director Bernardo Ruiz Producers Bernardo Ruiz, Patricia Benabe, Anne Hubbell Featuring Sergio Haro Cordero, Adela Navarro Bello) – A look at the incredible danger facing journalists in Mexico through the eyes of investigative reporter Sergio Haro and other staff at Zeta, the defiant Tijuana-based newsweekly.~ See My Interview With Bernardo Here
o Searching for Sugar Man – (Director/Writer Malik Bendjelloul Producers Simon Chinn, Nicole Stott, George Chignell) – Years after fading into obscurity at home, the music of ’70s U.S. singer/songwriter Rodriguez became an underground sensation in South Africa. Decades after his disappearance, two fans uncover the startling truth behind the legend.
Beyond:
o Juan of the Dead – Cuba (Director/Writer Alejandro Brugués Producers Gervasio Iglesias, Inti Herrera Cast Alexis Días de Villegas, Jorge Molina, Andrea Duro, Andros Perugorría, Jazz Vila, Eliecer Ramírez) – The streets of Havana are alive with the undead in Cuba’s first zombie comedy, a wild and bloody romp that sinks its sharp satirical teeth into the Cuban body politic. Castro may not be amused, but you will be.
Short Film Competition:
Against the Sea (Contra el mar) – Mexico, USA (Director) Richard Parkin
Black Doll (Prita Noire) – Mexico (Director) Sofia Carrillo
Kendo Monogatari – Cuba, Guatemala (Director) Fabián Suárez
Scanning (Ecografía) – Cuba (Director) Aleksandra Maciuszek Mukoid
Life and Freaky Times of Uncle Luke – (Directors) Jillian Mayer, Lucas Leyva ~Crazy Talented! Miami Represent!
Fireworks – (Director) Victor Hugo Duran -
Kendo Monogatari – Cuba, Guatemala (Director) Fabián Suárez
Paraíso – (Director) Nadav Kurtz ~Doc Subject Is About 3 Mexicans
Scanning (Ecografía) – Cuba (Director) Aleksandra Maciuszek Mukoid
Voice Over – Spain (Director) Martín Rosete
For full lineup and more info go to L.A. Film Festival...
Looking at yesterday’s announcement of Film Independent’s Los Angeles Film Festival reveals a healthy Latino presence among the 62 features and 48 short films in the program. Here’s how I break down the Latino/ Ibero/ U.S. Latino component of the program.
Chile continues to give Argentina a run for its cache of exciting and growing cinematic output from South America with the inclusion of Thursday Til Sunday (Isa & Distributor: FiGa) written and directed by Dominga Sotomayor ♀, in Narrative Competition.
Although the traveling Mexican film festival Ambulante is no longer a program spotlight, Mexican films continue to be a mainstay of the festival. There are four feature-length films and three short films from/about Mexico. In Narrative Competition, The Compass is Carried by the Dead Man (Isa: Kafilms, Argentina) written and directed by Arturo Pons [about a young Mexican aiming for Chicago], and in Documentary Competition, Drought by Everado González (recently awarded Best Documentary at FICG27) . Out of competition is the gorgeously shot documentary, Canícula, and although the funding is mainly stateside, Bernardo Ruiz paints a fascinating portrait of the risky journalistic practice and history of the seminal Tijuana weekly, Zeta in Reportero.
Also of note in the program is that four short films list Cuba as a co-production/origin of country.
But what of the U.S. Latino filmmakers and stories? Last year Los Angeles Film Festival was a great launchpad for Mamitas (Distributor: ScreenMedia, Producer rep: Traction Media), an authentic Chicano portrayal of young love set in Echo Parque written and directed by Nicolas Ozeki (a non-Latino), co-starring fast rising hot talents Veronica Diaz-Carranzo (Blaze You Out) and E.J. Bonilla. The film is currently in theaters now. (Big recommend,theater listings here-go support it!)
