Descubre los detalles de la serie y los lugares emblemáticos de Madrid que han sido escenario de esta apasionante serie. © Prime Video
El rodaje de la serie original de Prime Video, “Su Majestad”, ha llegado a su fin. Se trata de una comedia se sitúa en el año 2024. Pilar es una joven Princesa y futura Reina de España que, de forma repentina y precipitada, se ve obligada a quedarse al frente de la institución después de que un escándalo protagonizado por su padre, el Rey Alfonso Xiv, le aparte de la escena pública durante unos meses. Pilar debe demostrar al país que no es la mujer irresponsable, insolente, vaga e inútil que todos creen que es. Lo que ocurre es que, de todos modos, tienen razón.
“Su Majestad” está protagonizada por Anna Castillo como la Princesa Pilar y Ernesto Alterio como Guillermo, el Secretario de la Princesa. Completan el reparto...
El rodaje de la serie original de Prime Video, “Su Majestad”, ha llegado a su fin. Se trata de una comedia se sitúa en el año 2024. Pilar es una joven Princesa y futura Reina de España que, de forma repentina y precipitada, se ve obligada a quedarse al frente de la institución después de que un escándalo protagonizado por su padre, el Rey Alfonso Xiv, le aparte de la escena pública durante unos meses. Pilar debe demostrar al país que no es la mujer irresponsable, insolente, vaga e inútil que todos creen que es. Lo que ocurre es que, de todos modos, tienen razón.
“Su Majestad” está protagonizada por Anna Castillo como la Princesa Pilar y Ernesto Alterio como Guillermo, el Secretario de la Princesa. Completan el reparto...
- 4/15/2024
- by Marta Medina
- mundoCine
Mubi Podcast: Encuentros returns with a series of special episodes in audio and video.This episode features:Ernesto Alterio (Argentina), an actor who has been nominated for two Goya Awards for his performances in Fernando Colomo’s The Stolen Years and David Serrano’s comedy Días de fútbol. He has worked with several renowned directors from Argentina and Spain, including Marcelo Piñeyro, Mariano Barroso, Emilio Martínez-Lázaro, Carlso Saura, Benjamín Ávila, and Álex de la Iglesia. Cecilia Suárez (Mexico), an actress who has been nominated for three Ariel Awards, and has won two Platino Awards. In recent years, she has worked on Manolo Caro's film and streaming projects, as well as films by Fernando Colomo and Violeta Salama. In this episode, the guests talk about acting as a space where identities dissolve and words can take on new meaning. In front of a live audience, Cecilia and Ernesto meet to...
- 6/28/2023
- MUBI
Linking two top players on the Spanish TV scene, Barcelona studio Filmax has acquired international sales rights to Spanish comedy “Co-Husbands,” whose backers include Telecinco Cinema, producer of Guillermo del Toro’s “Pan’s Labyrinth” and J.A. Bayona’s The Impossible.”
Filmax will unveil a trailer to clients at this week’s Berlin European Film Market, before the film’s release in Spain on March 10.
The second feature from Lucia Alemany (“Innocence”), ”Co-Husbands” toplines “House of Flowers” star Paco León. In a gender flip set-up, it turns on Emilio and Tono who both receive phone calls that their wives are in comas after a ski-resort avalanche. At the hospital admissions desk, they make a startling discovery: their wives are, in fact, the same person … Laura. Forced to wait together until Laura regains consciousness, Emilio and Toni engage in a battle to prove who is her one and only true husband.
Ernesto Alterio...
Filmax will unveil a trailer to clients at this week’s Berlin European Film Market, before the film’s release in Spain on March 10.
The second feature from Lucia Alemany (“Innocence”), ”Co-Husbands” toplines “House of Flowers” star Paco León. In a gender flip set-up, it turns on Emilio and Tono who both receive phone calls that their wives are in comas after a ski-resort avalanche. At the hospital admissions desk, they make a startling discovery: their wives are, in fact, the same person … Laura. Forced to wait together until Laura regains consciousness, Emilio and Toni engage in a battle to prove who is her one and only true husband.
Ernesto Alterio...
- 2/16/2023
- by John Hopewell
- Variety Film + TV
Disney’s Latin American streamer talks up original dramas.
The Walt Disney Company’s Latin American streamer Star+ underlined its original production push by premiering the first episode of its Eva Perón miniseries Santa Evita at Spain’s Conecta Fiction & Entertainment this week, and showcasing four more dramas at the TV networking and co-pro event held in Toledo.
Launched last year, entertainment and sports platform Star+ is available in Latin America as a standalone service or, as part of Combo+, a bundled offering with access to Disney+.
Santa Evita, produced by Star Original Productions and directed by Rodrigo Garcia, tells...
The Walt Disney Company’s Latin American streamer Star+ underlined its original production push by premiering the first episode of its Eva Perón miniseries Santa Evita at Spain’s Conecta Fiction & Entertainment this week, and showcasing four more dramas at the TV networking and co-pro event held in Toledo.
Launched last year, entertainment and sports platform Star+ is available in Latin America as a standalone service or, as part of Combo+, a bundled offering with access to Disney+.
Santa Evita, produced by Star Original Productions and directed by Rodrigo Garcia, tells...
- 6/23/2022
- by Elisabet Cabeza
- ScreenDaily
Underscoring a push into more ambitious productions in Latin America, Star Plus, The Walt Disney Company’s year-old general entertainment and sports streaming service in the region, presented an early banner production, “Santa Evita,” at Conecta Fiction & Entertainment in a gala screening on June 22.
Attendees of the Toledo, Spain-based forum got an exclusive preview of the pilot episode to the seven-part limited series, which is set to bow July 26 on Star Plus Latin America, Hulu in the U.S. and Disney’s Star label in the rest of the world.
“Santa Evita” anticipates more “true life fiction” shows that Star Plus is developing, based on larger-than-life figures in Latin America’s culture and history.
“We’re serving several markets, and in order to connect with our audiences, we’re developing stories about people they know, whose stories they know,” said Leonardo Aranguibel, VP, head of production operations & strategy, The Walt Disney Company Latin America,...
Attendees of the Toledo, Spain-based forum got an exclusive preview of the pilot episode to the seven-part limited series, which is set to bow July 26 on Star Plus Latin America, Hulu in the U.S. and Disney’s Star label in the rest of the world.
“Santa Evita” anticipates more “true life fiction” shows that Star Plus is developing, based on larger-than-life figures in Latin America’s culture and history.
“We’re serving several markets, and in order to connect with our audiences, we’re developing stories about people they know, whose stories they know,” said Leonardo Aranguibel, VP, head of production operations & strategy, The Walt Disney Company Latin America,...
- 6/23/2022
- by Anna Marie de la Fuente
- Variety Film + TV
Fabula-Fremantle’s “Santa Maria,” Leticia Dolera’s “Puberty” and “Fata Morgana,” a Western thriller executive produced by Béla Tarr, all feature at this year’s vastly expanded Conecta Fiction & Entertainment.
In further news announced Monday, Conecta Fiction will also stage the European premiere of Star Plus’ “Santa Evita,” executive produced by Salma Hayek Pinault and José Tamez, starring Natalia Oreiro, Ernesto Alterio, Darío Grandinetti and one of Disney’s most anticipated titles Spanish-language titles.
“Santa Evita” tells the true events-based and extraordinary story of the odyssey of Argentine First Lady Eva Perón’s embalmed body over three decades, her elevation to near sainthood saying much about Argentina and Latin America at large.
A panel discussion will be lead by the key cast, directors Rodrigo García and Alejandro Maci and the executives who led its production – Mariana Pérez, VP, development and production, Twdc Latin America, and Leonardo Aranguibel, VP, production, Twdc Latin America.
In further news announced Monday, Conecta Fiction will also stage the European premiere of Star Plus’ “Santa Evita,” executive produced by Salma Hayek Pinault and José Tamez, starring Natalia Oreiro, Ernesto Alterio, Darío Grandinetti and one of Disney’s most anticipated titles Spanish-language titles.
“Santa Evita” tells the true events-based and extraordinary story of the odyssey of Argentine First Lady Eva Perón’s embalmed body over three decades, her elevation to near sainthood saying much about Argentina and Latin America at large.
A panel discussion will be lead by the key cast, directors Rodrigo García and Alejandro Maci and the executives who led its production – Mariana Pérez, VP, development and production, Twdc Latin America, and Leonardo Aranguibel, VP, production, Twdc Latin America.
- 6/6/2022
- by John Hopewell and Pablo Sandoval
- Variety Film + TV
“El agua,” (Elena López Riera)
A Directors’ Fortnight title, the feature debut of Locarno winning López Riera (“Los Que Desean”), a fantasy-laced village-set critique of gender violence. S.A. Elle Driver
“Alcarràs,” (Carla Simón)
The 2022 Berlin Golden Bear winner, Simón’s follow-up to “Summer 1993” and the flagship title for Catalonia and Spain’s newest filmmaking generation. S.A. MK2 Films
“Amazing Elisa,” (Sádrac González-Perellón)
The next from 2017 BiFan Grand Jury Prize winner González-Perellón (“Black Hollow Cage”), once more mixing fantasy and family dynamics as Elisa, 12, plans revenge after her mother’s tragic death. S.A. Filmax
“The Beasts,” (Rodrigo Sorogoyen)
One of 2022’s most awaited Spanish titles, playing Cannes Premiere, a Galicia-set thriller from Oscar-nominee Sorogoyen (“Mother”), produced by Arcadia, Caballo Films and Le Pacte. S.A. Latido Films
“The Communion Girl,” (Víctor García)
A revenge thriller involving an urban legend about a girl in a communion dress. S.
