Annemarie Jacir’s father-son story ‘Wajib’ is Palestine’s official candidate for the Best Foreign Language Film Oscar. It has already picked up a slew of awards including four awards at Argentina’s Mar Del Plata International Film Festival including the Golden Astor for Best Feature Film in the International Competition, Best Actor for Mohammad Bakri, the Argentine Film Critics Association’s Best Feature Film Award and the Best Feature Film Signis Award.
Wajib also won the Best Film at the Dubai International Film Festival as well as Best Actor which was awarded to the two leading actors Mohammad Bakri and Saleh Bakri. The film also won Best Film at the International Film Festival of Kerala, Grand Prize (Golden Unicorn) as well as the Audience Award at the Amiens International Film Festival. Awards were received from MedFilm (Rome) where Wajib took the Jury Prize, and Montpellier Cinemed’s Youth Jury Award.
Wajib also won the Best Film at the Dubai International Film Festival as well as Best Actor which was awarded to the two leading actors Mohammad Bakri and Saleh Bakri. The film also won Best Film at the International Film Festival of Kerala, Grand Prize (Golden Unicorn) as well as the Audience Award at the Amiens International Film Festival. Awards were received from MedFilm (Rome) where Wajib took the Jury Prize, and Montpellier Cinemed’s Youth Jury Award.
- 12/7/2017
- by Sydney Levine
- Sydney's Buzz
Last fall, Barry Jenkins was a little-known filmmaker with one feature under his belt, 2008’s “Medicine for Melancholy.” Then he premiered future best picture winner “Moonlight” at the 2016 Telluride Film Festival and everything changed. At the 2017 edition, he returned the favor, not only introducing a series of short film programs at the festival as he has for years, but also by presenting another rising filmmaker to the world.
Read More:‘Lady Bird’ Trailer: Saoirse Ronan Delivers Her Greatest Work in Greta Gerwig’s Brilliant Directorial Debut
Just a few hours after receiving a standing ovation for one of his short film programs, Jenkins took the stage at the Chuck Jones Cinema for the world premiere of “Lady Bird,” the coming-of-age comedy that marks the solo directorial debut of veteran actress Greta Gerwig. There was a practical connection between “Lady Bird” and “Moonlight,” in that both movies share A24 as a distributor.
Read More:‘Lady Bird’ Trailer: Saoirse Ronan Delivers Her Greatest Work in Greta Gerwig’s Brilliant Directorial Debut
Just a few hours after receiving a standing ovation for one of his short film programs, Jenkins took the stage at the Chuck Jones Cinema for the world premiere of “Lady Bird,” the coming-of-age comedy that marks the solo directorial debut of veteran actress Greta Gerwig. There was a practical connection between “Lady Bird” and “Moonlight,” in that both movies share A24 as a distributor.
- 9/5/2017
- by Eric Kohn
- Indiewire
After winning the top prize at this year’s Locarno International Film Festival’s Signs of Life sidebar section (a program dedicated to “investigating experimental forms of narration and innovations in film language”), Nelson Carlo de los Santos Arias’ “Cocote” will next hit Tiff’s similarly ambitious Wavelengths section later this month. Bundled up in a surprisingly staid plot — a man returns home to help bury his father, and family dramas come to a head — is a bold and unnerving drama about personal choice and religious power.
Per the film’s official synopsis, it “is the story of Alberto, an evangelical gardener, returns to his hometown to attend his father’s funeral, killed by an influential man. To mourn the deceased, he is forced to participate in religion celebrations that are contrary to his will and beliefs.”
In our exclusive new trailer, that story is at the fore, but so...
Per the film’s official synopsis, it “is the story of Alberto, an evangelical gardener, returns to his hometown to attend his father’s funeral, killed by an influential man. To mourn the deceased, he is forced to participate in religion celebrations that are contrary to his will and beliefs.”
In our exclusive new trailer, that story is at the fore, but so...
- 8/31/2017
- by Kate Erbland
- Indiewire
Incaa announces hire over weekend. Festival veteran previously served as artistic director of Tribeca.
Argentina’s film body Incaa said at the weekend Peter Scarlet had been appointed artistic director of the upcoming 32nd Mar del Plata festival.
Festival president José Martínez Suárez announced the development at the weekend with Incaa president Ralph Haiek, festival producer Rosa Martínez Rivero, and the International Federation Of Film Producers Associations president Luis Scalella and other Mar del Plata executives in attendance.
Haiek said the goal was to maintain Mar del Plata’s A Class classification and “acquire more presence in the international festival agenda.”
Suárez, who this year will complete 10 years as president of the festival, said that “by the 32nd edition we have a very ambitious plan, which will turn into a remarkable one… We know what priorities to achieve and we will keep them up thanks to the team continuity and the new members.”
Scarlet, a veteran...
Argentina’s film body Incaa said at the weekend Peter Scarlet had been appointed artistic director of the upcoming 32nd Mar del Plata festival.
Festival president José Martínez Suárez announced the development at the weekend with Incaa president Ralph Haiek, festival producer Rosa Martínez Rivero, and the International Federation Of Film Producers Associations president Luis Scalella and other Mar del Plata executives in attendance.
Haiek said the goal was to maintain Mar del Plata’s A Class classification and “acquire more presence in the international festival agenda.”
Suárez, who this year will complete 10 years as president of the festival, said that “by the 32nd edition we have a very ambitious plan, which will turn into a remarkable one… We know what priorities to achieve and we will keep them up thanks to the team continuity and the new members.”
Scarlet, a veteran...
- 7/9/2017
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Big World Pictures
Founded in 2013 and run almost single-handedly by Jonathan Howell, Big World Pictures is a non-profit distribution outfit dedicated to bringing the best in world cinema to film enthusiasts across the United States.
“As an expansion of the mission of our critically-acclaimed short film distribution wing, The World According to Shorts, Big World Pictures is dedicated to bringing the best in world cinema to film enthusiasts across the United States. We acquire only three to four feature films annually for theatrical release, in addition to several short films (to be released through The World According to Shorts), and ten to twelve feature films annually for video/VOD/TV release.”
Opening at Laemmle’s Royal in L.A. day and date with New York’s Lincoln Plaza Cinemas on June 23, Luc Bondy’s modern-day adaptation of the classic Marivaux play, “False Confessions”, starring Isabelle Huppert, Louis Garrel and Bulle Ogier...
Founded in 2013 and run almost single-handedly by Jonathan Howell, Big World Pictures is a non-profit distribution outfit dedicated to bringing the best in world cinema to film enthusiasts across the United States.
“As an expansion of the mission of our critically-acclaimed short film distribution wing, The World According to Shorts, Big World Pictures is dedicated to bringing the best in world cinema to film enthusiasts across the United States. We acquire only three to four feature films annually for theatrical release, in addition to several short films (to be released through The World According to Shorts), and ten to twelve feature films annually for video/VOD/TV release.”
Opening at Laemmle’s Royal in L.A. day and date with New York’s Lincoln Plaza Cinemas on June 23, Luc Bondy’s modern-day adaptation of the classic Marivaux play, “False Confessions”, starring Isabelle Huppert, Louis Garrel and Bulle Ogier...
- 6/6/2017
- by Sydney Levine
- Sydney's Buzz
22nd Mar del Plata Film Festival Awards - 2007 The 22nd Mar del Plata Film Festival Award was held between Mar-8-18, 2007. The 22nd Mar del Plata Film Festival Award winners were announced on Mar. 18, 2007. Directed by Cesc Gay, Fiction tells the story of a film director who, while resting at a friends home in a small mountain village, meets a violin player with whom he develops a delusional relationship. Gay and Tomás Aragay penned the screenplay. In the cast: Eduard Fernández, Javier Cámara, Montse Germán, Carmen Pla, Ágata Roca Official Competition Golden Astor for Best feature FICCIÓ (Spain, directed by Cesc Gay) Special Mention Jardins En Automne (France-Italy-Russia, directed by Otar Iosseliani) Silver Astor for Best Director (tie) Marina Spada (Come l´ombra, Italy) Hong Sang-soo (Woman on the Beach, South Korea) Silver Astor for Best Actress Sandra HÜLLER (Madonnas, Germany-Switzerland-Belgium, directed by María Speth) Silver Astor for Best Actor Carlos Resta (La Peli,...
- 5/12/2017
- by altfilmguide
- Alt Film Guide
Chicago couple Isaac and Teresa Vatkin were “always holding hands” during their 69 years of marriage — so their children weren’t surprised when they passed away hand-in-hand at Highland Park Hospital on April 23.
“Through the sadness of it all, I’m so glad they left together,” their son Daniel Vatkin tells People. “Their hands remained held until mom passed and she was taken away.”
Teresa, 89, died first at 12:10 a.m and Isaac, 91, passed away about 40 minutes later. They leave behind three children, eight grandchildren and five great-grandchildren.
“It was difficult, but in another way it’s a beautiful piece,” says Daniel.
“Through the sadness of it all, I’m so glad they left together,” their son Daniel Vatkin tells People. “Their hands remained held until mom passed and she was taken away.”
Teresa, 89, died first at 12:10 a.m and Isaac, 91, passed away about 40 minutes later. They leave behind three children, eight grandchildren and five great-grandchildren.
“It was difficult, but in another way it’s a beautiful piece,” says Daniel.
- 5/1/2017
- by Rose Minutaglio
- PEOPLE.com
You see “Iran” and think certain things. You go to Iran and see the people, the shops, street activity, the environment, its museums and you forget the two things about it which shape your emotional reaction to it: politics and history. Being one of two Americans attending the Fajr International Film Festival makes me feel responsible for sharing my best moments with a broader public.
The Fajr International Film Festival is a gala affair, small enough to meet and share time with the many participants, both filmmakers and invitees from countries as diverse as Afghanistan, Bangladesh, Armenia, Turkey, Japan, Mongolia and Korea (and more!). I can only think of one other film event which offered such a luxurious array of experiences to go along with film watching (when Rosskino of Russia invited 25 U.S.distributors and us to Moscow and St. Petersburg and then repeated the event for Brics countries...
The Fajr International Film Festival is a gala affair, small enough to meet and share time with the many participants, both filmmakers and invitees from countries as diverse as Afghanistan, Bangladesh, Armenia, Turkey, Japan, Mongolia and Korea (and more!). I can only think of one other film event which offered such a luxurious array of experiences to go along with film watching (when Rosskino of Russia invited 25 U.S.distributors and us to Moscow and St. Petersburg and then repeated the event for Brics countries...
- 5/1/2017
- by Sydney Levine
- Sydney's Buzz
Keep up with the wild and wooly world of indie film acquisitions with our weekly Rundown of everything that’s been picked up around the globe. Check out last week’s Rundown here.
– Fox Searchlight has bought the rights to “The Spy With No Name,” an ebook written by Jeff Maysh and published by Amazon Kindle Single, Deadline reports. Alexandra Milchan and Scott Lambert of Emjag Productions will produce alongside “Argo” executive producer David Klawans.
Read More: Film Acquisition Rundown: Grasshopper Film Gets ‘Escapes,’ Amazon and IFC Films Date ‘City of Ghosts’ and More
The true story centers on Erwin van Haarlem, a Cold War secret agent who stole the identity of a Dutch man whose mother had given him up for adoption. The Communist spy pretended to be Johanna van Haarlem’s long lost son for 11 years before being caught.
– FilmRise has acquired the U.S. rights to Michael Almereyda’s “Marjorie Prime,...
– Fox Searchlight has bought the rights to “The Spy With No Name,” an ebook written by Jeff Maysh and published by Amazon Kindle Single, Deadline reports. Alexandra Milchan and Scott Lambert of Emjag Productions will produce alongside “Argo” executive producer David Klawans.
Read More: Film Acquisition Rundown: Grasshopper Film Gets ‘Escapes,’ Amazon and IFC Films Date ‘City of Ghosts’ and More
The true story centers on Erwin van Haarlem, a Cold War secret agent who stole the identity of a Dutch man whose mother had given him up for adoption. The Communist spy pretended to be Johanna van Haarlem’s long lost son for 11 years before being caught.
– FilmRise has acquired the U.S. rights to Michael Almereyda’s “Marjorie Prime,...
- 3/31/2017
- by Graham Winfrey
- Indiewire
Keep up with the wild and wooly world of indie film acquisitions with our weekly Rundown of everything that’s been picked up around the globe. Check out last week’s Rundown here.
– Gunpowder & Sky Distribution has acquired the U.S. distribution rights to April Mullen’s “Below Her Mouth.” Shot entirely with a female crew, the film tells the story of an unexpected romance between two women whose passionate connection changes their lives forever.
The film had its world premiere at the Toronto International Film Festival 2016, and it went on to screen at Festival du Nouveau Cinema, Mar Del Plata International Film Festival, and Goteborg Film Festival. It will also play at BFI Flare: London’s Lgbt festival in March.
Gunpowder & Sky Distribution will release the film on April 28, 2017, theatrically and across all major On Demand platforms, including iTunes, Amazon Video, Google Play, Microsoft Movies & TV, Verizon FiOS, and DirecTV.
– Gunpowder & Sky Distribution has acquired the U.S. distribution rights to April Mullen’s “Below Her Mouth.” Shot entirely with a female crew, the film tells the story of an unexpected romance between two women whose passionate connection changes their lives forever.
The film had its world premiere at the Toronto International Film Festival 2016, and it went on to screen at Festival du Nouveau Cinema, Mar Del Plata International Film Festival, and Goteborg Film Festival. It will also play at BFI Flare: London’s Lgbt festival in March.
Gunpowder & Sky Distribution will release the film on April 28, 2017, theatrically and across all major On Demand platforms, including iTunes, Amazon Video, Google Play, Microsoft Movies & TV, Verizon FiOS, and DirecTV.
- 3/17/2017
- by Kate Erbland
- Indiewire
Leading curated streaming platform Mubi has announced today the launch of its brand new “Discoveries” series, featuring new films each month that have been hand-picked straight from the international film festival circuit, streaming exclusively on Mubi. The new series is intended to spotlight the work of acclaimed and established directors as well as some of the most talented emerging filmmakers from around the world.
Of the new series, Mubi’s Director of Content Daniel Kasman commented, “Countless wonderful and inspiring films made all over the world are seen only at select film festivals, unfairly left undistributed and inaccessible to most audiences. So it is with great pleasure that we’re launching Mubi’s Discoveries series, a programming initiative through which we will introduce these essential, previously unavailable but extraordinary works of international cinema to the largest possible audience.”
The first film in the Discoveries series will be Damien Manivel’s “Le Parc,...
Of the new series, Mubi’s Director of Content Daniel Kasman commented, “Countless wonderful and inspiring films made all over the world are seen only at select film festivals, unfairly left undistributed and inaccessible to most audiences. So it is with great pleasure that we’re launching Mubi’s Discoveries series, a programming initiative through which we will introduce these essential, previously unavailable but extraordinary works of international cinema to the largest possible audience.”
The first film in the Discoveries series will be Damien Manivel’s “Le Parc,...
- 1/9/2017
- by Kate Erbland
- Indiewire
Situated at the windy seaside of the Argentinian port city and resort destination, the Mar del Plata Film Festival is rare in its aversion to trends and commercially driven programming. Selection is motivated not by industry concerns but rather genuine cinephilia, impressively supported by a devout and adventurous local audience. Programmers give generous, enthusiastic introductions, and there’s a vibe of sincerity guiding the proceedings. Taking place in November — springtime in the country — the fest has the luxury of assembling the best films of the year, but it’s hardly an automated “festival of festivals,” featuring plenty of bold, unusual films alongside expected […]...
- 1/4/2017
- by Adam Cook
- Filmmaker Magazine - Blog
MartírioWhat does a film festival mean after the election of Trump? This is perhaps too far-reaching to expect to be resolved in a mere matter of some hundreds of words, let alone with the President-elect having not taken office yet. And, indeed, I wouldn’t fault a reader for rolling their eyes at such a query, asking: “What does one have to do with the other?” The answer is everything, especially when you get on a plane only a few days after said election to travel to the Mar del Plata Film Festival in Argentina. Mar del Plata can’t be faulted for being viewed in the lens of extreme political angst, having only born the poor chance of being scheduled in close proximity to November 8, 2016. However, this reality meant that it was only a matter of time before casual conversations turned to the topic of Donald Trump and what to do next,...
- 12/19/2016
- MUBI
Mexico’s renowned Morbido Fest is moving forward with its latest brand extension as brass prepare to launch the long-awaited pay-tv channel backed by Alex Garcia’s Ag Studios and have set their sights on reaching Us audiences by late 2017.
Morbido Fest CEO Pablo Guisa Koestinger and Mexican genre master Adrián Garciá Bogliano are in Buenos Aires at the Ventana Sur market to secure rights from producers to a raft of new and catalogue horror, fantasy and sci-fi content.
