Be For Films has acquired international sales rights to “Mothers Don’t” (“Las madres no”) directed by celebrated Spanish filmmaker Mar Coll.
The film marks her third directorial outing following “Three Days with the Family“ and “We All Want What’s Best for Her.” The movie tells the story of María, a young writer who has just become a mother, and becomes obsessed by the highly publicized case of a woman who drowned her 10-month old twins in the bathtub. Through writing, María starts understanding the radical experience of her own motherhood.
“Mothers Don’t” stars Laura Weissmahr (“Cardo”), Oriol Pla (“Creatura”), Giannina Fruttero (“Smiley”) and Belén Cruz (“Cell 211”). The film is produced by Escándalo Films and Elastica Films. The latter will distribute “Mothers Don’t” in Spain.
“María, the protagonist of our story is a repentant mother, an association of words that generates automatic unease,” said Coll, who...
The film marks her third directorial outing following “Three Days with the Family“ and “We All Want What’s Best for Her.” The movie tells the story of María, a young writer who has just become a mother, and becomes obsessed by the highly publicized case of a woman who drowned her 10-month old twins in the bathtub. Through writing, María starts understanding the radical experience of her own motherhood.
“Mothers Don’t” stars Laura Weissmahr (“Cardo”), Oriol Pla (“Creatura”), Giannina Fruttero (“Smiley”) and Belén Cruz (“Cell 211”). The film is produced by Escándalo Films and Elastica Films. The latter will distribute “Mothers Don’t” in Spain.
“María, the protagonist of our story is a repentant mother, an association of words that generates automatic unease,” said Coll, who...
- 5/10/2024
- by Elsa Keslassy
- Variety Film + TV
Amongst a slate of auspicious Brazilian films and series featuring in Berlin, “Cidade; Campo”– the latest from arthouse helmer Juliana Rojas – saw its world premiere on Monday, screening as part of the Encounters strand that aims “to foster aesthetically and structurally daring works from independent, innovative filmmakers,” according to the fest.
Backed by Brazil’s Dezenove Som e Imagem and Globo Filmes in tandem with France’s Good Fortune Films and Germany’s Sutor Kolonko, the loosely mystical narrative tells two disparate relocation stories fused by longing, grief and a rousing aesthetic. Italy’s The Open Reel handles international sales.
“At Globo Filmes, it’s a delight to be engaged in the co-production of ‘Cidade; Campo.’ Juliana Rojas stands out as an innovative filmmaker, offering a crucial perspective on contemporary Brazil. Juliana intricately explores the woman’s role in a society laden with oppression,” Simone Oliveira, head of Globo Filmes,...
Backed by Brazil’s Dezenove Som e Imagem and Globo Filmes in tandem with France’s Good Fortune Films and Germany’s Sutor Kolonko, the loosely mystical narrative tells two disparate relocation stories fused by longing, grief and a rousing aesthetic. Italy’s The Open Reel handles international sales.
“At Globo Filmes, it’s a delight to be engaged in the co-production of ‘Cidade; Campo.’ Juliana Rojas stands out as an innovative filmmaker, offering a crucial perspective on contemporary Brazil. Juliana intricately explores the woman’s role in a society laden with oppression,” Simone Oliveira, head of Globo Filmes,...
- 2/20/2024
- by Holly Jones
- Variety Film + TV
Top Brazilian titles at the Berlin Festival and EFM:
“Betânia,” (Marcelo Botta)
Botta’s feature debut, produced by Salvatore Filmes, associate produced by Ventre Studio, selected for Berlin’s Panorama. Set in stunning but barren Brazilian sand dunes, Betânia, 65, rebuilds amid global collapse. After losing her husband to a salty diet common in electricity-deprived areas, she seeks solace in a new village, cherishing its traditions. Sales: MPM Premium
“The Best Friend,” (Allan Deberton)
By Deberton, director of award-winning “Pacarrete,” co-produced by Ceara-based Deberton Filmes and Telecine. During a quiet beach trip to Canoa Quebrada, Lucas reunites with his old college friend Felipe, whose free-spirited nature sparks feelings of nostalgia. Sales: Deberton Filmes
“Carnival is Over,” (Fernando Coimbra)
A much awaited title from helmer-scribe, now in post. Winner of a Sundance Institute global filmmaking award, the thriller centers on Regina and Valerio who live an opulent lifestyle in Rio as heirs...
“Betânia,” (Marcelo Botta)
Botta’s feature debut, produced by Salvatore Filmes, associate produced by Ventre Studio, selected for Berlin’s Panorama. Set in stunning but barren Brazilian sand dunes, Betânia, 65, rebuilds amid global collapse. After losing her husband to a salty diet common in electricity-deprived areas, she seeks solace in a new village, cherishing its traditions. Sales: MPM Premium
“The Best Friend,” (Allan Deberton)
By Deberton, director of award-winning “Pacarrete,” co-produced by Ceara-based Deberton Filmes and Telecine. During a quiet beach trip to Canoa Quebrada, Lucas reunites with his old college friend Felipe, whose free-spirited nature sparks feelings of nostalgia. Sales: Deberton Filmes
“Carnival is Over,” (Fernando Coimbra)
A much awaited title from helmer-scribe, now in post. Winner of a Sundance Institute global filmmaking award, the thriller centers on Regina and Valerio who live an opulent lifestyle in Rio as heirs...
- 2/16/2024
- by Anna Marie de la Fuente
- Variety Film + TV
Italy’s The Open Reel has taken on international sales for Juliana Rojas’ Berlinale Encounters title Cidade; Campo.
Cidade; Campo tells two stories of migration between city and countryside. In the first part, after a dam disaster floods her hometown, rural worker Joana moves to São Paulo but struggles to thrive in the city. In the second part, after the death of her estranged father, Flavia moves to his farm with her wife Mara. In both stories, nature forces the two women to face frustrations and cope with old memories and ghosts.
A Brazilian, German and French co-production, Cidade; Campo...
Cidade; Campo tells two stories of migration between city and countryside. In the first part, after a dam disaster floods her hometown, rural worker Joana moves to São Paulo but struggles to thrive in the city. In the second part, after the death of her estranged father, Flavia moves to his farm with her wife Mara. In both stories, nature forces the two women to face frustrations and cope with old memories and ghosts.
A Brazilian, German and French co-production, Cidade; Campo...
- 2/12/2024
- ScreenDaily
The final verse of Robert Frost’s memorable poem, “Stopping by Woods on a Snowy Evening” inspires and captures the essence of writer/director Teresa Sutherland’s directorial debut. Lovely, Dark, and Deep applies cosmic horror to a familiar genre setting, the wilderness, to unfurl a twisted, stunningly shot psychological mood piece. While Frost’s poem was deceptive in its simplicity, Sutherland’s debut only skims the surface of its themes, mining them for a beguiling cosmic nightmare.
After an ominous opener that teases all is not well in these woods, Sutherland’s debut introduces Lennon (Barbarian’s Georgina Campbell), the new park ranger filling a coveted, recently vacated position at an isolated outpost. From the outset, something’s amiss with Lennon. Visions of eerie black deer cross her path, only to dissipate in a blink as Lennon travels to her new position. Lennon overlooks all foreboding signs that something...
After an ominous opener that teases all is not well in these woods, Sutherland’s debut introduces Lennon (Barbarian’s Georgina Campbell), the new park ranger filling a coveted, recently vacated position at an isolated outpost. From the outset, something’s amiss with Lennon. Visions of eerie black deer cross her path, only to dissipate in a blink as Lennon travels to her new position. Lennon overlooks all foreboding signs that something...
- 7/25/2023
- by Meagan Navarro
- bloody-disgusting.com
Brazil’s Lupa Filmes has revealed first-look images for Cristian Ponce’s upcoming survival horror “A Mother’s Embrace” – co-produced by Morbido Group’s Pablo Guisa Koestinger – ahead of its bow at Cannes’ Fantastic Pavilion, where genre industry professionals will also be treated to the sneak peak of the trailer.
