Lucrecia Martel, without a doubt, is one of the most celebrated auteurs of our times. In a career spanning over two decades, she has successfully made a mark as a unique voice in the world of contemporary cinema, even though she has made only 4 feature-length films to date. Her 2001 debut La Ciénaga was enough to put her on the world map as someone who not only has great mastery over the craft but also as someone who can effortlessly forge a distinct cinematic world of her own. Her subsequent ventures The Holy Girl (2004) and The Headless Woman (2008) have only strengthened her place as an auteur. The layers at which a Lucrecia Martel film works are multiple and complex; hence, viewing or even trying to analyze her films through a single prism is futile. But one recurring and prominent aspect of her films is how she explores sexual tension between her...
- 12/14/2023
- by Adhiraj Kashyap
- Talking Films
The second episode features:María Alché (Argentina), actress, director and screenwriter. She made her film acting debut as the protagonist of Lucrecia Martel's The Holy Girl (La niña santa). She directed the short films Noelia and Gulliver, which was selected for the Zinebi and Locarno competitions. In 2018, she released her debut feature A Family Submerged (Familia sumergida), which premiered at Locarno and won the Horizontes Latinos Award at the San Sebastian Film Festival. At the same festival, she also won the Best Screenplay Award for her second feature film, Puan, co-directed with Benjamín Naishtat.Marcelo Martinessi (Paraguay), director and screenwriter, whose work has interrogated inequality and conservatism in his country. He directed the short films Karai Norte, Calle última and La voz perdida, for which he won the Best Short Film award in the Orrizonti Competition at the Venice Film Festival. In 2018, his first feature film, The Heiresses (Las...
- 11/16/2023
- MUBI
The episode features:Rodrigo Sepúlveda (Chile), a writer, director and producer. Sepúlveda directed successful television productions in the ’80s and ’90s, but it wasn’t until 2002 that he made his feature-film debut. Since then, he has cultivated a humanist filmography that examines love and family ties, as well as the prejudices of Chilean society. In 2020, his film My Tender Matador (Tengo miedo, torero) premiered in Venice's parallel section, Giornate degli Autori. A successful adaptation of Pedro Lemebel's novel, the film stars Alfredo Castro in one of his most brilliant and memorable performances. Julieta Zylberberg (Argentina), an actress who has worked for over twenty years in film, series, television and theater. She made her film debut in The Holy Girl (La niña santa), Lucrecia Martel's second feature film.With sobriety and forcefulness, Zylberberg has played characters that reflect great ambiguity. She has starred in films such as Ana Katz...
- 8/24/2023
- MUBI
The Argentinian filmmaker has been working on her docu-drama ‘Chocobar’ for 12 years.
Argentinian writer-director Lucrecia Martel was candid about her long-in-gestation documentary Chocobar during a masterclass at the Visions du Reel festival in Nyon in Switzerland where she was being honoured for her life’s work - thus far
The work-in-progress was provoked by the 2009 murder, part-captured on YouTube, of Indigenous activist Javier Chocobar in Tucuman in northern Argentina, while trying to stop evictions from his ancestral land. “We’ve been working on it for 12 years,” she acknowledged. “It is very strongly based on facts, although it’s hard to...
Argentinian writer-director Lucrecia Martel was candid about her long-in-gestation documentary Chocobar during a masterclass at the Visions du Reel festival in Nyon in Switzerland where she was being honoured for her life’s work - thus far
The work-in-progress was provoked by the 2009 murder, part-captured on YouTube, of Indigenous activist Javier Chocobar in Tucuman in northern Argentina, while trying to stop evictions from his ancestral land. “We’ve been working on it for 12 years,” she acknowledged. “It is very strongly based on facts, although it’s hard to...
- 4/27/2023
- by Fionnuala Halligan
- ScreenDaily
Lucrecia Martel, whose films include “La Ciénaga,” “The Holy Girl” and “The Headless Woman,” has been celebrated as guest of honor at the 54th edition of international documentary film festival Visions du Réel, where organizers had to switch to a larger venue to accommodate the large, enthusiastic audience attending her masterclass.
During the three-hour event on Tuesday, the acclaimed Argentinian filmmaker and leading figure of the New Argentine Cinema delved into her body of work and spoke about her upcoming hybrid project, “Chocobar,” her first foray into feature-length non-fiction.
“I am learning as I’m doing, that’s why it’s taking so long,” she quipped, with characteristic self-deprecation. “I am currently on version four of the edit,” she explained of her doc, which focuses on the real-life murder of indigenous leader Javier Chocobar. The film explores the subject of land ownership and indigenous struggles in Latin America, asking what...
During the three-hour event on Tuesday, the acclaimed Argentinian filmmaker and leading figure of the New Argentine Cinema delved into her body of work and spoke about her upcoming hybrid project, “Chocobar,” her first foray into feature-length non-fiction.
“I am learning as I’m doing, that’s why it’s taking so long,” she quipped, with characteristic self-deprecation. “I am currently on version four of the edit,” she explained of her doc, which focuses on the real-life murder of indigenous leader Javier Chocobar. The film explores the subject of land ownership and indigenous struggles in Latin America, asking what...
- 4/27/2023
- by Lise Pedersen
- Variety Film + TV
The Dog Who Wouldn’t Be Quiet
Argentina’s Ana Katz will be premiering her sixth narrative feature in 2021, The Dog Who Wouldn’t Be Quiet (El perro que no calla), reuniting with actress Julieta Zylberberg (who worked with Lucrecia Martel on The Holy Girl and with Damian Szifron in Wild Tales). She’s joined in the cast by Daniel Katz, Valeria Lois, Mirella Pascual, and Carlos Portaluppi, produced by the director and Laura Huberman from a script by first-time scribe Gonzalo Delgado on a project that is being coined by the film’s producer as a “profound and political film”.
Katz premiered her 2007 title A Stray Girlfriend in Un Certain Regard at Cannes and in 2011 competed in San Sebastian with Los Marziano.…...
Argentina’s Ana Katz will be premiering her sixth narrative feature in 2021, The Dog Who Wouldn’t Be Quiet (El perro que no calla), reuniting with actress Julieta Zylberberg (who worked with Lucrecia Martel on The Holy Girl and with Damian Szifron in Wild Tales). She’s joined in the cast by Daniel Katz, Valeria Lois, Mirella Pascual, and Carlos Portaluppi, produced by the director and Laura Huberman from a script by first-time scribe Gonzalo Delgado on a project that is being coined by the film’s producer as a “profound and political film”.
Katz premiered her 2007 title A Stray Girlfriend in Un Certain Regard at Cannes and in 2011 competed in San Sebastian with Los Marziano.…...
- 1/1/2021
- by Nicholas Bell
- IONCINEMA.com
by Nick Taylor
Few working directors are as exciting as Argentianian genius Lucrecia Martel. To talk about her work means to talk about her bold experiments with lensing and editing, her immaculately controlled sound design, her unusual risks with structure and dense layering of themes in her screenplays, all capped off with a very particular sense of humor. Martel’s films don’t immediately spring to mind as performance venues, but one of the many (many) things I love among her small but indomitable filmography is her ability to coax tonally compelling characterizations from her actors, rather than overwhelming them under the weight of her own directorial idiosyncrasies. Daniel Giménez Cacho is able to find a million minute gradations of wounded pride, misplaced vanity, and diminished hope in Zama, keying to Martel’s riskiest wavelength by resourcefully flexing a very deadpan poker face. The many women running around La Ciénaga...
Few working directors are as exciting as Argentianian genius Lucrecia Martel. To talk about her work means to talk about her bold experiments with lensing and editing, her immaculately controlled sound design, her unusual risks with structure and dense layering of themes in her screenplays, all capped off with a very particular sense of humor. Martel’s films don’t immediately spring to mind as performance venues, but one of the many (many) things I love among her small but indomitable filmography is her ability to coax tonally compelling characterizations from her actors, rather than overwhelming them under the weight of her own directorial idiosyncrasies. Daniel Giménez Cacho is able to find a million minute gradations of wounded pride, misplaced vanity, and diminished hope in Zama, keying to Martel’s riskiest wavelength by resourcefully flexing a very deadpan poker face. The many women running around La Ciénaga...
- 8/14/2020
- by Nick Taylor
- FilmExperience
The news that Lucrecia Martel was working on a new feature film — less than three years after premiering 2017’s “Zama” — was excitedly received by world cinema buffs: nine long years had separated “Zama” and her previous feature, “The Headless Woman,” and admirers of the enigmatic Argentine auteur had no reason to expect a suddenly increased work rate.
“Zama,” after all, was a film that reflected its lengthy gestation and repeated delays in its hypnotic style. A scathing post-colonial portrait of a Spanish magistrate in a remote South American colony, spiraling into madness as he awaits a reassignment that never seems to come, the film’s feverish, intoxicated atmospherics bespoke a filmmaker fully immersed and entangled in her own creative process: the type of cinema Lucrecia Martel makes is not conceived, much less made, overnight.
Perhaps, then, Marcel will take the pandemic-induced limbo in which the film industry finds itself more in her stride than most.
“Zama,” after all, was a film that reflected its lengthy gestation and repeated delays in its hypnotic style. A scathing post-colonial portrait of a Spanish magistrate in a remote South American colony, spiraling into madness as he awaits a reassignment that never seems to come, the film’s feverish, intoxicated atmospherics bespoke a filmmaker fully immersed and entangled in her own creative process: the type of cinema Lucrecia Martel makes is not conceived, much less made, overnight.
Perhaps, then, Marcel will take the pandemic-induced limbo in which the film industry finds itself more in her stride than most.