Scherzo Diabolico and Here Comes The Devil director Bogliano acts as general coordinator of the channel, which is scheduled to launch in Mexico in two weeks and in March as an app-based streaming platform throughout Latin America, excluding Brazil.
Speaking on Wednesday on a genre festival panel at the market’s Blood Window sidebar, Koestinger said all films will play in their original language with subtitles.
Morbido TV plans to include Brazilian content once it can afford to provide...
Morbido Fest CEO Pablo Guisa Koestinger and Mexican genre master Adrián Garciá Bogliano are in Buenos Aires at the Ventana Sur market to secure rights from producers to a raft of new and catalogue horror, fantasy and sci-fi content.
Scherzo Diabolico and Here Comes The Devil director Bogliano acts as general coordinator of the channel, which is scheduled to launch in Mexico in two weeks and in March as an app-based streaming platform throughout Latin America, excluding Brazil.
Speaking on Wednesday on a genre festival panel at the market’s Blood Window sidebar, Koestinger said all films will play in their original language with subtitles.
Morbido TV plans to include Brazilian content once it can afford to provide...
- 11/30/2016
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
After the end of the Mar del Plata Film Festival last week in Argentina, I was left wondering which other festival could really come up and compete with the only A Class Festival of Latin America. No name came up in my search, but my mind went constantly back to the Valdivia Film Festival of last October in Chile. While I don't think it'll ever grow to the place that Mar del Plata has in the region, I think that it's certainly among the most valuable of the continent, as it features both staples of quality festivals, while at the same time maintaining a certain edge that makes it memorable, even months later. So, while I collect my thoughts on the great days I had...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 11/30/2016
- Screen Anarchy
Hadas Ben Aroya's People That Are Not Me took the Astor for best film at the 31st edition of the Mar del Plata Film Festival, which officially closed Saturday night with a ceremony at the Astor Piazzola hall of the Argentine city's Auditorium Theater, hosted by Argentine actress Andrea Frigerio (The Distinguished Citizen).
Romanian helmer Radu Jude picked the best director prize for Scarred Hearts, while Bertrand Bonello's Nocturama won a Jury Special Mention for best cinematography. The film, shot just before the terror attacks in Paris last November, depicts a group of adolescents who plant a series of bombs in the French capital.
Kleber Mendonça Filho's <a...
Romanian helmer Radu Jude picked the best director prize for Scarred Hearts, while Bertrand Bonello's Nocturama won a Jury Special Mention for best cinematography. The film, shot just before the terror attacks in Paris last November, depicts a group of adolescents who plant a series of bombs in the French capital.
Kleber Mendonça Filho's <a...
- 11/26/2016
- by Agustin Mango
- The Hollywood Reporter - Movie News
French legend François Truffaut's rare short film Los 4 golpes returned home to the Mar del Plata Film Festival in Argentina, where it was originally shot 56 years ago and screened last Wednesday. The pic, a rarity in the director's filmography, was barely seen since it was made during the 1962 edition of the festival and had never been shown in Argentina.
According to fest programmer Marcelo Alderete, who spent two years trying to get the short film back home from Europe for its first Argentine screening, the "legend" states that in 1962, Truffaut was in Mar del Plata presenting...
According to fest programmer Marcelo Alderete, who spent two years trying to get the short film back home from Europe for its first Argentine screening, the "legend" states that in 1962, Truffaut was in Mar del Plata presenting...
- 11/25/2016
- by Agustin Mango
- The Hollywood Reporter - Movie News
A foreign filmmaker's first time working in Hollywood can be hard, and French auteur Olivier Assayas (winner of the best director award in Cannes for Personal Shopper) didn't have an easy run with his next project, heist movie Idol's Eye, produced by Benaroya Pictures, Bluegrass Films and Emjag Productions. The project, starring Rachel Weisz, Robert Pattinson and Sylvester Stallone, is now back on track after production reportedly fell through earlier this year.
Assayas, who previously wrote for legendary film magazine Cahiers du Cinema, attended this year's Mar del Plata Film Festival, running from Nov. 19-27 in Argentina, and sat with The Hollywood Reporter to discuss his...
Assayas, who previously wrote for legendary film magazine Cahiers du Cinema, attended this year's Mar del Plata Film Festival, running from Nov. 19-27 in Argentina, and sat with The Hollywood Reporter to discuss his...
- 11/21/2016
- by Agustin Mango
- The Hollywood Reporter - Movie News
It was back in October of 2015 that we first reported on Nicanor Loreti's adaptation of Leo Oyola's novel Kryptonita. A delirious inversion and translocation of super hero tropes into the slums of Buenos Aires where the truly heroic are shunted off to a life in the shadows while the villainous rise to positions of power, the entire thing as a satire both of the DC universe - with all the major characters clearly riffing on DC heroes and villains - and the political realities of Latin America. A huge hit when it screened at the Mar Del Plata film festival before moving on to be an even bigger hit in public release the entire team has since gotten back together to continue and expand...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 8/2/2016
- Screen Anarchy
The Argentine-born Brazilian director who directed William Hurt to an Oscar in Kiss Of The Spider Woman has died of a heart attack in Sao Paulo. He was 70.
Babenco was born in 1946 in the Argentinian coastal resort of Mar Del Plata before he left home to live in Europe in the early 1960s and finally settled in Sao Paulo in Brazil in 1969.
He broke out internationally in 1981 with the Brazilian slum drama Pixote and went on to make Kiss Of The Spider Woman, which challenged the establishment with its bold depiction of gay characters four years later.
Babenco also directed Meryl Streep and Jack Nicholson in Ironweed in 1987 and Tom Berenger, John Lithgow and Aidan Quinn in At Play In The Fields of The Lord in 1991.
After undergoing treatment for cancer in the 1990s he returned to direct the Brazilian prison drama Carandiru in 2003 and most recently made My Hindu Friend with Willem Dafoe, which remains...
Babenco was born in 1946 in the Argentinian coastal resort of Mar Del Plata before he left home to live in Europe in the early 1960s and finally settled in Sao Paulo in Brazil in 1969.
He broke out internationally in 1981 with the Brazilian slum drama Pixote and went on to make Kiss Of The Spider Woman, which challenged the establishment with its bold depiction of gay characters four years later.
Babenco also directed Meryl Streep and Jack Nicholson in Ironweed in 1987 and Tom Berenger, John Lithgow and Aidan Quinn in At Play In The Fields of The Lord in 1991.
After undergoing treatment for cancer in the 1990s he returned to direct the Brazilian prison drama Carandiru in 2003 and most recently made My Hindu Friend with Willem Dafoe, which remains...
- 7/18/2016
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Héctor Babenco, the Argentina-born Brazilian director whose films often examined deep political and class divisions and was best known for his Oscar-winning Kiss of the Spider Woman, died Wednesday night in Sao Paulo following a heart attack. He was 70. Born in Buenos Aires, Babenco was raised in Mar del Plata, but in 1969 relocated permanently to Sao Paulo, Brazil after several years spent living in Europe. Subsequently, his work often explored themes stemming from his…...
- 7/14/2016
- Deadline
I caught up with Argentine producer Gema Juarez Allen at the Panama Film Festival. Since seeing (and falling in love with) the Argentine road movie “Road to La Paz”/ “Camino a La Paz in Guadalajara and interviewing its director, Francisco Varone, I was interested in meeting her as well, even more so because her other film, the Colombian drama “Oscuro Animal” which premiered in Rotterdam and won four prizes at Mexico’s Guadalajara International Film Festival in March 2016, for Best Film, Best Director, Best Actress and Best Cinematography and has been sold to seven territories. “Oscuro Animal” is about three women fleeing armed conflict in Colombia. It was directed by Colombia’s Felipe Guerrero, an editor on “La Playa DC,” “Perro come perro” and “El Paramo”. It received funding from the Hubert Bals Fund and World Cinema Fund.
In Panama Gema was quite busy, not only with “Road to La Paz” but participating on the panel, Your Project in Motion: Coproduction and Financing along with Panamanian producers and directors, Delfina Vidal (“Caja 25”), Annie Canavaggio (“Breaking the Wave”) and Abner Benaim (“Invasion”) who also happens to be Gema’s partner.
As one of Latin America’s most active producers, Gema’s extensive experience international coproduction was invaluable and she shared it freely at the panel. Her participation in workshops in Europe, such as the Eave Producers Workshop and Eurodoc, has played a key role in establishing her international connections. While at Eave, she met Greek Boo Productions and Germany’s Ingmar Trost of Sutor Kolonko who came on board to coproduce “Oscuro Animal”.
“Road to La Paz” director, Francisco Varone said,
"In 2012 we submitted the project to Visions Sud Est in Switzerland. I was almost working by myself on the film at this time and then started working with a larger Argentinean production company, Concreto Films, owned by Juan Taratuto, a big film director who was directing TV commercials and said he’d help. They had a tough time finding investors so he introduced me to Gema Juarez Allen (whose recent film “Invasion” is the story of the U.S. invasion of Panama in the 1980s). She is a well-known documentary producer with experience in coproductions who knows how to find money and understands the value of going to festivals. She said she would do it as her first fiction film and went to San Sebastian Film Festival’s Foro de Coproduccion in 2013. There she had lots of one-on-one meetings and met Julius Ponten our Dutch coproducer who got funding from the Netherlands Film Fonds and Gunter Hanfgarn (“Bad Hair”) who applied to Ezef, an Evangelistic Fund for films from the south (one of the backers of “Timbuktu”). “
Read more on “Road to La Paz” here.
Gema continued this story when we spoke:
Juan liked the project but it was not in his domain so he sought me out. I read the script about two men and one car and thought, “This is easy”. But of course it was not. A road movie is the most difficult of all genres, and with animals, and covering two countries! Working with Pancho (Francisco Varone), he is the kind of director I like. I find the shooting is usually more important than the people, but with Pancho, the crew is important and he balanced the people and the shoot, so after all, it was ‘easy’.
The film is being sold internationally by FiGa. It is doing well in Argentina with 35,000 admissions, 20 copies and now in its fourth month in the cinemas. It is a ‘word of mouth’ film.
Sl: What are you working on now?
Gema Juarez Allen: I am now filming “Mapa Mudo”/ “Silent Map”.
A doc project by Felipe Guerrero, Nicolás Rincón and Jorge Caballero, based on video letters of three Colombian filmmakers who left their home country in the late 90s.
And I am developing a new project with the directors of our breakthough film from 2011, “Revenge of the Antipodes”/ “¡Vivan las antípodas!“ which screened in Venice. It’s called “Cro-goo-fant” and is a documentary for children, a funny story about animals. The director, Victor Kossokovsky, did a short doc for kids before.
I am also working with Andres di Tella, the most important documentary filmmaker and founder of Bafici in Argentina. It’s a very personal story about the avant garde art Institute lead by his father, the Instituto Di Tella.
And I am working on “Veterans” about the Falkland Islands War. Bertha Fund is backing it. Lola Arias is directing this documentary feature about the unexpected consequences of war on its protagonists, about the way memory is turned into fiction. I am looking for coproducers now. It is a different look at United Kingdom and Argentina vets that is at the same time both serious and humorous. We are creating a film around a theater play which will open in London this May. It began with the London International Theater Festival along with the Royal Court House Theater. It is not filmic; Lola Arias’ language is so refreshing; she is from the theater.
A winner of the 2015 Berlinale Co-production Market Pitch, Abner Benaim’s “Plaza catedral,” is also in the works. It is a tangled false friendship drama with thriller elements, set against the background of Panama’s social divide.
And I am currently producing Benaim’s doc, “My Name is Not Ruben Blades” with Ruben Blades.
Also in the works: the next film from Manuel Abramovich (“La Reina”), a Mar del Plata 2014 Works in Progress winner for “Solar” – a small but remarkable heart-warming doc-feature whose power struggle between director and subject adds unusually honest depths to a bio-portrait of someone who claims to come from the sun.
Sl: You are so prolific! How did you get started in this?
I studied anthropology at the University of Buenos Aires and the University of Rio de Janeiro but didn’t like academia and so I studied film at the National Film School and thought I would combine the two. In England I studied Visual Anthropology and worked as a P.A. and as a researcher for the BBC for a “Discovery Channel” type of channel and then I returned to Argentina.
Between 2003 to 2008 I worked at Cine Ojo the oldest doc company in Argentina and at Habitación 1520 Producciones (“Imagen Final”, “Criada”, “Los Jóvenes Muertos”, “Dulce Espera”) before creating my own company Gema Films in 2009.
Sl: You were coordinator of DocBuenos Aires until 2003, a training initiative as well.
Gema Juarez Allen: I have produced 17 films with lots of help.
I was a Sundance Documentary Fund grantee on two films. My projects have been supported by Visions Sud Est, Tribeca Film Institute, Hubert Bals Fund, Idfa Fund, Cinereach, Fondo Nacional de las Artes, DocStation Berlin, et al. I received the Arte/Bal Award in 2008 for Upcoming Producers at Bafici.
I coproduce with Wg Film (Sweden), Majade FilmProduktion (Germany), Gebrüder Beetz (Germany), Lemming Film (Netherlands) and Producciones Aplaplac (Chile).
I have received awards at Berlinale, Bafici, Roma, Guadalajara, Silverdocs, among many others. Gema is part of EuroDoc since 2010 and is a member of the Board of Adn, the Argentinean Documentary Filmmakers Network.
Sl: What advice do you have for young filmmakers?
Gema Juarez Allen: First find a good project. It is very competitive and you must have an original perspective on the subject. There are so many ideas everywhere, it must be good.
Producers should be highly-organized. Be sure to fully develop projects before presenting them to partners and funding decision makers. The key elements to present when the project is fully conceived are an overview, a synopsis, a director’s statement, a brief treatment, a financial plan, a budget, a production timetable and bio-filmographies.
Find a producer with experience. I’m always interested in new directors and new voices.
The best opportunities to find partners are at festivals, markets and above all workshops. These are good places to find colleagues and mentors to give you great feedback. Diana Elbaum is my mentor from Eave and she is always looking at what I’m doing. And most of my coproduction partners came from the Eave and Eurodoc workshops.
Beyond Eave and Eurodoc, which are very open to Latin American projects, other good workshops are Docmontevideo, Guadalajara, Typa, Cinergia Lab, Idfa Summer Academy, Chiledoc, Berlin Talent Campus, Documentary Campus, Morelia Lab among others.
Good international funding sources are Ibermedia and also the “Plus” schemes associated to funds such as Creative Europe, World Cinema Fund, Hubert Bals Fund and the Idfa Bertha fund. Other funds are Fonds d’Aide aux Cinémas du Monde, the Sundance documentary fund, Visions Sud Est, the Tribeca Film Institute, the Doha Film Institute and Sorfond, for co-productions with Norway.
In terms of leading international markets, Cannes, Rotterdam’s Cinemart, Berlin’s European Film Market, Ventana Sur and Guadalajara – and for documentaries – starting with Idfa Forum and Hotdocs, followed by Meetmarket Sheffield and Docmontevideo.
It is also important to choose the right festival to premiere a project since it’s virtually impossible to premiere a picture in a small festival and then get a larger fest to screen the film. It’s also important to explore the work-in-progress sidebars that now exist at most Latin American festivals, including Iff Panama’s Primera Mirada competition.
State funding sources in Latin America include Dicine, in Panama, Incaa in Argentina, Proimagenes in Colombia, Brazil’s Fundo Setorial do Audiovisual, the Fondo Audiovisual in Chile, and Imcine in Mexico. The selection criteria used by these national funds varies considerably. Proimagenes in Colombia, which only finances around 14 films per year last year had three pictures at Cannes.
Over the last three or four years many national funds have created specific lines of funding for co-productions, through bilateral agreements, such as that between Brazil’s Ancine and Argentina’s Incaa, which grants $250,000 per pic supported. As a result of such bilateral agreements Brazil, for example, is now a key partner for all of Latin America.
“I’d like to make the second or third films of my directors. They’ve all been such good experience. We’ve grown together,” Juarez Allen told Variety at the Mar del Plata Festival.
In Panama Gema was quite busy, not only with “Road to La Paz” but participating on the panel, Your Project in Motion: Coproduction and Financing along with Panamanian producers and directors, Delfina Vidal (“Caja 25”), Annie Canavaggio (“Breaking the Wave”) and Abner Benaim (“Invasion”) who also happens to be Gema’s partner.
As one of Latin America’s most active producers, Gema’s extensive experience international coproduction was invaluable and she shared it freely at the panel. Her participation in workshops in Europe, such as the Eave Producers Workshop and Eurodoc, has played a key role in establishing her international connections. While at Eave, she met Greek Boo Productions and Germany’s Ingmar Trost of Sutor Kolonko who came on board to coproduce “Oscuro Animal”.