A Directors’ Fortnight title, the feature debut of Locarno winning López Riera (“Los Que Desean”), a fantasy-laced village-set critique of gender violence. S.A. Elle Driver
“Alcarràs,” (Carla Simón)
The 2022 Berlin Golden Bear winner, Simón’s follow-up to “Summer 1993” and the flagship title for Catalonia and Spain’s newest filmmaking generation. S.A. MK2 Films
“Amazing Elisa,” (Sádrac González-Perellón)
The next from 2017 BiFan Grand Jury Prize winner González-Perellón (“Black Hollow Cage”), once more mixing fantasy and family dynamics as Elisa, 12, plans revenge after her mother’s tragic death. S.A. Filmax
“The Beasts,” (Rodrigo Sorogoyen)
One of 2022’s most awaited Spanish titles, playing Cannes Premiere, a Galicia-set thriller from Oscar-nominee Sorogoyen (“Mother”), produced by Arcadia, Caballo Films and Le Pacte. S.A. Latido Films
“The Communion Girl,” (Víctor García)
A revenge thriller involving an urban legend about a girl in a communion dress. S.
- 5/19/2022
- by Emilio Mayorga and John Hopewell
- Variety Film + TV
No one can accuse Spanish filmmaker and all around maverick Álex de la Iglesia of being lazy. Not even during a pandemic. Somehow, he's getting shit done. We are all enjoying his series 30 coins and the director recently wrapped up photography of the first instalment of his new brand of horror films he calls The Fear Collection. That first film is a fable about the fear of tourism called Vececiafrenia. All of this was of course written with his writer Jorge Guerricaechevarría. The pair are at it again with production of a black humored road movie combined with a romantic comedy called El cuarto pasajero (The Fourth Passenger). It will star Ernesto Alterio and Blanca Suárez who have worked with de la...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 2/1/2021
- Screen Anarchy
The Spanish director has kicked off the shoot for his new film, a madcap road movie starring Ernesto Alterio, Alberto San Juan, Blanca Suárez and Rubén Cortada. With the HBO series 30 Coins (read the review) having been released just a few weeks ago and principal photography for Veneciafrenia having recently wrapped (see the news), the tireless Álex de la Iglesia is already engrossed in the shoot for another film, which bears the title El cuarto pasajero (lit. “The Fourth Passenger”). As has become customary in his filmography, this new outing swings between humour and tension – in this case in the guise of a road movie combined with a romantic comedy. The lead actors are two thesps who have already worked with the Basque filmmaker previously: Ernesto Alterio and Blanca Suárez (The Bar)....
In today’s Global Bulletin, Alex de la Iglesia is back on set with “El cuarto pasajero,” Laurine Garaude departs Reed Midem, Chinese video app Kuaishou stuns investors in Hong Kong, Tencent finalizes its Universal Music Group share increase, Mopar Studios hire Jessica Pope as creative director and Pluto TV launches six new networks in Latin America.
Shooting
Spanish genre master Álex de la Iglesia, hot off the heels of his hit HBO horror series “30 Coins,” is back on set to shoot road movie rom-com “El cuarto pasajero” (The Fourth Passenger), a Pokeepsie Films and Telecinco Cinema co-production. The companies will be looking to repeat the joint success they found with the filmmaker’s 2017 Spanish-language remake of “Perfect Strangers,” a top 10 all-time domestic box office hit that pulled a worldwide gross of $33 million in 2017-18.
“El cuarto pasajero” also sees de la Iglesia joined once again by regular co-writer...
Shooting
Spanish genre master Álex de la Iglesia, hot off the heels of his hit HBO horror series “30 Coins,” is back on set to shoot road movie rom-com “El cuarto pasajero” (The Fourth Passenger), a Pokeepsie Films and Telecinco Cinema co-production. The companies will be looking to repeat the joint success they found with the filmmaker’s 2017 Spanish-language remake of “Perfect Strangers,” a top 10 all-time domestic box office hit that pulled a worldwide gross of $33 million in 2017-18.
“El cuarto pasajero” also sees de la Iglesia joined once again by regular co-writer...
- 1/29/2021
- by Jamie Lang
- Variety Film + TV
Director Álex de la Iglesia is re-teaming with producers Telecinco Cinema and Pokeepsie Films after their smash hit 2017 pic Perfect Strangers (remade from the Italian film of the same name) on El Cuarto Pasajero (The Fourth Passenger), a road movie in the rom-com vein.
Cast will be led by Blanca Suárez (The Skin I Live In), Alberto San Juan (Under The Stars), Ernesto Alterio (The Other Side Of The Road), and Ruben Cortada (Olmos y Robles). Co-written by Álex de la Iglesia and Jorge Guerricaechevarría, the screenplay follows a 50-year-old divorcee with financial problems who begins sharing his car with strangers via an app. After falling romantically for one of his passengers, he decides to tell her on one trip, but the other passengers prove a problem.
Producers are Telecinco Cinema, Pokeepsie Films Sl and Te Has Venido Arriba A.I.E, with the participation of Mediaset España, Movistar + and Mediterráneo Mediaset España Group.
Cast will be led by Blanca Suárez (The Skin I Live In), Alberto San Juan (Under The Stars), Ernesto Alterio (The Other Side Of The Road), and Ruben Cortada (Olmos y Robles). Co-written by Álex de la Iglesia and Jorge Guerricaechevarría, the screenplay follows a 50-year-old divorcee with financial problems who begins sharing his car with strangers via an app. After falling romantically for one of his passengers, he decides to tell her on one trip, but the other passengers prove a problem.
Producers are Telecinco Cinema, Pokeepsie Films Sl and Te Has Venido Arriba A.I.E, with the participation of Mediaset España, Movistar + and Mediterráneo Mediaset España Group.
- 1/29/2021
- by Tom Grater
- Deadline Film + TV
The helmer has wrapped the shoot for this tense Movistar+ series, the cast of which includes Natalia Verbeke, Ernesto Alterio, Leonardo Sbaraglia and Juan Diego Botto. Todos mienten (lit. “They’re All Lying”) is a thriller written and directed by Barcelona-born Pau Freixas (Deadly Cargo), toplined by Irene Arcos, Natalia Verbeke, Leonardo Sbaraglia and Ernesto Alterio, who are flanked by Juan Diego Botto, Miren Ibarguren, Eva Santolaria (who previously worked with the filmmaker on Héroes), Amaia Salamanca, Jorge Bosch and Carmen Arrufat, the big revelation from Lucía Alemany’s feature debut, The Innocence. Principal photography – which began in October and took place on location in Barcelona, Tarragona and Girona – is just wrapping now, after a shoot that was forced to adhere to the requisite health-and-safety measures to ensure that it could go ahead while halting the spread of the coronavirus. The synopsis tells of how the peaceful life of the.
Salvador Calvo’s “Adú” leads the way at Spain’s annual Goya Awards nominations with 14 nods, including for best film and best director.
“Las niñas” and “Akelarre” followed with nine nominations each, while “Rosa’s Wedding” has eight.
In the running for the best film Goya are “Adú,” a Netflix acquisition; “Ane” by David Perez Sanudo; “La boda de Rosa” by Iciar Bollain; “Las niñas” by Pilar Palomero; and “Sentimental” by Cesc Gay.
Competing for the best direction Goya will be Salvador Calvo for “Adú”; Juanma Bajo Ulloa for “Baby”; Iciar Bollain for “La boda de Rosa”; and Isabel Coixet for “Nieva en Benidorm.”
In the running for best European film are Jan Komasa’s “Corpus Christi”; Florian Zeller’s “The Father”; Viggo Mortensen’s “Falling”; and Roman Polanski’s “An Officer and a Spy.”
Mortensen was the big draw at the 2020 San Sebastian Film Festival where “Falling” played, and where he received the Donostia Award.
“Las niñas” and “Akelarre” followed with nine nominations each, while “Rosa’s Wedding” has eight.
In the running for the best film Goya are “Adú,” a Netflix acquisition; “Ane” by David Perez Sanudo; “La boda de Rosa” by Iciar Bollain; “Las niñas” by Pilar Palomero; and “Sentimental” by Cesc Gay.
Competing for the best direction Goya will be Salvador Calvo for “Adú”; Juanma Bajo Ulloa for “Baby”; Iciar Bollain for “La boda de Rosa”; and Isabel Coixet for “Nieva en Benidorm.”
In the running for best European film are Jan Komasa’s “Corpus Christi”; Florian Zeller’s “The Father”; Viggo Mortensen’s “Falling”; and Roman Polanski’s “An Officer and a Spy.”
Mortensen was the big draw at the 2020 San Sebastian Film Festival where “Falling” played, and where he received the Donostia Award.
- 1/18/2021
- by Naman Ramachandran
- Variety Film + TV
Mexico’s Manolo Caro, the creator, director and writer of “The House of Flowers,” may have another Netflix Original hit on his hands with the dark family thriller “Someone Has to Die” (Alguien Tiene Que Morir).
Director of five movies and a documentary since 2013’s feature debut “I Don’t Know Whether to Slit My Wrists or Leave Them Long,” Caro became only the second showrunner from Spain and Latin America, following “Money Heist’s” Alex Pina, to sign a multi-year production pact with Netflix, in May 2019.
Available globally from Oct. 16, “Someone Has to Die” once again moves the industry dial for Netflix on its Spanish-language production scene. Caro and Diego Ávalos, Netflix vice president of original content for Spain, discussed the process at an online Spanish-language conversation hosted by Madrid’s Casa America, which was released on Friday.