- 8/7/2020
- by Guy Lodge
- Variety Film + TV
With a seemingly endless amount of streaming options—not only the titles at our disposal, but services themselves–each week we highlight the noteworthy titles that have recently hit platforms. Check out this week’s selections below and an archive of past round-ups here.
A Beautiful Day in the Neighborhood (Marielle Heller)
It sounds almost too perfect: Tom Hanks as Mr. Rogers, the beloved children’s entertainer. Of course, who else could it be, really? It is so seemingly predestined, in fact, that Hanks’s first onscreen appearance as Fred Rogers elicits knowing laughter from the audience. Yes, Tom Hanks playing Mr. Rogers looks and sounds exactly how you would imagine. Marielle Heller’s A Beautiful Day in the Neighborhood, however, is much more than an obvious biopic. It’s not really a biopic at all. Nor is it a rehash of 2018’s much-heralded documentary profile of Fred Rogers, Won’t You Be MyNeighbor?...
A Beautiful Day in the Neighborhood (Marielle Heller)
It sounds almost too perfect: Tom Hanks as Mr. Rogers, the beloved children’s entertainer. Of course, who else could it be, really? It is so seemingly predestined, in fact, that Hanks’s first onscreen appearance as Fred Rogers elicits knowing laughter from the audience. Yes, Tom Hanks playing Mr. Rogers looks and sounds exactly how you would imagine. Marielle Heller’s A Beautiful Day in the Neighborhood, however, is much more than an obvious biopic. It’s not really a biopic at all. Nor is it a rehash of 2018’s much-heralded documentary profile of Fred Rogers, Won’t You Be MyNeighbor?...
- 2/7/2020
- by Jordan Raup
- The Film Stage
Close-Up is a feature that spotlights films now playing on Mubi. María Alché's A Family Submerged is exclusively showing February 6 – March6, 2020 in Mubi's Debuts series.My first encounter with the work of the Argentine director and actress María Alché was in 2016, at the Valdivia Film Festival, while watching two of her short films—of which the witty, emotionally crackling Noelia (2012) was particularly memorable. In the short, the actress Laila Maltz plays an unstable young woman who craves attention, and so clings to random, successive mother figures. If this whimsical debut didn’t yet hint at the full range of Alché’s directing capabilities, it certainly forecasted her skill in portraying complex, one might say, inscrutable women, with compassion and flair. This complexity and, by now, more subdued humor combine handsomely in Alché’s accomplished first feature, A Family Submerged. The film revolves around Marcela, a middle-aged woman played by Mercedes Morán,...
- 2/6/2020
- MUBI
When the Venice Film Festival offers Pedro Almodóvar, above, a lifetime achievement award, the festival will be honoring not one, but two careers. Though he’s often shied from the spotlight, producer Agustín Almodóvar has worked in lockstep with his older brother for over 30 years. The siblings founded production house El Deseo in 1986, and together have produced films for Guillermo Del Toro, Isabel Coixet and this year’s Venice jury chief, Lucrecia Martel. Variety spoke with Agustín; Pedro received the award Aug. 28 at the Venice Festival.
Can you share some of your thoughts about the award?
It is both very touching and very rewarding to receive this kind of honor. Working long years in this field means donating large parts of your mental health to film festivals, with all the stresses and pressures they entail. To attend and participate in industry events while submitting your own film to criticism and...
Can you share some of your thoughts about the award?
It is both very touching and very rewarding to receive this kind of honor. Working long years in this field means donating large parts of your mental health to film festivals, with all the stresses and pressures they entail. To attend and participate in industry events while submitting your own film to criticism and...
- 8/29/2019
- by Ben Croll
- Variety Film + TV
Led by the ‘Zama’ director, the jury will award prizes including the Golden Lion.
Argentinian filmmaker Lucrecia Martel will be the president of the Competition jury of the 76th edition of the Venice Film Festival (August 28 – September 7).
The decision was made by Venice board chair Paolo Baratta and festival director Alberto Barbera.
The nine-person Competition jury will award eight prizes, including the Golden Lion for best film, the Silver Lion for best director and the Coppa Volpi for best actor and best actress.
Zama, Martel’s most recent film, made its world premiere in Competition at Venice in 2017.
Martel directed...
Argentinian filmmaker Lucrecia Martel will be the president of the Competition jury of the 76th edition of the Venice Film Festival (August 28 – September 7).
The decision was made by Venice board chair Paolo Baratta and festival director Alberto Barbera.
The nine-person Competition jury will award eight prizes, including the Golden Lion for best film, the Silver Lion for best director and the Coppa Volpi for best actor and best actress.
Zama, Martel’s most recent film, made its world premiere in Competition at Venice in 2017.
Martel directed...
- 6/24/2019
- by Ben Dalton
- ScreenDaily
The Venice Film Festival (August 28 – September 7) has appointed The Headless Woman and Zama director Lucrecia Martel as president of the international jury for its 76th edition.
Martel and her jury will assign the Golden Lion for best film, as well as other awards. The choice was approved by board of directors of the festival, chaired by Paolo Baratta, at the recommendation of festival artistic director Alberto Barbera.
The Argentinian filmmaker said, “It’s an honor, a responsibility, and a pleasure to be a part of this celebration of cinema, of humanity’s immense desire to understand itself.”
Barbera commented that, “Four feature films and a handful of shorts, in just under two decades, have been enough to make Lucrecia Martel Latin America’s most important female director, and one of the top worldwide. In her films, the originality of her stylistic research and her meticulous mise-en-scène are at the service...
Martel and her jury will assign the Golden Lion for best film, as well as other awards. The choice was approved by board of directors of the festival, chaired by Paolo Baratta, at the recommendation of festival artistic director Alberto Barbera.
The Argentinian filmmaker said, “It’s an honor, a responsibility, and a pleasure to be a part of this celebration of cinema, of humanity’s immense desire to understand itself.”
Barbera commented that, “Four feature films and a handful of shorts, in just under two decades, have been enough to make Lucrecia Martel Latin America’s most important female director, and one of the top worldwide. In her films, the originality of her stylistic research and her meticulous mise-en-scène are at the service...
- 6/24/2019
- by Andreas Wiseman
- Deadline Film + TV
Argentinian director Lucrecia Martel has been named the president of the jury at this year’s Venice Film Festival, the event’s 76th edition.
Venice chief Alberto Barbera praised Martel as “Latin America’s most important female director and one of the top female directors worldwide,” adding that she had achieved this status with just “four feature films and a handful of shorts” in less than 20 years.
“In her films, the originality of her stylistic research and her meticulous mise-en-scène are at the service of a worldview free of compromises, dedicated to exploring the mysteries of female sexuality and the dynamics of groups and classes,” Barbera said in a statement.
“It’s an honor, a responsibility and a pleasure to be a part of this celebration of cinema, of humanity’s immense desire to understand itself,” said Martel, who directed Icelandic singer Björk in a theatrical concert production last month at The Shed,...
Venice chief Alberto Barbera praised Martel as “Latin America’s most important female director and one of the top female directors worldwide,” adding that she had achieved this status with just “four feature films and a handful of shorts” in less than 20 years.
“In her films, the originality of her stylistic research and her meticulous mise-en-scène are at the service of a worldview free of compromises, dedicated to exploring the mysteries of female sexuality and the dynamics of groups and classes,” Barbera said in a statement.
“It’s an honor, a responsibility and a pleasure to be a part of this celebration of cinema, of humanity’s immense desire to understand itself,” said Martel, who directed Icelandic singer Björk in a theatrical concert production last month at The Shed,...
- 6/24/2019
- by Nick Vivarelli
- Variety Film + TV
Argentine director Lucrecia Martel will serve as president of the jury for the 2019 Venice International Film Festival. Martel will lead jurors in assigning awards for Golden Lion for best film, Silver Lions for grand jury prize and best director, as well as best actor, best actress, best screenplay, special jury prize and the Marcello Mastroianni Award for Best New Young Actor or Actress.
Martel has directed four features, including The Swamp, The Holy Girl, The Headless Woman and, most recently, Zama, which debuted out-of-competition in Venice in 2017. She is currently working on her first documentary, Chocobar, about the murdered photographer ...
Martel has directed four features, including The Swamp, The Holy Girl, The Headless Woman and, most recently, Zama, which debuted out-of-competition in Venice in 2017. She is currently working on her first documentary, Chocobar, about the murdered photographer ...
- 6/24/2019
- The Hollywood Reporter - Movie News
Argentine director Lucrecia Martel will serve as president of the jury for the 2019 Venice International Film Festival. Martel will lead jurors in assigning awards for Golden Lion for best film, Silver Lions for grand jury prize and best director, as well as best actor, best actress, best screenplay, special jury prize and the Marcello Mastroianni Award for Best New Young Actor or Actress.
Martel has directed four features, including The Swamp, The Holy Girl, The Headless Woman and, most recently, Zama, which debuted out-of-competition in Venice in 2017. She is currently working on her first documentary, Chocobar, about the murdered photographer ...
Martel has directed four features, including The Swamp, The Holy Girl, The Headless Woman and, most recently, Zama, which debuted out-of-competition in Venice in 2017. She is currently working on her first documentary, Chocobar, about the murdered photographer ...
- 6/24/2019
- The Hollywood Reporter - Film + TV
Oscar-winning director Pedro Almodovar will be honored by the Venice Film Festival with a Golden Lion for Lifetime Achievement.