“Road to La Paz” director, Francisco Varone said,
"In 2012 we submitted the project to Visions Sud Est in Switzerland. I was almost working by myself on the film at this time and then started working with a larger Argentinean production company, Concreto Films, owned by Juan Taratuto, a big film director who was directing TV commercials and said he’d help. They had a tough time finding investors so he introduced me to Gema Juarez Allen (whose recent film “Invasion” is the story of the U.S. invasion of Panama in the 1980s). She is a well-known documentary producer with experience in coproductions who knows how to find money and understands the value of going to festivals. She said she would do it as her first fiction film and went to San Sebastian Film Festival’s Foro de Coproduccion in 2013. There she had lots of one-on-one meetings and met Julius Ponten our Dutch coproducer who got funding from the Netherlands Film Fonds and Gunter Hanfgarn (“Bad Hair”) who applied to Ezef, an Evangelistic Fund for films from the south (one of the backers of “Timbuktu”). “
Read more on “Road to La Paz” here.
Gema continued this story when we spoke:
Juan liked the project but it was not in his domain so he sought me out. I read the script about two men and one car and thought, “This is easy”. But of course it was not. A road movie is the most difficult of all genres, and with animals, and covering two countries! Working with Pancho (Francisco Varone), he is the kind of director I like. I find the shooting is usually more important than the people, but with Pancho, the crew is important and he balanced the people and the shoot, so after all, it was ‘easy’.
The film is being sold internationally by FiGa. It is doing well in Argentina with 35,000 admissions, 20 copies and now in its fourth month in the cinemas. It is a ‘word of mouth’ film.
Sl: What are you working on now?
Gema Juarez Allen: I am now filming “Mapa Mudo”/ “Silent Map”.
A doc project by Felipe Guerrero, Nicolás Rincón and Jorge Caballero, based on video letters of three Colombian filmmakers who left their home country in the late 90s.
And I am developing a new project with the directors of our breakthough film from 2011, “Revenge of the Antipodes”/ “¡Vivan las antípodas!“ which screened in Venice. It’s called “Cro-goo-fant” and is a documentary for children, a funny story about animals. The director, Victor Kossokovsky, did a short doc for kids before.
I am also working with Andres di Tella, the most important documentary filmmaker and founder of Bafici in Argentina. It’s a very personal story about the avant garde art Institute lead by his father, the Instituto Di Tella.
And I am working on “Veterans” about the Falkland Islands War. Bertha Fund is backing it. Lola Arias is directing this documentary feature about the unexpected consequences of war on its protagonists, about the way memory is turned into fiction. I am looking for coproducers now. It is a different look at United Kingdom and Argentina vets that is at the same time both serious and humorous. We are creating a film around a theater play which will open in London this May. It began with the London International Theater Festival along with the Royal Court House Theater. It is not filmic; Lola Arias’ language is so refreshing; she is from the theater.
A winner of the 2015 Berlinale Co-production Market Pitch, Abner Benaim’s “Plaza catedral,” is also in the works. It is a tangled false friendship drama with thriller elements, set against the background of Panama’s social divide.
And I am currently producing Benaim’s doc, “My Name is Not Ruben Blades” with Ruben Blades.
Also in the works: the next film from Manuel Abramovich (“La Reina”), a Mar del Plata 2014 Works in Progress winner for “Solar” – a small but remarkable heart-warming doc-feature whose power struggle between director and subject adds unusually honest depths to a bio-portrait of someone who claims to come from the sun.
Sl: You are so prolific! How did you get started in this?
I studied anthropology at the University of Buenos Aires and the University of Rio de Janeiro but didn’t like academia and so I studied film at the National Film School and thought I would combine the two. In England I studied Visual Anthropology and worked as a P.A. and as a researcher for the BBC for a “Discovery Channel” type of channel and then I returned to Argentina.
Between 2003 to 2008 I worked at Cine Ojo the oldest doc company in Argentina and at Habitación 1520 Producciones (“Imagen Final”, “Criada”, “Los Jóvenes Muertos”, “Dulce Espera”) before creating my own company Gema Films in 2009.
Sl: You were coordinator of DocBuenos Aires until 2003, a training initiative as well.
Gema Juarez Allen: I have produced 17 films with lots of help.
I was a Sundance Documentary Fund grantee on two films. My projects have been supported by Visions Sud Est, Tribeca Film Institute, Hubert Bals Fund, Idfa Fund, Cinereach, Fondo Nacional de las Artes, DocStation Berlin, et al. I received the Arte/Bal Award in 2008 for Upcoming Producers at Bafici.
I coproduce with Wg Film (Sweden), Majade FilmProduktion (Germany), Gebrüder Beetz (Germany), Lemming Film (Netherlands) and Producciones Aplaplac (Chile).
I have received awards at Berlinale, Bafici, Roma, Guadalajara, Silverdocs, among many others. Gema is part of EuroDoc since 2010 and is a member of the Board of Adn, the Argentinean Documentary Filmmakers Network.
Sl: What advice do you have for young filmmakers?
Gema Juarez Allen: First find a good project. It is very competitive and you must have an original perspective on the subject. There are so many ideas everywhere, it must be good.
Producers should be highly-organized. Be sure to fully develop projects before presenting them to partners and funding decision makers. The key elements to present when the project is fully conceived are an overview, a synopsis, a director’s statement, a brief treatment, a financial plan, a budget, a production timetable and bio-filmographies.
Find a producer with experience. I’m always interested in new directors and new voices.
The best opportunities to find partners are at festivals, markets and above all workshops. These are good places to find colleagues and mentors to give you great feedback. Diana Elbaum is my mentor from Eave and she is always looking at what I’m doing. And most of my coproduction partners came from the Eave and Eurodoc workshops.
Beyond Eave and Eurodoc, which are very open to Latin American projects, other good workshops are Docmontevideo, Guadalajara, Typa, Cinergia Lab, Idfa Summer Academy, Chiledoc, Berlin Talent Campus, Documentary Campus, Morelia Lab among others.
Good international funding sources are Ibermedia and also the “Plus” schemes associated to funds such as Creative Europe, World Cinema Fund, Hubert Bals Fund and the Idfa Bertha fund. Other funds are Fonds d’Aide aux Cinémas du Monde, the Sundance documentary fund, Visions Sud Est, the Tribeca Film Institute, the Doha Film Institute and Sorfond, for co-productions with Norway.
In terms of leading international markets, Cannes, Rotterdam’s Cinemart, Berlin’s European Film Market, Ventana Sur and Guadalajara – and for documentaries – starting with Idfa Forum and Hotdocs, followed by Meetmarket Sheffield and Docmontevideo.
It is also important to choose the right festival to premiere a project since it’s virtually impossible to premiere a picture in a small festival and then get a larger fest to screen the film. It’s also important to explore the work-in-progress sidebars that now exist at most Latin American festivals, including Iff Panama’s Primera Mirada competition.
State funding sources in Latin America include Dicine, in Panama, Incaa in Argentina, Proimagenes in Colombia, Brazil’s Fundo Setorial do Audiovisual, the Fondo Audiovisual in Chile, and Imcine in Mexico. The selection criteria used by these national funds varies considerably. Proimagenes in Colombia, which only finances around 14 films per year last year had three pictures at Cannes.
Over the last three or four years many national funds have created specific lines of funding for co-productions, through bilateral agreements, such as that between Brazil’s Ancine and Argentina’s Incaa, which grants $250,000 per pic supported. As a result of such bilateral agreements Brazil, for example, is now a key partner for all of Latin America.
“I’d like to make the second or third films of my directors. They’ve all been such good experience. We’ve grown together,” Juarez Allen told Variety at the Mar del Plata Festival.
- 4/26/2016
- by Sydney Levine
- Sydney's Buzz
“Road to La Paz” is a quiet, understated film about brotherhood and kinship between two very different Argentinians during the 2001 economic meltdown of the country, one a young man at a loss about how to live with his new wife and one an old man, a Muslim who has lived his life with his wife in Argentina and now wants to begin his pilgrimage, first to La Paz and then onward to Mecca.
What better way to transition from Qatar where I attended Qumra, a support program for upcoming filmmakers from Mena (Middle East, North Africa) to Latin America where I saw at Ficg, the Guadalajara Film Festival. “Road to La Paz” is a coproduction of Qatar, Argentina, Netherlands and Germany.
As I write this, it is screening at Iff Panama as well. Below is my interview with first time filmmaker, Francisco Varone. This interview was actually conducted in the foyer of the multiplex in Guadalajara before he went in for its premiere screening, just after I had seen it at the press and industry screening in Ficg.
This road movie starring Rodrigo de la Serna (“Motorcycle Diaries”) and one of Argentina’s leading stage actors, Ernesto Suárez, takes us on a trip of over 1,800 miles, from Buenos Aires, Argentina to La Paz, Bolivia.
Sebastian, whose passions are the rock band Vox Dei and his old Peugeot 505 is married and short of cash. Sebas decides to start working as a limo driver with his Peugeot. Among his frequent passengers is Jalil, an old unkind Muslim who one day offers Sebas a large amount of money to drive him to La Paz, Bolivia. Sebas reluctantly accepts. Jalil and Sebas don't agree on anything, not even on what music to play, Sebas likes Vox Dei, a progressive rock band from the 1970s, and Jalil brings along his traditional Arabic music tapes.
The road and Jalil's deteriorated health, make them surmount obstacles and become good fellow travelers. Jalil confesses that in La Paz he'll meet his brother Nazim and peregrinate along to Mecca. Jalil's health worsens and Sebastian knows he has little time left. After a long and winding road, Jalil arrives very weak to La Paz. There, after forty years, he meets his brother again. Sebas heads back home, his mission accomplished, his life changed.
The financing of this film was quite straight forward according to Francisco.
Francisco Varone: In 2012 we submitted the project the film to Visions Sud Est in Switzerland. I was almost working by myself on the film at this time and then started working with a larger Argentinean production company, Concreto Films owned by Juan Taratuto, a big film director who was directing TV commercials and said he’d help. They had a tough time finding investors so he introduced me to Gema Juarez Allen (whose recent film “Invasion” is the story of the U.S. invasion of Panama in the 1980s), a well known documentary producer with experience in coproductions who knew how to find money and understood the value of going to festivals. She said she would do it as her first fiction film and went to San Sebastian Film Festival’s Foro de Coproduccion in 2013. There she had lots of one-on-one meetings and met Julius Ponten our Dutch coproducer who got funding from the Netherlands Film Fonds and Gunter Hanfgarn that applied to Ezef, an Evangelistic Fund for films from the south (one of the backers of “Timbuktu”).
We already had the support from Incaa in their “Opera Prima” (First Works) section. Out of 100 script submissions, they chose three and I got 50% of the production budget.
We shot the movie in 2014 and then after we had a first rough cut, we went to 2015 Cartagena where we won in Colombia’s first Ficci PuertoLAB (consisting of five films by first, second or third time filmmakers from Latam, Spain or Portugal). This post-production money was awarded by a three-woman jury composed of producer Christina Gallego (“The Wind Journeys”, “Embrace of the Serpent”), Gaelle Mareschi of Kinology, the international sales agent and Paz Lazaro.
Then Doha added post-production funding for $25,000.
FiGa saw the film in Ventana Sur and picked it up for international sales.
Sl:What was your festival strategy?
Francisco Varone: Francisco Varone: The first festival it played in was Busan Film Festival 2015 in So. Korea. We wanted to play some festivals before its release in January in Argentina. There were many Latin American directors in Busan and it’s really good for making Asian sales.
From Busan it went on to Chicago, Sao Paolo, Mar del Plata where Ernesto Suárez won the Sagai Prize for New Actor, at Thessaloniki Ff 2015 where it won the Bronze Alexander, Palm Springs, London Argentinean Film Festival, Ficci, Ficg and Iff Panama. We also went to Palm Springs, Glasgow, Cartagena, Guadalajara (where I saw it) and Panama (where it is now playing). FiGa sells it at these festivals.
It was released in Argentina in January with 20 prints. So far it has 35,000 admissions and it is still playing, now in its fourth month!
Sl: How did you find your sales agent?
Francisco Varone: FiGa picked it up in Ventana Sur in December 2014 where they saw the first cut.
FiGa discussed playing it in more festivals but we needed the Argentinian release now, this year. Finding a commercial release date is hard so when you have it, you take it! There are not many options.
It was finished in 2015. At its premiere in Busan, FiGa it sold to Filmarti for Turkey. FiGa has sold to Danaos for Greece, Spain, Central America, Germany, France and Brazil. U.S. rights are still available.
Sl: Now that FiGa has it, what are you doing?
Francisco Varone: Four years ago when I quit commercials I became a professional scriptwriter and I’m also a script doctor, a rarity in Argentina. I conduct short-term one week-to-ten day workshops. Now I have written two scripts for two other directors and am working on my own script. I have lots of ideas…
Sl: What was the reaction to this film?
Francisco Varone: Most people have not seen Muslim films so audiences don’t recognize Sufi as something special.
In Sao Paolo, some young Muslims saw it and one told me that it was the first time in his life he saw Muslims without guns in a movie. He was surprised also that it came from Latin America.
Sl: What was the origin of the film?
Francisco Varone: In 2001 there was a huge economic crisis in Argentina. All savings in the banks disappeared. I was just finishing film school and there were no jobs. My best friend got married and his wife worked. He was a “house-husband”. This was a strange role conversion for me, but my friend was happy. I liked this character and wrote a half page of notes.
In 2008 I started a script about him. I also met an old film school friend and found out he had converted to Islam. These elements all went into the screenplay.
I am from a Catholic family but have always been interested in Buddhism and I practice martial arts; I’ve traveled to China and I like the East. So my friend introduced me to the Islam community. Like in the movie, I was in a ceremony called Dikhr, a Sufi ritual that takes one to two hours. It is a deeply moving experience.
I discovered something here in Argentina. How such Middle Eastern religions could be so organically a part of general society. I wanted to show this.
At the same time, I was into Zen Buddhism. Regarding how they express “truth”, I find the Buddhists and the Koran use the same words. We are all talking about the same thing.
The movie is not propaganda, it is simply depicting one possibility, one road…
Sl: How did you cast the film?
Francisco Varone: It as great for the film to have a huge star in such an indie film. The young actor, Rodrigo de la Serna, is very famous and he was very generous to trust in a debutant director and producer in fiction.
We had held a casting search in theaters in Cordoba, Uruguay, and other places and could not find an actor for the role of the Sufi. We had a casting director who called other casting directors and Eugenia Levin who had cast many important movies said on the phone she had the perfect actor and hd offered him this great part, but he had said no. She put us in touch with the older actor, Ernesto Suárez. He is very famous as a stage actor in Mendoza, a province in Argentina, but this is his first film. He lives a very modest life, drives a 1980 Renault, has a small house, a few clothes. He was not sure he wanted to do it, though we wanted him because he has such a natural quality.
He was not really interested in acting in a movie and I took a plane to talk to him. His two sons told him to do it, and so he accepted the part.
We found him three weeks before we started shooting. We were thinking of cancelling the shoot because we could not find the right actor.
What better way to transition from Qatar where I attended Qumra, a support program for upcoming filmmakers from Mena (Middle East, North Africa) to Latin America where I saw at Ficg, the Guadalajara Film Festival. “Road to La Paz” is a coproduction of Qatar, Argentina, Netherlands and Germany.
As I write this, it is screening at Iff Panama as well. Below is my interview with first time filmmaker, Francisco Varone. This interview was actually conducted in the foyer of the multiplex in Guadalajara before he went in for its premiere screening, just after I had seen it at the press and industry screening in Ficg.
This road movie starring Rodrigo de la Serna (“Motorcycle Diaries”) and one of Argentina’s leading stage actors, Ernesto Suárez, takes us on a trip of over 1,800 miles, from Buenos Aires, Argentina to La Paz, Bolivia.
Sebastian, whose passions are the rock band Vox Dei and his old Peugeot 505 is married and short of cash. Sebas decides to start working as a limo driver with his Peugeot. Among his frequent passengers is Jalil, an old unkind Muslim who one day offers Sebas a large amount of money to drive him to La Paz, Bolivia. Sebas reluctantly accepts. Jalil and Sebas don't agree on anything, not even on what music to play, Sebas likes Vox Dei, a progressive rock band from the 1970s, and Jalil brings along his traditional Arabic music tapes.
The road and Jalil's deteriorated health, make them surmount obstacles and become good fellow travelers. Jalil confesses that in La Paz he'll meet his brother Nazim and peregrinate along to Mecca. Jalil's health worsens and Sebastian knows he has little time left. After a long and winding road, Jalil arrives very weak to La Paz. There, after forty years, he meets his brother again. Sebas heads back home, his mission accomplished, his life changed.
The financing of this film was quite straight forward according to Francisco.