The need to be even “more specific in content, while portraying human relations,...
Director of five movies and a documentary since 2013’s feature debut “I Don’t Know Whether to Slit My Wrists or Leave Them Long,” Caro became only the second showrunner from Spain and Latin America, following “Money Heist’s” Alex Pina, to sign a multi-year production pact with Netflix, in May 2019.
Available globally from Oct. 16, “Someone Has to Die” once again moves the industry dial for Netflix on its Spanish-language production scene. Caro and Diego Ávalos, Netflix vice president of original content for Spain, discussed the process at an online Spanish-language conversation hosted by Madrid’s Casa America, which was released on Friday.
The need to be even “more specific in content, while portraying human relations,...
- 10/30/2020
- by John Hopewell
- Variety Film + TV
Miami — It’s official. Two of the Argentine industry’s biggest name actors, Natalia Oreiro (“Gilda”) and Ernesto Alterio (“Clandestine Childhood”), are attached to star in “Santa Evita,” produced by Salma Hayek and co-directed by Rodrigo García (“Nine Lives”), who will also produce.
Confirmed by Buena Vista Original Productions on the eve of this year’s Natpe conference in Miami, which kicks off Tuesday, Jan. 21, the seven-part drama series looks like the one of the biggest in the pipeline from Latin American – in terms of talent attached, expectation, and its central on-screen figure: Legendary Argentine First Lady Eva Perón.
Eight years in the works, but now the first series to go into production at Disney’s new Buena Vista Original Productions label in Latin America, headed by Leonardo Aranguibel and Mariana Pérez – and a passion project of Pérez’s when she drove original production at Fox Networks Group Latin America...
Confirmed by Buena Vista Original Productions on the eve of this year’s Natpe conference in Miami, which kicks off Tuesday, Jan. 21, the seven-part drama series looks like the one of the biggest in the pipeline from Latin American – in terms of talent attached, expectation, and its central on-screen figure: Legendary Argentine First Lady Eva Perón.
Eight years in the works, but now the first series to go into production at Disney’s new Buena Vista Original Productions label in Latin America, headed by Leonardo Aranguibel and Mariana Pérez – and a passion project of Pérez’s when she drove original production at Fox Networks Group Latin America...
- 1/21/2020
- by John Hopewell
- Variety Film + TV
Exclusive: Key Spanish seller Filmax has taken international rights to comedy I Can Quit Whenever I Want (Lo Dejo Cuando Quiera) from local giant Telecinco Cinema, producers of the successful Spanish reboot of Perfect Strangers, The Impossible and The Orphanage, and Mod Producciones, producers of The Tribe and The Summit.
The anticipated Spanish-language film is a remake of hit Italian crime-comedy Smetto Quando Voglio, about three college professors, recently unemployed due to the economic crisis, who develop a multi-vitamin that allows them to party all night long without side effects. They launch themselves into the world of nightclubs and shady dealings, hoping to find a market for their new wonder drug.
This one sounds like a lot of fun. English-language remake potential seems clear.
Starring are David Verdaguer (Summer 1993), Ernesto Sevilla (We Are Pregnant), Carlos Santos (Smoke and Mirrors), Cristina Castaño (Under the Same Roof), Miren Ibarguren, Amaia Salamanca (Our...
The anticipated Spanish-language film is a remake of hit Italian crime-comedy Smetto Quando Voglio, about three college professors, recently unemployed due to the economic crisis, who develop a multi-vitamin that allows them to party all night long without side effects. They launch themselves into the world of nightclubs and shady dealings, hoping to find a market for their new wonder drug.
This one sounds like a lot of fun. English-language remake potential seems clear.
Starring are David Verdaguer (Summer 1993), Ernesto Sevilla (We Are Pregnant), Carlos Santos (Smoke and Mirrors), Cristina Castaño (Under the Same Roof), Miren Ibarguren, Amaia Salamanca (Our...
- 2/7/2019
- by Andreas Wiseman
- Deadline Film + TV
The story of Félix Gallardo isn’t over yet, as Netflix has renewed “Narcos: Mexico” for a second season, the streamer announced Wednesday. The renewal comes just three weeks after the first season’s Nov. 16 premiere. No return date has been set.
“Narcos: Mexico” charts the origins of the country’s drug war through the rise and fall of the Guadalajara Cartel under Miguel Angel Félix Gallardo. Season 1 follows Gallardo as he unites Mexico’s disparate smuggling organizations into the country’s first global drug empire, while DEA agent Enrique “Kiki” Camarena’s efforts to expose the operation lead him to a horrific outcome with decades-long geopolitical consequences.
Also Read: Watch Creepy Santa in Trailer for the 'Chilling Adventures of Sabrina' Holiday Special (Video)
With Diego Luna as Gallardo and Michael Peña as Camarena, Season 1 also starred Tenoch Huerta Mejía, Alyssa Diaz, Joaquín Cosío, José María Yazpik, Matt Letscher,...
“Narcos: Mexico” charts the origins of the country’s drug war through the rise and fall of the Guadalajara Cartel under Miguel Angel Félix Gallardo. Season 1 follows Gallardo as he unites Mexico’s disparate smuggling organizations into the country’s first global drug empire, while DEA agent Enrique “Kiki” Camarena’s efforts to expose the operation lead him to a horrific outcome with decades-long geopolitical consequences.
Also Read: Watch Creepy Santa in Trailer for the 'Chilling Adventures of Sabrina' Holiday Special (Video)
With Diego Luna as Gallardo and Michael Peña as Camarena, Season 1 also starred Tenoch Huerta Mejía, Alyssa Diaz, Joaquín Cosío, José María Yazpik, Matt Letscher,...
- 12/5/2018
- by Ross A. Lincoln
- The Wrap
Seville International said Tuesday it will sell international rights at the upcoming American Film Market to Advantages of Traveling by Train, the upcoming Spanish comedic horror pic being directed by Aritz Moreno and written by Javier Gullón (Enemy). Production is set to start in December with a cast that includes Luis Tosar, Ernesto Alterio, Pilar Castro, Belén Cuesta, Ingrid García Jonsson, Javier Botet and Gilbert Melki. The plot centers on Helga, an editor and train traveler whose seatmate, a psychiatrist and an expert in personality dysfunctions, recounts to her the worst case he’s faced: the sordid and crazy tale of an extremely dangerous paranoid man obsessed with garbage. The story leads Helga down an unpredictable path as she sets out on an investigation following her encounter. Morena Films’ Merry Colomer and Juan Gordon are producers with Sr & Sra’s Leire Apellaniz and Logical Pictures’ Frédéric Fiore.
Myriad Pictures has...
Myriad Pictures has...
- 10/24/2018
- by Patrick Hipes
- Deadline Film + TV
Spanish shorts director Aritz Moreno makes feature debut on mystery.
Seville International is launching sales at the Afm next week on the Spanish-language film Advantages Of Traveling By Train.
Morena Films is producing the feature and is ramping up for a production start in December and will shoot mostly in San Sebastián, Spain, with select scenes being shot in Paris, France.
Award-winning shorts director Aritz Moreno makes his feature directorial debut from a screenplay by Enemy screenwriter Javier Gullón based on the novel by Antonio Orejudo. Advantages Of Traveling By Train follows a young editor who takes her seat on...
Seville International is launching sales at the Afm next week on the Spanish-language film Advantages Of Traveling By Train.
Morena Films is producing the feature and is ramping up for a production start in December and will shoot mostly in San Sebastián, Spain, with select scenes being shot in Paris, France.
Award-winning shorts director Aritz Moreno makes his feature directorial debut from a screenplay by Enemy screenwriter Javier Gullón based on the novel by Antonio Orejudo. Advantages Of Traveling By Train follows a young editor who takes her seat on...
- 10/24/2018
- by Jeremy Kay
- ScreenDaily
After spending three seasons in Colombia, Netflix’s drug trafficking drama is heading to Mexico. Narcos: Mexico will feature new characters including roles played by Michael Pena and Diego Luna.
Netflix unveiled the first look at Pena and Luna’s characters today. Luna (right) is set to play Miguel Ángel Félix Gallardo but he goes by only one name: Felix. He is the leader of the Guadalajara cartel, one of the biggest narcos in the history of Mexico and the founder of the modern Mexican drug trade. Quiet but bold, inscrutable but sharp-minded, to all appearances he is a benevolent leader, loyal to his friends, associates, and employees…but his ambition comes before all else.
Pena (above) will play Kiki Camarena, a family man and an undercover DEA agent who garnered valuable intel through a series of informants around Félix and his newly minted Guadalajara cartel, but found he had...
Netflix unveiled the first look at Pena and Luna’s characters today. Luna (right) is set to play Miguel Ángel Félix Gallardo but he goes by only one name: Felix. He is the leader of the Guadalajara cartel, one of the biggest narcos in the history of Mexico and the founder of the modern Mexican drug trade. Quiet but bold, inscrutable but sharp-minded, to all appearances he is a benevolent leader, loyal to his friends, associates, and employees…but his ambition comes before all else.
Pena (above) will play Kiki Camarena, a family man and an undercover DEA agent who garnered valuable intel through a series of informants around Félix and his newly minted Guadalajara cartel, but found he had...
