New to Streaming: ‘Dawson City: Frozen Time,’ ‘Marjorie Prime,’ ‘Lady Macbeth,’ ‘Landline,’ and More
With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit platforms. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon, and more (note: U.S. only). Check out our rundown for this week’s selections below.
Abundant Acreage Available (Angus MacLachlan)
Faith-based cinema is as diverse a genre as there is, from the extreme, often violent portraits of devotion from established directors like Martin Scorsese and Mel Gibson, to the attacks on logic in the God’s Not Dead and Left Behind pictures. Angus MacLachlan, a great storyteller of the not-too-deep south, offers a nuanced example of what this genre can bring, returning with the moving Abundant Acreage Available.
Abundant Acreage Available (Angus MacLachlan)
Faith-based cinema is as diverse a genre as there is, from the extreme, often violent portraits of devotion from established directors like Martin Scorsese and Mel Gibson, to the attacks on logic in the God’s Not Dead and Left Behind pictures. Angus MacLachlan, a great storyteller of the not-too-deep south, offers a nuanced example of what this genre can bring, returning with the moving Abundant Acreage Available.
- 10/6/2017
- by Jordan Raup
- The Film Stage
There are filmmakers who draw the same motifs and plot points through every movie, like an artist who works with one brush and one set of watercolors, so that with every new picture, the colors become more intermixed. The prolific South Korean writer-director Hong Sang-soo (Right Now, Wrong Then, The Day He Arrives) is the most notorious example of this today, as half or more of his movies are about the romantic travails of backpack-wearing alter egos (often arthouse filmmakers) who are only in town briefly and could really use a drink and some company. A less extreme case is Matías Piñeiro, the Argentine writer-director of The Princess Of France, Viola, and Rosalinda, small films that revolve around Shakespeare plays being adapted or rehearsed by troupes of young artists. Although it’s largely set in New York City instead of Piñeiro’s usual Buenos Aires and leans less on the...
- 5/25/2017
- by Ignatiy Vishnevetsky
- avclub.com
Tucking away in the “lounge” of the crowded downtown multiplex last year that hosted the Toronto Film Festival, this writer managed to wrangle a wide-ranging interview with directors Matías Piñeiro and Dan Sallitt regarding the former’s new film, Hermia & Helena. This is the first work by the acclaimed filmmaker to take place outside his home nation of Argentina, something that pays off in the film to ends both bittersweet and totally strange. Coming off as less an interview and more a moderated discussion between the two directors (the latter’s involvement in the film being a surprisingly effective acting turn), this was a great opportunity to bask in the kindness and knowledge of two kindred spirits.
As the film opens at Film Society of Lincoln Center and Metrograph, read the conversation below.
The Film Stage: What was the image you had gotten of New York, at least before living there?...
As the film opens at Film Society of Lincoln Center and Metrograph, read the conversation below.
The Film Stage: What was the image you had gotten of New York, at least before living there?...
- 5/25/2017
- by Ethan Vestby
- The Film Stage
A few years ago we explored the filmography of one of our most under-appreciated directors, Matías Piñeiro, and now he’s back for what looks to be his most substantial release yet. Hermia & Helena, which I named the number one film to see this month, follows a young Argentine theater director who arrives to New York to work on a new Shakespeare production. Ahead of a release next week, Kino Lorber has now released the first trailer.
We said in our review, “For beginning with a dedication to Setsuko Hara, recently departed muse of Ozu and Naruse, Hermia & Helena — the new film by Viola and The Princess of France director Matías Piñeiro — perhaps aligns us to be especially attuned to the Argentinian auteur’s use of female collaborators. One to already emphasize the charisma and big-screen friendly faces of frequent stars Agustina Munoz and Maria Villar, he still seems to...
We said in our review, “For beginning with a dedication to Setsuko Hara, recently departed muse of Ozu and Naruse, Hermia & Helena — the new film by Viola and The Princess of France director Matías Piñeiro — perhaps aligns us to be especially attuned to the Argentinian auteur’s use of female collaborators. One to already emphasize the charisma and big-screen friendly faces of frequent stars Agustina Munoz and Maria Villar, he still seems to...
- 5/17/2017
- by Jordan Raup
- The Film Stage
The summer movie season is upon us, which means a seemingly endless pile-up of superheroes, reboots, and sequels will crowd the multiplexes. While a select few show some promise, we’ve set out to highlight a vast range of titles — 40 in total — that will arrive over the next four months, many of which we’ve already given our stamp of approval.
There’s bound to be more late-summer announcements in the coming months, and a number of titles will arrive on VOD day-and-date, so follow us on Twitter for the latest updates. In the meantime, see our top 40 picks for what to watch this summer below, in chronological order, and let us know what you’re looking forward to most in the comments.
Berlin Syndrome (Cate Shortland; May 5)
While the recent 10 Cloverfield Lane and Room told stories of captivity with various hooks — science-fiction and the process of healing, respectively — Cate Shortland...
There’s bound to be more late-summer announcements in the coming months, and a number of titles will arrive on VOD day-and-date, so follow us on Twitter for the latest updates. In the meantime, see our top 40 picks for what to watch this summer below, in chronological order, and let us know what you’re looking forward to most in the comments.
Berlin Syndrome (Cate Shortland; May 5)
While the recent 10 Cloverfield Lane and Room told stories of captivity with various hooks — science-fiction and the process of healing, respectively — Cate Shortland...
- 4/18/2017
- by The Film Stage
- The Film Stage
All the Cities of the NorthSundance has the clout, Cannes the razzle-dazzle. Toronto’s epic film selection is world class. But ask any serious cinephile which of the world’s grand festival institutions deserves your undivided attention, their answer more often than not would be Locarno. Since its inception in 1946, the annual Swiss film festival is a haven for innovative new works by veteran and freshman auteurs alike. The Golden Leopard, Locarno’s equivalent of the Palme D’or, has gone to a diverse group of winners that includes both Otto Preminger’s Carmen Jones and Hong Sang-soo’s Right Now, Wrong Then. Sensing an egregious lack of this progressive programing spirit in their Southern California megalopolis, film critics Jordan Cronk and Robert Koehler have masterminded a curatorial anecdote: Locarno in Los Angeles. Running April 21 through April 23, the event will showcase 10 features and a number of shorts that screened at...
- 4/17/2017
- MUBI
Bill Curran reporting from the New York Film Festival. Hot takes on two titles...
Hermia and Helena
Matías Piñeiro’s newest Bard-based roundelay belongs to that venerable arthouse tradition, the stranger-here-in-this-town movie. Far from attempting a fully foreign pose, the Argentina-bred but Brooklyn-living Piñeiro is driven by the same impulse found in Hou Hsiao-hsien’s Flight of the Red Balloon and Wim Wender’s 70’s USA road trilogy: flaunt the outsider perspective. When Carmen (Maria Villar) hustles back to Buenos Aires with an unfinished manuscript, Camila (Agustina Muñoz) all but assumes her friend’s spot—not to mention a few dangling relationships—in a literary translation fellowship in New York City. Camila’s choice of text: A Midsummer Night’s Dream, naturally, giving Hermia and Helena license to oscillate between North and South America as if they were different worlds, and to riff on the impermanency of love and self.
Hermia and Helena
Matías Piñeiro’s newest Bard-based roundelay belongs to that venerable arthouse tradition, the stranger-here-in-this-town movie. Far from attempting a fully foreign pose, the Argentina-bred but Brooklyn-living Piñeiro is driven by the same impulse found in Hou Hsiao-hsien’s Flight of the Red Balloon and Wim Wender’s 70’s USA road trilogy: flaunt the outsider perspective. When Carmen (Maria Villar) hustles back to Buenos Aires with an unfinished manuscript, Camila (Agustina Muñoz) all but assumes her friend’s spot—not to mention a few dangling relationships—in a literary translation fellowship in New York City. Camila’s choice of text: A Midsummer Night’s Dream, naturally, giving Hermia and Helena license to oscillate between North and South America as if they were different worlds, and to riff on the impermanency of love and self.
- 9/29/2016
- by Bill Curran
- FilmExperience
While Venice, Cannes, Berlin, Sundance, and Toronto premiere some of the year’s best films, no annual cinematic event boasts finer curation than the New York Film Festival, which kicks off this weekend. Those attending will witness, over two weeks, some of the best features that this year — and next — have to offer.
When it comes to a preview of what to see, a simple copy-and-pasting of the line-up would suffice, but we’ve done our best to narrow it down to 25 selections that are the most worth your time. This doesn’t even include shorts from Bertrand Bonello, Jia Zhangke, and more, as well as comprehensive Retrospective and Revivals sections that include restored films from Robert Bresson, Jean-Pierre Melville, Edward Yang, Marlon Brando, and more — but it should serve as a basic primer for what to seek out.
Check out our favorites below, and look for our complete coverage over the next few weeks.
When it comes to a preview of what to see, a simple copy-and-pasting of the line-up would suffice, but we’ve done our best to narrow it down to 25 selections that are the most worth your time. This doesn’t even include shorts from Bertrand Bonello, Jia Zhangke, and more, as well as comprehensive Retrospective and Revivals sections that include restored films from Robert Bresson, Jean-Pierre Melville, Edward Yang, Marlon Brando, and more — but it should serve as a basic primer for what to seek out.
Check out our favorites below, and look for our complete coverage over the next few weeks.