The closest we have to representing U.S. Latino in the features section is Four, the feature debut of Joshua Sanchez who hails from Houston, Texas. Based on a Christopher Shinn play, the July 4th-eve-set story is a snapshot of two disparate relationships tensely intertwined and their at-odd dynamics of desire. Coincidentally, E.J. Bonilla also stars (this guy is blowing up!). I would also include as U.S. Latino, Searching for Sugar Man, the documentary by Malik Bendjelloul about singer songwriter Sixto Rodriguez’s fascinating rise and fall into obscurity as a Uj.S. Latino story. As a matter of fact, the film seems to suggest that perhaps Sixto’s Mexican-American identity might have been a reason he was not embraced by the 60s and 70s mainstream. [Per Sydney: The film was snatched up at Sundance by Sony Pictures Classics and by Isa Protagonist who is screening it twice in Cannes.]
As for U.S. Latino shorts, Fireworks written and directed by Victor Hugo Duran, which is also incidentally centered around 4th of July, is an L.A. set story about boys trying to rap on girls.
My favorite Miami based hooligans, Jillian Mayer and Lucas Leyva, keep representing with their fresh and experimental short film, Life and Freaky Times of Uncle Luke. They are part of a collective of go-there filmmakers, Borscht Corp who had four crazy shorts screen at SXSW (and they were a riot to bootie shake dance with at SXSW Film’s Closing Night Party). You must carve out an hour and look at their work on the site (Nsfw!)
And lastly, in front of camera there’s some America Ferrera in Todd Berger’s It’s a Disaster (Isa: Maya), and rising boriqua actress April Hernandez Castillo, of hit webseries East Willy B, Dexter and other TV, is in The History of Future Folk [Per Sydney: one of 7 horror films in the festival, another being It's A Disaster per Dread Central, so take note Latino distributors like Lionsgate because horror films are a favorite of a certain Latino demographic!] by J. Anderson Mitchell and Jeremy Kipp Walker, described as a “sweet sci-fi musical comedy”. Below is the rest of the Latino and Ibero-American (includes Spain and Portugal). Descriptions provided by L.A. Film Festival, and bold cap commentary by me.
Narrative Competition:
o All Is Well – Portugal (Director Pocas Pascoal ♀, Producer Luis Correia Cast Cheila Lima, Ciomara Morais) – Strangers in a strange land, two beautiful Angolan sisters fleeing a civil war in their homeland struggle to survive in Lisbon. Pocas Pascoal’s deeply personal saga shows us the face of exile with quietly stunning power. North American Premiere
o The Compass is Carried by the Dead Man – Mexico (Director/Writer Arturo Pons Producer Ozcar Ramírez González Cast Gael Sanchez Valle, Pedro Gamez, Ana Ofelia Murguía, Eligio Melendez, Luis Bayardo, Marco Perez) – A young man and a dead man journey north through a subtly surreal desert landscape, picking up a wagonful of odd characters as they go in this darkly humorous satire of contemporary Mexico. North American Premiere
o Four – (Director/Writer Joshua Sanchez Producer Christine Giorgio Cast Wendell Pierce, Emory Cohen, Aja Naomi King, E.J. Bonilla) – Over the course of a steamy 4th of July night, a father and daughter, each trapped in loneliness, reach out for sexual connection — he with a self-hating teenage boy, she with a smooth-talking wannabe homeboy — in this psychologically complex, beautifully acted drama. World Premiere
o Thursday till Sunday – Chile (Director/Writer Dominga Sotomayor ♀ Producers Gregorio González, Benjamin Domenech Cast Santi Ahumada, Emiliano Freifeld, Francisco Pérez-Bannen, Paola Giannini) – With uncommon beauty and style, this Chilean road movie finds a family at a crossroads, as the daughter slowly realizes the divide between the adults in the front seat and the kids in back. North American Premiere
Documentary Competition:
o Drought – Mexico (Director Everado González Producer Martha Orozco) – Contrasting the lives of a cattle-ranching community with the arid northeastern Mexican landscape that surrounds them, this cinema vertité documentary paints a poetic portrait of a community on the verge of extinction. Us Premiere
o Sun Kissed – (Directors Maya Stark ♀, Adi Lavy ♀ Producers Jocelyn Glatzer, Maya Stark, Adi Lavy) – With remarkable strength of spirit, a husband and wife examine their lives and why their children and others have been struck with a rare genetic disorder in this powerful portrait of a small Navajo community. World Premiere ~ Okay Not Latino But It'S Native American So I’M Giving It A Shout Since There Are Not Enough Native American Stories.