Previously behind animated webseries “The Kirlian Frequency”, acquired by Netflix, in 2020 Ponce directed big breakout “History of the Occult,” which marked his feature debut. The film was described as the highest-rated horror movie of 2021 on Letterboxd’s Year in Review roundup, as voted by users of the film rating social platform.
Set in 1996, during one of the biggest storms to ever hit Rio de Janeiro, “A Mother’s Embrace” will see a team of firefighters trying to evacuate a nursing home at risk of collapsing. But its mysterious residents have other plans.
“Rio is known for its warm weather and beaches,...
Previously behind animated webseries “The Kirlian Frequency”, acquired by Netflix, in 2020 Ponce directed big breakout “History of the Occult,” which marked his feature debut. The film was described as the highest-rated horror movie of 2021 on Letterboxd’s Year in Review roundup, as voted by users of the film rating social platform.
Set in 1996, during one of the biggest storms to ever hit Rio de Janeiro, “A Mother’s Embrace” will see a team of firefighters trying to evacuate a nursing home at risk of collapsing. But its mysterious residents have other plans.
“Rio is known for its warm weather and beaches,...
- 5/11/2023
- by Marta Balaga
- Variety Film + TV
A vital new collection featuring essays by queer and trans writers on horror films, It Came from the Closet: Queer Reflections on Horror is now on Kickstarter ahead of its October 4th release from Feminist Press, and as a special treat for Daily Dead readers, we've been provided with an exclusive look at Spencer Williams' essay on The Blair Witch Project, featuring a unique and insightful exploration of the classic found-footage film.
You can read Spencer Williams' "Sight Unseen" essay on The Blair Witch Project by clicking the cover art below, and to learn more about It Came from the Closet: Queer Reflections on Horror, check out the press release and visit the collection's official Kickstarter page!
Press Release: New York, NY — Independent nonprofit book publisher the Feminist Press will launch its first Kickstarter fundraising project in August, running from August 2 until August 25, 2022: a campaign supporting a launch party...
You can read Spencer Williams' "Sight Unseen" essay on The Blair Witch Project by clicking the cover art below, and to learn more about It Came from the Closet: Queer Reflections on Horror, check out the press release and visit the collection's official Kickstarter page!
Press Release: New York, NY — Independent nonprofit book publisher the Feminist Press will launch its first Kickstarter fundraising project in August, running from August 2 until August 25, 2022: a campaign supporting a launch party...
- 8/3/2022
- by Derek Anderson
- DailyDead
We're thrilled to announce that Feminist Press has officially launched a Kickstarter campaign for It Came from the Closet: Queer Reflections on Horror, a vital new collection featuring essays by queer and trans writers on horror films, including Halloween, Hereditary, Us, Jennifer's Body, and more!
Edited by Joe Vallese, It Came from the Closet: Queer Reflections on Horror is slated for publication on October 4th, followed by a launch party on October 5th at Brooklyn's 3 Dollar Bill.
We have the official press release with additional details, and to learn more, visit the collection's official Kickstarter page!
Press Release: New York, NY — Independent nonprofit book publisher the Feminist Press will launch its first Kickstarter fundraising project in August, running from August 2 until August 25, 2022: a campaign supporting a launch party for It Came from the Closet: Queer Reflections on Horror.
Slated to publish on October 4, 2022, the anthology features twenty-five essays by...
Edited by Joe Vallese, It Came from the Closet: Queer Reflections on Horror is slated for publication on October 4th, followed by a launch party on October 5th at Brooklyn's 3 Dollar Bill.
We have the official press release with additional details, and to learn more, visit the collection's official Kickstarter page!
Press Release: New York, NY — Independent nonprofit book publisher the Feminist Press will launch its first Kickstarter fundraising project in August, running from August 2 until August 25, 2022: a campaign supporting a launch party for It Came from the Closet: Queer Reflections on Horror.
Slated to publish on October 4, 2022, the anthology features twenty-five essays by...
- 8/2/2022
- by Derek Anderson
- DailyDead
Projeto Paradiso, operated by the Olga Rabinovich Institute, has renewed its partnership with Buenos Aires’ Ventana Sur, backed by Cannes Festival and Film Market and Argentina’s Incaa film-tv agency.
The move is one of several unveiled at Cannes Marché du Film, as go-ahead orgs in Brazil continue to attempt to stem the ravages of three years of President Jair Bolsonaro’s state incentive slow down as well as map out institutional backing for an industry in what is hoped to be a post-Bolsonaro age after October’s general elections. Some of the new initiatives:
Projeto Paradiso Broadens Its Alliance With Ventana Sur
The Projeto Paradiso-Ventana Sur alliance cuts two ways. For the second year running, the Brazilian philanthropic org will hand out a Paradiso Wip Award, worth 10,000 in last-money-in to the best Brazilian fiction project in post-production at Ventana Sur, Latin America’s biggest film-tv event.
Launched in 2021, the...
The move is one of several unveiled at Cannes Marché du Film, as go-ahead orgs in Brazil continue to attempt to stem the ravages of three years of President Jair Bolsonaro’s state incentive slow down as well as map out institutional backing for an industry in what is hoped to be a post-Bolsonaro age after October’s general elections. Some of the new initiatives:
Projeto Paradiso Broadens Its Alliance With Ventana Sur
The Projeto Paradiso-Ventana Sur alliance cuts two ways. For the second year running, the Brazilian philanthropic org will hand out a Paradiso Wip Award, worth 10,000 in last-money-in to the best Brazilian fiction project in post-production at Ventana Sur, Latin America’s biggest film-tv event.
Launched in 2021, the...
- 5/30/2022
- by John Hopewell
- Variety Film + TV
Brazilian Gregorio Graziosi’s “Tinnitus” is co-written by Andrés Julian Vera and Marco Dutra, a Locarno best director winner for “Good Manners”; its Dp is Rui Poças, whose credits include Lucrecia Martel’s “Zama” and upcoming “Tabu.”
Its score is from David Boulter, who played keyboard on Claire Denis’ “Bastards,” collaborated on the score of her “High Life.”
Such credentials will make, almost inevitably, for one of the most polished of entries at Copia Final, Ventana Sur’s pix-in-post competition, where it screens on-site at the Cinemark Puerto Madero on Wednesday.
Developed at the Cannes Festival’s Résidence, “Tinnitus” looks set to weigh in as high art in the service of what on paper may seem a classic sports comeback narrative involving Marina, a high-board synchronized diver, who suffers a serious diving accident caused by tinnitus. She is encouraged by her substitute Teresa, she stages a comeback, though still terrorized...
Its score is from David Boulter, who played keyboard on Claire Denis’ “Bastards,” collaborated on the score of her “High Life.”
Such credentials will make, almost inevitably, for one of the most polished of entries at Copia Final, Ventana Sur’s pix-in-post competition, where it screens on-site at the Cinemark Puerto Madero on Wednesday.
Developed at the Cannes Festival’s Résidence, “Tinnitus” looks set to weigh in as high art in the service of what on paper may seem a classic sports comeback narrative involving Marina, a high-board synchronized diver, who suffers a serious diving accident caused by tinnitus. She is encouraged by her substitute Teresa, she stages a comeback, though still terrorized...
- 12/1/2021
- by John Hopewell
- Variety Film + TV
New films from Oscar laureate Vanessa Ragone (“The Secret in Their Eyes”) and Camera d’Or winners Edher Campos (“Leap Year”) and Juan Pablo Miller (“Las Acacias”) are among attractions at this year’s Ventana Sur’s Primer Corte and Copia Final, the pix-in-post industry centerpieces at Latin America’s biggest film-tv market.
Ragone co-produces “The Face of the Jellyfish,” from Argentina’s Rotterdam-prized Melisa Liebenthal. Campos unveils “Journey to the Land of the Tarahumara,” Mexican Federico Cecchetti’s follow-up to the multi-prized “Mara’akame’s Dream.”