- 9/28/2016
- by The Film Stage
- The Film Stage
Well over a year ago, Vadim Rizov visited the set of Argentinian director Matías Piñeiro’s latest, Hermia & Helena, now premiering in competition in Locarno. He noted that Piñeiro’s first three features have all "started from a Shakespearean source text: As You Like It for Rosalinda, Twelfth Night for Viola, Love’s Labour’s Lost in The Princess of France." The key text this time around is A Midsummer Night’s Dream. Not only has Piñeiro set much of the film in New York for the first time, he's added a slew of newcomers to his cast of regulars: Agustina Muñoz, María Villar, Pablo Sigal, Kyle Molzan, Ryan Miyake, Oscar Williams, Mati Diop, Julian Larquier, Keith Poulson, Dan Sallitt, Laura Paredes, Dustin Guy Defa, Gabi Saidón and Romina Paula. We're collecting reviews and interviews. » - David Hudson...
- 8/9/2016
- Keyframe
Well over a year ago, Vadim Rizov visited the set of Argentinian director Matías Piñeiro’s latest, Hermia & Helena, now premiering in competition in Locarno. He noted that Piñeiro’s first three features have all "started from a Shakespearean source text: As You Like It for Rosalinda, Twelfth Night for Viola, Love’s Labour’s Lost in The Princess of France." The key text this time around is A Midsummer Night’s Dream. Not only has Piñeiro set much of the film in New York for the first time, he's added a slew of newcomers to his cast of regulars: Agustina Muñoz, María Villar, Pablo Sigal, Kyle Molzan, Ryan Miyake, Oscar Williams, Mati Diop, Julian Larquier, Keith Poulson, Dan Sallitt, Laura Paredes, Dustin Guy Defa, Gabi Saidón and Romina Paula. We're collecting reviews and interviews. » - David Hudson...
- 8/9/2016
- Fandor: Keyframe
For beginning with a dedication to Setsuko Hara, recently departed muse of Ozu and Naruse, Hermia & Helena — the new film by Viola and The Princess of France director Matías Piñeiro — perhaps aligns us to be especially attuned to the Argentinian auteur’s use of female collaborators. One to already emphasize the charisma and big-screen friendly faces of frequent stars Agustina Munoz and Maria Villar, he still seems to have an ability to make them points of representation, not fetish.
Having, in real life, recently relocated to New York from his home Buenos Aires, Piñeiro can obviously be interpreted as having made some form of autobiography. His avatar in this case, Camilla (Munoz), is in New York on an artistic residency after her friend, Carmen (Villar), did the same, only to slightly disappointing results due to the loneliness and lack of personal change she saw in the city.
The film is...
Having, in real life, recently relocated to New York from his home Buenos Aires, Piñeiro can obviously be interpreted as having made some form of autobiography. His avatar in this case, Camilla (Munoz), is in New York on an artistic residency after her friend, Carmen (Villar), did the same, only to slightly disappointing results due to the loneliness and lack of personal change she saw in the city.
The film is...
- 8/8/2016
- by Ethan Vestby
- The Film Stage
There are endless ways to adapt Shakespeare to film, but it’s safe to say nobody’s doing it today with greater innovation than Matias Piñero. In four of his five spry features to date, the Argentine has depicted contemporary stories of young people facing a variety of challenges intertwined with Shakespearean texts. Piñero weaves the source material through his narratives in clever, unexpected fashion, from the romantic entanglements amid a rehearsal of “Twelfth Night” in “Viola” to the podcast adaptation of “Love’s Labour Lost” in “The Princess of France.” His latest, “Hermia & Helena,” finds a young woman adrift in New York while working on a translation of “A Midsummer Night’s Dream.” It’s the director’s first English-language production, but that’s not the only big change in his most intriguing effort to date.
“Hermia & Helena” dwells less on the parallels between a classical text and modern...
“Hermia & Helena” dwells less on the parallels between a classical text and modern...
- 8/8/2016
- by Eric Kohn
- Indiewire
More often than not, when people think of an artist adapting a work from the legendary Bard himself, William Shakespeare, they conjure up visions of stilted costume pictures with more interest in production values than truly getting to the heart of Shakespeare’s tale they are adapting. And then there are the films of Matias Pineiro.
Pineiro, a young filmmaker from Buenos Aires, has become known as much for his dream like visuals and sensual storytelling as he has his brilliant re-imaginings of Shakespearean comedies. With a short film Rosalinda and his last feature, Viola, he has begun a new project of sorts, adapting As You Like It and Twelfth Night respectively, bringing his quiet and heady filmmaking to the works of Shakespeare.
That’s where his new film comes into play. Building off of this short and feature project, Pineiro is back with one of his greatest works to date.
Pineiro, a young filmmaker from Buenos Aires, has become known as much for his dream like visuals and sensual storytelling as he has his brilliant re-imaginings of Shakespearean comedies. With a short film Rosalinda and his last feature, Viola, he has begun a new project of sorts, adapting As You Like It and Twelfth Night respectively, bringing his quiet and heady filmmaking to the works of Shakespeare.
That’s where his new film comes into play. Building off of this short and feature project, Pineiro is back with one of his greatest works to date.
- 6/26/2015
- by Joshua Brunsting
- CriterionCast
The Princess of France is Argentine director Matías Piñeiro's third entry in his series of Shakespeare-inspired films, which he calls his "Shakespearead." The first two of these were his 43-minute short Rosalinda (2011), inspired by "As You Like It," and his 65-minute feature Viola, which reworked "Twelfth Night." The Princess of France, which takes on "Love's Labour's Lost," is, like those other films, less a direct adaptation of Shakespeare than a work which uses the Bard's texts - translated into Spanish - as inspiration and counterpoint to the present-day romantic complications of a group of young people who are involved in the arts and incorporate classics from literature, painting, and music, into their daily lives. The Princess of France clocks in at a mere 70...
[Read the whole post on twitchfilm.com...]...
[Read the whole post on twitchfilm.com...]...
- 6/25/2015
- Screen Anarchy
I haven’t traveled all I have to Buenos Aires and back to tell you about how this festival, alongside Mar del Plata and Valdivia (this last one in Chile), form the triad of the most important festivals of Latin America, because if you know about it, you know about it. People that have travelled to Argentina for the past 17 years in April have felt the presence of cinema in the streets—and Buenos Aires is a big city. The importance of a festival that brings over 300 titles, some of them for the first time crossing an ocean, is fundamental for the Latino viewer, as well for those who want to make the effort and come to see the movies that play here. On a closer look, what plays here may seem to be eclectic at times, it is purely due to what seems to be the motto of the festival: discovery.
- 6/8/2015
- by Jaime Grijalba Gómez
- MUBI
The Princess of France is Argentine director Matías Piñeiro's third entry in his series of Shakespeare-inspired films, which he calls his "Shakespearead." The first two of these were his 43-minute short Rosalinda (2011), inspired by "As You Like It," and his 65-minute feature Viola, which reworked "Twelfth Night." The Princess of France, which takes on "Love's Labour's Lost," is, like those other films, less a direct adaptation of Shakespeare than a work which uses the Bard's texts - translated into Spanish - as inspiration and counterpoint to the present-day romantic complications of a group of young people who are involved in the arts and incorporate classics from literature, painting, and music, into their daily lives. The Princess of France clocks in at a mere 70...
[Read the whole post on twitchfilm.com...]...
[Read the whole post on twitchfilm.com...]...
- 10/6/2014
- Screen Anarchy
In the films of Matías Piñeiro, young Argentinians "bide their time putting on Shakespeare and playing baroque word games, exchanging romantic partners and assuming different identities," writes Paul Felton, introducing his interview in the Brooklyn Rail: "they’re both conjurers and pawns in Piñeiro’s not-entirely-unpleasant vision of bohemian purgatory. Like his previous two films—Rosalinda (2011) and Viola (2012)—Piñeiro’s latest, The Princess of France (2014), concerns a company of young actors performing Shakespeare in modern-day Buenos Aires—a radio production of Love’s Labour’s Lost." We've got more reviews, the trailer and a clip. » - David Hudson...
- 10/5/2014
- Fandor: Keyframe
In the films of Matías Piñeiro, young Argentinians "bide their time putting on Shakespeare and playing baroque word games, exchanging romantic partners and assuming different identities," writes Paul Felton, introducing his interview in the Brooklyn Rail: "they’re both conjurers and pawns in Piñeiro’s not-entirely-unpleasant vision of bohemian purgatory. Like his previous two films—Rosalinda (2011) and Viola (2012)—Piñeiro’s latest, The Princess of France (2014), concerns a company of young actors performing Shakespeare in modern-day Buenos Aires—a radio production of Love’s Labour’s Lost." We've got more reviews, the trailer and a clip. » - David Hudson...
- 10/5/2014
- Keyframe
Opening Night – World Premiere
Gone Girl
David Fincher, USA, 2014, Dcp, 150m
David Fincher’s film version of Gillian Flynn’s phenomenally successful best seller (adapted by the author) is one wild cinematic ride, a perfectly cast and intensely compressed portrait of a recession-era marriage contained within a devastating depiction of celebrity/media culture, shifting gears as smoothly as a Maserati 250F. Ben Affleck is Nick Dunne, whose wife Amy (Rosamund Pike) goes missing on the day of their fifth anniversary. Neil Patrick Harris is Amy’s old boyfriend Desi, Carrie Coon (who played Honey in Tracy Letts’s acclaimed production of Who’s Afraid of Virginia Woolf?) is Nick’s sister Margo, Kim Dickens (Treme, Friday Night Lights) is Detective Rhonda Boney, and Tyler Perry is Nick’s superstar lawyer Tanner Bolt. At once a grand panoramic vision of middle America, a uniquely disturbing exploration of the fault lines in a marriage,...