Francisco Varone: In 2012 we submitted the project the film to Visions Sud Est in Switzerland. I was almost working by myself on the film at this time and then started working with a larger Argentinean production company, Concreto Films owned by Juan Taratuto, a big film director who was directing TV commercials and said he’d help. They had a tough time finding investors so he introduced me to Gema Juarez Allen (whose recent film “Invasion” is the story of the U.S. invasion of Panama in the 1980s), a well known documentary producer with experience in coproductions who knew how to find money and understood the value of going to festivals. She said she would do it as her first fiction film and went to San Sebastian Film Festival’s Foro de Coproduccion in 2013. There she had lots of one-on-one meetings and met Julius Ponten our Dutch coproducer who got funding from the Netherlands Film Fonds and Gunter Hanfgarn that applied to Ezef, an Evangelistic Fund for films from the south (one of the backers of “Timbuktu”).
We already had the support from Incaa in their “Opera Prima” (First Works) section. Out of 100 script submissions, they chose three and I got 50% of the production budget.
We shot the movie in 2014 and then after we had a first rough cut, we went to 2015 Cartagena where we won in Colombia’s first Ficci PuertoLAB (consisting of five films by first, second or third time filmmakers from Latam, Spain or Portugal). This post-production money was awarded by a three-woman jury composed of producer Christina Gallego (“The Wind Journeys”, “Embrace of the Serpent”), Gaelle Mareschi of Kinology, the international sales agent and Paz Lazaro.
Then Doha added post-production funding for $25,000.
FiGa saw the film in Ventana Sur and picked it up for international sales.
Sl:What was your festival strategy?
Francisco Varone: Francisco Varone: The first festival it played in was Busan Film Festival 2015 in So. Korea. We wanted to play some festivals before its release in January in Argentina. There were many Latin American directors in Busan and it’s really good for making Asian sales.
From Busan it went on to Chicago, Sao Paolo, Mar del Plata where Ernesto Suárez won the Sagai Prize for New Actor, at Thessaloniki Ff 2015 where it won the Bronze Alexander, Palm Springs, London Argentinean Film Festival, Ficci, Ficg and Iff Panama. We also went to Palm Springs, Glasgow, Cartagena, Guadalajara (where I saw it) and Panama (where it is now playing). FiGa sells it at these festivals.
It was released in Argentina in January with 20 prints. So far it has 35,000 admissions and it is still playing, now in its fourth month!
Sl: How did you find your sales agent?
Francisco Varone: FiGa picked it up in Ventana Sur in December 2014 where they saw the first cut.
FiGa discussed playing it in more festivals but we needed the Argentinian release now, this year. Finding a commercial release date is hard so when you have it, you take it! There are not many options.
It was finished in 2015. At its premiere in Busan, FiGa it sold to Filmarti for Turkey. FiGa has sold to Danaos for Greece, Spain, Central America, Germany, France and Brazil. U.S. rights are still available.
Sl: Now that FiGa has it, what are you doing?
Francisco Varone: Four years ago when I quit commercials I became a professional scriptwriter and I’m also a script doctor, a rarity in Argentina. I conduct short-term one week-to-ten day workshops. Now I have written two scripts for two other directors and am working on my own script. I have lots of ideas…
Sl: What was the reaction to this film?
Francisco Varone: Most people have not seen Muslim films so audiences don’t recognize Sufi as something special.
In Sao Paolo, some young Muslims saw it and one told me that it was the first time in his life he saw Muslims without guns in a movie. He was surprised also that it came from Latin America.
Sl: What was the origin of the film?
Francisco Varone: In 2001 there was a huge economic crisis in Argentina. All savings in the banks disappeared. I was just finishing film school and there were no jobs. My best friend got married and his wife worked. He was a “house-husband”. This was a strange role conversion for me, but my friend was happy. I liked this character and wrote a half page of notes.
In 2008 I started a script about him. I also met an old film school friend and found out he had converted to Islam. These elements all went into the screenplay.
I am from a Catholic family but have always been interested in Buddhism and I practice martial arts; I’ve traveled to China and I like the East. So my friend introduced me to the Islam community. Like in the movie, I was in a ceremony called Dikhr, a Sufi ritual that takes one to two hours. It is a deeply moving experience.
I discovered something here in Argentina. How such Middle Eastern religions could be so organically a part of general society. I wanted to show this.
At the same time, I was into Zen Buddhism. Regarding how they express “truth”, I find the Buddhists and the Koran use the same words. We are all talking about the same thing.
The movie is not propaganda, it is simply depicting one possibility, one road…
Sl: How did you cast the film?
Francisco Varone: It as great for the film to have a huge star in such an indie film. The young actor, Rodrigo de la Serna, is very famous and he was very generous to trust in a debutant director and producer in fiction.
We had held a casting search in theaters in Cordoba, Uruguay, and other places and could not find an actor for the role of the Sufi. We had a casting director who called other casting directors and Eugenia Levin who had cast many important movies said on the phone she had the perfect actor and hd offered him this great part, but he had said no. She put us in touch with the older actor, Ernesto Suárez. He is very famous as a stage actor in Mendoza, a province in Argentina, but this is his first film. He lives a very modest life, drives a 1980 Renault, has a small house, a few clothes. He was not sure he wanted to do it, though we wanted him because he has such a natural quality.
He was not really interested in acting in a movie and I took a plane to talk to him. His two sons told him to do it, and so he accepted the part.
We found him three weeks before we started shooting. We were thinking of cancelling the shoot because we could not find the right actor.
- 4/18/2016
- by Sydney Levine
- Sydney's Buzz
Exclusive: Sandro Fiorin and his team has concluded key territory sales on Francisco Varone’s road movie.
Rodrigo de la Serna and Ernesto ‘Flaco’ Suarez star in the story of a journey from Buenos Aires to La Paz involving an older man out to fulfil a lifelong promise and trip and a young companion who struggles to make sense of his existence.
The Gema Films feature was a co-production with No Problem Cine and Concreto Films of Argentina, Habbekrats (Netherlands), and Hanfgam & Ufer Filmproduktion (Germany).
Road To La Paz premiered in Busan, won awards in Thessaloniki and Mar del Plata.
Deals have closed in Spain (Monesc Seven Entertainment), France (Visionfeir Distribution), Germany (Farbfilm), Greece (Danaos), Turkey (Filmarti Films), and Brazil (Lume Filmes).
Gema Juárez Allen, Varone, Omar Jadur, Dolores Llosas, Juan Taratuto, Julius Ponten, Philip Harthoorn, and Gunter Hanfgam produced.
Allen and Sebastián Perillo erved as executive producers
Fiorin told Screendaily he expects to confirm deals in North...
Rodrigo de la Serna and Ernesto ‘Flaco’ Suarez star in the story of a journey from Buenos Aires to La Paz involving an older man out to fulfil a lifelong promise and trip and a young companion who struggles to make sense of his existence.
The Gema Films feature was a co-production with No Problem Cine and Concreto Films of Argentina, Habbekrats (Netherlands), and Hanfgam & Ufer Filmproduktion (Germany).
Road To La Paz premiered in Busan, won awards in Thessaloniki and Mar del Plata.
Deals have closed in Spain (Monesc Seven Entertainment), France (Visionfeir Distribution), Germany (Farbfilm), Greece (Danaos), Turkey (Filmarti Films), and Brazil (Lume Filmes).
Gema Juárez Allen, Varone, Omar Jadur, Dolores Llosas, Juan Taratuto, Julius Ponten, Philip Harthoorn, and Gunter Hanfgam produced.
Allen and Sebastián Perillo erved as executive producers
Fiorin told Screendaily he expects to confirm deals in North...
- 4/13/2016
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Previewing the annual Latin American sales jamboree
Glance at the current profile of foreign-language Oscar contenders and the winners’ roster at major international festivals this year and the march of Latin American cinema in 2015 is clear for all to see.
César Augusto Acevedo’s Land And Shade and Ciro Guerra’s The Embrace Of The Serpent, the newly minted Indie Spirit nominee, earned four awards in Cannes, while Jayro Bustamante’s Guatemala-France drama Ixcanul took honours in Berlin.
Add to that list El Clan, the Argentinian thriller that earned Pablo Trapero a Silver Lion in Venice, and producers, sale agents and festival programmers heading to Buenos Aires for Ventana Sur (November 30-December 4) have reason to be cheerful.
“What we have seen is more and more attention for Latin American films,” says Jerome Paillard, executive co-director of Ventana Sur, a collaboration between Argentina’s Incaa film promotion body and Cannes (Paillard also serves as executive director of the...
Glance at the current profile of foreign-language Oscar contenders and the winners’ roster at major international festivals this year and the march of Latin American cinema in 2015 is clear for all to see.
César Augusto Acevedo’s Land And Shade and Ciro Guerra’s The Embrace Of The Serpent, the newly minted Indie Spirit nominee, earned four awards in Cannes, while Jayro Bustamante’s Guatemala-France drama Ixcanul took honours in Berlin.
Add to that list El Clan, the Argentinian thriller that earned Pablo Trapero a Silver Lion in Venice, and producers, sale agents and festival programmers heading to Buenos Aires for Ventana Sur (November 30-December 4) have reason to be cheerful.
“What we have seen is more and more attention for Latin American films,” says Jerome Paillard, executive co-director of Ventana Sur, a collaboration between Argentina’s Incaa film promotion body and Cannes (Paillard also serves as executive director of the...
- 11/26/2015
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
There's a little bit of Jared Hess and Wes Anderson in the DNA of Diego Lublinsky and Alvaro Urtizberea's quirky comedy Hortensia. The story of a shoe obsessed young woman looking to subsume her grief with a new boyfriend following the passing of her taxidermist father, this one premiered recently in Mar Del Plata and is now gearing up for local theatrical release. Here's how the festival described it:a distant cousin of Amélie and some of Wes Anderson's characters, Hortensia is a somewhat shy and tender young girl who lives in a world where every character has some little obsession that makes it unique. In that universe where the air of the greater Buenos Aires coexists with the echoes of a Sixties' Soviet universe, this...
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[Read the whole post on twitchfilm.com...]...
- 11/17/2015
- Screen Anarchy
Ciro Guerra's Embrace of the Serpent took the Astor for best film at the 30th edition of the Mar del Plata film festival, which officially closed on Saturday night with a ceremony at the Astor Piazzola hall of the city's Auditorium Theater. Earlier this year, the Colombian-Venezuelan-Argentine co-production topped the Director's Fortnight at the last edition of Cannes, and was selected by the Colombian Film Academy as the country's submission for the Oscars in the best foreign-language film category. In the international competition, the jury formed by Ricardo Aronovich, Elvio Gandolfo, Isaki Lacuesta, Fiorella Moretti and Marco
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- 11/7/2015
- by Agustin Mango
- The Hollywood Reporter - Movie News
A selection in the prestigious Locarno and Mar Del Plata film festivals, Mexican director Julio Hernandez Cordon taps into the restless energy of youth with his striking I Promise You Anarchy (Te Prometo Anarquia). Here's how Mar Del Plata describes it:Young and wild, rebellious and confused, the güeros who live in this world are looking for trouble. Miguel and Johnny live in a constant present, loving each other clumsily, flailing and begging for a bit of emotion in an urban and brutal world. It's a post-adolescent limbo inhabited by impatient skater tribes who blindly try to find love through sex (lots of pretty intense, wet-boxers sex) and search for hope in drugs, as they turn blood trafficking into a business and loud music into their...
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[Read the whole post on twitchfilm.com...]...
- 11/7/2015
- Screen Anarchy
It's samurai fiction by way of German expressionism in the trailer for Samuray-s, a cinematic oddity from Argentine director Raul Perrone. Our own Patrick Holzapfel caught this one when it screened in Hamburg - check the links below for his review - and with it now making its local debut in Mar Del Plata we've found a striking trailer for the piece. Here's how the festival describes it:The owner of a whorehouse decides to take revenge on the samurai that killed his son. A young woman insists in her love for a noble samurai, even though her grandmother wants her to marry a villainous samurai. After having spent a long time on the battlefront, another samurai returns from the war and fails to acknowledge his...
[Read the whole post on twitchfilm.com...]...
[Read the whole post on twitchfilm.com...]...
- 11/7/2015
- Screen Anarchy
Gael Garcia Bernal and Denis Lavant star in Pablo Aguero's Eva Doesn't Sleep (Eva No Duerme), based on the bizarre true story of the years following Eva Peron's death. Years in which Peron's embalmed body was stolen and hidden around the world for a span of decades. Here's how the Mar Del Plata film festival describes it:After the death of Eva Perón in 1952, her body was successively embalmed, kidnapped, hidden (in places as unheard of as behind a movie theater screen or at the house of a military man who, in a state of paranoia due to the fear of an operation by the Peronist resistance, ended up killing his pregnant wife), shipped to Europe, returned home and, finally, buried under six meters of...
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[Read the whole post on twitchfilm.com...]...
- 11/7/2015
- Screen Anarchy
Francisco Varone has been on a successful world tour with his feature film Road To La Paz (Camino A La Paz) with stops in Busan and Chicago before bringing it back home to his native Argentina for Mar Del Plata and - fortunate for us - not only is there a trailer available but it also exists in an English subtitled version.Halfway between neglect and the belief in fate's paradoxes, Sebastián makes his way in the new stage of his adult life holding on to his few convictions. That is why he only has to see the grill in the patio of the first house he visits with his wife in order to decide to rent it, and after receiving countless wrong-number phone calls asking...
[Read the whole post on twitchfilm.com...]...
[Read the whole post on twitchfilm.com...]...
- 11/6/2015
- Screen Anarchy
I write this from my hotel room in Argentina, where I have spent the past week on the Argentine Competition jury at the Mar Del Plata Film Festival. And while I am still somewhat limited in what I can and cannot say until we go through the deliberation process and the award winners are announced I think I'm safe in saying that Argentine cinema is in safe hands with the competition featuring a startling percentage of debut features from very promising new talents.One of those talents is Fernando Salem, whose debut film How Most Things Work (Como Funcionan Casi Todas Las Cosas) blends typical South American social reality with just a touch of magical realism and a definite dose of American indie quirk.In a tollbooth...
[Read the whole post on twitchfilm.com...]...
[Read the whole post on twitchfilm.com...]...
- 11/6/2015
- Screen Anarchy
While Hollywood will soon be unleashing Suicide Squad upon the world, Argentinean director Nicanor Loreti is beating the studios to the punch with his own tale of super villainy with Kryptonita. Adapted from the novel by Leo Oyola Kryptonita revolves around a group of super powered villains who hold a hospital hostage while seeking treatment for one of their own while police forces barricade them within the building.About to have its world premiere as part of the Argentinean Film Competition section at the Mar Del Plata Film Festival - a section I'm actually on the jury for this year - Loreti has just released the first trailer for Kryptonita and it looks like bold, stylish fun. Check it out below....
[Read the whole post on twitchfilm.com...]...
[Read the whole post on twitchfilm.com...]...
- 10/31/2015
- Screen Anarchy
Exclusive: New festival plans launch in 2016; preview event this month will open with the European premiere of Korean box office hit Veteran.
Plans have been revealed to launch a new annual event in London dedicated to East Asian film.
The inaugural London East Asia Film Festival (Leaff) will launch in 2016 with a programme of titles from emerging and established directors, attended by filmmakers and stars.
The new festival - founded by former London Korean Film Festival director Hye-jung Jeon – has recruited Chris Fujiwara as chief programmer.
Fujiwara stepped down as artistic director of Edinburgh International Film Festival after three festivals in September 2014. An independent film critic and programmer, Fujiwara had previously developed film festival programmes for Jeonju, Sydney and Mar del Plata among others.
Three film festival advisors, Ji-seok Kim from Busan International Film Festival, Roger Garcia from Hong Kong International Film Festival, and Simon Ward from Independent Cinema Office (Ico), have advised Leaff on its vision...
Plans have been revealed to launch a new annual event in London dedicated to East Asian film.
The inaugural London East Asia Film Festival (Leaff) will launch in 2016 with a programme of titles from emerging and established directors, attended by filmmakers and stars.
The new festival - founded by former London Korean Film Festival director Hye-jung Jeon – has recruited Chris Fujiwara as chief programmer.
Fujiwara stepped down as artistic director of Edinburgh International Film Festival after three festivals in September 2014. An independent film critic and programmer, Fujiwara had previously developed film festival programmes for Jeonju, Sydney and Mar del Plata among others.
Three film festival advisors, Ji-seok Kim from Busan International Film Festival, Roger Garcia from Hong Kong International Film Festival, and Simon Ward from Independent Cinema Office (Ico), have advised Leaff on its vision...