Miller introduces “Sublime,” one of the section’s buzz titles, along with “Diogenes,” from Peru’s Leonardo Barbuy, and two titles from Brazil: Gregorio Graziosi’s “Tinnitus” and Gabriel Martin’s “Mars One,” winner of Ventana Sur’s prestigious Paradiso Wip Award.
Titles brim with talent, observes Eva Morsch-Kihn, curator of Primer Corte and Copia Final along with Mercedes Abarca and Maria Nuñez.
Ragone co-produces “The Face of the Jellyfish,” from Argentina’s Rotterdam-prized Melisa Liebenthal. Campos unveils “Journey to the Land of the Tarahumara,” Mexican Federico Cecchetti’s follow-up to the multi-prized “Mara’akame’s Dream.”
Miller introduces “Sublime,” one of the section’s buzz titles, along with “Diogenes,” from Peru’s Leonardo Barbuy, and two titles from Brazil: Gregorio Graziosi’s “Tinnitus” and Gabriel Martin’s “Mars One,” winner of Ventana Sur’s prestigious Paradiso Wip Award.
Titles brim with talent, observes Eva Morsch-Kihn, curator of Primer Corte and Copia Final along with Mercedes Abarca and Maria Nuñez.
- 11/2/2021
- by John Hopewell
- Variety Film + TV
Uruguay-based Cimarrón is in development on Argentine Paula Hernandez’s new feature “El Viento Que Arrasa” and Brazilian Marco Dutra’s series “Las Moscas,” as it aims to become an Ott-age South American powerhouse.
The new productions come on top of Cimarron’s thriving business as a service company. It services more than 10 series from global platforms a year. This allows it to develop an adventurous line in feature film production while creating premium series with movie auteurs such as Dutra.
“El Viento Que Arrasa” is produced by Cimarrón and Argentina’s Rizoma and Tarea Fina (“Incident Light”).
Based on the novella by young Argentine writer Selva Almada, it turns on Reverend Pearson, who travels across the desert of north Argentina with reluctant adolescent daughter Leni in tow. When Pearson’s car breaks down, he seeks a repair at a remote car workshop and sets out to save its owner...
The new productions come on top of Cimarron’s thriving business as a service company. It services more than 10 series from global platforms a year. This allows it to develop an adventurous line in feature film production while creating premium series with movie auteurs such as Dutra.
“El Viento Que Arrasa” is produced by Cimarrón and Argentina’s Rizoma and Tarea Fina (“Incident Light”).
Based on the novella by young Argentine writer Selva Almada, it turns on Reverend Pearson, who travels across the desert of north Argentina with reluctant adolescent daughter Leni in tow. When Pearson’s car breaks down, he seeks a repair at a remote car workshop and sets out to save its owner...
- 7/9/2021
- by John Hopewell and Jamie Lang
- Variety Film + TV
With a seemingly endless amount of streaming options—not only the titles at our disposal, but services themselves–each week we highlight the noteworthy titles that have recently hit platforms. Check out this week’s selections below and past round-ups here.
About Endlessness (Roy Andersson)
Watch an exclusive clip for the film, which is also now in theaters.
“What should I do now that I have lost my faith?” is the question that animates About Endlessness; this being the new film by Roy Andersson, it is delivered in a doctor’s waiting room, over and over again, in a creaky voice, by a dumpy man in late middle age who continues his plaint even after the doctor and his receptionist gruntingly force him outside into the hallway, from whence they can hear him scratching at the door like a zombie. About Endlessness is Roy Andersson’s fourth film of this...
About Endlessness (Roy Andersson)
Watch an exclusive clip for the film, which is also now in theaters.
“What should I do now that I have lost my faith?” is the question that animates About Endlessness; this being the new film by Roy Andersson, it is delivered in a doctor’s waiting room, over and over again, in a creaky voice, by a dumpy man in late middle age who continues his plaint even after the doctor and his receptionist gruntingly force him outside into the hallway, from whence they can hear him scratching at the door like a zombie. About Endlessness is Roy Andersson’s fourth film of this...
- 4/30/2021
- by Jordan Raup
- The Film Stage
Cidade;Campo
Juliana Rojas embarks on her second solo feature as director with Cidade;Campo, a project initially scheduled to go into production last May but halted by the pandemic. Produced by Sara Silveira of Dezenove Som e Imagens, who has financed several of Rojas’ projects. Rojas is perhaps best known for a series of projects she co-directed with Marco Dutra. She shared the Cannes Discovery award with Dutra for their 2007 short “A Stem,” an award she’d also receive for her 2012 short “Doppelganger.” Their 2011 feature Hard Labor was selected for Un Certain Regard at Cannes, and their 2017 feature Good Manners won the Special Jury Prize at the 2017 Locarno Film Festival.…...
Juliana Rojas embarks on her second solo feature as director with Cidade;Campo, a project initially scheduled to go into production last May but halted by the pandemic. Produced by Sara Silveira of Dezenove Som e Imagens, who has financed several of Rojas’ projects. Rojas is perhaps best known for a series of projects she co-directed with Marco Dutra. She shared the Cannes Discovery award with Dutra for their 2007 short “A Stem,” an award she’d also receive for her 2012 short “Doppelganger.” Their 2011 feature Hard Labor was selected for Un Certain Regard at Cannes, and their 2017 feature Good Manners won the Special Jury Prize at the 2017 Locarno Film Festival.…...
- 1/5/2021
- by Nicholas Bell
- IONCINEMA.com
Just confirmed for the 2021 Sundance World Cinema Dramatic Competition, Brazilian Iuli Gerbase’s sci-fi thriller “The Pink Cloud” begins, like the trailer shared in exclusivity with Variety, with a young woman walking her dog, staring at dainty pink clouds encroaching the horizon.
She drops dead 10 seconds later. Sirens awake Giovana and Yago, who only met the night before, instructing them to close all windows and doors immediately.
A stock post-apocalypse thriller would have charted their physical battle to survive confinement, then solve the mystery of the cloud. In her feature debut, written in 2017 and shot in 2019, but made in a remarkable act of prescience, writer-director Gerbase takes “The Pink Cloud” in another, character-driven, direction. The film’s chore is its charting of the distinct emotional reactions of Giovana and Yago as days of lockdown become years.
“When Covid-19 began, I thought people would only see ‘The Pink Cloud’ as reflecting coronavirus,...
She drops dead 10 seconds later. Sirens awake Giovana and Yago, who only met the night before, instructing them to close all windows and doors immediately.
A stock post-apocalypse thriller would have charted their physical battle to survive confinement, then solve the mystery of the cloud. In her feature debut, written in 2017 and shot in 2019, but made in a remarkable act of prescience, writer-director Gerbase takes “The Pink Cloud” in another, character-driven, direction. The film’s chore is its charting of the distinct emotional reactions of Giovana and Yago as days of lockdown become years.
“When Covid-19 began, I thought people would only see ‘The Pink Cloud’ as reflecting coronavirus,...
- 12/15/2020
- by John Hopewell
- Variety Film + TV
Ancient myths, religious otherworldliness, and culturally tailored re-imaginings of classic tropes or creatures populate the landscape of Latino horror. Although genre films have been present in Latin American cinema since the 1930s, over the last two decades — with the advent of digital filmmaking and increased government investment in the art form — they have exponentially flourished in the region.
Meanwhile, in the United States, Latinx audiences are known to be enthusiastic (and paying) fans of all things horror, even if Hollywood projects rarely include Latinos on screen. There are still few genre features by or about American Latinos out there, but up-and-coming storytellers are striving to change that. As streamers and studios vow to support emerging voices in entertainment, this is a space ripe for growth.
A thematically compelling quality in many of the most prominent Latino horror films is that genre often serves as a vehicle to create discourse around...