Gone Girl
David Fincher, USA, 2014, Dcp, 150m
David Fincher’s film version of Gillian Flynn’s phenomenally successful best seller (adapted by the author) is one wild cinematic ride, a perfectly cast and intensely compressed portrait of a recession-era marriage contained within a devastating depiction of celebrity/media culture, shifting gears as smoothly as a Maserati 250F. Ben Affleck is Nick Dunne, whose wife Amy (Rosamund Pike) goes missing on the day of their fifth anniversary. Neil Patrick Harris is Amy’s old boyfriend Desi, Carrie Coon (who played Honey in Tracy Letts’s acclaimed production of Who’s Afraid of Virginia Woolf?) is Nick’s sister Margo, Kim Dickens (Treme, Friday Night Lights) is Detective Rhonda Boney, and Tyler Perry is Nick’s superstar lawyer Tanner Bolt. At once a grand panoramic vision of middle America, a uniquely disturbing exploration of the fault lines in a marriage,...
- 8/20/2014
- by Notebook
- MUBI
There are many reasons why Locarno is my favourite film festival. It has the most effectively temporally varied and regionally diverse program of films there is—hop from Pedro Costa's latest to a masterpiece by Agnès Varda, Vittorio De Sica, or Victor Erice (often on 35mm, it should be noted), or discover an Italian film in the Titanus retrospective by a filmmaker you've never heard of. It's also the environment itself, which enables, for me, the most engaging experience of moviegoing: a perfect balance of relaxed atmosphere, an endless array of interesting films, and an audience of cinephiles eager to shuffle into every screening. After all, it is the people who define places, and the transient international population of Locarno transforms the Italian-Swiss town into a summer camp of movie lovers. With the (mostly) no-bs program of films spanning cinema's reach geographically and historically, and a selection of the...
- 8/10/2014
- by Adam Cook
- MUBI
The distributor has picked up Us rights to Matías Piñeiro’s follow-up to Viola that is set to premiere in Locarno on August 7.
The Princess Of France follows a man who attempts to stage a Shakespeare play in Buenos Aires and connects with five significant women. The film will open theatrically in early 2015.
“I’m happy to be working again with Cinema Guild after the positive experience of Viola,” said Piñeiro. “I feel that Cinema Guild has become a member of my film family as my actors and crew have been for the last eight years.
“I treasure familiarity. Not only do I join both a beautiful catalogue of films and a brave company, but also further develop a relationship that aligns to the values that guide my own filmmaking.”
“Princess Of France is an absolute marvel, a film bursting with ideas and mysteries that will delight fans of Viola and newcomers alike,” said Cinema...
The Princess Of France follows a man who attempts to stage a Shakespeare play in Buenos Aires and connects with five significant women. The film will open theatrically in early 2015.
“I’m happy to be working again with Cinema Guild after the positive experience of Viola,” said Piñeiro. “I feel that Cinema Guild has become a member of my film family as my actors and crew have been for the last eight years.
“I treasure familiarity. Not only do I join both a beautiful catalogue of films and a brave company, but also further develop a relationship that aligns to the values that guide my own filmmaking.”
“Princess Of France is an absolute marvel, a film bursting with ideas and mysteries that will delight fans of Viola and newcomers alike,” said Cinema...
- 8/6/2014
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
The distributor has picked up Us rights to Matías Piñeiro’s follow-up to Viola that is set to premiere in Locarno on August 7.
The Princess Of France follows a man who attempts to stage a Shakespeare play in Buenos Aires and connects with five significant women. The film will open theatrically in early 2015.
“I’m happy to be working again with Cinema Guild after the positive experience of Viola,” said Piñeiro. “I feel that Cinema Guild has become a member of my film family as my actors and crew have been for the last eight years.
“I treasure familiarity. Not only do I join both a beautiful catalogue of films and a brave company, but also further develop a relationship that aligns to the values that guide my own filmmaking.”
“Princess Of France is an absolute marvel, a film bursting with ideas and mysteries that will delight fans of Viola and newcomers alike,” said Cinema...
The Princess Of France follows a man who attempts to stage a Shakespeare play in Buenos Aires and connects with five significant women. The film will open theatrically in early 2015.
“I’m happy to be working again with Cinema Guild after the positive experience of Viola,” said Piñeiro. “I feel that Cinema Guild has become a member of my film family as my actors and crew have been for the last eight years.
“I treasure familiarity. Not only do I join both a beautiful catalogue of films and a brave company, but also further develop a relationship that aligns to the values that guide my own filmmaking.”
“Princess Of France is an absolute marvel, a film bursting with ideas and mysteries that will delight fans of Viola and newcomers alike,” said Cinema...
- 8/6/2014
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
It has been said that very few (modern) filmmakers are able to succinctly capture the enigmatic nature of women on film. Matias Pineiro is most assuredly one such filmmaker. In his (thus far) brief filmography, complex, spirited females are always at the forefront of his films, both in the focused frame, and in the often elliptical narratives. Drawing on the works of deceased Argentinean writer/statesman Domingo Faustino Sarmiento in his earlier two films, and then Shakespeare in his later films, Pineiro permeates his canvas with characters taken from some of literature’s most memorable texts. What could have been a stale English lesson, however, has Piniero instead brilliantly transforming the material into something altogether compellingly fresh and intoxicating. This week, Tiff Bell Lightbox is proud to present a retrospective of the master auteur’s work, with the filmmaker in attendance for each of the special screenings.
It is only...
It is only...
- 4/3/2014
- by Leora Heilbronn
- IONCINEMA.com
Without prefatory contextualization, Matías Piñeiro’s dreamily conceived Viola doesn’t make a whole lot of sense. We’re dropped into the production of an all-female Argentinian take on Shakespeare’s Twelfth Night where the character of Viola is tasked with finding the fancy of Olivia in the name of Duke Orsino, in doing ultimately blurring the lines of emotional truth between the trio. With the production title itself the only given, the implied narrative is something you’re expected to know going in and it’s ultimately the key to the elegantly compounded mystery written within. Strangely, you’ll likely be swept up in its perplexing hypno-theater whether you’re in on the narrative subtleties of Piñeiro’s film or not.
The production soon ends and we find ourselves in the dressing rooms, the cast of women peeling off their fake eyelashes and recounting their awkward eye-locking line deliveries from the night’s performance.
The production soon ends and we find ourselves in the dressing rooms, the cast of women peeling off their fake eyelashes and recounting their awkward eye-locking line deliveries from the night’s performance.
- 4/1/2014
- by Jordan M. Smith
- IONCINEMA.com
As the leading presenter of Latin American Cinema in the U.S. Cinema Tropical advocates for the Latino filmmaking community and honors their achievements. Cinema Tropical Awards now in its fourth edition have announced this year's nominees
The winners of the 4th Annual Cinema Tropical Awards will be announced at a special event at The New York Times Company headquarters in New York City in late January, 2014.
The nominees for this year’s Cinema Tropical Awards were selected by a nine-member jury panel from a list of Latin American and U.S. Latino feature films of a minimum of 60 minutes in length that were premiered between April 1, 2012 and March 31, 2013 (January 1, 2012 and March 31, 2013, for U.S. Latino productions). The list was culled by a nominating committee composed of 17 film professionals from Latin America, the U.S., Canada, and Europe.
The Cinema Tropical Awards are presented in partnership with Voces, Latino Heritage Network of The New York Times Company. Media Sponsors: LatAm Cinema and Remezcla. Special thanks to Mario Díaz, Andrea Betanzos, and Tatiana García.
Best Feature Film
- Gloria (Sebastián Lelio, Chile/Spain, 2013)
- No (Pablo Larraín, Chile/USA/France/Mexico, 2012)
- Post Tenebras Lux (Carlos Reygadas, Mexico/France/Germany/Netherlands, 2012)
- Tanta Agua | So Much Water (Ana Guevara and Leticia Jorge, Uruguay/Germany/Mexico, 2013)
- VIolA (Matías Piñeiro, Argentina, 2012)
Best Director, Feature Film
- Sebastián Silva, Crystal Fairy (Chile, 2013)
- Pablo Larraín, No (Chile/USA/France/Mexico, 2012)
- Carlos Reygadas, Post Tenebras Lux (Mexico/ France/ Germany/ Netherlands, 2012)
-Ana Guevara and Leticia Jorge, Tanta Agua | So Much Water
(Uruguay/ Germany/ Mexico, 2013)
- Matías Piñeiro, Viola (Argentina, 2012)
Best Documentary Film
- El Alcalde | The Mayor (Emiliano Altuna, Carlos F. Rossini, Diego Osorno, Mexico, 2012)
- La Chica Del Sur | The Girl from the South (José Luis García, Argentina, 2012)
- La Gente Del RÍO | The River People (Martín Benchimol and Pablo Aparo, Argentina, 2012)
- El Huaso (Carlo Guillermo Proto, Chile/Canada, 2012)
- El Otro DÍA | The Other Day (Ignacio Agüero, Chile, 2012)
Best Director, Documentary Film
- José Luis García, La Chica Del Sur | The Girl from the South (Argentina, 2012)
- Priscilla Padilla, La Eterna Noche De Las Doce Lunas | The Eternal Night of the Twelve Moons (Colombia, 2013)
- Martín Benchimol, Pablo Aparo, La Gente Del RÍO | The River People (Argentina, 2012)
- Mercedes Moncada, Palabras MÁGICAS (Para Romper Un Encantamiento) | Magic Words (Breaking a Spell) (Mexico/Guatemala, 2012)
- Ignacio Agüero, El Otro DÍA | The Other Day (Chile, 2012)
Best First Film
- Carne De Perro | Dog Flesh (Fernando Guzzoni, Chile/France/Germany, 2012)
- El Limpiador | The Cleaner (Adrián Saba, Peru, 2012)
- Melaza | Molasses (Carlos Díaz Lechuga, Cuba/France/Panama, 2012)
- Tanta Agua | So Much Water (Ana Guevara and Leticia Jorge, Uruguay/Germany/Mexico, 2013)
- Los Salvajes | The Wild Ones (Alejandro Fadel, Argentina, 2012)
Best U.S. Latino Film
- American Promise (Joe Brewster and Michèle Stephenson, USA, 2013)
- Filly Brown (Youssef Delara and Michael D. Olmos, USA, 2012)
- Mosquita Y Mari (Aurora Guerrero, USA, 2012)
- Reportero (Bernardo Ruiz, USA, 2012)
- Wonder Women! The Untold Story Of American Superheroines (Kristy Guevara-Flanagan, USA, 2012)
2013 Jury:
Chris Allen, founder and director, UnionDocs; Melissa Anderson, film critic, Artforum; Beth Janson, executive director, Tribeca Film Institute; Daniel Loría, overseas editor, BoxOffice; Mike Maggiore, programmer, Film Forum; Paco de Onís, filmmaker; Anita Reher, executive director, Robert Flaherty Film Seminar; Julia Solomonoff, filmmaker; Maria-Christina Villaseñor, film curator and writer.