International Showcase:
o Canícula – Mexico (Director José Álvarez Writers Sebastián Hoffman, José Álvarez Producer Mauricio Fabre Cast Hermelinda Santes, Esteban González, Mario García) – This is a hauntingly beautiful portrait of the rituals and crafts of contemporary Indians in remote Veracruz, who teach their boys to fly. ~ See My Interview With Jose Here.
o The Last Elvis – Argentina (Director Armando Bo Writers Armando Bo, Nicolás Giacobone Producers Steve Golin, Hugo Sigman, Patricio Alvarez Casado, Victor Bo, Armando Bo Cast John McInerny, Griselda Siciliani, Margarita Lopez) – John McInerny gives a staggering performance in this poignant tale of a Buenos Aires Elvis impersonator who only comes alive when he dons the King’s clothes to perform. How can he reconcile his dreams of glory with his dead end factory job and an estranged wife and daughter who can’t live inside his fantasies?
o Neighboring Sounds – Brazil (Director/Writer Kleber Mendonça Filho Producer Emilie Lesclaux Cast Irandhir Santos, Gustavo Jahn, Maeve Jinkings, W.J. Solha) – Kleber Mendonca Filho’s astonishing, suspenseful debut film focuses on one upscale street in the seaside town of Recife, where a private security team is enlisted to protect the residents from crime. By its startling conclusion, you feel you’ve seen all of Brazilian society exposed.
o The Strawberry Tree – Canada/Cuba/Italy (Director/Producer Simone Rapisarda Casanova) – Filmed in a small Cuban fishing village mere weeks before a hurricane decimated the entire region, this stunning documentary unknowingly captures the town’s final days even as it reframes the usual filmmaker-film subject relationship.
Summer Showcase:
o La Camioneta: The Journey of One American School Bus – USA/Guatemala (Director Mark Kendall Producers Mark Kendall, Rafael González, Bernardo Ruiz) – The journey and transformation of a yellow American school bus into a vibrant Central American camionetasensitively reveals both the beauty and violence of everyday life in Guatemala.
o Reportero – (Director Bernardo Ruiz Producers Bernardo Ruiz, Patricia Benabe, Anne Hubbell Featuring Sergio Haro Cordero, Adela Navarro Bello) – A look at the incredible danger facing journalists in Mexico through the eyes of investigative reporter Sergio Haro and other staff at Zeta, the defiant Tijuana-based newsweekly.~ See My Interview With Bernardo Here
o Searching for Sugar Man – (Director/Writer Malik Bendjelloul Producers Simon Chinn, Nicole Stott, George Chignell) – Years after fading into obscurity at home, the music of ’70s U.S. singer/songwriter Rodriguez became an underground sensation in South Africa. Decades after his disappearance, two fans uncover the startling truth behind the legend.
Beyond:
o Juan of the Dead – Cuba (Director/Writer Alejandro Brugués Producers Gervasio Iglesias, Inti Herrera Cast Alexis Días de Villegas, Jorge Molina, Andrea Duro, Andros Perugorría, Jazz Vila, Eliecer Ramírez) – The streets of Havana are alive with the undead in Cuba’s first zombie comedy, a wild and bloody romp that sinks its sharp satirical teeth into the Cuban body politic. Castro may not be amused, but you will be.
Short Film Competition:
Against the Sea (Contra el mar) – Mexico, USA (Director) Richard Parkin
Black Doll (Prita Noire) – Mexico (Director) Sofia Carrillo
Kendo Monogatari – Cuba, Guatemala (Director) Fabián Suárez
Scanning (Ecografía) – Cuba (Director) Aleksandra Maciuszek Mukoid
Life and Freaky Times of Uncle Luke – (Directors) Jillian Mayer, Lucas Leyva ~Crazy Talented! Miami Represent!