Meanwhile, in the United States, Latinx audiences are known to be enthusiastic (and paying) fans of all things horror, even if Hollywood projects rarely include Latinos on screen. There are still few genre features by or about American Latinos out there, but up-and-coming storytellers are striving to change that. As streamers and studios vow to support emerging voices in entertainment, this is a space ripe for growth.
A thematically compelling quality in many of the most prominent Latino horror films is that genre often serves as a vehicle to create discourse around...
- 10/24/2020
- by Carlos Aguilar
- Indiewire
Underscoring a larger perceived global market potential for Spanish movies, Warner Bros. Pictures Intl. España is upping its bet on Spanish film production, in volume, budgets and talent.
Once largely acquiring, and then releasing in Spain, around six national films annually, the Hollywood studio now plans to invest in, or officially produce, eight-10 features a year, with Spanish star-studded casts and top directorial talent.
Disclosed to Variety as Warner Bros. Spain unveiled its 2020-21 slate at Spain’s San Sebastian Festival, the bigger push into Spanish production will also see the Hollywood studio continuing to partner on a joint development fund with Atresmedia Cine – a title-by-title non-exclusive alliance which is emerging as a key production axis on the Spanish movie scene.
At San Sebastian, Warner Bros. España updated Spanish media on five Spanish titles on its 2020-21 release slate, all produced by Atresmedia Cine, in association with Buendía Estudios. It...
Once largely acquiring, and then releasing in Spain, around six national films annually, the Hollywood studio now plans to invest in, or officially produce, eight-10 features a year, with Spanish star-studded casts and top directorial talent.
Disclosed to Variety as Warner Bros. Spain unveiled its 2020-21 slate at Spain’s San Sebastian Festival, the bigger push into Spanish production will also see the Hollywood studio continuing to partner on a joint development fund with Atresmedia Cine – a title-by-title non-exclusive alliance which is emerging as a key production axis on the Spanish movie scene.
At San Sebastian, Warner Bros. España updated Spanish media on five Spanish titles on its 2020-21 release slate, all produced by Atresmedia Cine, in association with Buendía Estudios. It...
- 9/24/2020
- by John Hopewell and Jamie Lang
- Variety Film + TV
Brazilian filmmaker Juliana Rojas’ last Locarno experience was one to remember, culminating in a Special Jury Prize for her 2017 feature “Good Manners,” which played in competition. This time around her situation is less enviable, as the filmmaker presents “Cidade; Campo” (City; Country) in Locarno’s The Films After Tomorrow competition for productions halted by Covid-19 shutdowns.
Rojas is among Brazil’s most exciting film and TV writing-directing talents with a resume loaded with festival plaudits, including two Cannes Discovery Awards for “A Stem” in 2007 and “Doppelgänger” in 2012. But even a filmmaker with such a stellar track-record can’t escape the dire effects of the pandemic on the industry.
Rojas and her team are presently finalizing the script and looking at ways to adjust the project to its post-shutdown budget, which has suffered a hit, according to producer Sara Silveira of Dezenove Som e Imagens.
“Cidade; Campo” is a film in two parts,...
Rojas is among Brazil’s most exciting film and TV writing-directing talents with a resume loaded with festival plaudits, including two Cannes Discovery Awards for “A Stem” in 2007 and “Doppelgänger” in 2012. But even a filmmaker with such a stellar track-record can’t escape the dire effects of the pandemic on the industry.
Rojas and her team are presently finalizing the script and looking at ways to adjust the project to its post-shutdown budget, which has suffered a hit, according to producer Sara Silveira of Dezenove Som e Imagens.
“Cidade; Campo” is a film in two parts,...
- 8/14/2020
- by Jamie Lang
- Variety Film + TV
Bruno Dumont continues his reinvention as a master of farce with this semi-satirical tale of alien goo and buffoonish cops
French film-maker Bruno Dumont’s 2014 TV series P’tit Quinquin – a bizarre knockabout black comedy-thriller-farce – was startling and almost unbelievable. Dumont was known for his icy and sometimes shocking art-house realism. There was very little modern precedent for this shift in tone, although in the US David Gordon Green had moved from Malickian poetry to stoner laughs.
Related: Good Manners review – superbly strange nanny horror...
French film-maker Bruno Dumont’s 2014 TV series P’tit Quinquin – a bizarre knockabout black comedy-thriller-farce – was startling and almost unbelievable. Dumont was known for his icy and sometimes shocking art-house realism. There was very little modern precedent for this shift in tone, although in the US David Gordon Green had moved from Malickian poetry to stoner laughs.
Related: Good Manners review – superbly strange nanny horror...
- 7/22/2020
- by Peter Bradshaw
- The Guardian - Film News
With a seemingly endless amount of streaming options—not only the titles at our disposal, but services themselves–each week we highlight the noteworthy titles that have recently hit platforms. Check out this week’s selections below and past round-ups here.
Clemency (Chinonye Chukwu)
From Escape from Alcatraz to Cool Hand Luke to The Shawshank Redemption, cinema is rich with not only prison films focused on the plight of the prisoner, but also depicting wardens in an evil light. Clemency, winner of the Dramatic Grand Jury Prize at Sundance Film Festival, flips the script in both ways, both turning the spotlight on a warden and painting her in an empathetic, complicated light. Led by Alfre Woodard, she gives a riveting, emotional performance as the Bernadine Williams, a woman who is stuck between the demands of her grueling job and a disintegrating marriage, and can’t give her all to both.
Clemency (Chinonye Chukwu)
From Escape from Alcatraz to Cool Hand Luke to The Shawshank Redemption, cinema is rich with not only prison films focused on the plight of the prisoner, but also depicting wardens in an evil light. Clemency, winner of the Dramatic Grand Jury Prize at Sundance Film Festival, flips the script in both ways, both turning the spotlight on a warden and painting her in an empathetic, complicated light. Led by Alfre Woodard, she gives a riveting, emotional performance as the Bernadine Williams, a woman who is stuck between the demands of her grueling job and a disintegrating marriage, and can’t give her all to both.
- 7/17/2020
- by Jordan Raup
- The Film Stage
Mubi's series New Brazilian Cinema is showing June - September, 2020.Above: LandlessAs I write about current Brazilian cinema, Brazilian Cinemateca, the preeminent institution for preservation of the country’s film history, is in danger of collapsing. Its employees haven’t been paid for months and the reels in its archives aren’t properly protected. The country's film industry launches strikes and petitions against the government’s plan to close the organization, which would damn the cultural heritage it shelters. How to consider the urgency of contemporary Brazilian film in this dire context? Perhaps by framing it as narratives of crises and resilience. No image inscribes itself as well into this allegory as one at the end of Landless, a documentary by Camila Freitas that premiered at Berlinale: Gusts of relentless wind punish arid earth, covering a settlement of scattered humble tents in a vicious swirl of red dust. This...
- 7/6/2020
- MUBI
The cult film VOD platform Spamflix has launched a new worldwide app, available now for mobile and smart TV compatible. Via the app users can browse, rent and stream from the full catalog, which includes a wide range of feature and short films from around the globe.
Visit spamflix.com/app.do for more information, or available directly on Google Play and the Apple Store.
Spamflix was founded in 2018 by Markus Duffner, a project manager at the Locarno Film Festival and Julia Duarte, former producer of São Paulo International Film Festival. Called ‘Netflix for Cult Film Fans’ by Geek Spin the bulk of Spamflix’s library consists of hard to find and lesser-seen genre titles, many of which garnered acclaim on the festival circuit only to land without significant distribution.
A treasure trove for cult film enthusiasts that has a specialty focus on black comedy and adult animation, the new...
Visit spamflix.com/app.do for more information, or available directly on Google Play and the Apple Store.
Spamflix was founded in 2018 by Markus Duffner, a project manager at the Locarno Film Festival and Julia Duarte, former producer of São Paulo International Film Festival. Called ‘Netflix for Cult Film Fans’ by Geek Spin the bulk of Spamflix’s library consists of hard to find and lesser-seen genre titles, many of which garnered acclaim on the festival circuit only to land without significant distribution.