2013 Nominating Committee:
Cecilia Barrionuevo, programmer, Mar del Plata Film Festival, Argentina; Raúl Camargo, programmer, Valdivia Film Festival, Chile; John Campos Gómez, director, Transcinema Film Festival, Peru; Inti Cordera, director, DocsDF Film Festival, Mexico; Christine Davila, programmer, Sundance, Los Angeles Film Festival, Ambulante USA; Eugenio del Bosque, director, Cine Las Américas, USA; Raciel del Toro, Cinergia, Costa Rica; Vanessa Erazo, film programmer and journalist, indieWIRE/LatinoBuzz, Remezcla, USA; Lisa Franek, programmer, San Diego Latino Film Festival, USA; Robert A. Gomez, film journalist, Cinemathon, Venezuela; Jaie Laplante, director, Miami Film Festival, USA; Agustín Mango, film journalist, Hollywood Reporter, Argentina; Jim Mendiola, programmer, CineFestival, San Antonio, USA; Luis Ortiz, director, Latino Public Broadcasting, USA; Rafael Sampaio, programmer, Sao Paulo Latin American Film Festival, Brazil; Eva Sangiorgi, programmer, Ficunam, Mexico; Gerwin Tamsma, programmer, Rotterdam Film Festival, Netherlands.
The winners of the 4th Annual Cinema Tropical Awards will be announced at a special event at The New York Times Company headquarters in New York City in late January, 2014.
The nominees for this year’s Cinema Tropical Awards were selected by a nine-member jury panel from a list of Latin American and U.S. Latino feature films of a minimum of 60 minutes in length that were premiered between April 1, 2012 and March 31, 2013 (January 1, 2012 and March 31, 2013, for U.S. Latino productions). The list was culled by a nominating committee composed of 17 film professionals from Latin America, the U.S., Canada, and Europe.
The Cinema Tropical Awards are presented in partnership with Voces, Latino Heritage Network of The New York Times Company. Media Sponsors: LatAm Cinema and Remezcla. Special thanks to Mario Díaz, Andrea Betanzos, and Tatiana García.
Best Feature Film
- Gloria (Sebastián Lelio, Chile/Spain, 2013)
- No (Pablo Larraín, Chile/USA/France/Mexico, 2012)
- Post Tenebras Lux (Carlos Reygadas, Mexico/France/Germany/Netherlands, 2012)
- Tanta Agua | So Much Water (Ana Guevara and Leticia Jorge, Uruguay/Germany/Mexico, 2013)
- VIolA (Matías Piñeiro, Argentina, 2012)
Best Director, Feature Film
- Sebastián Silva, Crystal Fairy (Chile, 2013)
- Pablo Larraín, No (Chile/USA/France/Mexico, 2012)
- Carlos Reygadas, Post Tenebras Lux (Mexico/ France/ Germany/ Netherlands, 2012)
-Ana Guevara and Leticia Jorge, Tanta Agua | So Much Water
(Uruguay/ Germany/ Mexico, 2013)
- Matías Piñeiro, Viola (Argentina, 2012)
Best Documentary Film
- El Alcalde | The Mayor (Emiliano Altuna, Carlos F. Rossini, Diego Osorno, Mexico, 2012)
- La Chica Del Sur | The Girl from the South (José Luis García, Argentina, 2012)
- La Gente Del RÍO | The River People (Martín Benchimol and Pablo Aparo, Argentina, 2012)
- El Huaso (Carlo Guillermo Proto, Chile/Canada, 2012)
- El Otro DÍA | The Other Day (Ignacio Agüero, Chile, 2012)
Best Director, Documentary Film
- José Luis García, La Chica Del Sur | The Girl from the South (Argentina, 2012)
- Priscilla Padilla, La Eterna Noche De Las Doce Lunas | The Eternal Night of the Twelve Moons (Colombia, 2013)
- Martín Benchimol, Pablo Aparo, La Gente Del RÍO | The River People (Argentina, 2012)
- Mercedes Moncada, Palabras MÁGICAS (Para Romper Un Encantamiento) | Magic Words (Breaking a Spell) (Mexico/Guatemala, 2012)
- Ignacio Agüero, El Otro DÍA | The Other Day (Chile, 2012)
Best First Film
- Carne De Perro | Dog Flesh (Fernando Guzzoni, Chile/France/Germany, 2012)
- El Limpiador | The Cleaner (Adrián Saba, Peru, 2012)
- Melaza | Molasses (Carlos Díaz Lechuga, Cuba/France/Panama, 2012)
- Tanta Agua | So Much Water (Ana Guevara and Leticia Jorge, Uruguay/Germany/Mexico, 2013)
- Los Salvajes | The Wild Ones (Alejandro Fadel, Argentina, 2012)
Best U.S. Latino Film
- American Promise (Joe Brewster and Michèle Stephenson, USA, 2013)
- Filly Brown (Youssef Delara and Michael D. Olmos, USA, 2012)
- Mosquita Y Mari (Aurora Guerrero, USA, 2012)
- Reportero (Bernardo Ruiz, USA, 2012)
- Wonder Women! The Untold Story Of American Superheroines (Kristy Guevara-Flanagan, USA, 2012)
2013 Jury:
Chris Allen, founder and director, UnionDocs; Melissa Anderson, film critic, Artforum; Beth Janson, executive director, Tribeca Film Institute; Daniel Loría, overseas editor, BoxOffice; Mike Maggiore, programmer, Film Forum; Paco de Onís, filmmaker; Anita Reher, executive director, Robert Flaherty Film Seminar; Julia Solomonoff, filmmaker; Maria-Christina Villaseñor, film curator and writer.
2013 Nominating Committee:
Cecilia Barrionuevo, programmer, Mar del Plata Film Festival, Argentina; Raúl Camargo, programmer, Valdivia Film Festival, Chile; John Campos Gómez, director, Transcinema Film Festival, Peru; Inti Cordera, director, DocsDF Film Festival, Mexico; Christine Davila, programmer, Sundance, Los Angeles Film Festival, Ambulante USA; Eugenio del Bosque, director, Cine Las Américas, USA; Raciel del Toro, Cinergia, Costa Rica; Vanessa Erazo, film programmer and journalist, indieWIRE/LatinoBuzz, Remezcla, USA; Lisa Franek, programmer, San Diego Latino Film Festival, USA; Robert A. Gomez, film journalist, Cinemathon, Venezuela; Jaie Laplante, director, Miami Film Festival, USA; Agustín Mango, film journalist, Hollywood Reporter, Argentina; Jim Mendiola, programmer, CineFestival, San Antonio, USA; Luis Ortiz, director, Latino Public Broadcasting, USA; Rafael Sampaio, programmer, Sao Paulo Latin American Film Festival, Brazil; Eva Sangiorgi, programmer, Ficunam, Mexico; Gerwin Tamsma, programmer, Rotterdam Film Festival, Netherlands.
- 1/8/2014
- by Sydney Levine
- Sydney's Buzz
The always interesting and exciting Argentinean cinema has been known for its very gritty realism and tight grip on the country's social and economic issues. Filmmakers like Fabián Bielinsky, Juan José Campanella and Lucía Puenzo lead with polished, socially invested productions. And then there's Lucrecia Martel and Matías Piñeiro, members of a group of young filmmakers who comprise an Argentinean New Wave of some kind and couldn't care less about mainstream drama where tragedy occurs and people learn and tears are shed. They seem to be more interesting in twisting narrative forms and playing around - which is the way anything remotely original tends to happen, really. Piñeiro's Viola is a very strange, puzzling film about women, love and... actresses, I suppose. Clearly an independent...
[Read the whole post on twitchfilm.com...]...
[Read the whole post on twitchfilm.com...]...
- 11/18/2013
- Screen Anarchy
For more than a decade, the annual Latin Alternative Music Conference (Lamc) has brought together the musical innovators and genre-benders at the forefront of a musical movement known simply as Latin alternative. It is a catch-all term, not a genre in itself. Some sing indie pop in Spanish while others take Latin beats like cumbia, regional Mexican music, or salsa and remix them with hip-hop, punk, electronica and everything in between.