The Spanish director, 69, is having a good year after his “Pain and Glory” was recently one of the standout movies in competition in Cannes, where it was praised by Variety’s Peter Debruge as “a remarkable mature meta-fiction, exploring the emotional scars that underlie his own physical frailty.” Lead actor and frequent Almodovar collaborator Antonio Banderas won the award for best actor in Cannes for his depiction of an aging director loosely based on Almodovar himself.
“I am very excited and honored by the gift of this Golden Lion,” Almodovar said in a statement.
Almodovar is the second person set to be feted during Venice’s upcoming edition. Oscar-winning actress Julie Andrews’ Golden Lion was announced in March. The two honorees follow the pattern of Venice awarding career prizes to an actor and a director.
The Spanish director, 69, is having a good year after his “Pain and Glory” was recently one of the standout movies in competition in Cannes, where it was praised by Variety’s Peter Debruge as “a remarkable mature meta-fiction, exploring the emotional scars that underlie his own physical frailty.” Lead actor and frequent Almodovar collaborator Antonio Banderas won the award for best actor in Cannes for his depiction of an aging director loosely based on Almodovar himself.
“I am very excited and honored by the gift of this Golden Lion,” Almodovar said in a statement.
Almodovar is the second person set to be feted during Venice’s upcoming edition. Oscar-winning actress Julie Andrews’ Golden Lion was announced in March. The two honorees follow the pattern of Venice awarding career prizes to an actor and a director.
- 6/14/2019
- by Nick Vivarelli
- Variety Film + TV
If, at this point in this season, you’re tired of hearing the same handful of titles bandied about in the awards conversation, the prizes given out by the International Cinephile Society should come as a tonic. Voted on by a globe-spanning group of over 100 film critics, scholars, programmers and industry professionals, they can be counted on to zig where even the most broad-minded critics’ groups zag, often singling out films widely ignored by other precursors.
Case in point: The big winner in this year’s Ics awards was a Spanish-language auteur work, but it wasn’t “Roma” — Alfonso Cuarón’s Oscar frontrunner received only the cinematography prize. Instead, it was “Zama,” a nightmarishly atmospheric colonial drama from Argentinian director Lucrecia Martel, that ruled the roost with wins for Best Picture, Director, Non-English Language Film and Actor for leading man Daniel Giménez Cacho.
A favorite of critics on the festival...
Case in point: The big winner in this year’s Ics awards was a Spanish-language auteur work, but it wasn’t “Roma” — Alfonso Cuarón’s Oscar frontrunner received only the cinematography prize. Instead, it was “Zama,” a nightmarishly atmospheric colonial drama from Argentinian director Lucrecia Martel, that ruled the roost with wins for Best Picture, Director, Non-English Language Film and Actor for leading man Daniel Giménez Cacho.
A favorite of critics on the festival...
- 2/4/2019
- by Guy Lodge
- Variety Film + TV
Zama director gets backing for first documentary project.
The Sundance Institute and the UK’s Institute of Contemporary Arts have boarded Zama director Lucrecia Martel’s debut documentary Chocobar.
The two companies are funding the developing of the proejct via the Ica Cinema and Sundance’s Documentary Film Fund.
The Argentina-us co-production will chronicle the murder of indigenous activist Javier Chocobar and the removal of his community from their ancestral land in Argentina. The film unravels the 500 years of actions that led to this shooting, both with a gun and a camera, and contextualises it within the system of land...
The Sundance Institute and the UK’s Institute of Contemporary Arts have boarded Zama director Lucrecia Martel’s debut documentary Chocobar.
The two companies are funding the developing of the proejct via the Ica Cinema and Sundance’s Documentary Film Fund.
The Argentina-us co-production will chronicle the murder of indigenous activist Javier Chocobar and the removal of his community from their ancestral land in Argentina. The film unravels the 500 years of actions that led to this shooting, both with a gun and a camera, and contextualises it within the system of land...
- 11/5/2018
- by Tom Grater
- ScreenDaily
Zama director gets backing for first documentary project.
The Sundance Institute and the UK’s Institute of Contemporary Arts have boarded Zama director Lucrecia Martel’s debut documentary Chocobar.
The two companies are funding the developing of the proejct via the Ica Cinema and Sundance’s Documentary Film Fund.
The Argentina-us co-production will chronicle the murder of indigenous activist Javier Chocobar and the removal of his community from their ancestral land in Argentina. The film unravels the 500 years of actions that led to this shooting, both with a gun and a camera, and contextualises it within the system of land...
The Sundance Institute and the UK’s Institute of Contemporary Arts have boarded Zama director Lucrecia Martel’s debut documentary Chocobar.
The two companies are funding the developing of the proejct via the Ica Cinema and Sundance’s Documentary Film Fund.
The Argentina-us co-production will chronicle the murder of indigenous activist Javier Chocobar and the removal of his community from their ancestral land in Argentina. The film unravels the 500 years of actions that led to this shooting, both with a gun and a camera, and contextualises it within the system of land...
- 11/5/2018
- by Tom Grater
- ScreenDaily
The Almodovar brothers also producing new Argentinian project.
Agustin and Pedro Almodóvar’s production company El Deseo is producing Isabel Coixet’s next feature Nieva En Benidorm (literally, Snowing in Benidorm) that will shoot in 2019. El Deseo previously produced Coixet’s My Life Without Me and The Secret Life Of Words.
Coixet, whose most recent feature the English-languageThe Bookshop screened in competition at the Berlinale earlier this year, is presently writing the feature, on which no further details are yet confirmed.
Nieva En Benidorm is one of many projects the Madrid- based El Deseo has on the go. It is...
Agustin and Pedro Almodóvar’s production company El Deseo is producing Isabel Coixet’s next feature Nieva En Benidorm (literally, Snowing in Benidorm) that will shoot in 2019. El Deseo previously produced Coixet’s My Life Without Me and The Secret Life Of Words.
Coixet, whose most recent feature the English-languageThe Bookshop screened in competition at the Berlinale earlier this year, is presently writing the feature, on which no further details are yet confirmed.
Nieva En Benidorm is one of many projects the Madrid- based El Deseo has on the go. It is...
- 9/29/2018
- by Elisabet Cabeza
- ScreenDaily
The Almodovar brothers also producing new Argentinian project.
Agustin and Pedro Almodóvar’s production company El Deseo is producing Isabel Coixet’s next feature Nieva En Benidorm (literally, Snowing in Benidorm) that will shoot in 2019. El Deseo previously produced Coixet’s My Life Without Me and The Secret Life Of Words.
Coixet, whose most recent feature the English-languageThe Bookshop screened in competition at the Berlinale earlier this year, is presently writing the feature, on which no further details are yet confirmed.
Nieva En Benidorm is one of many projects the Madrid- based El Deseo has on the go. It is...
Agustin and Pedro Almodóvar’s production company El Deseo is producing Isabel Coixet’s next feature Nieva En Benidorm (literally, Snowing in Benidorm) that will shoot in 2019. El Deseo previously produced Coixet’s My Life Without Me and The Secret Life Of Words.
Coixet, whose most recent feature the English-languageThe Bookshop screened in competition at the Berlinale earlier this year, is presently writing the feature, on which no further details are yet confirmed.
Nieva En Benidorm is one of many projects the Madrid- based El Deseo has on the go. It is...
- 9/29/2018
- by Elisabet Cabeza
- ScreenDaily
A scent takes us back to childhood. A flavor transports us to the strange dish tasted during the course of a trip. The memory always works by interconnections. It is easier to access memory through the senses than through intellectual means.
As a result, it is inevitable that this phenomenon is strongest felt in reminiscences of our childhood, when our senses were more vivid. Old memories can be surprisingly vivid. Dominga Sotomayor, the winner of the Leopard for Best Director for her film “Too Late to Die Young,” understands that perfectly. In her film, memory is always related to the atmosphere of a particular time and a particular place; the film is brilliant for the way Sotomayor creates a complex network in which these details interact.
The film is set in the early nineties in Chile, just after the fall of the dictatorship of Augusto Pinochet. Sotomayor quickly introduces us...
As a result, it is inevitable that this phenomenon is strongest felt in reminiscences of our childhood, when our senses were more vivid. Old memories can be surprisingly vivid. Dominga Sotomayor, the winner of the Leopard for Best Director for her film “Too Late to Die Young,” understands that perfectly. In her film, memory is always related to the atmosphere of a particular time and a particular place; the film is brilliant for the way Sotomayor creates a complex network in which these details interact.
The film is set in the early nineties in Chile, just after the fall of the dictatorship of Augusto Pinochet. Sotomayor quickly introduces us...
- 8/19/2018
- by Pedro Segura
- Indiewire
While I’ve been reveling in many of the old films presented at the Locarno Festival, so far the new ones mainly seem to think making movies is merely the choice of film references and personal re-interpretation of favorite tropes. This approach nearly sidesteps two of the most essential qualities of the cinema: a hunger or need to film something, to reveal something to the audience that one is excited about, eager and driven to communicate; and an acute perspective on the world, a strong stance taken, one which places something at stake in the making and watching of a picture, rather than the respectful regurgitation of techniques and themes.Thankfully, the festival also has Jodie Mack, an exuberant sprite of cinema whose frame-by-frame animations of object patterns like wallpaper catalogs or lacework into giddy, materialist flicker films are some of the most delightful of short filmmaking. She has brought to Locarno her first feature,...