- 7/18/2018
- by Dino-Ray Ramos
- Deadline Film + TV
The first Fenix Iberoamerican Film Awards, highlighting and celebrating cinema made in Latin America, Spain, and Portugal as well as applauding the professionals involved was inaugurated by Cinema23 this October 30 and held its closing night party in México City's Jumex Museum, named after the Lopez family’s fruit juice empire, and commissioned by Eugenio Lopez, the dynastic scion whose intention is to leave an edifice to Mexico City that dignifies his family name. This 21st-century prince is the sole patron of the new Museo Jumex, Latin America’s largest contemporary art museum, designed by the British architect David Chipperfield and just across the street from hourglass-shaped Museo Soumaya, opened in 2011 by the Mexican billionaire Carlos Slim Helú to display his own collection. Worth a trip to Mexico alone just to view the private Jumex collection of Mexican art, to attend the spectacular closing night party topping off the new annual, independent award ceremony which took place at the iconic 1918 Teatro de la Ciudad was an experience of a lifetime.
After an exclusive dinner for the nominees around 11 Pm, the great celebration began. Inspired by Día de los Muertos, or Day of the Dead, one of the most important holidays in Mexico, the party was decorated with elements inspired by this tradition such as "papel picado," and walls decorated with skulls. The vibrant orange color of hundreds of cempasúchil flowers (Marigolds) adorned the hall where more than a thousand guests, among them many film professional, singers and other important figures from across Iberoamerica, attended the celebration organized by Grupo Modelo the brewery in Mexico now owned by the Belgian-Brazilian company Anheuser-Busch InBev, which holds 63% of the Mexican beer market and exports beer to most countries of the world, whose export brands include my own favorite beers, Corona and Pacífico. I was proud to be invited to attend and to be part of the advisory council of Cinema23, founder of this annual Fenix Awards celebration of the art of cinema along with the comcomitant commercial success of Iberoamerican cinema.
Attending the awards and the post-award party were actors such as Alice Braga, Ana de la Reguera, Ana Claudia Talancón, Alfonso Herrera, Bárbara Mori, Brandon López, Camila Selser, Cecilia Suárez, Elena Anaya, Ernesto Alterio, Erick Elías, Ilse Salas, Irene Azuela, Johanna Murillo, José María Yazpik, José María and Pedro de Tavira, Juan Manuel Bernal, Karen Martínez, Luis Gerardo Méndez, Maribel Verdú, Martha Higareda, Maya Zapata and Ximena Ayala; filmmakers Fernando Eimbcke, Gary Alazraki, Jonás Cuarón, Lorenzo Hagerman, Manolo Caro, Natalia Beristáin and Rigoberto Perezcano; musicians Leo Heiblum, Kevin Johansen, León Larregui and Sergio Acosta from rock band Zoé and Leonor Watling, Jesús Navarro, vocalist of pop band Reik; socialites as Rafael Micha, Jorge Gorozpe, Memo Martínez and Max Villegas; fashion designer Oscar Madrazo and jewelry designer Mariana Villarea. They and the other attendees enjoyed a night in which cinema was the most important guest.
In the venue's lower level, Sonido Apokalitzin's beats enhanced the experience with cumbias, salsas and iconic songs from several Iberoamerican countries. Monterrey DJ Toy Selectah also entertained the guests with his musical selection. Upstairs, Sergio and Andres from famous rock band Zoé delighted everyone with their music just before they enjoyed Julian Placencia's DJ set.
With this event the first edition of the Fenix Iberoamerican Film Awards came to an end. The event brought together hundreds of figures from the Iberoamerican film community who celebrated the well-deserved recognition to their work and dedication. At the same time the event served to strengthen relationships among the diverse industries and will continuously help forge the region's identity.
After an exclusive dinner for the nominees around 11 Pm, the great celebration began. Inspired by Día de los Muertos, or Day of the Dead, one of the most important holidays in Mexico, the party was decorated with elements inspired by this tradition such as "papel picado," and walls decorated with skulls. The vibrant orange color of hundreds of cempasúchil flowers (Marigolds) adorned the hall where more than a thousand guests, among them many film professional, singers and other important figures from across Iberoamerica, attended the celebration organized by Grupo Modelo the brewery in Mexico now owned by the Belgian-Brazilian company Anheuser-Busch InBev, which holds 63% of the Mexican beer market and exports beer to most countries of the world, whose export brands include my own favorite beers, Corona and Pacífico. I was proud to be invited to attend and to be part of the advisory council of Cinema23, founder of this annual Fenix Awards celebration of the art of cinema along with the comcomitant commercial success of Iberoamerican cinema.
Attending the awards and the post-award party were actors such as Alice Braga, Ana de la Reguera, Ana Claudia Talancón, Alfonso Herrera, Bárbara Mori, Brandon López, Camila Selser, Cecilia Suárez, Elena Anaya, Ernesto Alterio, Erick Elías, Ilse Salas, Irene Azuela, Johanna Murillo, José María Yazpik, José María and Pedro de Tavira, Juan Manuel Bernal, Karen Martínez, Luis Gerardo Méndez, Maribel Verdú, Martha Higareda, Maya Zapata and Ximena Ayala; filmmakers Fernando Eimbcke, Gary Alazraki, Jonás Cuarón, Lorenzo Hagerman, Manolo Caro, Natalia Beristáin and Rigoberto Perezcano; musicians Leo Heiblum, Kevin Johansen, León Larregui and Sergio Acosta from rock band Zoé and Leonor Watling, Jesús Navarro, vocalist of pop band Reik; socialites as Rafael Micha, Jorge Gorozpe, Memo Martínez and Max Villegas; fashion designer Oscar Madrazo and jewelry designer Mariana Villarea. They and the other attendees enjoyed a night in which cinema was the most important guest.
In the venue's lower level, Sonido Apokalitzin's beats enhanced the experience with cumbias, salsas and iconic songs from several Iberoamerican countries. Monterrey DJ Toy Selectah also entertained the guests with his musical selection. Upstairs, Sergio and Andres from famous rock band Zoé delighted everyone with their music just before they enjoyed Julian Placencia's DJ set.
With this event the first edition of the Fenix Iberoamerican Film Awards came to an end. The event brought together hundreds of figures from the Iberoamerican film community who celebrated the well-deserved recognition to their work and dedication. At the same time the event served to strengthen relationships among the diverse industries and will continuously help forge the region's identity.
- 11/17/2014
- by Sydney Levine
- Sydney's Buzz
Madrid – Spanish soccer star Andres Iniesta, who scored the winning goal that ensured Spain the World Cup title in 2010, will make his film debut with a cameo appearance alongside Ernesto Alterio in Santi Amodeo's comedy Who Killed Bambi? The film, produced by Rodar y Rodar, will be distributed by Sony Pictures Releasing Spain and tells the story of two friends who must find a way to return the president of their company to his home safe and sound after discovering him half-naked in the trunk of their car. Iniesta, who plays for Spanish club Fc Barcelona when
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- 9/17/2013
- by Pamela Rolfe
- The Hollywood Reporter - Movie News
Title: Clandestine Childhood Director: Benjamín Ávila Starring: Natalia Oreiro, Ernesto Alterio, César Troncoso, Teo Gutiérrez Romero, Cristina Banegas, Douglas Simon, Violeta Palukas, Marcelo Mininno, Mayana Neiva. When abuse of power and violence take over, the crossroads between ideals and the safeguard of your loved ones is inevitable. The Argentinian director, Benjamín Ávila, was inspired by his personal infancy in the making of this historical film, set during the “Dirty War,” the time of state terrorism in Argentina. ‘Clandestine Childhood’ portrays the story of a married couple of Montoneros (the organisation fighting against the Military Junta ruling the country) living in Cuba with their two children, who manage, through the help [ Read More ]
The post Clandestine Childhood Movie Review appeared first on Shockya.com.
The post Clandestine Childhood Movie Review appeared first on Shockya.com.
- 4/24/2013
- by Chiara Spagnoli Gabardi
- ShockYa
Clandestine Childhood
Directed by Benjamín Ávila
Argentina, 2011
Philadelphia Film Festival
Benjamín Ávila’s debut feature is a fine balance of youthful longing and militant resistance.
Ernesto (Teo Gutiérrez Romero) has two names. One name – Ernesto – is for his schoolmates, but he goes by Juan at home. His parents also have two names. Horacio goes by Daniel (César Troncoso) and Cristina by Charo (Natalia Oreiro). It’s Argentina in 1979, and five years after Perón’s death, Horacio, Cristina and charismatic Uncle Beto (Ernesto Alterio) continue the fight against the existing regime through violent tactics.
Using a mixed-media strategy where moments of extreme violence are depicted through graphic animations, Ávila’s film keeps the focus firmly on Juan and his budding relationship with a classmate’s sister, María (Violeta Palukas).
Romero’s surprisingly tender and mature performance recalls the two great Ana Torrent roles from the 1970s in Spirit of the Beehive and Cria Cuervos.
Directed by Benjamín Ávila
Argentina, 2011
Philadelphia Film Festival
Benjamín Ávila’s debut feature is a fine balance of youthful longing and militant resistance.
Ernesto (Teo Gutiérrez Romero) has two names. One name – Ernesto – is for his schoolmates, but he goes by Juan at home. His parents also have two names. Horacio goes by Daniel (César Troncoso) and Cristina by Charo (Natalia Oreiro). It’s Argentina in 1979, and five years after Perón’s death, Horacio, Cristina and charismatic Uncle Beto (Ernesto Alterio) continue the fight against the existing regime through violent tactics.
Using a mixed-media strategy where moments of extreme violence are depicted through graphic animations, Ávila’s film keeps the focus firmly on Juan and his budding relationship with a classmate’s sister, María (Violeta Palukas).