A treasure trove for cult film enthusiasts that has a specialty focus on black comedy and adult animation, the new...
- 5/14/2020
- by Grace Han
- AsianMoviePulse
There are a host of important, even vital ideas behind “All the Dead Ones,” a hybrid period piece addressing Brazil’s unresolved legacy of slavery and the imprint it’s had on an all-too-often downplayed contemporary racism of malignant toxicity. Set largely in 1899, 11 years after the abolition of slavery but designed so modern São Paulo increasingly bleeds into the picture, : Having a character express her colonialist guilt by seeing the ghosts of dead slaves feels far too stale when presented with such Freudian hysteria. Caetano Gotardo and Marco Dutra, collaborating as directors for the first time, channel the artificiality of late Manoel de Oliveira but without the enticing mystery, hampered by an understandable earnestness that yearns for a more subtle approach. International prospects are uncertain at best.
It doesn’t help that the character one instantly bonds with dies after the first few minutes. Josefina (Alaíde Costa) is an...
It doesn’t help that the character one instantly bonds with dies after the first few minutes. Josefina (Alaíde Costa) is an...
- 2/23/2020
- by Jay Weissberg
- Variety Film + TV
Sometimes, as a critic, you really love the film that the filmmakers were trying to make — even though they failed, perhaps even spectacularly, to actually make it. Brazilian Berlinale competition title All the Dead Ones (Todos os mortos) is one such film.
Directors Caetano Gotardo and Marco Dutra — the latter a co-director on the fascinating genre hybrid Good Manners that premiered in Locarno in 2017 — spin a story set in 1899 and 1900, a decade after slavery was abolished in Brazil. They mainly follow the women of the Soares family, whose men used to run a ...
Directors Caetano Gotardo and Marco Dutra — the latter a co-director on the fascinating genre hybrid Good Manners that premiered in Locarno in 2017 — spin a story set in 1899 and 1900, a decade after slavery was abolished in Brazil. They mainly follow the women of the Soares family, whose men used to run a ...
- 2/23/2020
- The Hollywood Reporter - Film + TV
Sometimes, as a critic, you really love the film that the filmmakers were trying to make — even though they failed, perhaps even spectacularly, to actually make it. Brazilian Berlinale competition title All the Dead Ones (Todos os mortos) is one such film.
Directors Caetano Gotardo and Marco Dutra — the latter a co-director on the fascinating genre hybrid Good Manners that premiered in Locarno in 2017 — spin a story set in 1899 and 1900, a decade after slavery was abolished in Brazil. They mainly follow the women of the Soares family, whose men used to run a ...
Directors Caetano Gotardo and Marco Dutra — the latter a co-director on the fascinating genre hybrid Good Manners that premiered in Locarno in 2017 — spin a story set in 1899 and 1900, a decade after slavery was abolished in Brazil. They mainly follow the women of the Soares family, whose men used to run a ...
- 2/23/2020
- The Hollywood Reporter - Movie News
Competition
“All the Dead Ones”
Caetano Godardo, Marco Dutra
Following up on their Locarno-prized “Good Manners,” genre auteur Dutra and Gotardo deliver a lushly turned-out family drama that converts ghostliness into political metaphor, conflating 1899 Sao Paulo with its high-rise present, asking if the uneasy relationship between Brazil’s white elite and black majority has essentially changed.
Sales: Indie Sales
Encounters
“Los Conductos”
Camilo Restrepo
Pinky, on the run from a sect, takes to squatting, making T-shirts for a living, taking drugs and spinning images of the Apocalypse, damnation, revenge. A spectral, crazed allegory of Colombian post-civil conflict reinsertion that won Mar del Plata’s 2019 Works in Progress.
Sales: Best Friend Forever
Panorama
“A Common Crime”
Francisco Márquez
Set in class-riven Argentina and packing, reportedly, a great finale and commanding performance from lead Elisa Carricajo as an Argentine university teacher who fails to help her maid’s son, with literally haunting consequences.
“All the Dead Ones”
Caetano Godardo, Marco Dutra
Following up on their Locarno-prized “Good Manners,” genre auteur Dutra and Gotardo deliver a lushly turned-out family drama that converts ghostliness into political metaphor, conflating 1899 Sao Paulo with its high-rise present, asking if the uneasy relationship between Brazil’s white elite and black majority has essentially changed.
Sales: Indie Sales
Encounters
“Los Conductos”
Camilo Restrepo
Pinky, on the run from a sect, takes to squatting, making T-shirts for a living, taking drugs and spinning images of the Apocalypse, damnation, revenge. A spectral, crazed allegory of Colombian post-civil conflict reinsertion that won Mar del Plata’s 2019 Works in Progress.
Sales: Best Friend Forever
Panorama
“A Common Crime”
Francisco Márquez
Set in class-riven Argentina and packing, reportedly, a great finale and commanding performance from lead Elisa Carricajo as an Argentine university teacher who fails to help her maid’s son, with literally haunting consequences.
- 2/21/2020
- by John Hopewell and Jamie Lang
- Variety Film + TV
The French sales agent is pinning its hopes on the Berlin competition title by Brazil’s Caetano Gotardo and Marco Dutra as well as on the Panorama-screened documentary Days of Cannibalism. French international sales agent Indie Sales will be able to boast a jam-packed line-up of 12 titles at the European Film Market of the 70th Berlinale (20 February-1 March). Standing out in particular is a feature that will be vying for the Golden Bear: All the Dead Ones by Brazilian duo Caetano Gotardo and Marco Dutra (Special Jury Prize at Locarno in 2017 for Good Manners). The movie, which has been produced by Brazilian outfit Dezenove Som e Imagens together with France’s Good Fortune Films (Clément Duboin and Florence Cohen), will have its official world premiere on Sunday 23 February. The story, written by the pair of directors, kicks off in 1899, shortly after slavery has been abolished in Brazil....
French outfit is handling a trio of Berlinale titles including Golden Bear contender All The Dead Ones.
Paris-based Indie Sales has acquired world sales rights to Teboho Edkins’ documentary Days Of Cannibalism ahead of its premiere in the Berlinale’s Panorama Dokumente section.
Shot in the southern African country of Lesotho, the work explores the impact of the arrival of a wave of Chinese entrepreneurs on its rural communities, which traditionally made their living from cattle farming.
Edkins, who describes the feature as a “contemporary documentary western”, captures the simmering tensions as forces of capitalism challenge the old order and traditions.
Paris-based Indie Sales has acquired world sales rights to Teboho Edkins’ documentary Days Of Cannibalism ahead of its premiere in the Berlinale’s Panorama Dokumente section.
Shot in the southern African country of Lesotho, the work explores the impact of the arrival of a wave of Chinese entrepreneurs on its rural communities, which traditionally made their living from cattle farming.
Edkins, who describes the feature as a “contemporary documentary western”, captures the simmering tensions as forces of capitalism challenge the old order and traditions.
- 1/30/2020
- by 1100388¦Melanie Goodfellow¦0¦
- ScreenDaily
Paris-based company unveils new team’s first Berlinale world sales acquisition.
Paris-based film company Urban Distribution International (Udi) has revamped its team following the departure of former sales and acquisitions chief Delphyne Besse in December to focus on personal projects.
Louise Ronzet, who worked with Besse as a sales executive, has been promoted to head of sales. She will be assisted by international sales and marketing executive Jennyfer Gautier.
Udi has also hired Agathe Corbin as acquisition manager. She arrives from Paris-based sales company WTFilms where she was an acquisitions and production executive.
Irène Cadavid has also joined the company as festivals manager.
Paris-based film company Urban Distribution International (Udi) has revamped its team following the departure of former sales and acquisitions chief Delphyne Besse in December to focus on personal projects.
Louise Ronzet, who worked with Besse as a sales executive, has been promoted to head of sales. She will be assisted by international sales and marketing executive Jennyfer Gautier.