- 8/10/2018
- MUBI
Almost 15 years ago, María Alché debuted on screens as the leading actress of Lucrecia Martel’s The Holy Girl. Now, after a successful career in short films, the Argentine writer-director presents her long-awaited first feature, Familia sumergida (A Family Submerged), a mysterious film in which a woman questions her past to unravel the future.We interviewed the filmmaker about her feature debut, directing a large cast, working with sound and music, and her inspiration from Lucrecia Martel, ahead of the film’s world premiere as part of the Filmmakers of the Present competition at the 71st Locarno Festival.Notebook: What is your inspiration—your point of departure—and how do you develop initial ideas into a story with characters? MARÍA ALCHÉ: It started from a very random situation. One day, I went with a friend to row in the river in a place very far away. Suddenly, a relative that...
- 8/8/2018
- MUBI
LibertyThe Locarno Festival, its host town pinned between lake and mountain, is likewise sandwiched each August between the two premiere hot-weather European film festivals of Cannes and Venice. Aside from the justifiably famous 8,000 seat capacity screenings in the city’s open-air Piazza Grande, Locarno wisely cedes both red carpet camera-seeking impulses as well as big-name openings to these more celebrity-focused institutions. In favor of pursuing a wide-ranging presentation of new films, the festival generally favors a smaller, more idiosyncratic side of art cinema that at its best can be greatly freeing and deeply engaged. The 71st edition promises several anticipated pictures, including a new feature by the delightful American “anti-animator” Jodie Mack, who usually works in short films, the fifth Hong Sang-soo movie in 18 months, the feature debut of María Alche—the lead actress from Lucrecia Martel’s The Holy Girl—and Argentine director Mariano Llinás’s long-awaited (and 13.5 hour!
- 8/8/2018
- MUBI
Dramas screen in Switzerland this weekend.
Visit Films has acquired international rights to Tribeca multiple award winner Diane and the majority of worldwide rights to A Family Submerged, both of which receive premieres at the Locarno International Film Festival this weekend.
President Ryan Kampe is in Switzerland introducing the films to buyers, and has also picked up most of the world on A Land Imagined from writer-director Yeo Siew Hua.
Diane will receive its international premiere in Locarno on Friday (August 3) and stars Mary Kay Place as a woman who gains new insights into her life while caring for her...
Visit Films has acquired international rights to Tribeca multiple award winner Diane and the majority of worldwide rights to A Family Submerged, both of which receive premieres at the Locarno International Film Festival this weekend.
President Ryan Kampe is in Switzerland introducing the films to buyers, and has also picked up most of the world on A Land Imagined from writer-director Yeo Siew Hua.
Diane will receive its international premiere in Locarno on Friday (August 3) and stars Mary Kay Place as a woman who gains new insights into her life while caring for her...
- 8/2/2018
- by Jeremy Kay
- ScreenDaily
Argentine filmmaker Lucrecia Martel is the definition of a festival darling. Since 2001, each of her four feature films, have had major premieres at large festivals. Her first film, “La Ciénaga,” proved that Martel was a new force to reckon with, earning acclaim at Sundance and Berlin. From there, her next two features, “The Holy Girl” and “The Headless Woman,” were both standouts at their respective Cannes debuts.
Continue reading Watch Acclaimed Filmmaker Lucrecia Martel’s Beautiful ‘Fantasmas’ Music Video For Julieta Laso at The Playlist.
Continue reading Watch Acclaimed Filmmaker Lucrecia Martel’s Beautiful ‘Fantasmas’ Music Video For Julieta Laso at The Playlist.
- 7/30/2018
- by Charles Barfield
- The Playlist
Following his two immensely heartfelt dramas, Weekend and 45 Years, Andrew Haigh’s latest theatrical feature, Lean on Pete, is now in theaters. “Most filmmakers when they make movies are trying to understand themselves and how they fit into the world. Even if the story of Lean on Pete might not seem like it’s a personal story, to me it is just as personal as Weekend, oddly. It says just as much about me as Weekend,” he recently told us. “The weird thing about making films, especially if you make films that are personal to you, is you’re giving something of yourself to the world. It’s a strange feeling, filmmaking to me is anxious, emotional and stressful.”
To celebrate the film’s release, we’re sharing Haigh’s list of his favorite films of all-time, submitted to BFI’s latest Sight & Sound poll and Criterion’s top...
To celebrate the film’s release, we’re sharing Haigh’s list of his favorite films of all-time, submitted to BFI’s latest Sight & Sound poll and Criterion’s top...
- 4/9/2018
- by Jordan Raup
- The Film Stage
After helming some of the best films of the previous decade with La Ciénaga, The Holy Girl, and The Headless Woman, Lucrecia Martel returned last fall with Zama. Produced by brothers Pedro and Agustin Almodóvar, Argentinean author Antonio di Benedetto’s 1956 novel has been adapted by Martel, which follows a story set in the late 18th century in Paraguay, tracking Don Diego de Zama (Daniel Gimenez Cacho), an officer of the Spanish Crown, who is tasked with going after a bandit.
The film is a towering achievement of composition and craft and while I can see why our Venice review was mixed due to the narrative’s elusive nature, I’m dying to experience this one on the big screen again. The chance will now arrive as Strand Releasing will give the film a U.S. theatrical release this April, and they’ve now debuted a new preview, which shows...
The film is a towering achievement of composition and craft and while I can see why our Venice review was mixed due to the narrative’s elusive nature, I’m dying to experience this one on the big screen again. The chance will now arrive as Strand Releasing will give the film a U.S. theatrical release this April, and they’ve now debuted a new preview, which shows...
- 3/8/2018
- by Jordan Raup
- The Film Stage
Close-Up is a feature that spotlights films now playing on Mubi. Lukas Valenta Rinner's A Decent Woman (2016), which is receiving an exclusive global online premiere on Mubi, is showing from January 26 - February 25, 2018 as a Special Discovery.It’s possibly belaboring the obvious to note—to quote Naomi Watts’s Janey-e in David Lynch’s return to Twin Peaks—that we live in dark, dark times; for a counterblast against the rot, even irresponsible, unfocused dissent is cathartic. Lukas Valenta Rinner’s A Decent Woman premiered two years ago but feels absolutely of the moment: a story about cloistered communities which impose conservative impulses on everything around them. In this case, “conservative” doesn’t designate the old Gop model—in which a balanced budget is the top moral priority of the country and social issues come are a not-quite-as-close second—but the complete subjugation of all those who don’t...
- 1/25/2018
- MUBI
Mubi's retrospective New Argentine Cinema is playing from August 7 - September 28, 2017 in most countries around the world. La CiénagaBeginning in the mid-1990s, young directors, the majority of whom had graduated from one of many film schools in Argentina, began producing low-budget, independent films in a style that earned this group the classification of the New Independent Argentine Cinema.Part of this upsurge had to do with a small grants program that was initiated by the National Film Institute (Incaa) in the mid-1990s. These recent graduates have made short films (cortometrajes), and then have gone on to raise funds through co-production funding (Hubert Bals Fund at the Rotterdam film festival, the Visions Sud Est program from Switzerland, among others). They have relied on their own networks of like-minded young people rather than depend on the traditional film sector structure (the film union, established director’s associations, and the few...
- 9/6/2017
- MUBI
You don’t make La Ciénaga, The Holy Girl, and The Headless Woman in a row without winning accolades and a passionate following the world over. As such, the anticipation level for Argentinian director Lucrecia Martel’s fourth feature and first in nearly a decade is understandably high. When Zama was denied a Cannes slot back in May, people assumed it was a blameless case of conflict of interest, as competition jury president Pedro Almodóvar is also a producer of the film. When the Venice Film Festival subsequently selected the long-awaited picture but put it in the less prestigious out-of-competition section, however, eyebrows were raised with palpable outrage – especially considering the fact that among the 21-title strong competition line-up, only one film comes from a female filmmaker.
Well, now that we’ve seen it, the festival programmers’ reservations seem easier to understand.
A synopsis of the film reads: Based on...
Well, now that we’ve seen it, the festival programmers’ reservations seem easier to understand.
A synopsis of the film reads: Based on...
- 9/3/2017
- by Zhuo-Ning Su
- The Film Stage
The uneasy co-existence of indigenous and colonial cultures in Latin America is given darkly oneiric treatment in Zama, Lucrecia Martel's atmospheric adaptation of the well-regarded 1956 existential novel by fellow Argentinean Antonio di Benedetto. The director of The Holy Girl and The Headless Woman has always been more concerned with creating an enveloping experience than shaping a conventional narrative. That's more than ever the case with this freewheeling historical drama about a minor officer of the Spanish crown stationed in a remote backwater of what is now Paraguay, waiting for a transfer that will never come.
Some no doubt will...
Some no doubt will...
- 8/31/2017
- by David Rooney
- The Hollywood Reporter - Movie News
After a nine-year absence, the Argentinian director returns with an audacious and antic tale set in a 18th-century colony on the Asuncion coast
Related: Downsizing review – Matt Damon thinks small in Alexander Payne's miniature masterpiece
Lucrecia Martel is the elusive poet of Latin-American cinema, missing believed lost, the Mary Celeste in human form. She made La Cienaga and The Holy Girl; split the Cannes audience in two with her brilliant, maddening The Headless Woman. And then, all at once, Martel seemed to vanish. There were rumours that she had been unwell, or that she spent years kick-starting a stalled science-fiction picture, or that she’d embarked on a long boat trip right up the Amazon. I think I like the third option the best. It makes her sound like Mr Kurtz.
Continue reading...
Related: Downsizing review – Matt Damon thinks small in Alexander Payne's miniature masterpiece
Lucrecia Martel is the elusive poet of Latin-American cinema, missing believed lost, the Mary Celeste in human form. She made La Cienaga and The Holy Girl; split the Cannes audience in two with her brilliant, maddening The Headless Woman. And then, all at once, Martel seemed to vanish. There were rumours that she had been unwell, or that she spent years kick-starting a stalled science-fiction picture, or that she’d embarked on a long boat trip right up the Amazon. I think I like the third option the best. It makes her sound like Mr Kurtz.