Romero’s surprisingly tender and mature performance recalls the two great Ana Torrent roles from the 1970s in Spirit of the Beehive and Cria Cuervos.
- 1/17/2013
- by Neal Dhand
- SoundOnSight
In Clandestine Childhood (Infancia Clandestina), writer/director Benjamín Ávila drew inspiration from his personal exiled childhood during Argentina's Dirty War as the son of two Montoneros guerillas. The film, which took prizes at both San Sebastian and Havana Film Festivals last year, is set in 1979 during the family's return from Cuba to fight in the Montoneros counteroffensive operation under new assumed identities. Benjamín spoke to LatinoBuzz about what it meant to see memories from his formative years unfold on the big screen.
Clandestine Childhood is being released in NY and CA on Friday, January 11th, 2013.
LatinoBuzz: What did the actors take away from spending several days with former Montoneros?
Benjamín Ávila: I wanted the actors to have the chance to physically live that era. The most complex challenge for an actor is the ability to give dimension to the story from the time that it happened, not from the present. For them it was important to get rid of all the Whys and be able to answer them by themselves. So I decided to have the actors meet a couple of former guerrilla members to do a training drill for two days, the way it was done back then, as well as for them to have a chance to talk and for the actors to be able to ask anything they wanted.
It was very productive because their body changed, as well as their stand before history. It also helped me to confirm some doubts that had arisen during the process of writing the script. And from that moment on, the improvisations we did were very important in defining some scenes of the film. Particularly the argument scene between the grandmother and mother. That improvisation came after the work we did, and some glorious moments emerged as a result, very complex and incorrect that served to give another dimension to the movie.
LatinoBuzz: Was there a particular audience for this film that was most important for you to see it?
Benjamín Ávila: Not really. But firstly, it is a film that I made for my brothers. And for the children of the disappeared and those killed during the last dictatorship in Argentina. They are the primary audience, but the story is not constructed so that only they understand. On the contrary, I wanted the film to move people, to it would provoke feelings and ideas, without sacrificing the cinematic and artistic construction. Luckily, for all the feedback that I receive from the people who have seen it, I think we have achieved that goal. It's a film that provokes many emotions, that endures for days within the people who see it, and that generates the need to reiterate the questions that were supposedly already answered.
LatinoBuzz: When was the first time you realized that 'Infancia Clandestina' was the story you had to tell?
Benjamín Ávila: I always knew it. Since I was 13, I knew I wanted to work in film. I also knew back then that one day I would film my childhood. Somehow I made a tacit commitment at that time with myself, with my family, and with my own story. Therefore it is very important for me to have completed this process. It is a feeling of a debt paid, like I "had to do" this film. It was a duty rather than a necessity. Now that the film is finished I feel a relief, that of mission accomplished. Now I can be at peace.
LatinoBuzz: How much of what was going on were you very much aware of and how did you process that as a young boy?
Benjamín Ávila: My older brother and I were very aware, even though we were 7 and 8 years old at the time. I always think we were like the kids living in the street, who have a very conscious relationship with their environment. We knew what was happening, what we could and could not say. Although we were doing and saying what we were living, we could not have a dialectical discussion nor a real argument. We understood it all.
For us what we lived was not anything special, but it was normal. It was our life. We could not imagine anything different. This is why we were never traumatized. Even nowadays I miss that lifestyle. That clear and powerful bonding we all had. What was traumatizing was everything else: the absence, the persecution, the disappearance of my mother and not knowing anything to this day, not having been raised with my younger brother (Vicky in the movie). It was not until three yeas ago that we started having a life of ordinary siblings. And it cost a lot to have it...
LatinoBuzz: You were a child of Montoneros, so your childhood was unlike many others yet in the film we largely see this sweet portrayal of this blossoming first love between Juan and Maria –just like any teenager experiences. How much of that was Benjamín wishing that childhood was that innocent?
Benjamín Ávila: What you need to understand is that living in hiding was not something different to normality. It had parameters that were unusual, but we lived them like any other, even inside the house. I remember many common and normal family moments. Like waking up too late at night to watch the matches of the national team playing the World Cup youth soccer, Maradona’s first in Japan, and the matches were at 4 or 6 am. I remember going out at 7am in the morning with all the neighbors to celebrate the championship. My mother chastising me because I was late for school, or because I hadn't made my bed. Family barbecues, like any other Sunday, and so on, thousands of memories as normal as any other.
LatinoBuzz: What happened to “María”?
Benjamín Ávila: Maria never existed at that time. I had my Marías, but in other places and other times!
LatinoBuzz: In writing such a personal story what was the hardest thing to
write and did you avoid anything?
Benjamín Ávila: The most difficult part was at the beginning, trying to detach myself from my own history. Because several things were clear to me: the subject of film, that I did not want to be the protagonist of the story, that the most important part was the reconstruction of a routine
that has never been shown but that was not only mine but of many. That's why I took anecdotes and stories from others... Writing the script with Marcelo Muller, a dear Brazilian friend, helped me to achieve that distance I wanted for the construction of the story. With him I was able to rule out what wasn't important to the film’s story even if it was personally very important to me, and so we achieved that distance even though I deepened what remained. It was as if Marcelo pulled out to keep it to the essential, and I pulled inwards to deepen what remained.
LatinoBuzz: Was the casting difficult? Were you looking for yourself in
the Actor?
Benjamín Ávila: The casting of the children was complicated. We did it with María Laura Berch, an incredible casting director specializing in children, and we elaborated a very clear, yet complex, strategy. We saw over 700 children in total for all the roles, and it took us three months as planned.
But most importantly, we wanted to cast very homely, to give the kids the idea of what the shooting was going to be right from the beginning. And as I do my own camerawork every time I film, I decided I was going to shoot the casting so the kids could get used to my presence close to them and behind the camera from the beginning. And it worked really well.
With the adults it was very different. I saw Ernesto Alterio in the TV series "Vientos de Agua" by Campanella miniseries and compared to other roles I've seen him perform, I found the construction of his character wonderful. Something similar happened with Natalia Oreiro, she is very famous in Argentina but because of roles in comedies or romantic comedies, but seeing her in Caetano's "Francia" I noticed a dramatic profile in which I was very interested. With Cesar Troncoso, he was recommended by Luis Puenzo who had worked with him in "Xxy" the film he produced, directed by his daughter Lucía Puenzo. I had seen him in "The Pope's Toilet" and I had loved his role. And it was always a dream that Cristina Banegas play the role of the grandmother, and luckily we did it!
LatinoBuzz: Was seeing the film for the first time like looking at
photographs of your childhood?
Benjamín Ávila: No, this film has a lot of traits that belong to my childhood but they're for the most part, changed or modified. What does happen to me, is that I see through them my own memories. That happens to me, but it's something very intimate. The photos that appear at the end, which are from my family in reality, is the moment that moves me the most as I get haunted by the echoes of that wonderful past that was destroyed at the moment portrayed by the film.
My production company is called Room 1520 in tribute to the last scene of Paris, Texas by Wim Wenders, where the young kid (Hunter) is reunited with his mother after a long time in that same room... My childhood accompanies much of what I do.
LatinoBuzz: How many details from set design and wardrobe to how the actors who played your parents looked and acted did you involve yourself or were you able to separate yourself?
Benjamín Ávila: The shooting process was very intimate, intense and emotional. All of the staff, technicians and actors, we were involved in a special way. I have a way of working which at first puzzled the team. I like getting carried away by what is happening and then decide each scene based on the actors, the set and the light.
I operate the camera, I always do it when I'm the director, and I like to approach it as a documentary, finding the images based on what happens, as it happens. In that sense, each take was a particular universe of its own, unique and not replicable. Of course some takes came out really bad. But others were magical ... and those are the ones remained.
On the third day of filming something happened that made the whole team realize the scope of what we were doing, and from that moment on, everybody trusted my working technique. It happened that we were shooting Juan's (played by Teo Gutiérrez Moreno) first sequence where he burns the photos, near the end of the film. A tough sequence due to the mood that Juan had to reflect (as he just learns that his father was killed and had just hopelessly cried with his mother), and with children you don't work from a rational place but rather from the body directly, something very natural to them. So, I asked Natalia Oreiro to stand off-screen next to me, and that at moment I said 'action', for her to scream inconsolably, begging for help. On the other hand I told Teo that regardless of whatever was happening, he should not take his eyes off the fire, and that he should run out when I called his name. We got ready and at the moment of saying 'action' Natalia started to scream, heart wrenching, and all that I wanted to happen to Teo, started happening to me with the camera on my shoulder. I began to cry inconsolably (if you look carefully at the scene, the camera moves because I'm crying), as if it was an ancestral cry from some other time, and at some point I yelled at Teo and he perfectly did what he had to do, as usual, an he ran. I said 'cut', gave the camera to my assistant and as I was leaving I saw Natalia crying uncontrollably, everyone saw me and realized I was crying. I went to the video assist and as I entered everybody was very excited, they saw me crying. I asked to see the take… At that moment, everybody including actors, technicians and me, realized that we were doing something more than professional, but also very personal.
LatinoBuzz: Were there any films that influenced the look of the film?
Benjamín Ávila: Absolutely. For the tone of the performance and the gaze of the kids, "My Life as a Dog" by Lasse Halstrom. All of Krystof Kieslowski's filmography, and the political view of the films that Ken Loach made in
England such as "Raining Stones", "Riff-Raff" and "Hidden Agenda".
LatinoBuzz: What's the next project?