Udi has also hired Agathe Corbin as acquisition manager. She arrives from Paris-based sales company WTFilms where she was an acquisitions and production executive.
Irène Cadavid has also joined the company as festivals manager.
- 1/30/2020
- by 1100388¦Melanie Goodfellow¦0¦
- ScreenDaily
Dutra whose credits include 2011 Un Certain Regard entry Hard Labor and Good Manners, which won the Locarno jury prize in 2017.
Paris-based Indie Sales has acquired world sales rights to Brazilian director Marco Dutra’s upcoming period drama All The Dead Ones, set against the backdrop of Sao Paolo in the late 19th century, shortly after the abolition of slavery.
The film revolves around three women from a formerly wealthy coffee plantation-owning family that has gone into financial decline amid the rapidly changing backdrop of Brazil at the turn of the century.
The death of their long-time maid, a former black slave from their farm,...
Paris-based Indie Sales has acquired world sales rights to Brazilian director Marco Dutra’s upcoming period drama All The Dead Ones, set against the backdrop of Sao Paolo in the late 19th century, shortly after the abolition of slavery.
The film revolves around three women from a formerly wealthy coffee plantation-owning family that has gone into financial decline amid the rapidly changing backdrop of Brazil at the turn of the century.
The death of their long-time maid, a former black slave from their farm,...
- 9/6/2019
- by Melanie Goodfellow
- ScreenDaily
Brazilian “The Father’s Shadow” is one of those occasional arthouse quasi-horror films, like “The Spirit of the Beehive” or Aussie “Celia,” in which the supernatural elements seem a poetical extension of a child protagonist’s distress at the inexplicable realities of the adult world. Recipient of a special jury prize (as well as an acting nod to its young lead) at Fantasia, Gabriela Amaral’s sophomore feature could parlay critical acclaim into offshore distribution beyond the festival circuit. Not entirely satisfying, it’s nonetheless a curiously poignant fable of profound premature loss, both enhanced and somewhat muddled by its slippery occult elements.
Nine-year-old Dalva radiates a sullen suspicion that’s off-puttingly unusual for her age. But she has good reason for resentment: Her mother has recently died, and father Jorge (Julio Machado) is not coping well, to say the least. When not toiling at a toxic Sao Paolo building job he hates,...
Nine-year-old Dalva radiates a sullen suspicion that’s off-puttingly unusual for her age. But she has good reason for resentment: Her mother has recently died, and father Jorge (Julio Machado) is not coping well, to say the least. When not toiling at a toxic Sao Paolo building job he hates,...
- 8/7/2019
- by Dennis Harvey
- Variety Film + TV
The Day I Became a WomanWomen and the home, their “rightful” place in it and alleged duty to it, is ever the topical subject, an all too common association thankfully rife with permutations that provoke inspired debate. The topic of women’s at-home labors is this year’s theme of BAMcinématek’s Women at Work series. Now in its third iteration, the series this year is subtitled The Domestic Is Not Free, and it reveals the many ways in which domesticity has been celebrated—or in this case, more often rebelled against—on screen, by drawing from obvious choices, but also including a few surprises and poignant pairings. Such a series could not be complete without Chantal Akerman’s Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles (1975), but also of equal note is Semiotics of the Kitchen (1975), Martha Rosler’s incisive performance piece that screens with it. Rosler stars in her short...
- 10/31/2018
- MUBI
Participating in San Sebastian’s Europe-Latin America Co-production Forum, Paula Kim’s debut feature “Butterfly Diaries” is pitched along the lines of controversial series “13 Reasons Why” and Marti Noxon’s anorexia drama “To the Bone,” both on Netflix.
“The film addresses a very important issue that afflicts many young girls, made by a director who is also a young woman,” said co-producer Sara Silveira, of Dezenove Som e Imagens, Brazil.
In “Butterfly Diaries,” a Brazilian exchange program student in London struggles not only with the onset of puberty but with a mental disorder.
“As an artist, I believe that sometimes, a person has to go through a very painful trial just to have a glimpse of what he or she truly holds within himself or herself,” said Kim, adding: “It is a film about existential crisis.”
Drama, penned by Kim, will be shot in Portuguese with some English in the U.
“The film addresses a very important issue that afflicts many young girls, made by a director who is also a young woman,” said co-producer Sara Silveira, of Dezenove Som e Imagens, Brazil.
In “Butterfly Diaries,” a Brazilian exchange program student in London struggles not only with the onset of puberty but with a mental disorder.
“As an artist, I believe that sometimes, a person has to go through a very painful trial just to have a glimpse of what he or she truly holds within himself or herself,” said Kim, adding: “It is a film about existential crisis.”
Drama, penned by Kim, will be shot in Portuguese with some English in the U.
- 9/23/2018
- by Anna Marie de la Fuente
- Variety Film + TV
Since its launch in 2012, the Sarajevo Film Festival’s Kinoscope sidebar has presented challenging, experimental and genre-bending titles from around the globe.
This year’s lineup includes an eclectic showcase of feature and documentary works from mostly young directors, half of them women, including Nicolas Pesce’s U.S. thriller “Piercing”; Dominga Sotomayor’s “Too Late to Die Young”; Hélène Cattet and Bruno Forzani’s “Let the Corpses Tan”; and Gustav Möller’s Danish thriller “The Guilty,” this year’s opening film.
Kinoscope programmers Alessandro Raja and Mathilde Henrot sat down with Variety to discuss the section and this year’s lineup.
Q: Half of your films are by female filmmakers. Is there a conscious effort on your part to present works by women?
Henrot: It’s a conscious selection which doesn’t require too much effort. Since the beginning of Kinoscope we’ve always chosen to have a balanced...
This year’s lineup includes an eclectic showcase of feature and documentary works from mostly young directors, half of them women, including Nicolas Pesce’s U.S. thriller “Piercing”; Dominga Sotomayor’s “Too Late to Die Young”; Hélène Cattet and Bruno Forzani’s “Let the Corpses Tan”; and Gustav Möller’s Danish thriller “The Guilty,” this year’s opening film.
Kinoscope programmers Alessandro Raja and Mathilde Henrot sat down with Variety to discuss the section and this year’s lineup.
Q: Half of your films are by female filmmakers. Is there a conscious effort on your part to present works by women?
Henrot: It’s a conscious selection which doesn’t require too much effort. Since the beginning of Kinoscope we’ve always chosen to have a balanced...
- 8/17/2018
- by Ed Meza
- Variety Film + TV
Another year, another edition of the Lima Film Festival opens its doors. With Fiction and Documentary competitions that tend to favor dramas and social issues -- though sometimes a few oddballs stick out; this year, the brilliant Brazilian werewolf tale Good Manners and Argentina’s metaphorical head-scratcher of a monster movie Murder Me, Monster are representing genre cinema -- the Fest tends to save its crowd-pleasing lightweights for Opening Night, to gently ease audiences into its nine days of programming. Rubén Blades Is Not My Name definitely fits the criteria. A behind-the-scenes look at salsa superstar, fine actor and all-around cool guy Rubén Blades, director Abner Benaim follows the musician in his day-to-day activities and throughout his latest (and possibly farewell) tour, charting his career on...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 8/5/2018
- Screen Anarchy
Cinema do Brasil and Apex-Brasil have announced the 2018 winners of the Cinema do Brasil Distribution Support Awards. The seven chosen films will share $100,000 in funding, to be used towards international distribution. The stated goal of the joint program is to stimulate the circulation of Brazilian productions abroad.
The awarded financing is a mix of public and private funding, 80% being provided by Apex-Brasil and the other 20% from Brazil’s Ministry of Foreign Affairs, Itamaraty Cultural Department.
The distribution companies granted the award must invest an equal or greater sum into the P & A of the film in their markets. Once the film is released, the distributor sends Cinema do Brasil a report on audience and box office revenues for the film, copies of formal bills which demonstrate expenditures and invoices in P&A that prove to be at least twice the amount granted by the award.
A commission composed of representatives...