Continue reading...
- 8/31/2017
- by Xan Brooks
- The Guardian - Film News
Credit where it’s due: Few films have done more to unite the international film community than “Zama.” The minutes-long opening titles list over 20 different production companies and regional supports. The nominally Argentinian film is a joint venture between nine other countries as well, and the end credits name figures as diverse as Danny Glover, Pedro Almodóvar, and Gael Garcia Bernal among the many other who jumped on to help this project through a troubled, many year production. Finally complete, Lucrecia Martel’s film promises to be significantly more divisive.
Technically an adaptation of Antonio Di Benedetto acclaimed modernist novel, “Zama” reads just as much like an open declaration of war against the line that separates form and content. The source text told the story of an 18th century magistrate driven to madness while waiting for his next post; the film forces the viewer to go mad right there with him.
Technically an adaptation of Antonio Di Benedetto acclaimed modernist novel, “Zama” reads just as much like an open declaration of war against the line that separates form and content. The source text told the story of an 18th century magistrate driven to madness while waiting for his next post; the film forces the viewer to go mad right there with him.
- 8/31/2017
- by Ben Croll
- Indiewire
Upcoming films by Babak Jalali, Kaouther Ben Hania and Bassem among the 34 projects due to attend this year.Scroll down for full list of projects
Argentine film-maker Lucrecia Martel and veteran producer Paulo Branco have been confirmed as the final two ‘masters’ at the Doha Film Institute’s talent development event Qumra.
They will join previously announced mentor-speakers Iranian director Asghar Farhadi, French auteur Bruno Dumont and creative documentarian Rithy Panh at the third edition of the bespoke event, running March 3 to 8, 2017.
Colourful Portuguese producer Paulo Branco – who is based between Paris and Lisbon – has more than 300 producing credits to his name, amassed over four decades, working with the likes of David Cronenberg, Wim Wenders, Chantal Akerman, Alain Tanner, Werner Schroeter, Olivier Assayas, and Cédric Kahn.
His Paris-based sales and production company Alfama Films is at the Efm this year with Robert Schwentke’s long-awaited Second World War adventure title The Captain.
“Paulo Branco is one...
Argentine film-maker Lucrecia Martel and veteran producer Paulo Branco have been confirmed as the final two ‘masters’ at the Doha Film Institute’s talent development event Qumra.
They will join previously announced mentor-speakers Iranian director Asghar Farhadi, French auteur Bruno Dumont and creative documentarian Rithy Panh at the third edition of the bespoke event, running March 3 to 8, 2017.
Colourful Portuguese producer Paulo Branco – who is based between Paris and Lisbon – has more than 300 producing credits to his name, amassed over four decades, working with the likes of David Cronenberg, Wim Wenders, Chantal Akerman, Alain Tanner, Werner Schroeter, Olivier Assayas, and Cédric Kahn.
His Paris-based sales and production company Alfama Films is at the Efm this year with Robert Schwentke’s long-awaited Second World War adventure title The Captain.
“Paulo Branco is one...
- 2/12/2017
- ScreenDaily
Exclusive: French sales and production company fills out slate with upcoming films by the Alayan brothers and new Egyptian title.
Paris-based sales and production company Still Moving has boarded two upcoming Arabic-language pictures, Palestinian film-makers Muayad and Rami Alayan’s The Reports On Sarah And Saleem and Egyptian director Omar El Zohairy’s Feathers Of A Father.
The Reports On Sarah And Saleem is the second feature by the Alayan brothers, former Berlinale Talents who premiered their first film Love, Theft And Other Entanglements at the festival in 2015.
It revolves around a dangerous love affair between a Palestinian man and an Israeli woman.
Feathers Of A Father is the debut feature of El Zohairy, following a series of award-winning shorts – includingThe Aftermath Of The Inauguration Of The Public Toilet At Kilometer 375.
The director also worked as an assistant director to Ahmad Abdalla on Rags & Tatters and Tamer El Said on In The Last Days Of The City...
Paris-based sales and production company Still Moving has boarded two upcoming Arabic-language pictures, Palestinian film-makers Muayad and Rami Alayan’s The Reports On Sarah And Saleem and Egyptian director Omar El Zohairy’s Feathers Of A Father.
The Reports On Sarah And Saleem is the second feature by the Alayan brothers, former Berlinale Talents who premiered their first film Love, Theft And Other Entanglements at the festival in 2015.
It revolves around a dangerous love affair between a Palestinian man and an Israeli woman.
Feathers Of A Father is the debut feature of El Zohairy, following a series of award-winning shorts – includingThe Aftermath Of The Inauguration Of The Public Toilet At Kilometer 375.
The director also worked as an assistant director to Ahmad Abdalla on Rags & Tatters and Tamer El Said on In The Last Days Of The City...
- 2/12/2017
- ScreenDaily
Exclusive: Still Moving picks up ‘The Black Frost’ and ‘In The Last Days Of City’.
French sales and co-production company Still Moving has acquired world sales rights to Maximiliano Schonfeld’s The Black Frost [pictured] and Tamer El Said’s In The Last Days Of The City ahead of their premieres at the Berlinale (Feb 11-21).
The two titles are the first world sales acquisitions for the Paris-based company launched by industry veterans Pierre Menahem and Juliette Lepoutre at the last Berlinale with an initial focus on international co-productions
“We spent the first year focussing on co-productions and now we’re expanding into world sales which was always the way we planned it,” said Menahem.
The Black Frost, set to premiere in Panorama, is Argentine film-maker Schonfeld’s second film after his 2012 feature debut Germania in which a family is forced to leave their poultry farm after its birds are infected with a deadly plague-like disease.
His new film...
French sales and co-production company Still Moving has acquired world sales rights to Maximiliano Schonfeld’s The Black Frost [pictured] and Tamer El Said’s In The Last Days Of The City ahead of their premieres at the Berlinale (Feb 11-21).
The two titles are the first world sales acquisitions for the Paris-based company launched by industry veterans Pierre Menahem and Juliette Lepoutre at the last Berlinale with an initial focus on international co-productions
“We spent the first year focussing on co-productions and now we’re expanding into world sales which was always the way we planned it,” said Menahem.
The Black Frost, set to premiere in Panorama, is Argentine film-maker Schonfeld’s second film after his 2012 feature debut Germania in which a family is forced to leave their poultry farm after its birds are infected with a deadly plague-like disease.
His new film...
- 2/4/2016
- ScreenDaily
Zama
Director: Lucrecia Martel
Writer: Lucrecia Martel
Argentinean director Lucrecia Martel has become one of her country’s most prolific filmmakers with three outstanding titles to her name, beginning with 2001’s La Cienega (where she won the Alfred Bauer film award in Berlin, and the title recently became part of the Criterion selection), 2004’s The Holy Girl, and the coolly received The Headless Woman in 2008, which has been critically recuperated since. Her latest, Zama, is a parody, according to Martel and is based on the highly regarded 1956 novel by Antonio di Benedetto focusing on Diego de Zama, an officer of the Spanish crown. While endlessly waiting for a transfer to Buenos Aires, he joins a party of soldiers hunting down a bandit before absconding to less regulated realms where he is allowed to live freely. The project is one of the most ambitious Us-Latin America-Euro co-productions in the country’s history.
Director: Lucrecia Martel
Writer: Lucrecia Martel
Argentinean director Lucrecia Martel has become one of her country’s most prolific filmmakers with three outstanding titles to her name, beginning with 2001’s La Cienega (where she won the Alfred Bauer film award in Berlin, and the title recently became part of the Criterion selection), 2004’s The Holy Girl, and the coolly received The Headless Woman in 2008, which has been critically recuperated since. Her latest, Zama, is a parody, according to Martel and is based on the highly regarded 1956 novel by Antonio di Benedetto focusing on Diego de Zama, an officer of the Spanish crown. While endlessly waiting for a transfer to Buenos Aires, he joins a party of soldiers hunting down a bandit before absconding to less regulated realms where he is allowed to live freely. The project is one of the most ambitious Us-Latin America-Euro co-productions in the country’s history.
- 1/14/2016
- by Nicholas Bell
- IONCINEMA.com
Qumra means “camera” in Arabic, and this word can be traced back to Arabic scientist, astronomer and mathematician Alhazen (Ibn al-Haytham, 965-c.1040 Ce), whose work in optics laid out the principles of the camera obscura.
And now a new experiment is taking place for the second year. Designed for first and second time filmmakers, somewhat similar to Mexico’s first such event which I attended last month, Pueblo Magico , the Qumra Industry Manager, Ali Khechen has close ties to Mexico, having worked for seven years with Guanajuato Film Festival and a good friend of Pueblo Magico’s Flavio Florencio.
Read more about the first edition of Qumra on Cineuropa here.
Following the huge success of its inaugural edition, Qumra, set to take place in Doha March 4 to 9, 2016, just announced the first two acclaimed filmmakers who will serve as Masters: Japanese filmmaker Naomi Kawase (“Suzaku”, “Still The Water”, “An”) and Argentinian filmmaker Lucrecia Martel (“La Ciénaga”, “The Headless Woman”). They will mentor first and second-time filmmakers to support the development of emerging filmmakers both from Qatar and around the world.
As part of their role as Qumra Masters, each of the seasoned filmmakers will participate in a series of master classes, workshops and one-on-one sessions with participating Qumra projects and industry professionals from around the world, with the filmmakers acclaimed work being screened for Doha audiences during the event.