- 10/1/2015
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
For the fourth consecutive year the CaribbeanTales International Film Festival (Ctff),which takes place in Toronto,Canada, will present a program titled Queer Caribbean, an exploration of the contemporary Queer Caribbean experience. A total of seven films (three features and four shorts) in this years 10-day festival, will throw a spotlight on issues of sexuality and gender from a Caribbean perspective. This year's Queer Caribbean is co-presented by MasQUEERade, Toronto's premier Caribbean and diaspora Lgbtqqia+ community organization.
“CaribbeanTales continues to have its finger on the pulse of a dynamic movement of evolving film expression across the region and its Diaspora,” said founder and filmmaker Frances-Anne Solomon. “In just ten years, a very short period of time, our film stories have matured to become stunningly assured, explosive, transgressive, probing, beautiful and urgent. And this is what we see represented on screen in this year’s selections.”
The film selection includes Venezuelan feature "Pelo Malo," a provocative film about a young boy's search for beauty, the short film "You. Me. Bathroom. S*x. Now.," and the Canadian Premier of the extraordinary and moving documentary about the Peurto Rican trans community, "Mala Mala."
Jamea Zuberi, founder of MasQUEERade, saids "It's great to have the opportunity to use film as a medium to educate and celebrate Caribbean arts, culture and experiences to the MasQUEERade community and beyond."
Ctff 2015 kicks off its 10th Anniversary with a Gala Caribbean Reception and Screening on Wednesday September 9th, at the Royal Cinema, 608 College Street in Toronto.
Festival screenings will continue at The Royal Cinema, Sunday - Friday, September 13 - 18 at 6:30 p.m. and 9:15 p.m. daily. On Closing Night, Saturday September 19, there will be three screenings at 3:50 p.m., 6:30 p.m. & 9:30 p.m.
Schedule: Queer Caribbean Programming
Tuesday September 15
9:15 p.m.
Theme: “Caribbean Masculinities”
Feature: "Pelo Malo"
Mariana Rondón, Venezuela, 2013, 93 min, Spanish, R
Turmoil is created when a nine-year old boy's obsession with straightening his "bad hair" for his school picture causes his single widowed mother to worry about the boy's identity. Junior is a nine-year-old boy who has stubbornly curly hair, or "bad hair" that he wants to have straightened for his school picture, like a fashionable pop singer. This puts him at odds with his mother Marta, a young, unemployed widow. Overwhelmed by what it takes to survive in the chaotic city of Caracas, Marta finds it increasingly difficult to tolerate Junior's fixation with his looks, fearing that it also means that her son is homosexual. This film tackles issues of race and sexual identity through external appearances in the Venezuelan society.
Awards: Bronze Alexander, Thessaloniki 2013; Fipresci Award, International Film Critics, Thessaloniki 2013; Best Director, Best Screenplay, Mar del Plata Film Festival, 2013; Best Screenplay, Best Actress, Torino Film Festival 2013; Best Caribbean Film, Puerto Rico Film Festival 2013; Best Director, Vina del Mar Film Festival 2013; Best Performance, Festival du Nouveau Cinema Montreal 2013.
Short: "Going Beyond"
Damien Pinder, Barbados, 2014, 15min, English, PG
Wednesday September 16
9:15 p.m.
Theme: “Borders of Love"
Feature: "Sand Dollars"
Israel Cárdenas, Laura Amelia Guzmán, Dominican Republic/Mexico, 2014, 83 min, Spanish/English, R
"Sand Dollars" is a delicate examination of the relationship between a local woman, her wealthy, expatriate lover and her boyfriend. This film is a nuanced portrait of an older, well to do European woman, Anne (Geraldine Chaplin) who is in love with Noeli (Yanet Mojica) in the idyllic seaside town, Samana, in the Dominican Republic. Their relationship is complex, a mixture of real affection also tainted by the money that Anne gives Noeli regularly, which makes Noeli’s boyfriend encourage the relationship. In this complex inter-web Anne (sensitively played by Chaplin) falls hopelessly in love with Noeli (who lives with her boyfriend), even as Noeli is torn between leaving with Anne and staying with her man. Love brings a flow of entanglements in a drama which unfolds like palm trees in an irresistible storm.
Awards: Cairo International Film Festival, Fipresci Prize; Chicago International Film Festival Silver Hugo Best Actress Geraldine Chaplin Cine Cearo - National Cinema Festival - Feature Film Trophy Best Sound; Havana Film Festival, Best Actress Geraldine Chaplin; Nashville Film Festival Best Actress Geraldine Chaplin.
Short: "Glass Bottom Boat"
Kyle Walcott, Tobago, 2014, 15 min, English, PG
Saturday September 19
9:15 p.m.
Closing Night & Awards
Theme: “Queer Caribbean”
Co-presented by Jamea Zuberi of MasQUEErade
Feature: "Mala Mala"
Antonio Santini & Dan Sickles, Puerto Rico, 2014, 89 min, Spanish, R
"Mala Mala" is a feature length documentary exploring the lives of Puerto Ricans in the trans-community. It is an evocative examination of the transgender world in Puerto Rico; from the glam and glitter of the drag queens to the strong desire to be accepted as part of the mainstream community in Puerto Rico, as themselves. The oldest member of the cast of characters, Soraya Santiago Solla, is a pioneer of the gender change movement in Puerto Rico and makes the distinction that people do not have to be dolls to be women, while Sophia Voines simply wants to be accepted as herself, a woman. This film is at times graphic in its presentation to a general audience but leaves no doubt that in the end, that there is a human rights issue at stake when it comes to the transgender community being a welcome and legal part of the wider society, in the supermarket, on the street and especially in the workplace.
Short: " You, Me, Bathroom S*x, Now"(Canadian Premiere)
Francisco Lupini Basagoiti, USA, 2012, 17 min, Spanish, R
Three days before Christmas, Antonio finds out that his boyfriend of 8 years is cheating on him. Heartbroken, he looks for solace in his favorite dive bar where a mysterious visitor has a keen interest in him. A comedy about a man who tries to forget about love, in all the wrong places.
Short: "Chham Chham"
Maneesh, Canada, 2014, 4 min, English, PG14
In this digital story Maneesh explores how his own culture and gender queer-ness are expressed and reinforced across borders. From memories that span childhood days in Trinidad to performances on Canadian stages, Sheesha looks at how she celebrates her femininity and Indo-Caribbean heritage on colonized lands. It is in that exquisite sound – resonating from tiny pieces of metal rhythmically clashing into each other – where discovery begins.
Tickets can be purchased online Here...
“CaribbeanTales continues to have its finger on the pulse of a dynamic movement of evolving film expression across the region and its Diaspora,” said founder and filmmaker Frances-Anne Solomon. “In just ten years, a very short period of time, our film stories have matured to become stunningly assured, explosive, transgressive, probing, beautiful and urgent. And this is what we see represented on screen in this year’s selections.”
The film selection includes Venezuelan feature "Pelo Malo," a provocative film about a young boy's search for beauty, the short film "You. Me. Bathroom. S*x. Now.," and the Canadian Premier of the extraordinary and moving documentary about the Peurto Rican trans community, "Mala Mala."
Jamea Zuberi, founder of MasQUEERade, saids "It's great to have the opportunity to use film as a medium to educate and celebrate Caribbean arts, culture and experiences to the MasQUEERade community and beyond."
Ctff 2015 kicks off its 10th Anniversary with a Gala Caribbean Reception and Screening on Wednesday September 9th, at the Royal Cinema, 608 College Street in Toronto.
Festival screenings will continue at The Royal Cinema, Sunday - Friday, September 13 - 18 at 6:30 p.m. and 9:15 p.m. daily. On Closing Night, Saturday September 19, there will be three screenings at 3:50 p.m., 6:30 p.m. & 9:30 p.m.
Schedule: Queer Caribbean Programming
Tuesday September 15
9:15 p.m.
Theme: “Caribbean Masculinities”
Feature: "Pelo Malo"
Mariana Rondón, Venezuela, 2013, 93 min, Spanish, R
Turmoil is created when a nine-year old boy's obsession with straightening his "bad hair" for his school picture causes his single widowed mother to worry about the boy's identity. Junior is a nine-year-old boy who has stubbornly curly hair, or "bad hair" that he wants to have straightened for his school picture, like a fashionable pop singer. This puts him at odds with his mother Marta, a young, unemployed widow. Overwhelmed by what it takes to survive in the chaotic city of Caracas, Marta finds it increasingly difficult to tolerate Junior's fixation with his looks, fearing that it also means that her son is homosexual. This film tackles issues of race and sexual identity through external appearances in the Venezuelan society.
Awards: Bronze Alexander, Thessaloniki 2013; Fipresci Award, International Film Critics, Thessaloniki 2013; Best Director, Best Screenplay, Mar del Plata Film Festival, 2013; Best Screenplay, Best Actress, Torino Film Festival 2013; Best Caribbean Film, Puerto Rico Film Festival 2013; Best Director, Vina del Mar Film Festival 2013; Best Performance, Festival du Nouveau Cinema Montreal 2013.
Short: "Going Beyond"
Damien Pinder, Barbados, 2014, 15min, English, PG
Wednesday September 16
9:15 p.m.
Theme: “Borders of Love"
Feature: "Sand Dollars"
Israel Cárdenas, Laura Amelia Guzmán, Dominican Republic/Mexico, 2014, 83 min, Spanish/English, R
"Sand Dollars" is a delicate examination of the relationship between a local woman, her wealthy, expatriate lover and her boyfriend. This film is a nuanced portrait of an older, well to do European woman, Anne (Geraldine Chaplin) who is in love with Noeli (Yanet Mojica) in the idyllic seaside town, Samana, in the Dominican Republic. Their relationship is complex, a mixture of real affection also tainted by the money that Anne gives Noeli regularly, which makes Noeli’s boyfriend encourage the relationship. In this complex inter-web Anne (sensitively played by Chaplin) falls hopelessly in love with Noeli (who lives with her boyfriend), even as Noeli is torn between leaving with Anne and staying with her man. Love brings a flow of entanglements in a drama which unfolds like palm trees in an irresistible storm.
Awards: Cairo International Film Festival, Fipresci Prize; Chicago International Film Festival Silver Hugo Best Actress Geraldine Chaplin Cine Cearo - National Cinema Festival - Feature Film Trophy Best Sound; Havana Film Festival, Best Actress Geraldine Chaplin; Nashville Film Festival Best Actress Geraldine Chaplin.
Short: "Glass Bottom Boat"
Kyle Walcott, Tobago, 2014, 15 min, English, PG
Saturday September 19
9:15 p.m.
Closing Night & Awards
Theme: “Queer Caribbean”
Co-presented by Jamea Zuberi of MasQUEErade
Feature: "Mala Mala"
Antonio Santini & Dan Sickles, Puerto Rico, 2014, 89 min, Spanish, R
"Mala Mala" is a feature length documentary exploring the lives of Puerto Ricans in the trans-community. It is an evocative examination of the transgender world in Puerto Rico; from the glam and glitter of the drag queens to the strong desire to be accepted as part of the mainstream community in Puerto Rico, as themselves. The oldest member of the cast of characters, Soraya Santiago Solla, is a pioneer of the gender change movement in Puerto Rico and makes the distinction that people do not have to be dolls to be women, while Sophia Voines simply wants to be accepted as herself, a woman. This film is at times graphic in its presentation to a general audience but leaves no doubt that in the end, that there is a human rights issue at stake when it comes to the transgender community being a welcome and legal part of the wider society, in the supermarket, on the street and especially in the workplace.
Short: " You, Me, Bathroom S*x, Now"(Canadian Premiere)
Francisco Lupini Basagoiti, USA, 2012, 17 min, Spanish, R
Three days before Christmas, Antonio finds out that his boyfriend of 8 years is cheating on him. Heartbroken, he looks for solace in his favorite dive bar where a mysterious visitor has a keen interest in him. A comedy about a man who tries to forget about love, in all the wrong places.
Short: "Chham Chham"
Maneesh, Canada, 2014, 4 min, English, PG14
In this digital story Maneesh explores how his own culture and gender queer-ness are expressed and reinforced across borders. From memories that span childhood days in Trinidad to performances on Canadian stages, Sheesha looks at how she celebrates her femininity and Indo-Caribbean heritage on colonized lands. It is in that exquisite sound – resonating from tiny pieces of metal rhythmically clashing into each other – where discovery begins.
Tickets can be purchased online Here...
- 8/21/2015
- by Sydney Levine
- Sydney's Buzz
I haven’t traveled all I have to Buenos Aires and back to tell you about how this festival, alongside Mar del Plata and Valdivia (this last one in Chile), form the triad of the most important festivals of Latin America, because if you know about it, you know about it. People that have travelled to Argentina for the past 17 years in April have felt the presence of cinema in the streets—and Buenos Aires is a big city. The importance of a festival that brings over 300 titles, some of them for the first time crossing an ocean, is fundamental for the Latino viewer, as well for those who want to make the effort and come to see the movies that play here. On a closer look, what plays here may seem to be eclectic at times, it is purely due to what seems to be the motto of the festival: discovery.
- 6/8/2015
- by Jaime Grijalba Gómez
- MUBI
Asian premiere for Vincent Cassel feature at new 4,000-seat stadium.
The 16th Jeonju International Film Festival (Jiff) opened today (April 30) at a new venue - the 4,000-seat outdoor screening area in Jeonju Stadium - with a star-studded red carpet, screaming fans, fireworks, K-pop performances and Ariel Kleiman’s Sundance buzz film Partisan featuring Vincent Cassel.
The Australian director was on hand to present the Opening Film with young star Jeremy Chabriel and co-screenwriter Sarah Cyngler.
“I can honestly say when we were making the film in Melbourne, Australia, we never thought we’d be showing it in a stadium full of people,” said Kleiman. “So thank you to the festival and to the city for inviting us. I’m told Jeonju is known for its independent and free-thinking people, so I think it’s perfect for this film
“It’s a bit overwhelming after all the fireworks and musical performances – it’s a hard act to follow...
The 16th Jeonju International Film Festival (Jiff) opened today (April 30) at a new venue - the 4,000-seat outdoor screening area in Jeonju Stadium - with a star-studded red carpet, screaming fans, fireworks, K-pop performances and Ariel Kleiman’s Sundance buzz film Partisan featuring Vincent Cassel.
The Australian director was on hand to present the Opening Film with young star Jeremy Chabriel and co-screenwriter Sarah Cyngler.
“I can honestly say when we were making the film in Melbourne, Australia, we never thought we’d be showing it in a stadium full of people,” said Kleiman. “So thank you to the festival and to the city for inviting us. I’m told Jeonju is known for its independent and free-thinking people, so I think it’s perfect for this film
“It’s a bit overwhelming after all the fireworks and musical performances – it’s a hard act to follow...
- 4/30/2015
- by hjnoh2007@gmail.com (Jean Noh)
- ScreenDaily
Film director and producer Amin Yoma was Pablo Trapero´s student and he belongs to the same generation of Argentinian filmmakers such Damián Szifron ("Wild Tales"). His movies have debuted in such A-list film festivals such as Mar del Plata and Montréal. His slasher film, "Still Life," opened the Blood Window midnight gala at Cannes. This year, Amin Yoma will be at the Argentinian booth at the Marché du film, to present various projects in search of co-producers.
For more information or to arrange a meeting, please contact info@yomka.com - http://www.yomka.com
These are two of Yoma's current projects
"Still Life 2: The Animal Avenger"
Genre: Thriller / Horror / Slasher.
Director: Gabriel Grieco
Producer: Amin Yoma
The charismatic vegan slasher returns to do justice and kill humans the same way they kill and torture animals. Crueler than ever, he camouflages himself in the city to hunts his victims, who are always involved with the animal business world: a designer of leather clothes, dog fight organizers, a chef who fries fish alive and serves them still flopping. In full campaign swing, the government launches a desperate police operation so as not to cloud the elections with the appearance of the nation´s firts serial killer...
Watch the death sequence now! https://vimeo.com/124582515
"Kid - The Director"
Genre: DramaComedy
Dir/Prod: Amin Yoma
Kid is a mysoginist, racist film director who on the top of his dozens of defects exploits his cast and crew. Nevertheless, his talent and success have converted him into a highly sought after member of the film industry. His latest film is about an agonizing elderly woman at her final days of sex and rock and roll. Kid´s new film is full of artistic caprices taken to the limit and no one knows if it will be another masterpiece or rather what so many wish for: a complete and total failure.
His commercial success contrast with his emotional life which he destroys and tries to salvage at the same time. He tries to save his wife who is in vegetative state with harmful and illegal therapy. He wants to remake his romantic life by seducing a beautiful actress but he constantly puts the relationship at risk with this aggressiveness and obscene humor. He wants to heps his talented son by forcing him to follow in his footsteps of easy money and fast sex.To do that, he drives his son from his true profession.