The conference, organized by Los Angeles-based Nacional Records, took over NYC this past week and was a sweaty, sweltering marathon of acoustic showcases, electro-cumbia light shows, rainy SummerStage performances, and out-of-control dance parties. The long standing conference is a testament to the vitality of the Latino independent music scene.
Although the mainstream is still catching up to this “new” musical movement, Latino filmmakers have already tapped into this vast musical resource. Aurora Guerrero, director of Mosquita y Mari, told LatinoBuzz in a previous interview that, “I’m constantly on SoundCloud or Remezcla looking to see what new music is being produced by Latino artists. I’m not interested in producing soundtracks or scores that have been recycled in U.S. Latino films throughout the years. I’m looking for music that’s cutting-edge and contemporary.” Her film, a thoughtful portrait of two teenage Chicanas living in Los Angeles, is set to the music of local ska bands, the melancholy vocals of Carla Morrison, and other genre-remixing Latino artists.
The marriage of Latino independent music with Latino independent film seems natural. Both try to “hop borders” as Jon Pareles wrote in the New York Times and exist out of a desire to reach beyond the cultural boundaries in which they currently reside. It’s also a mutually beneficial relationship. Filmmakers deal with lower fees versus trying to license more commercial music while providing much-needed exposure to up-and-coming bands.
By happenstance Latinbeat, the Film Society of Lincoln Center’s week-long showcase of Latin American independent films, overlapped with Lamc over the weekend. It was a Lindie (a.k.a. Latino indie) takeover.
Latinbeat runs through Sunday, July 21 and there is still a ton to see. Here are the highlights.
Viola
Matías Piñeiro | 2012 | 65 mins
Wednesday, July 17 and Thursday, July 18 at 11:15am 1:45pm 4:15pm 6:45pm 9:30pm
A web of romantic intrigue and revelation is delicately unraveled in this dazzling riff on Shakespeare’s Twelfth Night. Screening with Rosalinda (Matías Piñeiro, 2010, 43m).
Tanta Agua (So Much Water)
Ana Guevara | Leticia Jorge | 2013 | 100 mins
Filmmakers in person for Q&A. Thursday, July 18 at 8:30pm | Saturday, July 20 at 2:30pm
A divorced father’s vacation with his two children is marred by a storm that keep the three cooped up together as he desperately tries to remain enthusiastic and not let anything ruin their plans.
The Tears
Pablo Delgado Sanchez | 2012 | 66 mins
Filmmaker in person for Q&A. Thursday, July 18 at 6:30pm | Saturday, July 20 at 5:00pm
A camping trip in the woods becomes a painful but ultimately healing rite of passage for two brothers who are struggling to cope with their disturbing family environment in Sanchez’s taut, suspenseful debut feature.
Bring Me the Head of the Machine Gun Woman
Ernesto Díaz Espinoza | 2013 | 75 mins
Filmmaker in person for Q&A. Saturday, July 20 at 9:30pm | Sunday, July 21 at 8:30pm
This exuberant tribute to Peckinpah’s similarly titled 1974 film combines the plot of a Western with a video game aesthetic and structure in the story of a nerdy DJ who must undertake an action-packed mission to save his own life.
Magical Words (Breaking a Spell)
Mercedes Moncada | 2012 | 83 mins
Filmmaker in person for Q&A. Friday, July 19 at 6:30pm | Sunday, July 21 at 1:30pm
Moncada crafts a poignant and engaging personal perspective on her native Nicaragua from the 1979 Sandinista revolution through to modern times, weaving herself into the story at every historic step.
Written by Juan Caceres and Vanessa Erazo, LatinoBuzz is a weekly feature on SydneysBuzz that highlights Latino indie talent and upcoming trends in Latino film with the specific objective of presenting a broad range of Latino voices. Follow @LatinoBuzz on Twitter and Facebook.
The conference, organized by Los Angeles-based Nacional Records, took over NYC this past week and was a sweaty, sweltering marathon of acoustic showcases, electro-cumbia light shows, rainy SummerStage performances, and out-of-control dance parties. The long standing conference is a testament to the vitality of the Latino independent music scene.
Although the mainstream is still catching up to this “new” musical movement, Latino filmmakers have already tapped into this vast musical resource. Aurora Guerrero, director of Mosquita y Mari, told LatinoBuzz in a previous interview that, “I’m constantly on SoundCloud or Remezcla looking to see what new music is being produced by Latino artists. I’m not interested in producing soundtracks or scores that have been recycled in U.S. Latino films throughout the years. I’m looking for music that’s cutting-edge and contemporary.” Her film, a thoughtful portrait of two teenage Chicanas living in Los Angeles, is set to the music of local ska bands, the melancholy vocals of Carla Morrison, and other genre-remixing Latino artists.
The marriage of Latino independent music with Latino independent film seems natural. Both try to “hop borders” as Jon Pareles wrote in the New York Times and exist out of a desire to reach beyond the cultural boundaries in which they currently reside. It’s also a mutually beneficial relationship. Filmmakers deal with lower fees versus trying to license more commercial music while providing much-needed exposure to up-and-coming bands.
By happenstance Latinbeat, the Film Society of Lincoln Center’s week-long showcase of Latin American independent films, overlapped with Lamc over the weekend. It was a Lindie (a.k.a. Latino indie) takeover.
Latinbeat runs through Sunday, July 21 and there is still a ton to see. Here are the highlights.
Viola
Matías Piñeiro | 2012 | 65 mins
Wednesday, July 17 and Thursday, July 18 at 11:15am 1:45pm 4:15pm 6:45pm 9:30pm
A web of romantic intrigue and revelation is delicately unraveled in this dazzling riff on Shakespeare’s Twelfth Night. Screening with Rosalinda (Matías Piñeiro, 2010, 43m).
Tanta Agua (So Much Water)
Ana Guevara | Leticia Jorge | 2013 | 100 mins
Filmmakers in person for Q&A. Thursday, July 18 at 8:30pm | Saturday, July 20 at 2:30pm
A divorced father’s vacation with his two children is marred by a storm that keep the three cooped up together as he desperately tries to remain enthusiastic and not let anything ruin their plans.
The Tears
Pablo Delgado Sanchez | 2012 | 66 mins
Filmmaker in person for Q&A. Thursday, July 18 at 6:30pm | Saturday, July 20 at 5:00pm
A camping trip in the woods becomes a painful but ultimately healing rite of passage for two brothers who are struggling to cope with their disturbing family environment in Sanchez’s taut, suspenseful debut feature.
Bring Me the Head of the Machine Gun Woman
Ernesto Díaz Espinoza | 2013 | 75 mins
Filmmaker in person for Q&A. Saturday, July 20 at 9:30pm | Sunday, July 21 at 8:30pm
This exuberant tribute to Peckinpah’s similarly titled 1974 film combines the plot of a Western with a video game aesthetic and structure in the story of a nerdy DJ who must undertake an action-packed mission to save his own life.
Magical Words (Breaking a Spell)
Mercedes Moncada | 2012 | 83 mins
Filmmaker in person for Q&A. Friday, July 19 at 6:30pm | Sunday, July 21 at 1:30pm
Moncada crafts a poignant and engaging personal perspective on her native Nicaragua from the 1979 Sandinista revolution through to modern times, weaving herself into the story at every historic step.
Written by Juan Caceres and Vanessa Erazo, LatinoBuzz is a weekly feature on SydneysBuzz that highlights Latino indie talent and upcoming trends in Latino film with the specific objective of presenting a broad range of Latino voices. Follow @LatinoBuzz on Twitter and Facebook.
- 7/17/2013
- by Vanessa Erazo
- Sydney's Buzz
"Don't you find it rather boring," an actress asks near the beginning of Matías Piñeiro's Viola, "to have everything so under control?" Piñeiro, whose quietly radical films betray the restlessness of their creator, might well have written this question as a tacit critique of his contemporaries, admonishing the too-common tendency of modern arthouse filmmakers to formalize their style into rigorous oblivion. Viola, while thoughtful and intelligent, places simple pleasures over needlessly complicated ones, emphasizing the beauty of its players and the sumptuous photography that captures them. Its ideas are dense and somewhat heady—Piñeiro gracefully layers a melange of Spanish-translated Shakespearean dialogue atop snatches of original conv...
- 7/10/2013
- Village Voice
★★★★☆ With latest effort Viola (2012), Argentine director Matías Piñeiro continues his fascination with Shakespeare's Twelfth Night in what could be seen as a fitting counterpart to his 2011 short film, Rosalinda. Ostensibly an unassuming tale about a girl working for her partner's pirate video delivery service in Buenos Aires, this deceptively simple drama is a fascinating treasure trove of rich ideas and intelligent storytelling. Capturing the leisurely tempo and pseudo-nonconformist lifestyle of this generation's middle-class BA urbanites, we observe protagonist Viola (Maria Villar) as she works with her boyfriend bootlegging DVDs.
Traversing the warren-like backstreets of the city, Viola's journeys to deliver these illicit goods leads her into a series of choice encounters, chiefly shared with a small troupe of actresses who perform random snippets of Shakespeare's plays - with all the roles performed by women. From intimate recitals, backstage gossip and mid-afternoon beers, Viola weaves a subtle tapestry of a...
Traversing the warren-like backstreets of the city, Viola's journeys to deliver these illicit goods leads her into a series of choice encounters, chiefly shared with a small troupe of actresses who perform random snippets of Shakespeare's plays - with all the roles performed by women. From intimate recitals, backstage gossip and mid-afternoon beers, Viola weaves a subtle tapestry of a...