Fireworks – (Director) Victor Hugo Duran -
Kendo Monogatari – Cuba, Guatemala (Director) Fabián Suárez
Paraíso – (Director) Nadav Kurtz ~Doc Subject Is About 3 Mexicans
Scanning (Ecografía) – Cuba (Director) Aleksandra Maciuszek Mukoid
Voice Over – Spain (Director) Martín Rosete
For full lineup and more info go to L.A. Film Festival...
- 5/2/2012
- by Christine Davila
- Sydney's Buzz
The trailer, images and poster for The Last Elvis (El Ultimo Elvis) at Sundance 2012. John McInerny, Griselda Siciliani, and Margarita Lopez star in the film helmed Armando Bo, who also scripts alongside Nicolás Giacobone. In the unique world of the Buenos Aires celebrity-impersonator scene, Carlos “Elvis” Gutierrez is a divorced singer with a young daughter named Lisa Marie, who he rarely sees. Carlos has always lived his life as if he was the reincarnation of Elvis Presley – in denial of reality. As his forty-second birthday approaches, the very age Elvis was when he died, his future appears empty. However, an unexpected tragedy interrupts Carlos’ plans and forces him to grapple with his real-world responsibilities and a difficult decision. The Last Elvis is prioduced by Armando Bo, Steve Golin, Patricio Alvarez Casado, Hugo Sigman and Victor Bo, and can be seen at this year's Sundance Film Festival...
- 1/22/2012
- Upcoming-Movies.com
The trailer, images and poster for The Last Elvis (El Ultimo Elvis) at Sundance 2012. John McInerny, Griselda Siciliani, and Margarita Lopez star in the film helmed Armando Bo, who also scripts alongside Nicolás Giacobone. In the unique world of the Buenos Aires celebrity-impersonator scene, Carlos “Elvis” Gutierrez is a divorced singer with a young daughter named Lisa Marie, who he rarely sees. Carlos has always lived his life as if he was the reincarnation of Elvis Presley – in denial of reality. As his forty-second birthday approaches, the very age Elvis was when he died, his future appears empty. However, an unexpected tragedy interrupts Carlos’ plans and forces him to grapple with his real-world responsibilities and a difficult decision. The Last Elvis is prioduced by Armando Bo, Steve Golin, Patricio Alvarez Casado, Hugo Sigman and Victor Bo, and can be seen at this year's Sundance Film Festival...
- 1/22/2012
- Upcoming-Movies.com
The trailer, images and poster for The Last Elvis (El Ultimo Elvis) at Sundance 2012. John McInerny, Griselda Siciliani, and Margarita Lopez star in the film helmed Armando Bo, who also scripts alongside Nicolás Giacobone. In the unique world of the Buenos Aires celebrity-impersonator scene, Carlos “Elvis” Gutierrez is a divorced singer with a young daughter named Lisa Marie, who he rarely sees. Carlos has always lived his life as if he was the reincarnation of Elvis Presley – in denial of reality. As his forty-second birthday approaches, the very age Elvis was when he died, his future appears empty. However, an unexpected tragedy interrupts Carlos’ plans and forces him to grapple with his real-world responsibilities and a difficult decision. The Last Elvis is prioduced by Armando Bo, Steve Golin, Patricio Alvarez Casado, Hugo Sigman and Victor Bo, and can be seen at this year's Sundance Film Festival...
- 1/22/2012
- Upcoming-Movies.com
This February we are keeping tabs on So Yong Kim, Tom McCarthy and Dito Montiel who are all filming their third films which happen to all be set in the state of New York. Outside of the U.S, I'm with Cancer sets up shop in Vancouver, Declan Donnellan and Nick Ormerod will lense the adaptation of Guy De Maupassant's classic novel's Bel Ami which will film in Budapest, and finally Ana Katz will film Los Marziano in her native Argentina. - At the beginning of every month, Ioncinema.com's "Tracking Shot" features a half of a dozen or so projects that are moments away from lensing and that we feel are worth signaling out. This February we are keeping tabs on So Yong Kim, Tom McCarthy and Dito Montiel who are all filming their third films which happen to all be set in the state of New York.