Kid´s lifestyle - his constant all or nothing wagering - seem to be leading him to a dramatic finale that will swallow everyone around him.
For more information or to arrange a meeting, please contact info@yomka.com - http://www.yomka.com
These are two of Yoma's current projects
"Still Life 2: The Animal Avenger"
Genre: Thriller / Horror / Slasher.
Director: Gabriel Grieco
Producer: Amin Yoma
The charismatic vegan slasher returns to do justice and kill humans the same way they kill and torture animals. Crueler than ever, he camouflages himself in the city to hunts his victims, who are always involved with the animal business world: a designer of leather clothes, dog fight organizers, a chef who fries fish alive and serves them still flopping. In full campaign swing, the government launches a desperate police operation so as not to cloud the elections with the appearance of the nation´s firts serial killer...
Watch the death sequence now! https://vimeo.com/124582515
"Kid - The Director"
Genre: DramaComedy
Dir/Prod: Amin Yoma
Kid is a mysoginist, racist film director who on the top of his dozens of defects exploits his cast and crew. Nevertheless, his talent and success have converted him into a highly sought after member of the film industry. His latest film is about an agonizing elderly woman at her final days of sex and rock and roll. Kid´s new film is full of artistic caprices taken to the limit and no one knows if it will be another masterpiece or rather what so many wish for: a complete and total failure.
His commercial success contrast with his emotional life which he destroys and tries to salvage at the same time. He tries to save his wife who is in vegetative state with harmful and illegal therapy. He wants to remake his romantic life by seducing a beautiful actress but he constantly puts the relationship at risk with this aggressiveness and obscene humor. He wants to heps his talented son by forcing him to follow in his footsteps of easy money and fast sex.To do that, he drives his son from his true profession.
Kid´s lifestyle - his constant all or nothing wagering - seem to be leading him to a dramatic finale that will swallow everyone around him.
- 4/17/2015
- by Sydney Levine
- Sydney's Buzz
"Princesas Rojas" (Red Princesses), directed by Laura Astorga, is Costa Rica’s submission for the Academy Award Nomination for Best Foreign Language Film 2014. It is the first feature of Laura Astorga through which she recreates her own childhood mixed with elements of fiction.
The story begins at the Nicaraguan border in the 1980s. 11 year old Claudia and her younger sister experience the street fighting first-hand outside their car window. Their parents are Sandinista activists and, although the family is now escaping Nicaragua to neighboring Costa Rica, the struggle continues. Their parents fire off terse commands and the girls are packed off to their relatives. There's no other way. Claudia hordes her treasured collection of revolutionary badges and longs for the time when she was a young pioneer. She doesn’t really know what her parents do. Passports are forged, there are nocturnal meetings and car number plates are switched. One day, her mother disappears. They say she’s gone to Miami. The children piece together fragments that give them an insight into their parents’ dilemma of trying to balance their political struggle with family life. The film focuses on the point of view of the two sisters who are very close, as they learn more than they are able to cope with, but too little really to understand. The film is of revolutionary struggle as seen through the eyes of children.
"Red Princesses" was supported by Cinergia, the Audiovisual Promotion Fund of Central America and Cuba) in 2007 in script development and again in 2010 in the category of Feature Film Production. The project was first presented internationally at the International Film Festival of Guadalajara (Ficg[1]) 2012 En Construye (Works in Progress). It was one of four productions which received support from Ibermedia in 2013. It was a coproduction of Costa Rica, Spain and Venezuela.
The film had its world premiere at the 2013 Berlin Film Festival in the section dedicated to children and adolescents, Generation 14plus. It later competed as part of the official selection of feature films from the 25th International Festival Cinelatino: Rencontres de Toulouse, held in the French city of Toulouse in March 2013, one of the most important film festivals in the world for Iberoamerican film coproduction.
It went on to receive awards in the category of Debut Film in Festivals in Los Angeles Latino International Film Festival (Laliff), in Venezuela (Festival de Cine de Margarita), at the Festival de Cine Paz con la Tierra San José Costa Rica where it won the Audience Award, and the Awards for Best Art Direction and Best Production, Icaro where it won for Best Script and Best Art Production. It has also shown in Festival Filmar Switzerland, and Festival Internacional de Cine de Mar del Plata.
This writer met producer Marcela Esquivel Jiménez and Carlos I. Benavides, credited as the film’s Technical Director, when they attended Ficg Market in March 2013 where they were presenting their newest work in progress and showing "Princesas Rojas" (Red Princesses) in the official selection.
Marcela Esquivel Jiménez and Carlos Benavides work with other recent film school graduates. The following interview with them gives an insight into the state of film today in Costa Rica, and by deduction, the state of the art in all the Americas in the near future.
Although Costa Rica has no formal film commission, the government through several different agencies has always been very supportive of film activities and audiovisual production in Costa Rica. Non-union Costa Rican film crews, no minimums on foreign crews, competitive rates on rooms, and easy international access offered by all major U.S. airline carriers make Costa Rica a location destination to consider. [2]
Sl: What stands out in my mind as we talk about what you all are doing, is the idea that many people -- together since film school -- from all over Latin America are working together as a team in a company. It is not the mere fact of coproduction which is unique as much as the mix of people which is unique.
Carlos: I’ll explain: Bisonte Producciones is a collective we founded about ten years ago. Its members are all from Costa Rica. We met while studying here and started making short films. After a while, many of us went to study in different schools and countries: Eictv, Nyu in Singapore, Chapman University while others went to work and study in places like Spain, Argentina and México. A couple of years ago, many of us returned to Costa Rica, and we have continued working together with short films under the Bisonte banner. We are also working on each other’s feature films and commercials. And on top of all that, many of us are preparing our own first features as well.
There is another group named Best Picture System. This is a production company founded while I was studying in Cuba at Eictv. (Eictv stands for Escuela Internacional de Cine y TV, also known as Los Baños. It is the international film school founded in1986 by the Colombian writer Gabriel Garcia Marquez with his Nobel Prize money on land donated by Fidel Castro in San Antonio Los Baños, Cuba just outside of Havana.) The faculty and student body includes people from Puerto Rico, Guatemala, Venezuela, México, Panamá, Cuba, Costa Rica. While I was with them, I worked as a script supervisor in Puro Mula[3], directed by Enrique Pérez of Panamá, written by Pérez and Ariel Escalante of Costa Rica and shot in Guatemala, and Ovnis en Zacapa (UFOs in Zacapa),[4] another Guatemalan film, directed by Marcos Machado of Costa Rica and written by Pérez of Panamá which raised money on Indiegogo. Vilma Liella from Puerto Rico produced both films.
Sl: Who are other key people in these production companies?
Carlos: Marcela Esquivel, the producer of Princesas Rojas, a film which premiered at the 2013 Berlinale, trained at Eictv as I did.
Sl : Red Princesses was a first for everyone. The director, co-director, producer and Dp were all classmates together at Eictv?
Carlos : Marcela, Julio Costantini (Dp) and I were classmates at the Eictv and had worked together on many of our school projects. Marcela and I met Laura Astorga, the director of Red Princesses, here in Costa Rica when we began working on the film. Oh, for which I was credited as Technical Director.
Sl : Red Princesses was a first for everyone. The director, co-director, producer and Dp were all classmates together at Eictv? [5]
Carlos : Marcela, Julio Costantini (Dp) and I were classmates at the Eictv and had worked together on many of our school projects. Marcela and I met Laura Astorga, the director of Red Princesses, here in Costa Rica when we began working on the film. Oh, and the credit I have in that film is as Technical Director.
Red Princesses is the first feature of Costa Rican filmmaker Laura Astorga, and through which she recreates her childhood. It's my story, yes, but mixed with elements of fiction, she says.
This Costa Rican-Venezuelan coproduction in 2013 received awards in the category of Debut Film in Festivals in Los Angeles (Laliff), in Venezuela (Festival de Cine de Margarita), at the Festival de Cine Paz con la Tierra San José Costa Rica where it won the Audience Award, and the Awards for Best Art Direction and Best Production, Icaro where it won for Best Script and Best Art Production. It has also shown in Toulouse, Berlinale Generation Plus, Festival Filmar Switzerland, and Festival Internacional de Cine de Mar del Plata.
Sl : I understand that the filmmakers are currently [at the time of this interview] developing a thriller called The Hunt. Can you tell me about it?
Carlos: It is the first new noir film in Central America. In this film the characters are based in Costa Rica where the investigator, a stripper and a doctor (so as not to reveal what’s going on) play in an obsessive story in the underworld in which each undergoes a transformation.
The script’s third draft was just completed this April [2013]. The Hunt is co-writtenEnrique Pérez Him, the Panamanian whose earlier film, Puro Mula[6], was a box office success in Guatemala and which was picked up as one of twenty films by Ibermedia for TV throughout Latin America in a program launched a couple of years ago. The writer-director of Pura Mula, Enrique, is also the writer of UFOs en Zacapa, now in post. Enrique and Carlos will cowrite it.
Although the film is not “ethno”, it is still very Latin American. However, the issue of funding this $400,000 film is more difficult. This is not a “typical” Latin American film which means that the typical European funds will not be available for it. The filmmakers might raise 15% for development from Ibermedia and the rest of the development money from Costa Rica, plus in-kind work. They might look for coproduction partners in Colombia and perhaps México, going to the pre-markets offered by those countries. Perhaps a special European producer, interested in Latin American coproduction could come aboard if only they could find that person.
They might crowdfund from Vodo which is a sort of cross between Kickstarter and Netflix. They will first fund a short film to try that out and to have as a calling card.
Sl : Thank you so much for this insight.
Sl: At the rate you all are going, I expect to see you succeed in making that long sought-after American Latino indie which will be smart enough to grab a large Latino set of moviegoers from all the countries. Your English is fine and you are an integral part of such cross cultures as Argentina, Spain, México, Guatemala, Costa Rica, Panama and Cuba all working together to bring your visions to appreciative audiences throughout Latin American and the world. If anyone can make that ever-elusive, ever-sought-for Latino film which brings that unique mixture of Latinos for all countries, including those who are living in the U.S., I would say you and your colleagues would be the one to do it.
Suerte!!
[1] Festival Internacional de Cinema at Guadalajara
[2] Sergio Miranda, http://www.costaricaproductionservices.com/
[3] http://www.promofest.org/en/films/puro-mula
[4] http://bit.ly/1mp3lCm
[5] Eictv stands for Escuela Internacional de Cine y TV, also known as Los Baños. It is the international film school founded in1986 by the Colombian Nobel Prize winner Gabriel Garcia Marquez on land donated by Fidel Castro in San Antonio Los Baños, Cuba. For more information see the chapter on Cuba. For more information, see the Chapter Seven on Cuba.
[6] Pura Mula
Director: Enrique Pérez Him (Writer-Director Chaos in the City aka Caos en la ciudad)
Writers: Ariel Escalante (Editor on Pura Mula, Editor on El Huaso) | Enrique Pérez Him
Producers: Vilma Liella | Vilma Lopez
Cinematographer: Arturo Juarez (Dp on Chaos in the City)
Editor: Enrique Pérez Him...
The story begins at the Nicaraguan border in the 1980s. 11 year old Claudia and her younger sister experience the street fighting first-hand outside their car window. Their parents are Sandinista activists and, although the family is now escaping Nicaragua to neighboring Costa Rica, the struggle continues. Their parents fire off terse commands and the girls are packed off to their relatives. There's no other way. Claudia hordes her treasured collection of revolutionary badges and longs for the time when she was a young pioneer. She doesn’t really know what her parents do. Passports are forged, there are nocturnal meetings and car number plates are switched. One day, her mother disappears. They say she’s gone to Miami. The children piece together fragments that give them an insight into their parents’ dilemma of trying to balance their political struggle with family life. The film focuses on the point of view of the two sisters who are very close, as they learn more than they are able to cope with, but too little really to understand. The film is of revolutionary struggle as seen through the eyes of children.
"Red Princesses" was supported by Cinergia, the Audiovisual Promotion Fund of Central America and Cuba) in 2007 in script development and again in 2010 in the category of Feature Film Production. The project was first presented internationally at the International Film Festival of Guadalajara (Ficg[1]) 2012 En Construye (Works in Progress). It was one of four productions which received support from Ibermedia in 2013. It was a coproduction of Costa Rica, Spain and Venezuela.
The film had its world premiere at the 2013 Berlin Film Festival in the section dedicated to children and adolescents, Generation 14plus. It later competed as part of the official selection of feature films from the 25th International Festival Cinelatino: Rencontres de Toulouse, held in the French city of Toulouse in March 2013, one of the most important film festivals in the world for Iberoamerican film coproduction.
It went on to receive awards in the category of Debut Film in Festivals in Los Angeles Latino International Film Festival (Laliff), in Venezuela (Festival de Cine de Margarita), at the Festival de Cine Paz con la Tierra San José Costa Rica where it won the Audience Award, and the Awards for Best Art Direction and Best Production, Icaro where it won for Best Script and Best Art Production. It has also shown in Festival Filmar Switzerland, and Festival Internacional de Cine de Mar del Plata.
This writer met producer Marcela Esquivel Jiménez and Carlos I. Benavides, credited as the film’s Technical Director, when they attended Ficg Market in March 2013 where they were presenting their newest work in progress and showing "Princesas Rojas" (Red Princesses) in the official selection.
Marcela Esquivel Jiménez and Carlos Benavides work with other recent film school graduates. The following interview with them gives an insight into the state of film today in Costa Rica, and by deduction, the state of the art in all the Americas in the near future.
Although Costa Rica has no formal film commission, the government through several different agencies has always been very supportive of film activities and audiovisual production in Costa Rica. Non-union Costa Rican film crews, no minimums on foreign crews, competitive rates on rooms, and easy international access offered by all major U.S. airline carriers make Costa Rica a location destination to consider. [2]
Sl: What stands out in my mind as we talk about what you all are doing, is the idea that many people -- together since film school -- from all over Latin America are working together as a team in a company. It is not the mere fact of coproduction which is unique as much as the mix of people which is unique.
Carlos: I’ll explain: Bisonte Producciones is a collective we founded about ten years ago. Its members are all from Costa Rica. We met while studying here and started making short films. After a while, many of us went to study in different schools and countries: Eictv, Nyu in Singapore, Chapman University while others went to work and study in places like Spain, Argentina and México. A couple of years ago, many of us returned to Costa Rica, and we have continued working together with short films under the Bisonte banner. We are also working on each other’s feature films and commercials. And on top of all that, many of us are preparing our own first features as well.
There is another group named Best Picture System. This is a production company founded while I was studying in Cuba at Eictv. (Eictv stands for Escuela Internacional de Cine y TV, also known as Los Baños. It is the international film school founded in1986 by the Colombian writer Gabriel Garcia Marquez with his Nobel Prize money on land donated by Fidel Castro in San Antonio Los Baños, Cuba just outside of Havana.) The faculty and student body includes people from Puerto Rico, Guatemala, Venezuela, México, Panamá, Cuba, Costa Rica. While I was with them, I worked as a script supervisor in Puro Mula[3], directed by Enrique Pérez of Panamá, written by Pérez and Ariel Escalante of Costa Rica and shot in Guatemala, and Ovnis en Zacapa (UFOs in Zacapa),[4] another Guatemalan film, directed by Marcos Machado of Costa Rica and written by Pérez of Panamá which raised money on Indiegogo. Vilma Liella from Puerto Rico produced both films.
Sl: Who are other key people in these production companies?
Carlos: Marcela Esquivel, the producer of Princesas Rojas, a film which premiered at the 2013 Berlinale, trained at Eictv as I did.
Sl : Red Princesses was a first for everyone. The director, co-director, producer and Dp were all classmates together at Eictv?
Carlos : Marcela, Julio Costantini (Dp) and I were classmates at the Eictv and had worked together on many of our school projects. Marcela and I met Laura Astorga, the director of Red Princesses, here in Costa Rica when we began working on the film. Oh, for which I was credited as Technical Director.
Sl : Red Princesses was a first for everyone. The director, co-director, producer and Dp were all classmates together at Eictv? [5]
Carlos : Marcela, Julio Costantini (Dp) and I were classmates at the Eictv and had worked together on many of our school projects. Marcela and I met Laura Astorga, the director of Red Princesses, here in Costa Rica when we began working on the film. Oh, and the credit I have in that film is as Technical Director.
Red Princesses is the first feature of Costa Rican filmmaker Laura Astorga, and through which she recreates her childhood. It's my story, yes, but mixed with elements of fiction, she says.
This Costa Rican-Venezuelan coproduction in 2013 received awards in the category of Debut Film in Festivals in Los Angeles (Laliff), in Venezuela (Festival de Cine de Margarita), at the Festival de Cine Paz con la Tierra San José Costa Rica where it won the Audience Award, and the Awards for Best Art Direction and Best Production, Icaro where it won for Best Script and Best Art Production. It has also shown in Toulouse, Berlinale Generation Plus, Festival Filmar Switzerland, and Festival Internacional de Cine de Mar del Plata.