The Qumra Meetings are a series of one-on-one meetings, workshops and tailored mentoring sessions between representatives from the 25 selected projects and seasoned industry experts.
The Qumra Master Classes are daily sessions; each led by one of the Masters. Participating filmmakers have full access to these sessions.
The Qumra Screenings are open to the public and feature projects funded by the Institute through its grants and co-financing initiatives, as well as a series of films chosen by the Qumra Masters accompanied by Q&A sessions.
Fatma Al Remaihi, CEO of Doha Film Institute said: “The inaugural edition of Qumra had a meaningful impact not only on those who participated, but on the industry as a whole. The summit garnered productive results and offered tangible benefits to all in attendance and the contribution of our Masters was a key part of the success of our new initiative.”
“Naomi and Lucrecia are each masters of their craft, who have established their unique voices in world cinema and we are looking forward to welcoming them to Qumra in March,” continued Al Remaihi.
Filmmaker and Doha Film Institute Artistic Advisor Elia Suleiman said: "Having Lucrecia and Naomi give master classes at Qumra is very compelling because they both possess what it takes to be Masters of cinema – a unique sensibility and cinematic prowess - yet they are
young enough to connect and be in the close proximity of the cinematic experience of the young generation of filmmakers who will participate at Qumra."
Japanese filmmaker Naomi Kawase gained international acclaim in 1997 when she became the youngest winner of the Camera d’Or at Festival de Cannes with her first feature film "Suzaku." In 2007, her film "The Mourning Forest," won the Cannes Film Festival Grand Prix. Her work is heavily associated with the distorted space between fiction and non-fiction and she is known for employing an almost documentary-style realism in her work. Kawase’s presence in Cannes continued with her 2011 film “Hanezu” which premiered In Competition in 2011 and in 2013 she was a member of the main competition jury. Her 2014 film “Still the Water” was selected to compete for the Palme d’Or in 2014 and her most recent film, “An” - which had its Middle East premiere in Doha at this week’s Ajyal Youth Film Festival - was screened in the Un Certain Regard section in 2015. Kawase is the founder of the Nara International Film Festival which is known for its support for and collaboration with emerging filmmakers from all over the world.
Argentinian filmmaker Lucrecia Martel has been described by critics as one of the members of the so-called ‘New Argentine Cinema’. Beginning her career directing shorts, her debut feature “La Ciénaga” received several international awards and was voted the greatest Latin American film of the decade in a poll of New York film critics, programers and industry professionals. Follow up films “La Niña Santa”/”The Holy Girl” and “The Headless Woman” were both selected for competition at the Cannes Film Festival in 2004 and 2008 respectfully. Martel's films have also been acclaimed at Berlin, Sundance, Toronto, New York and Rotterdam, among others. Retrospectives of her work have been screened around the world, including prestigious institutions like Harvard, Berkeley and the London Tate Museum. She has taken part in official juries in Berlin, Cannes, Venice, Sundance, and Rotterdam and Martel is currently in post-production of her fourth film, “Zama” to be premiered in 2016.
Previous Qumra Masters include Mexican actor, director and producer Gael Garcia Bernal (“Amores Perro”s, “No”,” Deficit”), Mauritanian director Abderrahmane Sissako (“Timbuktu” - nominated for Best Foreign Language Film at the 2015 Academy Awards); Romanian auteur and Palme d’Or winner Cristian Mungiu (“4 Months, 3 Weeks and 2 Days”, “Beyond the Hills”); and Bosnian writer/director Danis Tanović (“An Episode in the Life of an Iron Picker” “Tigers”, “No Man’s Land” - winner of Academy Award for Best Foreign Language Film in 2001).
And now a new experiment is taking place for the second year. Designed for first and second time filmmakers, somewhat similar to Mexico’s first such event which I attended last month, Pueblo Magico , the Qumra Industry Manager, Ali Khechen has close ties to Mexico, having worked for seven years with Guanajuato Film Festival and a good friend of Pueblo Magico’s Flavio Florencio.
Read more about the first edition of Qumra on Cineuropa here.
Following the huge success of its inaugural edition, Qumra, set to take place in Doha March 4 to 9, 2016, just announced the first two acclaimed filmmakers who will serve as Masters: Japanese filmmaker Naomi Kawase (“Suzaku”, “Still The Water”, “An”) and Argentinian filmmaker Lucrecia Martel (“La Ciénaga”, “The Headless Woman”). They will mentor first and second-time filmmakers to support the development of emerging filmmakers both from Qatar and around the world.
As part of their role as Qumra Masters, each of the seasoned filmmakers will participate in a series of master classes, workshops and one-on-one sessions with participating Qumra projects and industry professionals from around the world, with the filmmakers acclaimed work being screened for Doha audiences during the event.
The Qumra Meetings are a series of one-on-one meetings, workshops and tailored mentoring sessions between representatives from the 25 selected projects and seasoned industry experts.
The Qumra Master Classes are daily sessions; each led by one of the Masters. Participating filmmakers have full access to these sessions.
The Qumra Screenings are open to the public and feature projects funded by the Institute through its grants and co-financing initiatives, as well as a series of films chosen by the Qumra Masters accompanied by Q&A sessions.
Fatma Al Remaihi, CEO of Doha Film Institute said: “The inaugural edition of Qumra had a meaningful impact not only on those who participated, but on the industry as a whole. The summit garnered productive results and offered tangible benefits to all in attendance and the contribution of our Masters was a key part of the success of our new initiative.”
“Naomi and Lucrecia are each masters of their craft, who have established their unique voices in world cinema and we are looking forward to welcoming them to Qumra in March,” continued Al Remaihi.
Filmmaker and Doha Film Institute Artistic Advisor Elia Suleiman said: "Having Lucrecia and Naomi give master classes at Qumra is very compelling because they both possess what it takes to be Masters of cinema – a unique sensibility and cinematic prowess - yet they are
young enough to connect and be in the close proximity of the cinematic experience of the young generation of filmmakers who will participate at Qumra."
Japanese filmmaker Naomi Kawase gained international acclaim in 1997 when she became the youngest winner of the Camera d’Or at Festival de Cannes with her first feature film "Suzaku." In 2007, her film "The Mourning Forest," won the Cannes Film Festival Grand Prix. Her work is heavily associated with the distorted space between fiction and non-fiction and she is known for employing an almost documentary-style realism in her work. Kawase’s presence in Cannes continued with her 2011 film “Hanezu” which premiered In Competition in 2011 and in 2013 she was a member of the main competition jury. Her 2014 film “Still the Water” was selected to compete for the Palme d’Or in 2014 and her most recent film, “An” - which had its Middle East premiere in Doha at this week’s Ajyal Youth Film Festival - was screened in the Un Certain Regard section in 2015. Kawase is the founder of the Nara International Film Festival which is known for its support for and collaboration with emerging filmmakers from all over the world.
Argentinian filmmaker Lucrecia Martel has been described by critics as one of the members of the so-called ‘New Argentine Cinema’. Beginning her career directing shorts, her debut feature “La Ciénaga” received several international awards and was voted the greatest Latin American film of the decade in a poll of New York film critics, programers and industry professionals. Follow up films “La Niña Santa”/”The Holy Girl” and “The Headless Woman” were both selected for competition at the Cannes Film Festival in 2004 and 2008 respectfully. Martel's films have also been acclaimed at Berlin, Sundance, Toronto, New York and Rotterdam, among others. Retrospectives of her work have been screened around the world, including prestigious institutions like Harvard, Berkeley and the London Tate Museum. She has taken part in official juries in Berlin, Cannes, Venice, Sundance, and Rotterdam and Martel is currently in post-production of her fourth film, “Zama” to be premiered in 2016.
Previous Qumra Masters include Mexican actor, director and producer Gael Garcia Bernal (“Amores Perro”s, “No”,” Deficit”), Mauritanian director Abderrahmane Sissako (“Timbuktu” - nominated for Best Foreign Language Film at the 2015 Academy Awards); Romanian auteur and Palme d’Or winner Cristian Mungiu (“4 Months, 3 Weeks and 2 Days”, “Beyond the Hills”); and Bosnian writer/director Danis Tanović (“An Episode in the Life of an Iron Picker” “Tigers”, “No Man’s Land” - winner of Academy Award for Best Foreign Language Film in 2001).
- 12/9/2015
- by Sydney Levine
- Sydney's Buzz
Doha Film Institute’s talent and project development event to take place March 4-9, 2016.
Japanese filmmaker Naomi Kawase and Argentina’s Lucrecia Martel have been confirmed as the first “masters” at the Doha Film Institute’s second edition of Qumra (March 4-9, 2016).
The event is aimed at nurturing emerging directors and their projects from Qatar and around the world.
In their role of Qumra master, the filmmakers will participate in masterclasses, workshops and one-on-one sessions with attending filmmakers and their producers.
“Naomi and Lucrecia are each masters of their craft, who have established their unique voices in world cinema and we are looking forward to welcoming them to Qumra in March,” said Fatma Al Remaihi, CEO of Doha Film Institute (Dfi).
The first edition of Qumra last March was given the thumbs by the industry professionals and emerging filmmakers who attended for its bespoke approach and compact format which helped fostered real and fruitful connections.
Last year’s...
Japanese filmmaker Naomi Kawase and Argentina’s Lucrecia Martel have been confirmed as the first “masters” at the Doha Film Institute’s second edition of Qumra (March 4-9, 2016).
The event is aimed at nurturing emerging directors and their projects from Qatar and around the world.
In their role of Qumra master, the filmmakers will participate in masterclasses, workshops and one-on-one sessions with attending filmmakers and their producers.