- 2/3/2010
- IONCINEMA.com
Toronto International Film Festival
TORONTO -- Poor Gael Garcia Bernal. Being a real-world sex object is burden enough, without having to deal with the string of fictional obsessive lovers in The Past, a film that finds it hard to imagine a fully sane female. Sex appeal and the name of director Hector Babenco may draw some to the art house, but with mixed critical response the crowd will likely be modest.
Adapting a novel by Argentinean writer Alan Pauls, the script sees through the eyes of a man whose flow from relationship to relationship is more seamless than decorum would dictate. At the story's beginning, Rimini is leaving Sofia, his wife of 12 years. The break (his idea, evidently) is amicable, with Sofia even finding him a great new apartment. As they finish establishing separate residences, all Sofia asks (beyond a continuing friendship) is that Rimini come over to sort through the couple's old snapshots to decide which memories he wants to keep.
A different kind of photograph immediately intrudes: A fashion shoot on the street, in which model Vera poses in lingerie, catches his eye, and soon they're meeting at a disco. Despite Vera's bizarre, first-date outburst of jealousy, and her proprietary attitude in dates to come -- not very convincingly drawn by either the script or actress Moro Anghileri -- he soon makes her his second wife.
Then there's Carmen, an old schoolmate who becomes Rimini's colleague as he segues from authoring Spanish subtitles for old movies to providing in-person translation for academic and business conferences. He develops a crush on her, and after a bit of presto-changeo melodrama, she's bride No. 3.
During all of this, first wife Sofia hangs frighteningly on the periphery, threatening to become Glenn Close. As it turns out, she has launched a sad little club, inspired by Truffaut's film The Story of Adele H., for women clinging to the hope of reuniting with men who have spurned them. When not urging lonely women to pursue their delusions, she's having psychotic episodes that conveniently derail Rimini's relationships.
Babenco could have helped viewers digest all this by providing some filmic cues to the passage of time. Bernal's hairstyle changes slightly a time or two, but if the screenplay didn't have the occasional line like "I'm his wife," we'd think most of this story happened over the course of a few weeks, not years.
Beyond that lies the hard to accept romantic dynamic of the film. Rimini is a cipher, showing so little self-direction in his love life that it's difficult to hold him accountable for callousness. He's passive in ways that make no sense, and takes action -- as when he throws a violent tantrum at the end of a casual fling -- when the least is at stake. The film's final act is unbelievable, even if we ascribe hidden motivations to uncharacteristic behavior.
It may be that the script, which keeps bringing up those boxes of old pictures, just wants to convince us that our histories have a stronger hold on us than we think. Here, that pull looks less like irresistible gravity and more like an unpaid library fine -- albeit one enforced by an awfully motivated librarian.
THE PAST
No Distributor
K&S Films / HB Filmes
Credits:
Director: Hector Babenco
Writers: Marta Goes, Hector Babenco
Based on the novel by Alan Pauls
Producers: Oscar Kramer, Hugo Sigman, Hector Babenco
Executive producers: Paula Zyngierman, Pola Zito, Andrea Ramalho
Director of photography: Ricardo Della Rosa
Production designer: Sebastian Orgambide
Music: Ivan Wyszogrod
Co-producer: Petrobas
Costume designer: Julio Suarez
Editor: Gustavo Giani
Cast:
Rimini: Gael Garcia Bernal
Sofia: Analia Couceyro
Vera: Moro Anghileri
Carmen: Ana Celentano
Nancy: Mimi Ardu
Running time -- 112 minutes
No MPAA rating...
TORONTO -- Poor Gael Garcia Bernal. Being a real-world sex object is burden enough, without having to deal with the string of fictional obsessive lovers in The Past, a film that finds it hard to imagine a fully sane female. Sex appeal and the name of director Hector Babenco may draw some to the art house, but with mixed critical response the crowd will likely be modest.