Sl : I understand that the filmmakers are currently [at the time of this interview] developing a thriller called The Hunt. Can you tell me about it?
Carlos: It is the first new noir film in Central America. In this film the characters are based in Costa Rica where the investigator, a stripper and a doctor (so as not to reveal what’s going on) play in an obsessive story in the underworld in which each undergoes a transformation.
The script’s third draft was just completed this April [2013]. The Hunt is co-writtenEnrique Pérez Him, the Panamanian whose earlier film, Puro Mula[6], was a box office success in Guatemala and which was picked up as one of twenty films by Ibermedia for TV throughout Latin America in a program launched a couple of years ago. The writer-director of Pura Mula, Enrique, is also the writer of UFOs en Zacapa, now in post. Enrique and Carlos will cowrite it.
Although the film is not “ethno”, it is still very Latin American. However, the issue of funding this $400,000 film is more difficult. This is not a “typical” Latin American film which means that the typical European funds will not be available for it. The filmmakers might raise 15% for development from Ibermedia and the rest of the development money from Costa Rica, plus in-kind work. They might look for coproduction partners in Colombia and perhaps México, going to the pre-markets offered by those countries. Perhaps a special European producer, interested in Latin American coproduction could come aboard if only they could find that person.
They might crowdfund from Vodo which is a sort of cross between Kickstarter and Netflix. They will first fund a short film to try that out and to have as a calling card.
Sl : Thank you so much for this insight.
Sl: At the rate you all are going, I expect to see you succeed in making that long sought-after American Latino indie which will be smart enough to grab a large Latino set of moviegoers from all the countries. Your English is fine and you are an integral part of such cross cultures as Argentina, Spain, México, Guatemala, Costa Rica, Panama and Cuba all working together to bring your visions to appreciative audiences throughout Latin American and the world. If anyone can make that ever-elusive, ever-sought-for Latino film which brings that unique mixture of Latinos for all countries, including those who are living in the U.S., I would say you and your colleagues would be the one to do it.
Suerte!!
[1] Festival Internacional de Cinema at Guadalajara
[2] Sergio Miranda, http://www.costaricaproductionservices.com/
[3] http://www.promofest.org/en/films/puro-mula
[4] http://bit.ly/1mp3lCm
[5] Eictv stands for Escuela Internacional de Cine y TV, also known as Los Baños. It is the international film school founded in1986 by the Colombian Nobel Prize winner Gabriel Garcia Marquez on land donated by Fidel Castro in San Antonio Los Baños, Cuba. For more information see the chapter on Cuba. For more information, see the Chapter Seven on Cuba.
[6] Pura Mula
Director: Enrique Pérez Him (Writer-Director Chaos in the City aka Caos en la ciudad)
Writers: Ariel Escalante (Editor on Pura Mula, Editor on El Huaso) | Enrique Pérez Him
Producers: Vilma Liella | Vilma Lopez
Cinematographer: Arturo Juarez (Dp on Chaos in the City)
Editor: Enrique Pérez Him...
- 12/14/2014
- by Sydney Levine
- Sydney's Buzz
Hüseyin Karabey's Come to My Voice won the international competition of the 29th Mar del Plata Film Festival, which closed Sunday. The film, a road movie which follows a Kurdish child and her grandmother, also picked up the audience award at the ceremony held Saturday night at the Astor Piazolla Auditorium, the main venue for the only A-class festival in South America. Actor Mathieu Amalric won the Silver Astor for best director for his film The Blue Room, which premiered in Cannes. The best actor and best actress awards went, respectively, to Park Jung-bum for Alive — which he also directed
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- 11/30/2014
- by Agustin Mango
- The Hollywood Reporter - Movie News
“This film you see here was taken from me,” said writer and director Paul Schrader on Tuesday in his Master Class at the Mar del Plata film festival, where he is sitting as a jury member in the International Competition. Schrader was pointing to a poster for his upcoming film Dying of the Light, hanging from the conference table. It featured the director and stars Nicolas Cage and Anton Yelchin, all wearing the “non-disparagement” t-shirts he'd used to stage a silent protest on Facebook earlier in the year, claiming that the version of Light scheduled for a VOD release
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- 11/26/2014
- by Agustin Mango
- The Hollywood Reporter - Movie News
One of the most talked-about films in Cannes’ Un Certain Regard this year, Argentinean auteur Lisandro Alonso’s Jauja, had its local premiere Sunday at the 29th Mar del Plata Film Festival, presented by the director alongside star Viggo Mortensen and writer Fabian Casas. The film, winner of the Fipresci award at Cannes, features a Danish-speaking Mortensen as a 19th army captain who sets out on a hypnotic and somewhat magical journey through the Argentine Patagonia to find his kidnapped young daughter. Mortensen, who grew up in Argentina and speaks perfect Castellano, spoke with The Hollywood Reporter about how
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- 11/24/2014
- by Agustin Mango
- The Hollywood Reporter - Movie News
The first Fénix Iberoamerican Film Awards, (Phoenix Awards) highlighting and celebrating cinema made in Latin America, Spain, and Portugal as well as applauding the professionals involved was inaugurated by Cinema 23 this October 30th, a couple days before Día de los Muertos, or Day of the Dead, one of the most important holidays in México. The event brought together hundreds of figures from the Iberoamerican film community who celebrated the well-deserved recognition to their work and to their dedication. At the same time, the event served to strengthen relationships among the diverse industries and will continuously help forge the region's identity.
Aside from enumerating the awards here, we wish to show how the films' dissemination throughout the world is, in fact succeeding by showing sales agents and commercial distributors, some of many festivals the films played, and some of the awards won.
Nominees in twelve categories were chosen from a shortlist of 58 feature films and 16 documentaries in the region and awarded by a jury made up of - among others - Luis Tosar, Wagner Moura, Daniel Hendler, Selton Mello, José María Yazpik, Maria de Medeiros, Paulina García, Amat Escalante, Fernando Meirelles, Rodrigo García, Sebastián Lelio, Rodrigo Pla.
Feature Film category
Winner: "The Golden Cage" ("La Juala de oro") by Diego Quemada-díez, a coproduction of Guatemala, Spain and Mexico, since its debut at the Cannes Film Festival's Un Certain Regard in 2013 where Quemada-díez won A Certain Talent Award for his directing work and the ensemble cast has received a total of 67 awards, including 9 Ariel awards by the Mexican Film Academy: Best Picture, Best Original Screenplay, Best First Feature, Best Actor, Best Upcoming Actor, Best Editing, Best Cinematography, Best Sound, Best Music. It also won Best Picture, Best Editing and Best Sound at the Fenix Awards. Producers sold to Benelux - Wild Bunch Benelux, France - Pretty Pictures , Mexico - Canibal Networks,, Portugal - Legendmain Filmes, Spain - Golem Distribución, Taiwan - Maison Motion, U.K. - Peccadillo Pictures.
Other contenders:
"Club Sandwich" by Fernando Eimbcke, a Mexican production, screened in Toronto International Film Festival 2013, San Sebastian 2013 among many others. International sales agent (Isa) Funny Balloons sold the film to Benelux - ABC - Cinemien, Brazil--Esfera Filmes, Mexico--Cine Pantera, Poland--Art House, Turkey--Filma Ltd.
"Heli" by Amat Escalante, a Mexican production premiered at the Cannes Film Festival 2013. Isa Ndm sold to U.S.--Outsider Pictures, Belgium--Film Fest Gent, Brazil--Zeta Filmes, Canada--K Films Amerique and A-z Films, Denmark--Ost For Paradis, France--Le Pacte, Greece--Ama Films, Hungary--Cirko Film Kft., Netherlands--Amstelfilm, Norway--Filmhuset Gruppen As & Europafilm As, Poland--Spectator, Puerto Ric--Wiesner Distribution, Serbia--Mcf Megacom Film, Spain--Savor Ediciones, S.A., Sweden--Njutafilms and Maywin Films Ab, Taiwan--Pomi International, Turkey--Filmarti Film, U.K.--Network
"Jauja" by Lisandro Alonso, a coproduction of Argentina, Denmark, France and Mexico and winner of the Fipresci Award in Cannes' Un Certain Regard 2014 where it debuted. It also played in Toronto and Busan among many other festivals. Isa Ndm, sold to U.S. -- The Cinema Guild; Argentina--Distribution Company Sudamericana S.A.; Spain--Noucinemart- Festival Internacional De Cinema D'autor De Barcelona; U.K.--Soda Pictures
"Bad Hair" ("Pelo Malo") by Mariana Rondon, a coproduction of Venezuela, Peru, Germany and Argentina premiered in Toronto 2013. FiGa sold it to U.S. – Pragda, Argentina--Obra Cine, Brazil--Esfera Filmes, Bulgaria--Sofia International Film Festival - Art Fest Ltd., France--Pyramide Distribution, Hungary -- Cirko, Italy--Cineclub Internazionale, Latin America--Palmera International, Portugal -- Nitrato Filmes, Serbia--European Film Festival Palic, Switzerland --Look Now! Filmdistribution, U.K.--Axiom Films International, Venezuela--Centro Nacional Autonomo De Cinematografia
Documentary Feature category
Winner: "Sobre la Marxa: the Creator of the Jungle" by Jordi Morató from Spain debuted at the International Film Festival Rotterdam.
Other Contenders:
"Letter to a Father" of Edgardo Cozarinsky, a coproduction from France and Argentina screened at Mar del Plata, Cinema du reel 2014 (Competition), Vienna and Jerusalem among other festivals. Doc and FIlms has the international rights.
"Echo Mountain" ("Eco de la montaña") by Nicolás Echevarría, a coproduction of U.S. and Mexico, premiered at Guadalajara Film Festival and Cinema du Reel in 2014.
"And Now? Remember Me" ("E agora? Lembra-me") by Joaquim Pinto from Portugal premiered at Locarno Film Festival 2013, has won 16 awards and 3 nominations and is distributed in France by Epicentre and by Midas in Portugal.
"Watch & Listen" by José Luis Torres Leiva
Best Female Role:
Winner:
Leandra Leal ("A Wolf At the Door" from Brazil premiered at Toronto Ff 2013. Isa: Im Global/Mundial sold to U.S.--Film Movement and Outsider Pictures, Benelux—Cdc United Network, Canada--A-z Films, Israel--United King Video Ltd., Latin America--Palmera International, So. Korea --Korean Film Art Center Baekdu-Daegan Films Co., Ltd, Portugal--Vendetta Filmes, Spain--Betta Pictures, Turkey--Moviebox)
Other Contenders:
Marian Álvarez ("The Wound" aka "La Herida" - Isa: Imagina, premiered San Sebastian Ff where the Special jury prize / Silver Shell for best actress went to Marian Álvarez), Samantha Castillo ("Bad Hair")
Paulina García ("Illiterate" - Isa: Habanero, screened at Guadalajara Ficg 2014, Sanfic - Santiago International Film Festival - Best Picture Audience award , Venice Film Festival - Settimana della Critica - Closing Film, Chicago International Film Festival - New Directors Competition, Sao Paulo International Film Festival - New Directors Competition )
Karen Martinez ("The Golden Cage")
Best Male Role:
Winner:
Viggo Mortensen ("Cockaigne" aka "Jauja")
Other Contenders:
Fernando Bacilio ("Mute" aka "El Mudo" by Daniel Vega premiered at Toronto in 2013. Udi sold it to Encore for airlines)
Alex Brendemühl ("Stella cadente" aka "Falling Star" by Luis Miñarro from Spain screened in Bafici (Buenos Aires) 2014 Panorama, San Sebastian 2014 Made in Spain, Gent Iff 2014 Feature Films, Rotterdam Iffr 2014 (Tiger Competition). Isa: Ndm sold it to Germany--Salzgeber & Co. Medien Gmbh Puerto Rico--Wiesner Distribution, Spain--Vercine)
Brandon Lopez ("The Golden Cage")
Antonio de la Torre ("Cannibal" by Manuel Martin Cuenca, a coproduction of Spain, Romania, Russia, France premiered at Toronto and San Sebastian 2013. Isa Film Factory sold it to U.S. - Film Movement, Belgium--Film Fest Gent, Hong Kong--Encore Inflight Limited-, Japan--Broadmedia Studios Corporation, Latin America--Palmera International, Spain--Mod Producciones, Taiwan--Creative Century Entertainment Co., Ltd.)
Eight other awards (listed below) were granted in the photography category, costumes, art direction, sound, music, editing and screenplay.
Four special awards were also presented:
The Latin American Festival Award, decided by the Advisory Council Cinema23 went to the Havana Film Festival (Festival de Nuevo Cine Latinoamericano). On December 3, 1979, over five hundred film professionals, mainly from Latin America, met in Havana, Cuba, for the inaugural Festival of New Latin American Cinema, which in its own words, "sought to build a space to identify and disseminate films whose significance and artistic values enrich and reaffirm American and Caribbean cultural identity where rich dialogue between film professionals, students and the informed public and critics gather". For decades and through its multiple realities Havana has played a role in community building around film as an art form and as an incentive for social reflection.
The work of more than three decades by a team led today by Ivan Giroud and which survives the noble and generous spirit of its founder, Alfredo Guevara, and those like Santiago Alvarez and Gabriel García Márquez, who have accompanied him from his beginnings, deserves to be recognized by those who think that culture is a way that allows us to approach, meet, recognize and move away from violence towards a better world. "With this award go our admiration and our gratitude to the Festival of New Latin American Cinema of Havana."
The Critics' Award, selected by Fipresci (Federation International Film Critics) went to the Brazilian writer José Carlos Avellar for his critical work. An admired and appreciated writer, critic, teacher and programmer, Avellar worked for over twenty years for the newspaper Jornal do Brasil, and has published six books on Brazilian and Latin American cinema. The former vice-president of Fipresci is also Berlinale's delegate in Brazil. More information and examples of his work can be found in his website www.escrevercinema.com.
Recognition of the Exhibition Sector, awarded by the leading exhibitors in the region went to Mexican actor and producer, Eugenio Derbez, for "No se aceptan devoluciones" ("Instructions Not Included").
The resurgence of Mexican films which began in 2001 with the all-time hit "Amores Perros" by Alejandro González Iñárritu and which also introduced Gael Garcia Bernal to the public (U.S. box office $5,408,467, worldwide $20,908,467) and "El crimen del Padre Amaro" in 2002 (U.S. box office $5,717,044, worldwide: $26,996,738) up until the hits, "Nosotros los Nobles" and "No se aceptan devoluciones" had the highest number admissions than any other Mexican film. Twelve years later, in six weeks "No se aceptan devolucions" outgrossed both "Amores" and "El crimen" combined. México Televisa’s Videocine Mexican box office was Us $44,882,061 and U.S. box office was $44,143,000. This is truly an exhibitor's dream movie.
No sooner had "Los Nobles" swept the Mexican box-office off its feet than another Mexican movie, independently produced by Monica Lozano’s México City-based Alebrije Cine y Video, "Instructions Not Included" was released -- first in the U.S. by Pantelion on August 30, 2013, almost three weeks before its Mexican release on September 20, 2013. The two countries grossed an equal amount. Moreover, Videocine released the film on 1,500 prints similar to a major release of a film such as "Batman". Through the Cinepolis chain’s use of satellite, these 1,500 prints were able to show on 2,500 screens. This represents both a new release pattern and a new type of Mexican film.
Previously Mexican films which were meant for the Mexican and Mexican-American audience (as opposed to those targeted to the art house audiences) were perceived as too Mexican by their U.S. target and they were released in the U.S. only after the Mexican release, and by that time, piracy had done its work in the U.S. and the film lacked the prestige of an "American" film. This film and the previous film, "The Noble Family", are not typically Mexican. Their storyline could be transposed anywhere, and in fact "The Noble Family" remake rights have been sold to U.S. In addition, releasing the film first in the U.S. changes the perception of the film in México. Being such a success in U.S. paves the way for its success in México as if it were validated as a "good" film.
Added to these two elements is the third key to success, Eugenio Derbez, the director and star of "Instructions", is a major TV comedy star in México and is known by all Mexicans wherever they reside. Mexican TV is quite powerful, it has a duopoly made by Televisa and TV Azteca. Derbez comes from Televisa. The film was also shot in English and Spanish and takes place in the U.S. Finally, Derbez himself and former head of production at Pantelion, Ben Odell, have now established a production company, 3 Spas, pronounced "Tres Paz" which funnily enough sounds like "tripas" or "guts". Reese Witherspoon whose film "Wild" opened the festival said that she had approached Derbez for a film she was producing already, but he was busy. However, she hopes they will soon find a project to do together. How great that will be for the exhibitors, the distributors and the audiences around the world!