- 6/20/2013
- by CineVue UK
- CineVue
Check out the trailer and browse the images below for Cinema Guild's Viola. The drama opens July 12 in New York City and stars María Villar, Agustina Muñoz and Elisa Carricajo. Directed by Matías Piñeiro, one of Argentinian cinema’s most sensuous and daring new voices, Viola is a mystery of romantic entanglements and intrigues among a troupe of young actors performing Shakespeare’s “Twelfth Night” in a small theater in Buenos Aires. Viola is produced by Melanie Schapiro.
- 6/13/2013
- Upcoming-Movies.com
Viola director Matías Piñeiro discusses the fluidity of Shakespeare, when Jean-Luc Godard's Alphaville morphs into Fritz Lang's Metropolis, how European directors in America like Otto Preminger, Ernst Lubitsch, and Billy Wilder influence an Argentine director. His beguiling film sees a bike courier embraced by an all-female Shakespeare troupe. The morning before its Us premiere at New Directors/New Films, we met at a café to tackle what Paul Mazursky, Gus Van Sant, Orson Welles and Laurence Olivier have in common that Kenneth Branagh does not.
Anne-Katrin Titze: In Viola, the Shakespeare text moves almost imperceptibly into the everyday speech. Is it all planned out word for word by you? Is it completely scripted?
Matías Piñeiro: Pretty much scripted, except for the last song, which wasn't scripted at all. I write the script very close to the shooting. It's not that I write it and then eight...
Anne-Katrin Titze: In Viola, the Shakespeare text moves almost imperceptibly into the everyday speech. Is it all planned out word for word by you? Is it completely scripted?
Matías Piñeiro: Pretty much scripted, except for the last song, which wasn't scripted at all. I write the script very close to the shooting. It's not that I write it and then eight...
- 3/27/2013
- by Anne-Katrin Titze
- eyeforfilm.co.uk
The Museum of Modern Art and the Film Society of Lincoln Center will present the 42nd edition of New Directors/New Films from March 20-31 in New York. The festival will screen 25 features (19 narrative, six documentary) and 17 short films, representing 24 countries.
Matías Piñeiro's Viola, Shane Carruth's Upstream Color, Shannon Plumb's Towheads, Sarah Polley's Stories We Tell, Daniel Hoesl's Soldate Jeannette and Rachid Djaïdani's Rengaine are films to look out for on the conflicts from within and the contentions from without.
Alexandre Moors’ Blue Caprice will open the festival at MoMA on March 20. A new component this year is a mid-festival screening at the Vw Performance Dome at MoMA PS1, in Long Island City, on March 26, of Sophie Letourneur’s Les Coquillettes. Found-footage documentary, Our Nixon, directed by Penny Lane will close the film festival at the Film Society’s Walter Reade Theater on March 31.
Here are six standouts.
Matías Piñeiro's Viola, Shane Carruth's Upstream Color, Shannon Plumb's Towheads, Sarah Polley's Stories We Tell, Daniel Hoesl's Soldate Jeannette and Rachid Djaïdani's Rengaine are films to look out for on the conflicts from within and the contentions from without.
Alexandre Moors’ Blue Caprice will open the festival at MoMA on March 20. A new component this year is a mid-festival screening at the Vw Performance Dome at MoMA PS1, in Long Island City, on March 26, of Sophie Letourneur’s Les Coquillettes. Found-footage documentary, Our Nixon, directed by Penny Lane will close the film festival at the Film Society’s Walter Reade Theater on March 31.
Here are six standouts.
- 3/17/2013
- by Anne-Katrin Titze
- eyeforfilm.co.uk
News.
Just in time for Kenya's national election this weekend, Mubi will be specially showing a new film, Something Necessary (Judy Kibinge, 2013), produced by Tom Tykwer, about the country's last elections, in 2007. Something Necessary premiered in January at the International Film Festival Rotterdam, and will be free to watch globally on Mubi for 24 hours starting Sunday, March 3. Russian filmmaker Aleksei German has passed away at the age of 74. We've shared one of our favorite scenes of his and would like to point to a piece we published by Maxim Pozdorovkin last March, occasioned by the traveling retrospective of German's work.
We are terrifically happy for and proud of David Cairns—Notebook columnist of The Forgotten and author of the Shadowplay blog—who has just seen the premiere of his new film co-directed with Paul Duane, Natan, at the Jameson Dublin International Film Festival. The documentary is on Bernand Natan, a...
Just in time for Kenya's national election this weekend, Mubi will be specially showing a new film, Something Necessary (Judy Kibinge, 2013), produced by Tom Tykwer, about the country's last elections, in 2007. Something Necessary premiered in January at the International Film Festival Rotterdam, and will be free to watch globally on Mubi for 24 hours starting Sunday, March 3. Russian filmmaker Aleksei German has passed away at the age of 74. We've shared one of our favorite scenes of his and would like to point to a piece we published by Maxim Pozdorovkin last March, occasioned by the traveling retrospective of German's work.
We are terrifically happy for and proud of David Cairns—Notebook columnist of The Forgotten and author of the Shadowplay blog—who has just seen the premiere of his new film co-directed with Paul Duane, Natan, at the Jameson Dublin International Film Festival. The documentary is on Bernand Natan, a...
- 2/28/2013
- by Adam Cook
- MUBI
The winners of the 3rd Annual Cinema Tropical Awards were announced at a special event at the New York Times headquarters in New York City,celebrating the best of the Latin American film production of the year in five different categories:
- Best Feature Film
- Best Documentary Film
- Best Director, Feature Film
- Best Director, Documentary Film
- Best First Film
The Cinema Tropical Awards are presented in partnership with Voces, Latino Heritage Network of The New York Times and 92YTribeca, with the support of the Mexican Cultural Institute. Special thanks to Lucila Moctezuma and Mario Díaz.
Best Feature Film
- O Som Ao Redor / Neighboring Sounds (Kleber Mendonça Filho, Brazil, 2012)
Best Director, Feature Film
- MatÍAs Meyer, Los ÚLtimos Cristeros / The Last Christeros (Mexico, 2011)
Best Documentary Film
- El Salvavidas / The Lifeguard (Maite Alberdi, Chile, 2011)
Best Director, Documentary Film
- JosÉ ÁLvarez, CanÍCula (Mexico, 2011)
Best First Film
- El Estudiante / The Student (Santiago Mitre, Argentina, 2011)
The films were selected from a list of Latin American feature films with a minimum of 60 minutes in length that were premiered between April 1, 2011 and March 31, 2012. The winners and final nominees were selected by a six-member jury panel from a list of fiction and documentary films compiled from the selections of a nominating committee composed of 14 film professionals from Latin America, the U.S. and Europe (see list below).
Fiction Jury
Dennis Lim writes about film and popular culture for various publications including The New York Times and the Los Angeles Times. He is the founding editor of Moving Image Source, the online publication and research resource of the Museum of the Moving Image and was formerly the film editor of The Village Voice. His work has also appeared in The Believer, The Oxford American, Blender, Spin, Espous, Indiewire, New York Daily News, The Independent on Sunday, The Guardian, and the film quarterly Cinema Scope, where he is a contributing editor. A member of the National Society of Film Critics and the editor of The Village Voice Film Guide (2006), he has served as a member of the New York Film Festival selection committee and he teaches in the Cultural Reporting and Criticism graduate program a New York University.
Matías Piñeiro is a filmmaker and professor at the Universidad del Cine in Buenos Aires. His first feature-length work, El hombre robado / The Stolen Man (2007), won awards at the Jeonju International Film Festival and at Las Palmas de Gran Canaria International Film Festival. In 2009, his second feature, Todos mienten / They All Lie, premiered at Bafici (Buenos Aires Festival International de Cine Independiente), where it won two awards. It also won a prize at the Santiago Festival Internacional de Cine. In 2010, he was selected—along with James Benning and Denis Côté—to screen his third film, Rosalinda at the 11th Jeonju Digital Project. Piñeiro recently premiered his most recent film, Viola, at the Toronto Film Festival, and it's slated for a Us release in 2013. He earned a filmmaking degree from Universidad del Cine. His award-winning films have been screened around the world, including at Anthology Film Archives, Festival des 3 Continents, the Festival del film Locarno, the London Film Festival, Museo de Arte Latinoamericano de Buenos Aires, the Museum of Modern Art, Rencontré Cinémas d’Amerique Latine de Toulouse, and the Viennale.
Frida Torresblanco served as a producer in Spain working on film including The Dancer Upstairs, directed by John Malkovich and starring Javier Bardem, as well as Susan Seidelman’s Gaudi Afternoon. She moved to New York City in 2002 to launch and lead Alfonso Cuaron’s film production company, Esperanto, where she served as Executive Producer and Creative On-Set Producer for The Assassination of Richard Nixon (directed by Niels Mueller, starring Sean Penn), among others. In 2006, Frida joined Alfonso Cuarón and Guillermo del Toro to produce El laberinto del Fauno / Pan’s Labyrinth (Three Oscars & another three Oscar nominations; three wins & five BAFTA nominations; a nomination for the Palm d’Or and a Golden Globe). The Hollywood Reporter named Frida one of the 50 most powerful Latinos in Hollywood. She also produced Rudo y Cursi (directed by Carlos Cuarón, starring Gael García Bernal and Diego Luna). In 2010, Frida launched her new film production company, Braven Films, with partners Eric Laufer and Giovanna Randall. Her next project, Magic Magic, produced through Braven Films, will star Michael Cera, Juno Temple and Emily Browning.