“Naomi and Lucrecia are each masters of their craft, who have established their unique voices in world cinema and we are looking forward to welcoming them to Qumra in March,” said Fatma Al Remaihi, CEO of Doha Film Institute (Dfi).
The first edition of Qumra last March was given the thumbs by the industry professionals and emerging filmmakers who attended for its bespoke approach and compact format which helped fostered real and fruitful connections.
Last year’s...
- 12/7/2015
- ScreenDaily
Zama
Director: Lucrecia Martel // Writer: Lucrecia Martel
Argentinean director Lucrecia Martel has become one of her country’s most prolific filmmakers with three outstanding titles to her name, beginning with 2001′s La Cienega (where she won the Alfred Bauer film award in Berlin, and the title will see its release in the Criterion selection shortly), 2004′s The Holy Girl, and the coolly received The Headless Woman in 2008, which has gone as to stand as her most notorious and well received works. For some time now she’s been at work on Zama, a period piece based on the novel by Antonio de Benedetto and will be produced by Lita Stantic, El Deseo (the Almodovar Bros’ company)
Cast: Daniel Gimenez Cacho
Producers: Lita Stantic, El Deseo, Rei Cine’s Benjamin Domenech, Mpm’s Marie-Pierre Macia, Rosa Filmes.
U.S. Distributor: Rights available.
Release Date: A project now years in gestation, it...
Director: Lucrecia Martel // Writer: Lucrecia Martel
Argentinean director Lucrecia Martel has become one of her country’s most prolific filmmakers with three outstanding titles to her name, beginning with 2001′s La Cienega (where she won the Alfred Bauer film award in Berlin, and the title will see its release in the Criterion selection shortly), 2004′s The Holy Girl, and the coolly received The Headless Woman in 2008, which has gone as to stand as her most notorious and well received works. For some time now she’s been at work on Zama, a period piece based on the novel by Antonio de Benedetto and will be produced by Lita Stantic, El Deseo (the Almodovar Bros’ company)
Cast: Daniel Gimenez Cacho
Producers: Lita Stantic, El Deseo, Rei Cine’s Benjamin Domenech, Mpm’s Marie-Pierre Macia, Rosa Filmes.
U.S. Distributor: Rights available.
Release Date: A project now years in gestation, it...
- 1/9/2015
- by Nicholas Bell
- IONCINEMA.com
4. Desire Without Language
Weekend 3 - Jan.24-26th
The fourth chapter of the Harvard-Gulbenkian program stages a unique extended dialogue between Manuela Viegas and Lucrecia Martel, two artists who share a similar ambition to dramatically renew the potential of the cinema as an audio-visual and uniquely sensorial medium. Unseating the long-standing hierarchy of the visual in the cinema, the films of Viegas and Martel are intensely tactile and audio-visual, enriched by complex soundscapes that awaken the invisible, immeasurable space beyond the frame, animating and decentering the dynamically abstract mise-en-scene favored by both filmmakers. Despite their relatively small respective oeuvres—to date Martel has completed three features, Viegas just one—their every film is career defining and milestone. Indeed, with each work Viegas and Martel define a new paradigm of narrative cinema, a different means of reaching far beyond mere representation and story to open the all too often untapped phenomenological...
Weekend 3 - Jan.24-26th
The fourth chapter of the Harvard-Gulbenkian program stages a unique extended dialogue between Manuela Viegas and Lucrecia Martel, two artists who share a similar ambition to dramatically renew the potential of the cinema as an audio-visual and uniquely sensorial medium. Unseating the long-standing hierarchy of the visual in the cinema, the films of Viegas and Martel are intensely tactile and audio-visual, enriched by complex soundscapes that awaken the invisible, immeasurable space beyond the frame, animating and decentering the dynamically abstract mise-en-scene favored by both filmmakers. Despite their relatively small respective oeuvres—to date Martel has completed three features, Viegas just one—their every film is career defining and milestone. Indeed, with each work Viegas and Martel define a new paradigm of narrative cinema, a different means of reaching far beyond mere representation and story to open the all too often untapped phenomenological...
- 10/13/2014
- by Cinema Dialogues: Harvard at the Gulbenkian
- MUBI
Exclusive: The Match Factory has boarded Lucrecia Martel’s new feature Zama and will begin pre-sales on the period drama in Cannes.
The film will be shot in Northern Argentina and Brazil during early 2015.
The Rotterdam CineMart-winning project is based on the novel by Argentinian writer Antonio Di Benedetto.
Zama takes place in the late 18th century. Diego de Zama, a South-American-born functionary of the colonial government, awaits a ship that should bring a royal missive avowing his promotion and transfer: the possibility to return to where his wife and children live, whom he has not seen in several years.
The producers are:
Benjamin Domenech and Santiago Gallelli from Rei Cine, the team behind Historia del Miedo by Benjamin Naishtat (Berlinale Competition 2014);
Vania Catani’s Bananeira Filmes, the producer of El Ardor by Pablo Fendrik (Cannes 2014, Official Selection, Special Screening);
Pedro and Agustin Almodovar’s El Deseo who also collaborated on Martel ́s previous film, La Mujer Sin Cabeza;
and...
The film will be shot in Northern Argentina and Brazil during early 2015.
The Rotterdam CineMart-winning project is based on the novel by Argentinian writer Antonio Di Benedetto.
Zama takes place in the late 18th century. Diego de Zama, a South-American-born functionary of the colonial government, awaits a ship that should bring a royal missive avowing his promotion and transfer: the possibility to return to where his wife and children live, whom he has not seen in several years.
The producers are:
Benjamin Domenech and Santiago Gallelli from Rei Cine, the team behind Historia del Miedo by Benjamin Naishtat (Berlinale Competition 2014);
Vania Catani’s Bananeira Filmes, the producer of El Ardor by Pablo Fendrik (Cannes 2014, Official Selection, Special Screening);
Pedro and Agustin Almodovar’s El Deseo who also collaborated on Martel ́s previous film, La Mujer Sin Cabeza;
and...
- 5/14/2014
- by geoffrey@macnab.demon.co.uk (Geoffrey Macnab)
- ScreenDaily
Eric Lavallee: Name me three of your favorite “2013 discoveries”…
Joaquin: 1. My Struggle by Karl Ove Knausgaard – earlier this year I read this memoir/novel by the Norwegian author Knausgaard. It’s about a man’s life and memory – his youth and teenage years in rural Norway, and the return to his childhood home to attend the funeral of his alcoholic father. It’s a brilliant combination of the profound and the mundane. Really beautiful.
2. Lucrecia Martel - I saw the filmmaker Lucrecia Martel (The Headless Woman, The Holy Girl, La CIÉNAGA) speak at the Berlinale. She is one of the most articulate filmmakers I’ve heard discuss the process. One of my favorite filmmakers and a brilliant stylist.
3. Bullet Trains. I took the Ave train from Córdoba to Madrid in Spain this year, and the high speed train from Shanghai to Yuhang in China. The speed and ease of transportation is amazing.
Joaquin: 1. My Struggle by Karl Ove Knausgaard – earlier this year I read this memoir/novel by the Norwegian author Knausgaard. It’s about a man’s life and memory – his youth and teenage years in rural Norway, and the return to his childhood home to attend the funeral of his alcoholic father. It’s a brilliant combination of the profound and the mundane. Really beautiful.
2. Lucrecia Martel - I saw the filmmaker Lucrecia Martel (The Headless Woman, The Holy Girl, La CIÉNAGA) speak at the Berlinale. She is one of the most articulate filmmakers I’ve heard discuss the process. One of my favorite filmmakers and a brilliant stylist.
3. Bullet Trains. I took the Ave train from Córdoba to Madrid in Spain this year, and the high speed train from Shanghai to Yuhang in China. The speed and ease of transportation is amazing.
- 1/14/2014
- by Eric Lavallee
- IONCINEMA.com
Once again, Latin America is making a show, though this time Argentina trumps Chile with Zama by Lucrecia Martel ♀ (Argentina/Spain).
The 30th CineMart, co-production market of International Film Festival Rotterdam concluded in Rotterdam, with the announcement of the three awards for best CineMart Projects 2013.
Jätten (The Giant) by Johannes Nyholm (Denmark/Sweden) wins the Eurimages Co-Production Development Award; the Arte International Prize goes to The Lobster by Yorgos Lanthimos (Ireland/UK/Greece) and the WorldView New Genres Fund Development Award goes to Zama by Lucrecia Martel (Argentina/Spain).
The Jury for the CineMart Awards consisted of Olivier Père (Arte France Cinéma), Petri Kemppinen (Finnish Film Foundation / Eurimages representative), Annamaria Lodato (Arte France), Himesh Kar (WorldView) and Amy Richardson (Worldview).
The winners and the Jury statements are:
Eurimages Co-Production Development Award
The Eurimages Co-Production Development Award (30,000 Euro) for the Best CineMart 2013 Project with a European partner is given to Jätten (The Giant) by Johannes Nyholm, a co-production of BeoFilm Productions (Denmark) and Garagefilm International (Sweden).
‘A project of a talented filmmaker who is about to make a leap from widely appreciated short films to his first fiction that will a tender melodrama.’
Johannes Nyholm (1974, Sweden) is an artist and film director based in Gothenburg. The animated film series The Tale of Little Puppetboy (2006) was originally shown at, and made for, gallery screenings. But it has also been shown widely at festivals around the world. The music video Twice, for Little Dragon, was the origin for the short film Dreams from the Woods (2009), which premiered in Cannes. Even before being completed, his latest short, Las Palmas (2011), gained a global reputation through a trailer more successful than any Hollywood blockbuster. The Giant will be Nyholm’s first feature film.