Benjamín Ávila: I am writing for a TV series of 40 single chapters. Additionally, I am adapting a novel by Elsa Osorio that I've been wanting to do for 12 years. I'm adapting it with her to make a miniseries of 13 chapters. It's about 40 years of history and involves many characters. A different look at the people who survived or were involved in Argentina's dictatorship.
For Screening times in NY and CA visit: http://www.filmmovement.com/theatrical/index.asp?MerchandiseID=314
Like em at: https://www.facebook.com/Infancia.clandestina
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.
Clandestine Childhood is being released in NY and CA on Friday, January 11th, 2013.
LatinoBuzz: What did the actors take away from spending several days with former Montoneros?
Benjamín Ávila: I wanted the actors to have the chance to physically live that era. The most complex challenge for an actor is the ability to give dimension to the story from the time that it happened, not from the present. For them it was important to get rid of all the Whys and be able to answer them by themselves. So I decided to have the actors meet a couple of former guerrilla members to do a training drill for two days, the way it was done back then, as well as for them to have a chance to talk and for the actors to be able to ask anything they wanted.
It was very productive because their body changed, as well as their stand before history. It also helped me to confirm some doubts that had arisen during the process of writing the script. And from that moment on, the improvisations we did were very important in defining some scenes of the film. Particularly the argument scene between the grandmother and mother. That improvisation came after the work we did, and some glorious moments emerged as a result, very complex and incorrect that served to give another dimension to the movie.
LatinoBuzz: Was there a particular audience for this film that was most important for you to see it?
Benjamín Ávila: Not really. But firstly, it is a film that I made for my brothers. And for the children of the disappeared and those killed during the last dictatorship in Argentina. They are the primary audience, but the story is not constructed so that only they understand. On the contrary, I wanted the film to move people, to it would provoke feelings and ideas, without sacrificing the cinematic and artistic construction. Luckily, for all the feedback that I receive from the people who have seen it, I think we have achieved that goal. It's a film that provokes many emotions, that endures for days within the people who see it, and that generates the need to reiterate the questions that were supposedly already answered.
LatinoBuzz: When was the first time you realized that 'Infancia Clandestina' was the story you had to tell?
Benjamín Ávila: I always knew it. Since I was 13, I knew I wanted to work in film. I also knew back then that one day I would film my childhood. Somehow I made a tacit commitment at that time with myself, with my family, and with my own story. Therefore it is very important for me to have completed this process. It is a feeling of a debt paid, like I "had to do" this film. It was a duty rather than a necessity. Now that the film is finished I feel a relief, that of mission accomplished. Now I can be at peace.
LatinoBuzz: How much of what was going on were you very much aware of and how did you process that as a young boy?
Benjamín Ávila: My older brother and I were very aware, even though we were 7 and 8 years old at the time. I always think we were like the kids living in the street, who have a very conscious relationship with their environment. We knew what was happening, what we could and could not say. Although we were doing and saying what we were living, we could not have a dialectical discussion nor a real argument. We understood it all.
For us what we lived was not anything special, but it was normal. It was our life. We could not imagine anything different. This is why we were never traumatized. Even nowadays I miss that lifestyle. That clear and powerful bonding we all had. What was traumatizing was everything else: the absence, the persecution, the disappearance of my mother and not knowing anything to this day, not having been raised with my younger brother (Vicky in the movie). It was not until three yeas ago that we started having a life of ordinary siblings. And it cost a lot to have it...
LatinoBuzz: You were a child of Montoneros, so your childhood was unlike many others yet in the film we largely see this sweet portrayal of this blossoming first love between Juan and Maria –just like any teenager experiences. How much of that was Benjamín wishing that childhood was that innocent?
Benjamín Ávila: What you need to understand is that living in hiding was not something different to normality. It had parameters that were unusual, but we lived them like any other, even inside the house. I remember many common and normal family moments. Like waking up too late at night to watch the matches of the national team playing the World Cup youth soccer, Maradona’s first in Japan, and the matches were at 4 or 6 am. I remember going out at 7am in the morning with all the neighbors to celebrate the championship. My mother chastising me because I was late for school, or because I hadn't made my bed. Family barbecues, like any other Sunday, and so on, thousands of memories as normal as any other.
LatinoBuzz: What happened to “María”?
Benjamín Ávila: Maria never existed at that time. I had my Marías, but in other places and other times!
LatinoBuzz: In writing such a personal story what was the hardest thing to
write and did you avoid anything?
Benjamín Ávila: The most difficult part was at the beginning, trying to detach myself from my own history. Because several things were clear to me: the subject of film, that I did not want to be the protagonist of the story, that the most important part was the reconstruction of a routine
that has never been shown but that was not only mine but of many. That's why I took anecdotes and stories from others... Writing the script with Marcelo Muller, a dear Brazilian friend, helped me to achieve that distance I wanted for the construction of the story. With him I was able to rule out what wasn't important to the film’s story even if it was personally very important to me, and so we achieved that distance even though I deepened what remained. It was as if Marcelo pulled out to keep it to the essential, and I pulled inwards to deepen what remained.
LatinoBuzz: Was the casting difficult? Were you looking for yourself in
the Actor?
Benjamín Ávila: The casting of the children was complicated. We did it with María Laura Berch, an incredible casting director specializing in children, and we elaborated a very clear, yet complex, strategy. We saw over 700 children in total for all the roles, and it took us three months as planned.
But most importantly, we wanted to cast very homely, to give the kids the idea of what the shooting was going to be right from the beginning. And as I do my own camerawork every time I film, I decided I was going to shoot the casting so the kids could get used to my presence close to them and behind the camera from the beginning. And it worked really well.
With the adults it was very different. I saw Ernesto Alterio in the TV series "Vientos de Agua" by Campanella miniseries and compared to other roles I've seen him perform, I found the construction of his character wonderful. Something similar happened with Natalia Oreiro, she is very famous in Argentina but because of roles in comedies or romantic comedies, but seeing her in Caetano's "Francia" I noticed a dramatic profile in which I was very interested. With Cesar Troncoso, he was recommended by Luis Puenzo who had worked with him in "Xxy" the film he produced, directed by his daughter Lucía Puenzo. I had seen him in "The Pope's Toilet" and I had loved his role. And it was always a dream that Cristina Banegas play the role of the grandmother, and luckily we did it!
LatinoBuzz: Was seeing the film for the first time like looking at
photographs of your childhood?
Benjamín Ávila: No, this film has a lot of traits that belong to my childhood but they're for the most part, changed or modified. What does happen to me, is that I see through them my own memories. That happens to me, but it's something very intimate. The photos that appear at the end, which are from my family in reality, is the moment that moves me the most as I get haunted by the echoes of that wonderful past that was destroyed at the moment portrayed by the film.
My production company is called Room 1520 in tribute to the last scene of Paris, Texas by Wim Wenders, where the young kid (Hunter) is reunited with his mother after a long time in that same room... My childhood accompanies much of what I do.
LatinoBuzz: How many details from set design and wardrobe to how the actors who played your parents looked and acted did you involve yourself or were you able to separate yourself?
Benjamín Ávila: The shooting process was very intimate, intense and emotional. All of the staff, technicians and actors, we were involved in a special way. I have a way of working which at first puzzled the team. I like getting carried away by what is happening and then decide each scene based on the actors, the set and the light.
I operate the camera, I always do it when I'm the director, and I like to approach it as a documentary, finding the images based on what happens, as it happens. In that sense, each take was a particular universe of its own, unique and not replicable. Of course some takes came out really bad. But others were magical ... and those are the ones remained.
On the third day of filming something happened that made the whole team realize the scope of what we were doing, and from that moment on, everybody trusted my working technique. It happened that we were shooting Juan's (played by Teo Gutiérrez Moreno) first sequence where he burns the photos, near the end of the film. A tough sequence due to the mood that Juan had to reflect (as he just learns that his father was killed and had just hopelessly cried with his mother), and with children you don't work from a rational place but rather from the body directly, something very natural to them. So, I asked Natalia Oreiro to stand off-screen next to me, and that at moment I said 'action', for her to scream inconsolably, begging for help. On the other hand I told Teo that regardless of whatever was happening, he should not take his eyes off the fire, and that he should run out when I called his name. We got ready and at the moment of saying 'action' Natalia started to scream, heart wrenching, and all that I wanted to happen to Teo, started happening to me with the camera on my shoulder. I began to cry inconsolably (if you look carefully at the scene, the camera moves because I'm crying), as if it was an ancestral cry from some other time, and at some point I yelled at Teo and he perfectly did what he had to do, as usual, an he ran. I said 'cut', gave the camera to my assistant and as I was leaving I saw Natalia crying uncontrollably, everyone saw me and realized I was crying. I went to the video assist and as I entered everybody was very excited, they saw me crying. I asked to see the take… At that moment, everybody including actors, technicians and me, realized that we were doing something more than professional, but also very personal.
LatinoBuzz: Were there any films that influenced the look of the film?
Benjamín Ávila: Absolutely. For the tone of the performance and the gaze of the kids, "My Life as a Dog" by Lasse Halstrom. All of Krystof Kieslowski's filmography, and the political view of the films that Ken Loach made in
England such as "Raining Stones", "Riff-Raff" and "Hidden Agenda".
LatinoBuzz: What's the next project?
Benjamín Ávila: I am writing for a TV series of 40 single chapters. Additionally, I am adapting a novel by Elsa Osorio that I've been wanting to do for 12 years. I'm adapting it with her to make a miniseries of 13 chapters. It's about 40 years of history and involves many characters. A different look at the people who survived or were involved in Argentina's dictatorship.
For Screening times in NY and CA visit: http://www.filmmovement.com/theatrical/index.asp?MerchandiseID=314
Like em at: https://www.facebook.com/Infancia.clandestina
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.