DocuMentary Jury
Ryan Harrington is the Director of Documentary Programs at the Tribeca Film Institute where he oversees the Gucci Tribeca Documentary Fund, the Tfi Documentary Fund, Tribeca All Access documentary program and the Latin America Media Arts Fund while developing other initiatives and programs that support non-fiction filmmaking. Recent Tfi successes include Give Up Tomorrow, If a Tree Falls, The Redemption of General Butt Naked, The Oath, Enemies of the People, Marathon Boy and Donor Unknown. Independently he is currently working on the feature doc Hungry in America, with filmmakers Kristi Jacobson & Lori Silverbush and Participant Media, that explores why so many people in the USA go without food, and what can be done about it. Harrington managed production for A&E IndieFilms, the theatrical documentary arm of the A&E Network, for four years. Throughout his time there he championed the Oscar-nominated films Murderball and Jesus Camp, and the Sundance hits My Kid Could Paint That and American Teen.
Paula Heredia is a director and editor based in New York. She was awarded an Emmy for the HBO documentary In Memoriam, NYC 9/11/01, and an Ace Eddie Award for the acclaimed documentary Unzipped. Her directorial work includes the documentaries George Plimpton and the Paris Review, Ralph Gibson, and The Couple in the Cage. Her dramatic work includes Having a Baby, Tras La Ventana, Slings and Arrows, and La Cena de Matrimonio. Her short film La Pájara Pinta premiered at the Lincoln Center Film Society LatinBeat Film Festival. Heredia’s editorial work can be seen in the HBO feature-length documentary Addiction, which received the 2007 Emmy Governors Award, and Alive Day Memories—Home from Iraq, executive produced by James Gandolfini for HBO. Her new edit, The Art of Failure: Chuck Connelly Not for Sale and Jacques D'Ambois in China, will air on HBO this summer. Other editorial credits include: Modulations Cinema for the Ear, The Vagina Monologues, Finding Christa and Free Tibet. Paula’s work and creative process is featured in the book: The Art of the Documentary by Megan Cunningham. With partner Larry Garvin, she co-founded Heredia Pictures, heads the international committee of New York Women in Film and Television and serves on the board of advisors of Tribeca All Access and Clementina, Inc.
Chi-hui Yang is a film programmer, lecturer and writer based in New York. As a guest curator, Yang has presented film and video series at film festivals and events internationally, including MoMA's Documentary Fortnight, Robert Flaherty Film Seminar (“The Age of Migration”), Seattle International Film Festival, Washington D.C. International Film Festival and Barcelona Asian Film Festival. From 2000-2010 he was the Director and Programmer of the San Francisco International Asian American Film Festival, the largest showcase of its kind in the Us. Yang is also the programmer of “Cinema Asian America,” a new On-Demand service offered by Comcast and currently a Visiting Scholar at New York University’s Asian/Pacific/American Institute.
Nominating Committee
- Isabel Arrate Fernandez, Idfa, The Netherlands
- Hugo Chaparro, film critic, Colombia
- Lucile De Calan, programmer, Biarritz Latin American Film Festival, France
- Denis de la Roca, programmer, Abu Dhabi Film Festival
- Mara Fortes, programmer, Morelia Film Festival
- Erick Gonzalez, programmer, Valdivia Film Festival, Chile
- Elías Jiménez, director, Festival Ícaro, Guatemala
- Roger Alan Koza, film critic and programmer, Filmfest Hamburg, Ficunam, Mexico
- Janneke Langelaan, Hubert Bals Fund, The Netherlands
- Diego Lerer, film critic, Argentina
- Rosa Martinez Rivero, film producer, Argentina
- Christian Sida-Valenzuela, director, Vancouver Latin American Film Festival
- Hebe Tabachnik, programmer, Los Angeles and Palm Springs Film Festivals
- Sergio Wolf, film programmer, Argentina...
- Best Feature Film
- Best Documentary Film
- Best Director, Feature Film
- Best Director, Documentary Film
- Best First Film
The Cinema Tropical Awards are presented in partnership with Voces, Latino Heritage Network of The New York Times and 92YTribeca, with the support of the Mexican Cultural Institute. Special thanks to Lucila Moctezuma and Mario Díaz.
Best Feature Film
- O Som Ao Redor / Neighboring Sounds (Kleber Mendonça Filho, Brazil, 2012)
Best Director, Feature Film
- MatÍAs Meyer, Los ÚLtimos Cristeros / The Last Christeros (Mexico, 2011)
Best Documentary Film
- El Salvavidas / The Lifeguard (Maite Alberdi, Chile, 2011)
Best Director, Documentary Film
- JosÉ ÁLvarez, CanÍCula (Mexico, 2011)
Best First Film
- El Estudiante / The Student (Santiago Mitre, Argentina, 2011)
The films were selected from a list of Latin American feature films with a minimum of 60 minutes in length that were premiered between April 1, 2011 and March 31, 2012. The winners and final nominees were selected by a six-member jury panel from a list of fiction and documentary films compiled from the selections of a nominating committee composed of 14 film professionals from Latin America, the U.S. and Europe (see list below).
Fiction Jury
Dennis Lim writes about film and popular culture for various publications including The New York Times and the Los Angeles Times. He is the founding editor of Moving Image Source, the online publication and research resource of the Museum of the Moving Image and was formerly the film editor of The Village Voice. His work has also appeared in The Believer, The Oxford American, Blender, Spin, Espous, Indiewire, New York Daily News, The Independent on Sunday, The Guardian, and the film quarterly Cinema Scope, where he is a contributing editor. A member of the National Society of Film Critics and the editor of The Village Voice Film Guide (2006), he has served as a member of the New York Film Festival selection committee and he teaches in the Cultural Reporting and Criticism graduate program a New York University.
Matías Piñeiro is a filmmaker and professor at the Universidad del Cine in Buenos Aires. His first feature-length work, El hombre robado / The Stolen Man (2007), won awards at the Jeonju International Film Festival and at Las Palmas de Gran Canaria International Film Festival. In 2009, his second feature, Todos mienten / They All Lie, premiered at Bafici (Buenos Aires Festival International de Cine Independiente), where it won two awards. It also won a prize at the Santiago Festival Internacional de Cine. In 2010, he was selected—along with James Benning and Denis Côté—to screen his third film, Rosalinda at the 11th Jeonju Digital Project. Piñeiro recently premiered his most recent film, Viola, at the Toronto Film Festival, and it's slated for a Us release in 2013. He earned a filmmaking degree from Universidad del Cine. His award-winning films have been screened around the world, including at Anthology Film Archives, Festival des 3 Continents, the Festival del film Locarno, the London Film Festival, Museo de Arte Latinoamericano de Buenos Aires, the Museum of Modern Art, Rencontré Cinémas d’Amerique Latine de Toulouse, and the Viennale.
Frida Torresblanco served as a producer in Spain working on film including The Dancer Upstairs, directed by John Malkovich and starring Javier Bardem, as well as Susan Seidelman’s Gaudi Afternoon. She moved to New York City in 2002 to launch and lead Alfonso Cuaron’s film production company, Esperanto, where she served as Executive Producer and Creative On-Set Producer for The Assassination of Richard Nixon (directed by Niels Mueller, starring Sean Penn), among others. In 2006, Frida joined Alfonso Cuarón and Guillermo del Toro to produce El laberinto del Fauno / Pan’s Labyrinth (Three Oscars & another three Oscar nominations; three wins & five BAFTA nominations; a nomination for the Palm d’Or and a Golden Globe). The Hollywood Reporter named Frida one of the 50 most powerful Latinos in Hollywood. She also produced Rudo y Cursi (directed by Carlos Cuarón, starring Gael García Bernal and Diego Luna). In 2010, Frida launched her new film production company, Braven Films, with partners Eric Laufer and Giovanna Randall. Her next project, Magic Magic, produced through Braven Films, will star Michael Cera, Juno Temple and Emily Browning.
DocuMentary Jury
Ryan Harrington is the Director of Documentary Programs at the Tribeca Film Institute where he oversees the Gucci Tribeca Documentary Fund, the Tfi Documentary Fund, Tribeca All Access documentary program and the Latin America Media Arts Fund while developing other initiatives and programs that support non-fiction filmmaking. Recent Tfi successes include Give Up Tomorrow, If a Tree Falls, The Redemption of General Butt Naked, The Oath, Enemies of the People, Marathon Boy and Donor Unknown. Independently he is currently working on the feature doc Hungry in America, with filmmakers Kristi Jacobson & Lori Silverbush and Participant Media, that explores why so many people in the USA go without food, and what can be done about it. Harrington managed production for A&E IndieFilms, the theatrical documentary arm of the A&E Network, for four years. Throughout his time there he championed the Oscar-nominated films Murderball and Jesus Camp, and the Sundance hits My Kid Could Paint That and American Teen.
Paula Heredia is a director and editor based in New York. She was awarded an Emmy for the HBO documentary In Memoriam, NYC 9/11/01, and an Ace Eddie Award for the acclaimed documentary Unzipped. Her directorial work includes the documentaries George Plimpton and the Paris Review, Ralph Gibson, and The Couple in the Cage. Her dramatic work includes Having a Baby, Tras La Ventana, Slings and Arrows, and La Cena de Matrimonio. Her short film La Pájara Pinta premiered at the Lincoln Center Film Society LatinBeat Film Festival. Heredia’s editorial work can be seen in the HBO feature-length documentary Addiction, which received the 2007 Emmy Governors Award, and Alive Day Memories—Home from Iraq, executive produced by James Gandolfini for HBO. Her new edit, The Art of Failure: Chuck Connelly Not for Sale and Jacques D'Ambois in China, will air on HBO this summer. Other editorial credits include: Modulations Cinema for the Ear, The Vagina Monologues, Finding Christa and Free Tibet. Paula’s work and creative process is featured in the book: The Art of the Documentary by Megan Cunningham. With partner Larry Garvin, she co-founded Heredia Pictures, heads the international committee of New York Women in Film and Television and serves on the board of advisors of Tribeca All Access and Clementina, Inc.