Arte International Prize
The Arte International Prize (7,000 Euro) for the Best CineMart 2013 Project is given to The Lobster by Yorgos Lanthimos, a production of Element Pictures (Ireland/United Kingdom/Greece).
‘A very exciting and original project from one of the most talented emerging filmmakers of the last decade.’
Yorgos Lanthimos (1973, Greece) filmed a series of videos for dance theatre companies throughout the 1990's. Since 1995, he has directed a number of TV commercials, in addition to music videos, short films and stage plays. His first feature film, Kinetta (2005), screened to critical acclaim at the 2005 Toronto International Film Festival. His second feature, Dogtooth (2009), won the Un Certain Regard award at the 2009 Cannes Film Festival. Alps (2011), his latest film, premiered in competition at the Venice Film Festival, where it won the Osella Award for best screenplay.
WorldView New Genres Fund Development Award
The WorldView New Genres Fund Development Award (5,000 Euro) for the Best CineMart 2013 Project is given to Zama by Lucrecia Martel, a co-production of Lita Stantic Producciones (Argentina) and El Deseo (Spain).
‘A visually stunning and uniquely approached period project by one of South America’s most influential director.’
Lucrecia Martel (1966, Argentina) made several short films, a children's television programme and documentaries. Her first full-length film, La ciénaga(2001), won the Alfred Bauer Prize at the 2001 Berlinale; La niña santa (2004), her second feature, was nominated for the Palme d’Or at the 2004 Cannes Film Festival. Martel’s latest feature is La mujer sin cabeza (2008), which premiered in Competition at the 2008 Cannes Film Festival. All Martel’s features have been selected for the International Film Festival Rotterdam.
CineMart was the first platform of its kind to offer filmmakers the opportunity to launch their ideas to the international film industry and to find the right connections to get their projects additionally financed. CineMart also heralds an important start of the 'film year'.
Every year, the CineMart invites a select number of directors/producers to present their film projects to co-producers, funds, sales agents, distributors, TV stations and other potential financiers.
For its 30th edition, CineMart selected thirty-four projects. The selection included four ‘Art:Film’ projects and four projects from this year’s Boost! program.
CineMart is supported by:
Media Programme of the European Union
Rotterdam Development Corporation (Dso)
Netherlands Film Fund
Media Mundus
Arte France Cinéma
Eurimages...
The 30th CineMart, co-production market of International Film Festival Rotterdam concluded in Rotterdam, with the announcement of the three awards for best CineMart Projects 2013.
Jätten (The Giant) by Johannes Nyholm (Denmark/Sweden) wins the Eurimages Co-Production Development Award; the Arte International Prize goes to The Lobster by Yorgos Lanthimos (Ireland/UK/Greece) and the WorldView New Genres Fund Development Award goes to Zama by Lucrecia Martel (Argentina/Spain).
The Jury for the CineMart Awards consisted of Olivier Père (Arte France Cinéma), Petri Kemppinen (Finnish Film Foundation / Eurimages representative), Annamaria Lodato (Arte France), Himesh Kar (WorldView) and Amy Richardson (Worldview).
The winners and the Jury statements are:
Eurimages Co-Production Development Award
The Eurimages Co-Production Development Award (30,000 Euro) for the Best CineMart 2013 Project with a European partner is given to Jätten (The Giant) by Johannes Nyholm, a co-production of BeoFilm Productions (Denmark) and Garagefilm International (Sweden).
‘A project of a talented filmmaker who is about to make a leap from widely appreciated short films to his first fiction that will a tender melodrama.’
Johannes Nyholm (1974, Sweden) is an artist and film director based in Gothenburg. The animated film series The Tale of Little Puppetboy (2006) was originally shown at, and made for, gallery screenings. But it has also been shown widely at festivals around the world. The music video Twice, for Little Dragon, was the origin for the short film Dreams from the Woods (2009), which premiered in Cannes. Even before being completed, his latest short, Las Palmas (2011), gained a global reputation through a trailer more successful than any Hollywood blockbuster. The Giant will be Nyholm’s first feature film.
Arte International Prize
The Arte International Prize (7,000 Euro) for the Best CineMart 2013 Project is given to The Lobster by Yorgos Lanthimos, a production of Element Pictures (Ireland/United Kingdom/Greece).
‘A very exciting and original project from one of the most talented emerging filmmakers of the last decade.’
Yorgos Lanthimos (1973, Greece) filmed a series of videos for dance theatre companies throughout the 1990's. Since 1995, he has directed a number of TV commercials, in addition to music videos, short films and stage plays. His first feature film, Kinetta (2005), screened to critical acclaim at the 2005 Toronto International Film Festival. His second feature, Dogtooth (2009), won the Un Certain Regard award at the 2009 Cannes Film Festival. Alps (2011), his latest film, premiered in competition at the Venice Film Festival, where it won the Osella Award for best screenplay.
WorldView New Genres Fund Development Award
The WorldView New Genres Fund Development Award (5,000 Euro) for the Best CineMart 2013 Project is given to Zama by Lucrecia Martel, a co-production of Lita Stantic Producciones (Argentina) and El Deseo (Spain).
‘A visually stunning and uniquely approached period project by one of South America’s most influential director.’
Lucrecia Martel (1966, Argentina) made several short films, a children's television programme and documentaries. Her first full-length film, La ciénaga(2001), won the Alfred Bauer Prize at the 2001 Berlinale; La niña santa (2004), her second feature, was nominated for the Palme d’Or at the 2004 Cannes Film Festival. Martel’s latest feature is La mujer sin cabeza (2008), which premiered in Competition at the 2008 Cannes Film Festival. All Martel’s features have been selected for the International Film Festival Rotterdam.
CineMart was the first platform of its kind to offer filmmakers the opportunity to launch their ideas to the international film industry and to find the right connections to get their projects additionally financed. CineMart also heralds an important start of the 'film year'.
Every year, the CineMart invites a select number of directors/producers to present their film projects to co-producers, funds, sales agents, distributors, TV stations and other potential financiers.
For its 30th edition, CineMart selected thirty-four projects. The selection included four ‘Art:Film’ projects and four projects from this year’s Boost! program.
CineMart is supported by:
Media Programme of the European Union
Rotterdam Development Corporation (Dso)
Netherlands Film Fund
Media Mundus
Arte France Cinéma
Eurimages...
- 2/1/2013
- by Sydney Levine
- Sydney's Buzz
11. Zama – Dir. Lucretia Martel
Why This Makes Top 10: At number eleven we have Argentinean filmmaker Lucretia Martel’s latest film, her first since 2008’s The Headless Woman (a film that critics were slow to warm to, but ended up being on many a best end of year list in 2008/2009). Previous titles include her stunning debut, 2001’s La Cienega, along with 2004’s The Holy Girl. Her latest is a period piece based on the novel by Antonio de Benedetto and will be produced by Lita Stantic, El Deseo (the Almodovar Bros’ company), as well as a still to be named French producer. Martel is one of the most prolific names to come out the New Argentinean Wave and this looks to be a massively mounted period piece we’re eager to get a look at.
The Gist: Written in 1956, Zama is an existential novel about Don Diego de Zama, a...
Why This Makes Top 10: At number eleven we have Argentinean filmmaker Lucretia Martel’s latest film, her first since 2008’s The Headless Woman (a film that critics were slow to warm to, but ended up being on many a best end of year list in 2008/2009). Previous titles include her stunning debut, 2001’s La Cienega, along with 2004’s The Holy Girl. Her latest is a period piece based on the novel by Antonio de Benedetto and will be produced by Lita Stantic, El Deseo (the Almodovar Bros’ company), as well as a still to be named French producer. Martel is one of the most prolific names to come out the New Argentinean Wave and this looks to be a massively mounted period piece we’re eager to get a look at.
The Gist: Written in 1956, Zama is an existential novel about Don Diego de Zama, a...
- 1/8/2013
- by Nicholas Bell
- IONCINEMA.com
We might start writing about long-absent directors more often. In the three months since we picked out five foreign-language filmmakers who've been M.I.A. for several years, three of them have resurfaced in a big way. Arnaud Desplechin ("A Christmas Tale") is shooting "Psychotherapy Of A Plains Indian" with Benicio Del Toro and Mathieu Amalric in Detroit, and "Pulse" helmer Kiyoshi Kurosawa aired his TV epic "Penance" in Venice before announcing plans only yesterday to make historical epic "1905" with Tony Leung. And now a third has joined them, in the shape of Lucrecia Martel. The Argentinean filmmaker, whose disturbing, distinctive work including "The Holy Girl" and "La Cienaga" has won her fans all over the world, but she's been absent from screens since 2008's awesome "The Headless Woman" played Cannes, bar a short film funded by Miu Miu that just played Venice. The director spent...
- 9/11/2012
- by Oliver Lyttelton
- The Playlist
Argentine director Lucrecia Martel ("The Holy Girl," "The Headless Woman") is set to helm an adaptation of Antonio Di Benedetto’s existential historical novel "Zama" for El Deseo and a still as yet unsecured French producer says The Hollywood Reporter.
Set around Paraguay at the end of the 17th century, the story follows an official for the Spanish crown awaiting transfer to Buenos Aires.
Lita Stantic will produce. Shooting aims to begin next July depending upon scheduling and financing.
Set around Paraguay at the end of the 17th century, the story follows an official for the Spanish crown awaiting transfer to Buenos Aires.
Lita Stantic will produce. Shooting aims to begin next July depending upon scheduling and financing.
- 9/5/2012
- by Garth Franklin
- Dark Horizons
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