- 1/9/2013
- by Juan Caceres
- Sydney's Buzz
Clandestine Childhood
Directed by Benjamín Ávila
Argentina, 2011
Philadelphia Film Festival
Benjamín Ávila’s debut feature is a fine balance of youthful longing and militant resistance.
Ernesto (Teo Gutiérrez Romero) has two names. One name – Ernesto – is for his schoolmates, but he goes by Juan at home. His parents also have two names. Horacio goes by Daniel (César Troncoso) and Cristina by Charo (Natalia Oreiro). It’s Argentina in 1979, and five years after Perón’s death, Horacio, Cristina and charismatic Uncle Beto (Ernesto Alterio) continue the fight against the existing regime through violent tactics.
Using a mixed-media strategy where moments of extreme violence are depicted through graphic animations, Ávila’s film keeps the focus firmly on Juan and his budding relationship with a classmate’s sister, María (Violeta Palukas).
Romero’s surprisingly tender and mature performance recalls the two great Ana Torrent roles from the 1970s in Spirit of the Beehive and Cria Cuervos.
Directed by Benjamín Ávila
Argentina, 2011
Philadelphia Film Festival
Benjamín Ávila’s debut feature is a fine balance of youthful longing and militant resistance.
Ernesto (Teo Gutiérrez Romero) has two names. One name – Ernesto – is for his schoolmates, but he goes by Juan at home. His parents also have two names. Horacio goes by Daniel (César Troncoso) and Cristina by Charo (Natalia Oreiro). It’s Argentina in 1979, and five years after Perón’s death, Horacio, Cristina and charismatic Uncle Beto (Ernesto Alterio) continue the fight against the existing regime through violent tactics.
Using a mixed-media strategy where moments of extreme violence are depicted through graphic animations, Ávila’s film keeps the focus firmly on Juan and his budding relationship with a classmate’s sister, María (Violeta Palukas).
Romero’s surprisingly tender and mature performance recalls the two great Ana Torrent roles from the 1970s in Spirit of the Beehive and Cria Cuervos.
- 10/30/2012
- by Neal Dhand
- SoundOnSight
TORONTO -- In "Bunuel and King Solomon's Table," Carlos Saura performs a very brave and possibly foolish deed. The film is a tribute to his friend and countryman, the late, great Luis Bunuel, cinema's only true master of surrealism. This is a fictional work in which Bunuel plays a starring role in an "adventure" movie that tries to explore the imaginative powers of his mind.
Only the most loyal Saura admirer is likely to think the film succeeds in any way. Filled with inside jokes not only about Bunuel but also his youthful friends, playwright-poet Federico Garcia Lorca and artist Salvador Dali, references to 20th century Spanish history and culture, arcane movie references and philosophical double-talk, the movie should prove wearying to even the most adventurous adult moviegoer. And lovers of Bunuel might get ticked off at the temerity and self-indulgence of anyone who thinks he can explain away the imagination of one of the movie's most original minds.
Bunuel (Gran Wyoming) is seen first in present-day Spain -- this despite the fact he has been dead for 18 years -- longing to return to his home in Mexico City. A producer pitches a project based on the legend of King Solomon's table, whose mirror has the power to reveal the past, present and future.
Bunuel closes his eyes to imagine the movie starring himself as a young man (Pere Arquillue) in the 1930s, who along with his pals Dali (Ernesto Alterio) and Lorca (Adria Collado) explores Toledo's dark streets and underworld in search of the mystical table.
This quest allows each character to express artistic tenants and comment wryly on the Oz-like curiosities the trio encounter as they wander through a maze of sets created by renowned artist Jose Hernandez -- sets that pull images from "Indiana Jones" to Fritz Lang's "Metropolis".
It's too inside and too precious by half. While Saura has a gift for "magic realism," he has none for true surrealism with its tongue-in-cheek imagery, blatant cruelty and religious or Freudian anarchy. It's hard to see how any of this intellectual slapstick puts us, as Saura would have it, "inside (Bunuel's) head, traveling along the paths of his imagination."
The actors, realizing they are playing three Spanish icons, give rather subdued performances for three young men out on an adventure. Even the artificiality of Hernandez's sets eventually wears out its welcome.
BUNUEL AND KING SOLOMON'S TABLE
Rioja Films/CPI/Filmax Group/
Films Sans Frontieres/Road Movies/
Altavista Films
Producer:Montserrat Bou
Director:Carlos Saura
Screenwriters:Carlos Saura, Agustin Sanchez Vidal
Executive producer:Jose Antonio Romero
Director of photography:Jose Luis Lopez Linares
Production designer:Jose Hernandez
Music:Roque Banos
Costume designer:Cristina Rodiguez
Editor:Julia Juaniz
Color/stereo
Cast:
Older Bunuel:Gran Wyoming
Younger Bunuel:Pere Arquillue
Dali:Ernesto Alterio
Lorca:Adria Collado
Running time -- 105 minutes
No MPAA rating...
Only the most loyal Saura admirer is likely to think the film succeeds in any way. Filled with inside jokes not only about Bunuel but also his youthful friends, playwright-poet Federico Garcia Lorca and artist Salvador Dali, references to 20th century Spanish history and culture, arcane movie references and philosophical double-talk, the movie should prove wearying to even the most adventurous adult moviegoer. And lovers of Bunuel might get ticked off at the temerity and self-indulgence of anyone who thinks he can explain away the imagination of one of the movie's most original minds.
Bunuel (Gran Wyoming) is seen first in present-day Spain -- this despite the fact he has been dead for 18 years -- longing to return to his home in Mexico City. A producer pitches a project based on the legend of King Solomon's table, whose mirror has the power to reveal the past, present and future.
Bunuel closes his eyes to imagine the movie starring himself as a young man (Pere Arquillue) in the 1930s, who along with his pals Dali (Ernesto Alterio) and Lorca (Adria Collado) explores Toledo's dark streets and underworld in search of the mystical table.
This quest allows each character to express artistic tenants and comment wryly on the Oz-like curiosities the trio encounter as they wander through a maze of sets created by renowned artist Jose Hernandez -- sets that pull images from "Indiana Jones" to Fritz Lang's "Metropolis".
It's too inside and too precious by half. While Saura has a gift for "magic realism," he has none for true surrealism with its tongue-in-cheek imagery, blatant cruelty and religious or Freudian anarchy. It's hard to see how any of this intellectual slapstick puts us, as Saura would have it, "inside (Bunuel's) head, traveling along the paths of his imagination."
The actors, realizing they are playing three Spanish icons, give rather subdued performances for three young men out on an adventure. Even the artificiality of Hernandez's sets eventually wears out its welcome.
BUNUEL AND KING SOLOMON'S TABLE
Rioja Films/CPI/Filmax Group/
Films Sans Frontieres/Road Movies/
Altavista Films
Producer:Montserrat Bou
Director:Carlos Saura
Screenwriters:Carlos Saura, Agustin Sanchez Vidal
Executive producer:Jose Antonio Romero
Director of photography:Jose Luis Lopez Linares
Production designer:Jose Hernandez
Music:Roque Banos
Costume designer:Cristina Rodiguez
Editor:Julia Juaniz
Color/stereo
Cast:
Older Bunuel:Gran Wyoming
Younger Bunuel:Pere Arquillue
Dali:Ernesto Alterio
Lorca:Adria Collado
Running time -- 105 minutes
No MPAA rating...
Friday, Aug. 29
Sundance Film Series
An all-singing, all-dancing take on infidelity, Spain's "El Otro Lado de la Cama" (The Other Side of the Bed) is a big fluff ball of a sex farce that's so light and flimsy it's a wonder they were able to thread it through the projector.
That apparently suited audiences just fine back home, where the picture, from veteran comedy director Emilio Martinez-Lazaro, was one of the country's top-grossing 2002 releases and went on to receive half a dozen Goya Award nominations.
Screened at the just-wrapped Los Angeles Latino International Film Festival, it's also one of a group of independent films being released in 10 American markets this fall as part of the inaugural Sundance Film Series.
But it's unlikely "The Other Side of the Bed" will have much of an impact on this side of the pond, considering, among other things, the lack of familiarity viewers will have with the contemporary Spanish pop hits covered by the game but decidedly not golden-throated cast members.
Madrid provides a vivid setting for the ensuing passion that surrounds a pair of couples who have trouble sticking with their original configurations.
To start with, Paula (Natalia Verbeke) has just dumped Pedro (Guillermo Toledo) for a Mystery Man who turns out to be his best buddy and tennis partner Javier (Ernesto Alterio). As Javier keeps the charade going for as long as he can, his in-the-dark girlfriend Sonia (Paz Vega) ultimately provides despondent Pedro with more than a shoulder on which to cry.
Figuring something's up when Sonia fails to come home one night, Javier is convinced she's having an affair -- with a lesbian friend from her theater company.
If all this sounds like it's stuck in some kind of sitcom-y "Love, Iberian Style" vortex, it's probably because David Serrano's cutesy, coincidence-riddled script does little to suggest otherwise.
The big novelty here is that in between all the coupling and recoupling, each of the attractive cast members finds time to express their inner emotions in song and dance -- and the fact that no one in the ensemble can pull off either particularly well actually makes it all rather endearing, at least in the early going.
But after a while, the innocuous tunes, with (translated) titles like "Honeymoon" and "Tell Me That You Love Me", and Pedro Berdayes' charmingly clunky but spirited choreography (imaginatively set in places like health club bathrooms and museums) begin to grow as labored as the script's tangle of deceiving appearances.