The awarded financing is a mix of public and private funding, 80% being provided by Apex-Brasil and the other 20% from Brazil’s Ministry of Foreign Affairs, Itamaraty Cultural Department.
The distribution companies granted the award must invest an equal or greater sum into the P & A of the film in their markets. Once the film is released, the distributor sends Cinema do Brasil a report on audience and box office revenues for the film, copies of formal bills which demonstrate expenditures and invoices in P&A that prove to be at least twice the amount granted by the award.
A commission composed of representatives...
- 8/1/2018
- by Jamie Lang
- Variety Film + TV
If it wasn’t for a certain action blockbuster, the Brazilian lesbian werewolf horror melodrama Good Manners (which also throws in a musical element as well) would’ve topped our list of the must-see films of the month. One of the best movies I saw at New Directors/New Films earlier this year, Marco Dutra and Juliana Rojas’s fable will be arriving in just over a week, and now Distrib Films Us have debuted a new trailer, featuring one of our quotes.
The São Paulo-set film, gorgeously shot by Zama cinematographer Rui Poças, follows a nurse living outside the city who is hired to be the nanny for a wealthy woman who is about to give birth, and, of course, many secrets await. “Contrasts abound in Juliana Rojas and Marco Dutra’s terrifyingly captivating Good Manners, a horror-meets-children’s-movie that uses all the tropes at its disposal to conjure...
The São Paulo-set film, gorgeously shot by Zama cinematographer Rui Poças, follows a nurse living outside the city who is hired to be the nanny for a wealthy woman who is about to give birth, and, of course, many secrets await. “Contrasts abound in Juliana Rojas and Marco Dutra’s terrifyingly captivating Good Manners, a horror-meets-children’s-movie that uses all the tropes at its disposal to conjure...
- 7/18/2018
- by Jordan Raup
- The Film Stage
"Genre defying and genuinely unexpected." Distrib Films Us has debuted another new trailer for the highly underrated Brazilian horror film Good Manners, or originally As Boas Maneiras in Portuguese. I've been talking up this film ever since the London Film Festival last year. The first Us trailer is not very good, but this is a much better trailer that finally gets into it more. Good Manners reinvents the werewolf genre in a completely eye-opening, breathtaking way. The story is about a lonely nurse hired by a wealthy, mysterious woman named Ana to be the the nanny for her unborn child. But she soon realizes things are a bit strange when she discovers Ana sleepwalks at night. Isabél Zuaa stars in this, with Marjorie Estiano, Miguel Lobo, Cida Moreira, Andréa Marquee, and Felipe Kenji. I flipped for it last year and haven't stopped thinking about it - read my review. Hopefully...
- 7/16/2018
- by Alex Billington
- firstshowing.net
Not since the Polish cannibal horror mermaid musical The Lure has there been another genre melting pot as winning as the Brazilian lesbian werewolf horror melodrama Good Manners (which also throws in a musical element as well). One of the best films I saw at New Directors/New Films earlier this year, Marco Dutra and Juliana Rojas’s fable will get a U.S. release next month, and now Distrib Films Us have unveiled the U.S. trailer and poster.
The São Paulo-set film, gorgeously shot by Zama cinematographer Rui Poças, follows a nurse living outside the city who is hired to be the nanny for a wealthy woman who is about to give birth, and, of course, many secrets await. “Contrasts abound in Juliana Rojas and Marco Dutra’s terrifyingly captivating Good Manners, a horror-meets-children’s-movie that uses all the tropes at its disposal to conjure up a piercing discussion of class,...
The São Paulo-set film, gorgeously shot by Zama cinematographer Rui Poças, follows a nurse living outside the city who is hired to be the nanny for a wealthy woman who is about to give birth, and, of course, many secrets await. “Contrasts abound in Juliana Rojas and Marco Dutra’s terrifyingly captivating Good Manners, a horror-meets-children’s-movie that uses all the tropes at its disposal to conjure up a piercing discussion of class,...
- 6/25/2018
- by Jordan Raup
- The Film Stage
"He's a strong boy, Ana." Distrib Films Us has released an official trailer for an underrated Brazilian horror film titled Good Manners, or originally As Boas Maneiras in Portuguese. The is one of the most original, clever, craziest genre films I have ever seen, I'm still blown away thinking about it. Good Manners reinvents the werewolf genre in a completely eye-opening, breathtaking way. The story is about a lonely nurse hired by a wealthy, mysterious woman named Ana to be the the nanny for her unborn child. But she soon realizes things are a bit strange when she discovers Ana sleepwalks at night looking for prey. Isabél Zuaa stars, with a cast including Marjorie Estiano, Miguel Lobo, Cida Moreira, Andréa Marquee, and Felipe Kenji. I saw this film at a festival last year, and flipped for it. I wrote in my review: "It will make you freak out and laugh...
- 6/25/2018
- by Alex Billington
- firstshowing.net
Distrib Films Us has acquired U.S. rights to Olivier Ayache-Vidal’s inspirational French social drama “The Teacher” (“Les grands esprits”) from Bac Films.
“The Teacher” stars acclaimed actor Denis Podalydes as a bourgeois professor at the prestigious Parisian school Henry IV who gets relocated to a high school in an underprivileged suburb. The professor, who was initially prejudiced, ends up forming an unexpected bond with a troubled student (Abdoulaye Diallo).
Sombrero Films and Atelier de Production produced “The Teacher,” while Bac Films handles international sales.
“This movie is a very subtle mix of social themes and comedy, tackling with intelligence the discrepancy that exists all around the world in education between private and public, [inner city] and suburban schools. Students need teachers that believe in them and adjust to their social realities,” said Francois Scippa-Kohn, Distrib Films Us’s managing director, who negotiated the deal with Gilles Sousa at Bac Films.
“The Teacher” stars acclaimed actor Denis Podalydes as a bourgeois professor at the prestigious Parisian school Henry IV who gets relocated to a high school in an underprivileged suburb. The professor, who was initially prejudiced, ends up forming an unexpected bond with a troubled student (Abdoulaye Diallo).
Sombrero Films and Atelier de Production produced “The Teacher,” while Bac Films handles international sales.
“This movie is a very subtle mix of social themes and comedy, tackling with intelligence the discrepancy that exists all around the world in education between private and public, [inner city] and suburban schools. Students need teachers that believe in them and adjust to their social realities,” said Francois Scippa-Kohn, Distrib Films Us’s managing director, who negotiated the deal with Gilles Sousa at Bac Films.
- 6/4/2018
- by Elsa Keslassy
- Variety Film + TV
Contrasts abound in Juliana Rojas and Marco Dutra’s terrifyingly captivating Good Manners, a horror-meets-children’s-movie that uses all the tropes at its disposal to conjure up a piercing discussion of class, race, and desire in present-day Brazil. Six years after their collaborative debut, Hard Labor (2011), the writer-directors return to the theme of social divisions, this time to tackle it through the unconventional lens of werewolf mythology in a fantasy-fueled melodrama that should inject a much-needed revitalizing serum into a stagnating genre.
An unemployed professional caretaker from one of São Paulo’s poorer suburbs, dark-skinned Clara (a remarkable Isabél Zuaa) lands a gig as a live-in nanny at a fancy high-rise apartment. Her employer, pregnant Ana (Marjorie Estiano), is an entitled, white 29-year-old from a rich plantation family: shunned from her relatives after she refused to abort, she now awaits the due date indulging in compulsive shopping and steak eating.
An unemployed professional caretaker from one of São Paulo’s poorer suburbs, dark-skinned Clara (a remarkable Isabél Zuaa) lands a gig as a live-in nanny at a fancy high-rise apartment. Her employer, pregnant Ana (Marjorie Estiano), is an entitled, white 29-year-old from a rich plantation family: shunned from her relatives after she refused to abort, she now awaits the due date indulging in compulsive shopping and steak eating.