Adapting a novel by Argentinean writer Alan Pauls, the script sees through the eyes of a man whose flow from relationship to relationship is more seamless than decorum would dictate. At the story's beginning, Rimini is leaving Sofia, his wife of 12 years. The break (his idea, evidently) is amicable, with Sofia even finding him a great new apartment. As they finish establishing separate residences, all Sofia asks (beyond a continuing friendship) is that Rimini come over to sort through the couple's old snapshots to decide which memories he wants to keep.
A different kind of photograph immediately intrudes: A fashion shoot on the street, in which model Vera poses in lingerie, catches his eye, and soon they're meeting at a disco. Despite Vera's bizarre, first-date outburst of jealousy, and her proprietary attitude in dates to come -- not very convincingly drawn by either the script or actress Moro Anghileri -- he soon makes her his second wife.
Then there's Carmen, an old schoolmate who becomes Rimini's colleague as he segues from authoring Spanish subtitles for old movies to providing in-person translation for academic and business conferences. He develops a crush on her, and after a bit of presto-changeo melodrama, she's bride No. 3.
During all of this, first wife Sofia hangs frighteningly on the periphery, threatening to become Glenn Close. As it turns out, she has launched a sad little club, inspired by Truffaut's film The Story of Adele H., for women clinging to the hope of reuniting with men who have spurned them. When not urging lonely women to pursue their delusions, she's having psychotic episodes that conveniently derail Rimini's relationships.
Babenco could have helped viewers digest all this by providing some filmic cues to the passage of time. Bernal's hairstyle changes slightly a time or two, but if the screenplay didn't have the occasional line like "I'm his wife," we'd think most of this story happened over the course of a few weeks, not years.
Beyond that lies the hard to accept romantic dynamic of the film. Rimini is a cipher, showing so little self-direction in his love life that it's difficult to hold him accountable for callousness. He's passive in ways that make no sense, and takes action -- as when he throws a violent tantrum at the end of a casual fling -- when the least is at stake. The film's final act is unbelievable, even if we ascribe hidden motivations to uncharacteristic behavior.
It may be that the script, which keeps bringing up those boxes of old pictures, just wants to convince us that our histories have a stronger hold on us than we think. Here, that pull looks less like irresistible gravity and more like an unpaid library fine -- albeit one enforced by an awfully motivated librarian.
THE PAST
No Distributor
K&S Films / HB Filmes
Credits:
Director: Hector Babenco
Writers: Marta Goes, Hector Babenco
Based on the novel by Alan Pauls
Producers: Oscar Kramer, Hugo Sigman, Hector Babenco
Executive producers: Paula Zyngierman, Pola Zito, Andrea Ramalho
Director of photography: Ricardo Della Rosa
Production designer: Sebastian Orgambide
Music: Ivan Wyszogrod
Co-producer: Petrobas
Costume designer: Julio Suarez
Editor: Gustavo Giani
Cast:
Rimini: Gael Garcia Bernal
Sofia: Analia Couceyro
Vera: Moro Anghileri
Carmen: Ana Celentano
Nancy: Mimi Ardu
Running time -- 112 minutes
No MPAA rating...
- 9/13/2007
- The Hollywood Reporter - Movie News
- Today's double pairings have very little in common - we have an Argentinean film that has had a delayed released, we have the only film sequel worth mentioning this year, we have a Clooney film from a newbie director and have a quirky comedy from a regular favorite filmmaker of ours. 16. Crónica de una fuga Release date: November 28th Limited Release Screenwriters: Israel Adrián Caetano, Esteban Student and Julian Loyola Director: Israel Adrián Caetano Distributor: IFC Films Fests: Preemed in Argentina before making it to Cannes and then Toronto in 2006. Producers: Oscar Kramer (Carandiru) and Hugo Sigman Ioncinema Preview: View Here Movie Trailer: Click Here The Gist: Buenos Aires, 1977. A "task group" working for the fascist Argentine military govermment kidnaps Claudio Tamburrini, goalkeeper of a B-league soccer team, and takes him to a clandestine detention center known as Sere Mansion: a forbidding old mansion in the suburban neighbourhood of Moron.
- 8/28/2007
- IONCINEMA.com
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