The Phoenix Lifetime Achievement Award, which is awarded by the different academies and film associations in all the differenct countries of the region and announced by the Mexican Academy of Arts and Cinematographic Sciences, went to Arturo Ripstein. Recognized as one of the great masters in the history of Mexican cinema, Ripstein said, "I'm glad to say that a lifetime achievement award is usually given when one is finished with everything. But I am pleased to say that I still need a bit of experience, because next week I start my new film. I've been practicing this craft half a century, and this (the Phoenix Award ) symbolizes what it has really cost me over the past 50 years."
List of all winners include:
Narrative Film: Diego Quemada-Diez ("La Jaula de Oro")
Documentary Film: Jordi Morato ("Sobre la Marxa")
Screenplay: Amat Escalante y Gabriel Reyes ("Heli")
Director: Amat Escalante ("Heli")
Photography: Julián Apezteguia ("El ardor")
Art Design: José Luis Arrizabalaga y Arturo García ("Las Brujas de Zugarramurdi")
Editing: Paloma López Carrillo y Felipe Gómez ("La Jaula de Oro")
Costume Design: Chris Garrido ("Tatuagem")
Sound Design: Matías Barberis, Raúl Locatelli y Jaime Baksht ("La Jaula de oro")
Music: Joan Valent ("Las brujas de Zugarramurdi")
Lead Actor: Viggo Mortensen ("Jauja")
Lead Actress: Leandra Leal ("A Wolf at the Door")
Diego Quemada-Diez Receives the Award for Best Narrative Film for "La Jaula de Oro"
Amat Escalante Receives the Award for Best Director for "Heli"
Viggo Mortensen Receives the Award for Best Lead Actor for "Jauja"
Leandra Leal Receives the Award for Best Lead Actress for "A Wolf at the Door"...
Aside from enumerating the awards here, we wish to show how the films' dissemination throughout the world is, in fact succeeding by showing sales agents and commercial distributors, some of many festivals the films played, and some of the awards won.
Nominees in twelve categories were chosen from a shortlist of 58 feature films and 16 documentaries in the region and awarded by a jury made up of - among others - Luis Tosar, Wagner Moura, Daniel Hendler, Selton Mello, José María Yazpik, Maria de Medeiros, Paulina García, Amat Escalante, Fernando Meirelles, Rodrigo García, Sebastián Lelio, Rodrigo Pla.
Feature Film category
Winner: "The Golden Cage" ("La Juala de oro") by Diego Quemada-díez, a coproduction of Guatemala, Spain and Mexico, since its debut at the Cannes Film Festival's Un Certain Regard in 2013 where Quemada-díez won A Certain Talent Award for his directing work and the ensemble cast has received a total of 67 awards, including 9 Ariel awards by the Mexican Film Academy: Best Picture, Best Original Screenplay, Best First Feature, Best Actor, Best Upcoming Actor, Best Editing, Best Cinematography, Best Sound, Best Music. It also won Best Picture, Best Editing and Best Sound at the Fenix Awards. Producers sold to Benelux - Wild Bunch Benelux, France - Pretty Pictures , Mexico - Canibal Networks,, Portugal - Legendmain Filmes, Spain - Golem Distribución, Taiwan - Maison Motion, U.K. - Peccadillo Pictures.
Other contenders:
"Club Sandwich" by Fernando Eimbcke, a Mexican production, screened in Toronto International Film Festival 2013, San Sebastian 2013 among many others. International sales agent (Isa) Funny Balloons sold the film to Benelux - ABC - Cinemien, Brazil--Esfera Filmes, Mexico--Cine Pantera, Poland--Art House, Turkey--Filma Ltd.
"Heli" by Amat Escalante, a Mexican production premiered at the Cannes Film Festival 2013. Isa Ndm sold to U.S.--Outsider Pictures, Belgium--Film Fest Gent, Brazil--Zeta Filmes, Canada--K Films Amerique and A-z Films, Denmark--Ost For Paradis, France--Le Pacte, Greece--Ama Films, Hungary--Cirko Film Kft., Netherlands--Amstelfilm, Norway--Filmhuset Gruppen As & Europafilm As, Poland--Spectator, Puerto Ric--Wiesner Distribution, Serbia--Mcf Megacom Film, Spain--Savor Ediciones, S.A., Sweden--Njutafilms and Maywin Films Ab, Taiwan--Pomi International, Turkey--Filmarti Film, U.K.--Network
"Jauja" by Lisandro Alonso, a coproduction of Argentina, Denmark, France and Mexico and winner of the Fipresci Award in Cannes' Un Certain Regard 2014 where it debuted. It also played in Toronto and Busan among many other festivals. Isa Ndm, sold to U.S. -- The Cinema Guild; Argentina--Distribution Company Sudamericana S.A.; Spain--Noucinemart- Festival Internacional De Cinema D'autor De Barcelona; U.K.--Soda Pictures
"Bad Hair" ("Pelo Malo") by Mariana Rondon, a coproduction of Venezuela, Peru, Germany and Argentina premiered in Toronto 2013. FiGa sold it to U.S. – Pragda, Argentina--Obra Cine, Brazil--Esfera Filmes, Bulgaria--Sofia International Film Festival - Art Fest Ltd., France--Pyramide Distribution, Hungary -- Cirko, Italy--Cineclub Internazionale, Latin America--Palmera International, Portugal -- Nitrato Filmes, Serbia--European Film Festival Palic, Switzerland --Look Now! Filmdistribution, U.K.--Axiom Films International, Venezuela--Centro Nacional Autonomo De Cinematografia
Documentary Feature category
Winner: "Sobre la Marxa: the Creator of the Jungle" by Jordi Morató from Spain debuted at the International Film Festival Rotterdam.
Other Contenders:
"Letter to a Father" of Edgardo Cozarinsky, a coproduction from France and Argentina screened at Mar del Plata, Cinema du reel 2014 (Competition), Vienna and Jerusalem among other festivals. Doc and FIlms has the international rights.
"Echo Mountain" ("Eco de la montaña") by Nicolás Echevarría, a coproduction of U.S. and Mexico, premiered at Guadalajara Film Festival and Cinema du Reel in 2014.
"And Now? Remember Me" ("E agora? Lembra-me") by Joaquim Pinto from Portugal premiered at Locarno Film Festival 2013, has won 16 awards and 3 nominations and is distributed in France by Epicentre and by Midas in Portugal.
"Watch & Listen" by José Luis Torres Leiva
Best Female Role:
Winner:
Leandra Leal ("A Wolf At the Door" from Brazil premiered at Toronto Ff 2013. Isa: Im Global/Mundial sold to U.S.--Film Movement and Outsider Pictures, Benelux—Cdc United Network, Canada--A-z Films, Israel--United King Video Ltd., Latin America--Palmera International, So. Korea --Korean Film Art Center Baekdu-Daegan Films Co., Ltd, Portugal--Vendetta Filmes, Spain--Betta Pictures, Turkey--Moviebox)
Other Contenders:
Marian Álvarez ("The Wound" aka "La Herida" - Isa: Imagina, premiered San Sebastian Ff where the Special jury prize / Silver Shell for best actress went to Marian Álvarez), Samantha Castillo ("Bad Hair")
Paulina García ("Illiterate" - Isa: Habanero, screened at Guadalajara Ficg 2014, Sanfic - Santiago International Film Festival - Best Picture Audience award , Venice Film Festival - Settimana della Critica - Closing Film, Chicago International Film Festival - New Directors Competition, Sao Paulo International Film Festival - New Directors Competition )
Karen Martinez ("The Golden Cage")
Best Male Role:
Winner:
Viggo Mortensen ("Cockaigne" aka "Jauja")
Other Contenders:
Fernando Bacilio ("Mute" aka "El Mudo" by Daniel Vega premiered at Toronto in 2013. Udi sold it to Encore for airlines)
Alex Brendemühl ("Stella cadente" aka "Falling Star" by Luis Miñarro from Spain screened in Bafici (Buenos Aires) 2014 Panorama, San Sebastian 2014 Made in Spain, Gent Iff 2014 Feature Films, Rotterdam Iffr 2014 (Tiger Competition). Isa: Ndm sold it to Germany--Salzgeber & Co. Medien Gmbh Puerto Rico--Wiesner Distribution, Spain--Vercine)
Brandon Lopez ("The Golden Cage")
Antonio de la Torre ("Cannibal" by Manuel Martin Cuenca, a coproduction of Spain, Romania, Russia, France premiered at Toronto and San Sebastian 2013. Isa Film Factory sold it to U.S. - Film Movement, Belgium--Film Fest Gent, Hong Kong--Encore Inflight Limited-, Japan--Broadmedia Studios Corporation, Latin America--Palmera International, Spain--Mod Producciones, Taiwan--Creative Century Entertainment Co., Ltd.)
Eight other awards (listed below) were granted in the photography category, costumes, art direction, sound, music, editing and screenplay.
Four special awards were also presented:
The Latin American Festival Award, decided by the Advisory Council Cinema23 went to the Havana Film Festival (Festival de Nuevo Cine Latinoamericano). On December 3, 1979, over five hundred film professionals, mainly from Latin America, met in Havana, Cuba, for the inaugural Festival of New Latin American Cinema, which in its own words, "sought to build a space to identify and disseminate films whose significance and artistic values enrich and reaffirm American and Caribbean cultural identity where rich dialogue between film professionals, students and the informed public and critics gather". For decades and through its multiple realities Havana has played a role in community building around film as an art form and as an incentive for social reflection.
The work of more than three decades by a team led today by Ivan Giroud and which survives the noble and generous spirit of its founder, Alfredo Guevara, and those like Santiago Alvarez and Gabriel García Márquez, who have accompanied him from his beginnings, deserves to be recognized by those who think that culture is a way that allows us to approach, meet, recognize and move away from violence towards a better world. "With this award go our admiration and our gratitude to the Festival of New Latin American Cinema of Havana."
The Critics' Award, selected by Fipresci (Federation International Film Critics) went to the Brazilian writer José Carlos Avellar for his critical work. An admired and appreciated writer, critic, teacher and programmer, Avellar worked for over twenty years for the newspaper Jornal do Brasil, and has published six books on Brazilian and Latin American cinema. The former vice-president of Fipresci is also Berlinale's delegate in Brazil. More information and examples of his work can be found in his website www.escrevercinema.com.
Recognition of the Exhibition Sector, awarded by the leading exhibitors in the region went to Mexican actor and producer, Eugenio Derbez, for "No se aceptan devoluciones" ("Instructions Not Included").
The resurgence of Mexican films which began in 2001 with the all-time hit "Amores Perros" by Alejandro González Iñárritu and which also introduced Gael Garcia Bernal to the public (U.S. box office $5,408,467, worldwide $20,908,467) and "El crimen del Padre Amaro" in 2002 (U.S. box office $5,717,044, worldwide: $26,996,738) up until the hits, "Nosotros los Nobles" and "No se aceptan devoluciones" had the highest number admissions than any other Mexican film. Twelve years later, in six weeks "No se aceptan devolucions" outgrossed both "Amores" and "El crimen" combined. México Televisa’s Videocine Mexican box office was Us $44,882,061 and U.S. box office was $44,143,000. This is truly an exhibitor's dream movie.
No sooner had "Los Nobles" swept the Mexican box-office off its feet than another Mexican movie, independently produced by Monica Lozano’s México City-based Alebrije Cine y Video, "Instructions Not Included" was released -- first in the U.S. by Pantelion on August 30, 2013, almost three weeks before its Mexican release on September 20, 2013. The two countries grossed an equal amount. Moreover, Videocine released the film on 1,500 prints similar to a major release of a film such as "Batman". Through the Cinepolis chain’s use of satellite, these 1,500 prints were able to show on 2,500 screens. This represents both a new release pattern and a new type of Mexican film.
Previously Mexican films which were meant for the Mexican and Mexican-American audience (as opposed to those targeted to the art house audiences) were perceived as too Mexican by their U.S. target and they were released in the U.S. only after the Mexican release, and by that time, piracy had done its work in the U.S. and the film lacked the prestige of an "American" film. This film and the previous film, "The Noble Family", are not typically Mexican. Their storyline could be transposed anywhere, and in fact "The Noble Family" remake rights have been sold to U.S. In addition, releasing the film first in the U.S. changes the perception of the film in México. Being such a success in U.S. paves the way for its success in México as if it were validated as a "good" film.
Added to these two elements is the third key to success, Eugenio Derbez, the director and star of "Instructions", is a major TV comedy star in México and is known by all Mexicans wherever they reside. Mexican TV is quite powerful, it has a duopoly made by Televisa and TV Azteca. Derbez comes from Televisa. The film was also shot in English and Spanish and takes place in the U.S. Finally, Derbez himself and former head of production at Pantelion, Ben Odell, have now established a production company, 3 Spas, pronounced "Tres Paz" which funnily enough sounds like "tripas" or "guts". Reese Witherspoon whose film "Wild" opened the festival said that she had approached Derbez for a film she was producing already, but he was busy. However, she hopes they will soon find a project to do together. How great that will be for the exhibitors, the distributors and the audiences around the world!
The Phoenix Lifetime Achievement Award, which is awarded by the different academies and film associations in all the differenct countries of the region and announced by the Mexican Academy of Arts and Cinematographic Sciences, went to Arturo Ripstein. Recognized as one of the great masters in the history of Mexican cinema, Ripstein said, "I'm glad to say that a lifetime achievement award is usually given when one is finished with everything. But I am pleased to say that I still need a bit of experience, because next week I start my new film. I've been practicing this craft half a century, and this (the Phoenix Award ) symbolizes what it has really cost me over the past 50 years."
List of all winners include:
Narrative Film: Diego Quemada-Diez ("La Jaula de Oro")
Documentary Film: Jordi Morato ("Sobre la Marxa")
Screenplay: Amat Escalante y Gabriel Reyes ("Heli")
Director: Amat Escalante ("Heli")
Photography: Julián Apezteguia ("El ardor")
Art Design: José Luis Arrizabalaga y Arturo García ("Las Brujas de Zugarramurdi")
Editing: Paloma López Carrillo y Felipe Gómez ("La Jaula de Oro")
Costume Design: Chris Garrido ("Tatuagem")
Sound Design: Matías Barberis, Raúl Locatelli y Jaime Baksht ("La Jaula de oro")
Music: Joan Valent ("Las brujas de Zugarramurdi")
Lead Actor: Viggo Mortensen ("Jauja")
Lead Actress: Leandra Leal ("A Wolf at the Door")
Diego Quemada-Diez Receives the Award for Best Narrative Film for "La Jaula de Oro"
Amat Escalante Receives the Award for Best Director for "Heli"
Viggo Mortensen Receives the Award for Best Lead Actor for "Jauja"
Leandra Leal Receives the Award for Best Lead Actress for "A Wolf at the Door"...
- 11/19/2014
- by Sydney Levine
- Sydney's Buzz
7 Boxes
Written and directed by Juan Carlos Maneglia and Tana Schembori
Paraguay, 2012
Even within Latin America, Paraguayan cinema does not exactly dominate the cultural conversation and, sadly, remains something of a mystery. In fact, outside of Argentina, Brazil, and maybe Chile, the rest of South America, in cinematic terms, is mostly uncharted territory (which is not to say no movies are made there, but rather that international audiences, even open-minded cinephiles, don’t know much about them). With this in mind, the breakaway success of 7 Boxes, by Tana Schémbori and Juan Carlos Maneglia, is startling. Since premiering in 2012, it has nabbed prizes in San Sebastian and Mar del Plata; has featured in film festivals in Mexico, Cuba, Sweden, Canada, Ecuador, and the Dominican Republic; and has earned critical accolades wherever it has been shown. It is also the highest grossing Paraguayan movie of all time. Nevertheless, it still took two...
Written and directed by Juan Carlos Maneglia and Tana Schembori
Paraguay, 2012
Even within Latin America, Paraguayan cinema does not exactly dominate the cultural conversation and, sadly, remains something of a mystery. In fact, outside of Argentina, Brazil, and maybe Chile, the rest of South America, in cinematic terms, is mostly uncharted territory (which is not to say no movies are made there, but rather that international audiences, even open-minded cinephiles, don’t know much about them). With this in mind, the breakaway success of 7 Boxes, by Tana Schémbori and Juan Carlos Maneglia, is startling. Since premiering in 2012, it has nabbed prizes in San Sebastian and Mar del Plata; has featured in film festivals in Mexico, Cuba, Sweden, Canada, Ecuador, and the Dominican Republic; and has earned critical accolades wherever it has been shown. It is also the highest grossing Paraguayan movie of all time. Nevertheless, it still took two...
- 8/29/2014
- by Guido Pellegrini
- SoundOnSight
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