- 4/10/2018
- by The Film Stage
- The Film Stage
Who’s Afraid of Virginia Wolf Mother?: Dutra & Rojas Spin Magical Spell with Subversive Class Commentary Horror
As its title would indicate, social etiquette and desiring acceptability are at the forefront of Good Manners, the phenomenal second feature of Brazilian directing duo Marco Dutra and Juliana Rojas (which took home a Special Jury Prize at the 2017 Locarno Film Festival).
Continue reading...
As its title would indicate, social etiquette and desiring acceptability are at the forefront of Good Manners, the phenomenal second feature of Brazilian directing duo Marco Dutra and Juliana Rojas (which took home a Special Jury Prize at the 2017 Locarno Film Festival).
Continue reading...
- 11/15/2017
- by Nicholas Bell
- IONCINEMA.com
What makes AFI Fest different from other high-profile festivals is also what makes it essential: Its programmers don’t care about premiere status. Each edition of the annual gathering tends to feature just a few, often on the first and last nights of the weeklong event, though there have been exceptions — 2014 saw back-to-back surprise debuts of both “American Sniper” and “Selma” on the same night.
Read More:afi Fest Adds 13 Foreign Language Oscar Contenders, Including ‘Foxtrot,’ ‘Thelma,’ and ‘A Fantastic Woman’
Barring any last-minute additions, this year leans in the opposite direction. The only world premiere scheduled was Ridley Scott’s “All the Money in the World,” which initially received pride of place as the closing-night gala; because the film starred Kevin Spacey before he was replaced with Christopher Plummer at the last minute, it’s since been pulled from the schedule. Opening night, meanwhile, begins with a movie that premiered...
Read More:afi Fest Adds 13 Foreign Language Oscar Contenders, Including ‘Foxtrot,’ ‘Thelma,’ and ‘A Fantastic Woman’
Barring any last-minute additions, this year leans in the opposite direction. The only world premiere scheduled was Ridley Scott’s “All the Money in the World,” which initially received pride of place as the closing-night gala; because the film starred Kevin Spacey before he was replaced with Christopher Plummer at the last minute, it’s since been pulled from the schedule. Opening night, meanwhile, begins with a movie that premiered...
- 11/9/2017
- by Michael Nordine
- Indiewire
This Brazilian horror drama film falls under the category of Wtf?!, but it's so so so good. Good Manners, or As Boas Maneiras in Portuguese, is a film from Brazil set in São Paulo that is unlike anything I've ever seen before. If I am to sum it up in one sentence it would be: a Brazilian, lesbian, musical, werewolf drama. It's kind of a horror film, but not really, much more of a drama with some horrific elements. Good Manners is the most clever, refreshing reinvention of the werewolf film in years. It will make you freak out and laugh and cover your eyes and throw your hands up aghast in bewilderment. The less you know about it going in, the more enjoyable the experience will be when you finally watch it unfold. So be careful with what you read. Good Manners, made by co-writers & co-directors Marco Dutra & Juliana Rojas,...
- 10/14/2017
- by Alex Billington
- firstshowing.net
It’s rare to be truly surprised by a movie. Even at a film festival (especially one like the Lff, which mostly screens movies that have picked up buzz elsewhere), you’re often playing catch-up, and even when you find something that no one else has told you about, it all too often falls into a familiar sort of formula. Which is why a movie like “Good Manners” is so refreshing, and we’d suggest you went into it knowing as little as possible about it (we’ll stay as spoiler-free as we can below).
Continue reading ‘Good Manners’ Is The Year’s Best Brazilian Lesbian Werewolf Musical Melodrama [BFI London Film Fest Review] at The Playlist.
Continue reading ‘Good Manners’ Is The Year’s Best Brazilian Lesbian Werewolf Musical Melodrama [BFI London Film Fest Review] at The Playlist.
- 10/13/2017
- by Oliver Lyttelton
- The Playlist
I’m going to do something I have never done before in any of my reviews, and that is tell you not to read it. I am reviewing Good Manners because it is a wonderful film that should be seen by everyone, but it is difficult to discuss it without giving away a plot development that happens an […]...
- 10/3/2017
- by Trace Thurman
- bloody-disgusting.com
This year, Fantastic Fest turned 13, a number that felt apt if you’ve been following the news. Most conversations started like this:
“How are you?”
“How are you?”
Exhale. Hug. Repeat.
Eventually, people got around to talking about the films. Even those were emotional.
Tortured Souls
In past years, bringing context into the Alamo Drafthouse theater meant deciding not to chomp chips and queso during a hushed thriller. This time, audiences welled up watching Carla Guigino confront a lifetime of abuse as the emotionally and physically handcuffed wife in Stephen King’s “Gerald’s Game,” a Lifetime movie-looking low budget adaptation whose blockbuster impact at the Fest might not translate to people at home when it premieres on Netflix. (Guigino, however, is terrific in a dual-of-sorts role as the manacled victim and her empowered subconscious.)
Read More:Fantastic Fest Under Fire: Why America’s Preeminent Genre Festival Needs Its Fans...
“How are you?”
“How are you?”
Exhale. Hug. Repeat.
Eventually, people got around to talking about the films. Even those were emotional.
Tortured Souls
In past years, bringing context into the Alamo Drafthouse theater meant deciding not to chomp chips and queso during a hushed thriller. This time, audiences welled up watching Carla Guigino confront a lifetime of abuse as the emotionally and physically handcuffed wife in Stephen King’s “Gerald’s Game,” a Lifetime movie-looking low budget adaptation whose blockbuster impact at the Fest might not translate to people at home when it premieres on Netflix. (Guigino, however, is terrific in a dual-of-sorts role as the manacled victim and her empowered subconscious.)
Read More:Fantastic Fest Under Fire: Why America’s Preeminent Genre Festival Needs Its Fans...
- 9/29/2017
- by Amy Nicholson
- Indiewire
There is the family you are born into, and the family you make; lovers who stay with you a long time, and ones whose time with you is brief, but make a lasting impact. What then is the nature of love and devotion? Can we love both the person and the monster inside? In Juliana Rojas and Marco Dutra's latest feature film Good Manners, a magic-realist fairy tale, love and devotion, class division, and the monster inside us all are deftly explored. Clara (Isabél Zuaa) is a lonely nurse still grieving over the , living in poor conditions, who takes a job as a nanny and housekeeper to the equally lonely Ana (Marjorie Estiano), a wealthy white woman soon expecting her first child. Clara moves...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 9/24/2017
- Screen Anarchy
The following essay was produced as part of the 2017 Locarno Critics Academy, a workshop for aspiring film critics that took place during the 70th edition of the Locarno Film Festival.
Locarno isn’t just home to a major European film festival. It’s also an ideal place for many Swiss and foreign families to travel in summer and enjoy its hot weather, pleasant cuisine, and serene lake. This makes it a terrific place for contemplating new movies.
Ironically, during the 70th edition of the Locarno Film Festival, many of the films outwardly questioned the value of traditional family life. Many viewers encountered the puzzling contrast of watching subversive movies, leaving the screening rooms, and watching very conventional heterosexual families enjoying their vacations. But this only made the power of these movies stand out.
“C’est moi” says Fanny Ardant, a transgender women, in “Lola Pater,” the film by the Franco-Algerian director Nadir Mokneche,...
Locarno isn’t just home to a major European film festival. It’s also an ideal place for many Swiss and foreign families to travel in summer and enjoy its hot weather, pleasant cuisine, and serene lake. This makes it a terrific place for contemplating new movies.
Ironically, during the 70th edition of the Locarno Film Festival, many of the films outwardly questioned the value of traditional family life. Many viewers encountered the puzzling contrast of watching subversive movies, leaving the screening rooms, and watching very conventional heterosexual families enjoying their vacations. But this only made the power of these movies stand out.
“C’est moi” says Fanny Ardant, a transgender women, in “Lola Pater,” the film by the Franco-Algerian director Nadir Mokneche,...
- 9/14/2017
- by Francisco Noronha
- Indiewire
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