Ultimately, those likable actors, particularly Sonia's Paz Vega, who was recently seen in "Talk to Her" and "Sex and Lucia", go a considerable distance in making "The Other Side of the Bed" a comfy but quickly forgettable destination.
The Other Side of the Bed
A Sundance Channel presentation
Credits:
Director: Emilio Martinez-Lazaro, Screenwriter: David Serrano
Producers: Tomas Cimadevella, Jose Antonio Sainz de Vicuna
Director of photography: Juan Molina Temboury
Art director: Julio Torrecilla
Editor: Angel Hernandez-Zoido
Costume designer: Inma Garcia
Music: Roque Banos
Choreographer: Pedro Berdayes
Cast:
Javier: Ernesto Alterio
Sonia: Paz Vega
Pedro: Guillermo Toledo
Paula: Natalia Verbeke
Rafa: Alberto San Juan
Pilar: Maria Esteve
Sagaz: Ramon Barea
Running time -- 114 minutes
MPAA rating: R...
Sundance Film Series
An all-singing, all-dancing take on infidelity, Spain's "El Otro Lado de la Cama" (The Other Side of the Bed) is a big fluff ball of a sex farce that's so light and flimsy it's a wonder they were able to thread it through the projector.
That apparently suited audiences just fine back home, where the picture, from veteran comedy director Emilio Martinez-Lazaro, was one of the country's top-grossing 2002 releases and went on to receive half a dozen Goya Award nominations.
Screened at the just-wrapped Los Angeles Latino International Film Festival, it's also one of a group of independent films being released in 10 American markets this fall as part of the inaugural Sundance Film Series.
But it's unlikely "The Other Side of the Bed" will have much of an impact on this side of the pond, considering, among other things, the lack of familiarity viewers will have with the contemporary Spanish pop hits covered by the game but decidedly not golden-throated cast members.
Madrid provides a vivid setting for the ensuing passion that surrounds a pair of couples who have trouble sticking with their original configurations.
To start with, Paula (Natalia Verbeke) has just dumped Pedro (Guillermo Toledo) for a Mystery Man who turns out to be his best buddy and tennis partner Javier (Ernesto Alterio). As Javier keeps the charade going for as long as he can, his in-the-dark girlfriend Sonia (Paz Vega) ultimately provides despondent Pedro with more than a shoulder on which to cry.
Figuring something's up when Sonia fails to come home one night, Javier is convinced she's having an affair -- with a lesbian friend from her theater company.
If all this sounds like it's stuck in some kind of sitcom-y "Love, Iberian Style" vortex, it's probably because David Serrano's cutesy, coincidence-riddled script does little to suggest otherwise.
The big novelty here is that in between all the coupling and recoupling, each of the attractive cast members finds time to express their inner emotions in song and dance -- and the fact that no one in the ensemble can pull off either particularly well actually makes it all rather endearing, at least in the early going.
But after a while, the innocuous tunes, with (translated) titles like "Honeymoon" and "Tell Me That You Love Me", and Pedro Berdayes' charmingly clunky but spirited choreography (imaginatively set in places like health club bathrooms and museums) begin to grow as labored as the script's tangle of deceiving appearances.
Ultimately, those likable actors, particularly Sonia's Paz Vega, who was recently seen in "Talk to Her" and "Sex and Lucia", go a considerable distance in making "The Other Side of the Bed" a comfy but quickly forgettable destination.
The Other Side of the Bed
A Sundance Channel presentation
Credits:
Director: Emilio Martinez-Lazaro, Screenwriter: David Serrano
Producers: Tomas Cimadevella, Jose Antonio Sainz de Vicuna
Director of photography: Juan Molina Temboury
Art director: Julio Torrecilla
Editor: Angel Hernandez-Zoido
Costume designer: Inma Garcia
Music: Roque Banos
Choreographer: Pedro Berdayes
Cast:
Javier: Ernesto Alterio
Sonia: Paz Vega
Pedro: Guillermo Toledo
Paula: Natalia Verbeke
Rafa: Alberto San Juan
Pilar: Maria Esteve
Sagaz: Ramon Barea
Running time -- 114 minutes
MPAA rating: R...
- 8/20/2003
- The Hollywood Reporter - Movie News
TORONTO -- In "Bunuel and King Solomon's Table," Carlos Saura performs a very brave and possibly foolish deed. The film is a tribute to his friend and countryman, the late, great Luis Bunuel, cinema's only true master of surrealism. This is a fictional work in which Bunuel plays a starring role in an "adventure" movie that tries to explore the imaginative powers of his mind.
Only the most loyal Saura admirer is likely to think the film succeeds in any way. Filled with inside jokes not only about Bunuel but also his youthful friends, playwright-poet Federico Garcia Lorca and artist Salvador Dali, references to 20th century Spanish history and culture, arcane movie references and philosophical double-talk, the movie should prove wearying to even the most adventurous adult moviegoer. And lovers of Bunuel might get ticked off at the temerity and self-indulgence of anyone who thinks he can explain away the imagination of one of the movie's most original minds.
Bunuel (Gran Wyoming) is seen first in present-day Spain -- this despite the fact he has been dead for 18 years -- longing to return to his home in Mexico City. A producer pitches a project based on the legend of King Solomon's table, whose mirror has the power to reveal the past, present and future.
Bunuel closes his eyes to imagine the movie starring himself as a young man (Pere Arquillue) in the 1930s, who along with his pals Dali (Ernesto Alterio) and Lorca (Adria Collado) explores Toledo's dark streets and underworld in search of the mystical table.
This quest allows each character to express artistic tenants and comment wryly on the Oz-like curiosities the trio encounter as they wander through a maze of sets created by renowned artist Jose Hernandez -- sets that pull images from "Indiana Jones" to Fritz Lang's "Metropolis".
It's too inside and too precious by half. While Saura has a gift for "magic realism," he has none for true surrealism with its tongue-in-cheek imagery, blatant cruelty and religious or Freudian anarchy. It's hard to see how any of this intellectual slapstick puts us, as Saura would have it, "inside (Bunuel's) head, traveling along the paths of his imagination."
The actors, realizing they are playing three Spanish icons, give rather subdued performances for three young men out on an adventure. Even the artificiality of Hernandez's sets eventually wears out its welcome.
BUNUEL AND KING SOLOMON'S TABLE
Rioja Films/CPI/Filmax Group/
Films Sans Frontieres/Road Movies/
Altavista Films
Producer:Montserrat Bou
Director:Carlos Saura
Screenwriters:Carlos Saura, Agustin Sanchez Vidal
Executive producer:Jose Antonio Romero
Director of photography:Jose Luis Lopez Linares
Production designer:Jose Hernandez
Music:Roque Banos
Costume designer:Cristina Rodiguez
Editor:Julia Juaniz
Color/stereo
Cast:
Older Bunuel:Gran Wyoming
Younger Bunuel:Pere Arquillue
Dali:Ernesto Alterio
Lorca:Adria Collado
Running time -- 105 minutes
No MPAA rating...
Only the most loyal Saura admirer is likely to think the film succeeds in any way. Filled with inside jokes not only about Bunuel but also his youthful friends, playwright-poet Federico Garcia Lorca and artist Salvador Dali, references to 20th century Spanish history and culture, arcane movie references and philosophical double-talk, the movie should prove wearying to even the most adventurous adult moviegoer. And lovers of Bunuel might get ticked off at the temerity and self-indulgence of anyone who thinks he can explain away the imagination of one of the movie's most original minds.
Bunuel (Gran Wyoming) is seen first in present-day Spain -- this despite the fact he has been dead for 18 years -- longing to return to his home in Mexico City. A producer pitches a project based on the legend of King Solomon's table, whose mirror has the power to reveal the past, present and future.
Bunuel closes his eyes to imagine the movie starring himself as a young man (Pere Arquillue) in the 1930s, who along with his pals Dali (Ernesto Alterio) and Lorca (Adria Collado) explores Toledo's dark streets and underworld in search of the mystical table.
This quest allows each character to express artistic tenants and comment wryly on the Oz-like curiosities the trio encounter as they wander through a maze of sets created by renowned artist Jose Hernandez -- sets that pull images from "Indiana Jones" to Fritz Lang's "Metropolis".
It's too inside and too precious by half. While Saura has a gift for "magic realism," he has none for true surrealism with its tongue-in-cheek imagery, blatant cruelty and religious or Freudian anarchy. It's hard to see how any of this intellectual slapstick puts us, as Saura would have it, "inside (Bunuel's) head, traveling along the paths of his imagination."
The actors, realizing they are playing three Spanish icons, give rather subdued performances for three young men out on an adventure. Even the artificiality of Hernandez's sets eventually wears out its welcome.
BUNUEL AND KING SOLOMON'S TABLE
Rioja Films/CPI/Filmax Group/
Films Sans Frontieres/Road Movies/
Altavista Films
Producer:Montserrat Bou
Director:Carlos Saura
Screenwriters:Carlos Saura, Agustin Sanchez Vidal
Executive producer:Jose Antonio Romero
Director of photography:Jose Luis Lopez Linares
Production designer:Jose Hernandez
Music:Roque Banos
Costume designer:Cristina Rodiguez
Editor:Julia Juaniz
Color/stereo
Cast:
Older Bunuel:Gran Wyoming
Younger Bunuel:Pere Arquillue
Dali:Ernesto Alterio
Lorca:Adria Collado
Running time -- 105 minutes
No MPAA rating...
- 9/19/2001
- The Hollywood Reporter - Movie News
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