Chi-hui Yang is a film programmer, lecturer and writer based in New York. As a guest curator, Yang has presented film and video series at film festivals and events internationally, including MoMA's Documentary Fortnight, Robert Flaherty Film Seminar (“The Age of Migration”), Seattle International Film Festival, Washington D.C. International Film Festival and Barcelona Asian Film Festival. From 2000-2010 he was the Director and Programmer of the San Francisco International Asian American Film Festival, the largest showcase of its kind in the Us. Yang is also the programmer of “Cinema Asian America,” a new On-Demand service offered by Comcast and currently a Visiting Scholar at New York University’s Asian/Pacific/American Institute.
Nominating Committee
- Isabel Arrate Fernandez, Idfa, The Netherlands
- Hugo Chaparro, film critic, Colombia
- Lucile De Calan, programmer, Biarritz Latin American Film Festival, France
- Denis de la Roca, programmer, Abu Dhabi Film Festival
- Mara Fortes, programmer, Morelia Film Festival
- Erick Gonzalez, programmer, Valdivia Film Festival, Chile
- Elías Jiménez, director, Festival Ícaro, Guatemala
- Roger Alan Koza, film critic and programmer, Filmfest Hamburg, Ficunam, Mexico
- Janneke Langelaan, Hubert Bals Fund, The Netherlands
- Diego Lerer, film critic, Argentina
- Rosa Martinez Rivero, film producer, Argentina
- Christian Sida-Valenzuela, director, Vancouver Latin American Film Festival
- Hebe Tabachnik, programmer, Los Angeles and Palm Springs Film Festivals
- Sergio Wolf, film programmer, Argentina...
- 1/23/2013
- by Sydney Levine
- Sydney's Buzz
The Museum of Modern Art and the Film Society of Lincoln Center have jointly announced seven official selections for the 2013 New Directors/New Films Festival (Nd/Nf), which runs March 20–31, 2013. The festival is "dedicated to the discovery of new works by emerging and dynamic filmmaking talent," and the 2013 edition marks the film festival’s 42nd year. Representing seven countries from around the world, the initial seven selections are Emil Christov’s "The Color and the Chameleon" (Bulgaria), Tobias Lindholm’s "A Hijacking" (Denmark), Rachid Djaidani’s "Hold Back" (France), Jp Sniadecki’s and Libbie Dina Cohn’s "People's Park" (USA/China), Sarah Polley’s "Stories We Tell" (Canada), Shane Carruth’s "Upstream Color" (USA), and Matías Piñeiro’s "Viola" (Argentina). "These first seven titles give a...
- 1/16/2013
- by Peter Knegt
- Indiewire
The Cinema Guild has acquired Us distribution rights to Argentinian director Matías Piñeiro's "Viola," the Guild announced Tuesday. A riff on "Twelfth Night," "Viola" follows a group of young actresses performing a production of Shakespeare's comedy while simultaneously mapping a web of hidden romantic liaisons. The film, which premiered in September at the Toronto International Film Festival, will get a limited theatrical release next year, to be followed by release on DVD and VOD. The distribution deal for "Viola" was negotiated between the director and Ryan Krivoshey, of The Cinema Guild. ...
- 11/13/2012
- by Chris Pomorski
- Indiewire
Below you will find our total coverage of the 2012 Toronto International Film festival, including previews, reviews, and the festival-spanning dialog between our two main critics at Tiff. A few more pieces may be added as they come in.
Wavelengths (P)Reviews
by Michael Sicinski
Part One - The Shorts
Part Two - The Features
Correspondences
between Fernando F. Croce and Daniel Kasman
#1
Fernando F. Croce on Abbas Kiarostami's Like Someone in Love, Michael Haneke's Amour, Harmony Korine's Spring Breakers
#2
Daniel Kasman on Wang Bing's Three Sisters, Christian Petzold's Barbara, Ying Liang's When Night Falls, Ernie Gehr's Departure and Auto-Collider Xv
#3
Fernando F. Croce on Carlos Reygadas' Post Tenebras Lux, Olivier Assayas' Something in the Air, Bernardo Bertolucci's Me and You, Noah Baumbach's Frances Ha
#4
Daniel Kasman on Brian De Palma's Passion, Heinz Emigholz's Perret in France and Algeria, Nathaniel Dorsky...
Wavelengths (P)Reviews
by Michael Sicinski
Part One - The Shorts
Part Two - The Features
Correspondences
between Fernando F. Croce and Daniel Kasman
#1
Fernando F. Croce on Abbas Kiarostami's Like Someone in Love, Michael Haneke's Amour, Harmony Korine's Spring Breakers
#2
Daniel Kasman on Wang Bing's Three Sisters, Christian Petzold's Barbara, Ying Liang's When Night Falls, Ernie Gehr's Departure and Auto-Collider Xv
#3
Fernando F. Croce on Carlos Reygadas' Post Tenebras Lux, Olivier Assayas' Something in the Air, Bernardo Bertolucci's Me and You, Noah Baumbach's Frances Ha
#4
Daniel Kasman on Brian De Palma's Passion, Heinz Emigholz's Perret in France and Algeria, Nathaniel Dorsky...
- 9/22/2012
- MUBI
Dear Danny,
And so our Tiff dialogue comes to a close. A jet-lagged, discombobulated close, filed rather late and written largely in the limbo of airport terminals, suffused with that distinctly Portuguese melancholia known as “saudades.”
Indeed, the word turns up in Lines of Wellington, defined onscreen by that grand old satyr Michel Piccoli as the yearning for “what could have been, but wasn’t.” Fittingly, this historical epic—set in 1810 and detailing the clash between Anglo-Portuguese and Napoleonic troops as viewed by an ensemble of military and civilian figures—was supposed to have been directed by Raúl Ruiz, but after the Chilean master filmmaker passed away those duties fell instead to his widow, Valeria Sarmiento. The concept of Sarmiento, herself a director of nearly 20 films, shooting a panorama “prepared” by Ruiz certainly tantalizes. The stolid cinema de qualité pageant that resulted, however, turned out to be the antithesis of Ruiz’s sublimely slippery camera,...
And so our Tiff dialogue comes to a close. A jet-lagged, discombobulated close, filed rather late and written largely in the limbo of airport terminals, suffused with that distinctly Portuguese melancholia known as “saudades.”
Indeed, the word turns up in Lines of Wellington, defined onscreen by that grand old satyr Michel Piccoli as the yearning for “what could have been, but wasn’t.” Fittingly, this historical epic—set in 1810 and detailing the clash between Anglo-Portuguese and Napoleonic troops as viewed by an ensemble of military and civilian figures—was supposed to have been directed by Raúl Ruiz, but after the Chilean master filmmaker passed away those duties fell instead to his widow, Valeria Sarmiento. The concept of Sarmiento, herself a director of nearly 20 films, shooting a panorama “prepared” by Ruiz certainly tantalizes. The stolid cinema de qualité pageant that resulted, however, turned out to be the antithesis of Ruiz’s sublimely slippery camera,...
- 9/22/2012
- MUBI
Above: Viola.
Dear Fern,
With the De Palma and Anderson, and then later the films by Bellocchio and Malick, defining “direction” indeed has become a key discussion point at the festival this year. Bellocchio's Dormant Beauty, as you indicate, is the special case: quite simply he directs the shit out of that movie. The screenplay and “hot button” topic are structural and political fodder for introducing and then orchestrating and nimbly evolving this engrossing melodrama of morality, Catholicism, contemporary Italian politics, media images and multiple characters across churches, hospitals, mansions, clandestine government backrooms, television performances, protests and seedy motel rooms. The film was compulsive; it was impossible not to get caught up in its energetic valences. I'm still haunted by just where Bellocchio chose to end each of the mini-stories caught up in the fervor of (real) events in the film—brooding, dark, complex and unresolved, yet with an image...
Dear Fern,
With the De Palma and Anderson, and then later the films by Bellocchio and Malick, defining “direction” indeed has become a key discussion point at the festival this year. Bellocchio's Dormant Beauty, as you indicate, is the special case: quite simply he directs the shit out of that movie. The screenplay and “hot button” topic are structural and political fodder for introducing and then orchestrating and nimbly evolving this engrossing melodrama of morality, Catholicism, contemporary Italian politics, media images and multiple characters across churches, hospitals, mansions, clandestine government backrooms, television performances, protests and seedy motel rooms. The film was compulsive; it was impossible not to get caught up in its energetic valences. I'm still haunted by just where Bellocchio chose to end each of the mini-stories caught up in the fervor of (real) events in the film—brooding, dark, complex and unresolved, yet with an image...
- 9/14/2012
- MUBI
As I mentioned in the preface to the first part of my Wavelengths preview (the one focusing on the short films), there are significant changes afoot in 2012. Until last year, the festival had a section known as Visions, which was the primary home for formally challenging cinema that nevertheless conformed to the basic tenets of arthouse and/or “festival” cinema (actors, scripting, 70+minute running time, and, once upon a time, 35mm presentation). This year, Wavelengths is both its former self, and it also contains the sort of work that Visions most likely would have housed. While in some respects this can seem to result in a kind of split personality for the section, it also means that Wavelengths, which has often been described as a sort of “festival within the festival,” has moved front and center. Films that would’ve occupied single slots in the older avant-Wavelengths model, like the...
- 9/12/2012
- MUBI
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