In an unprecedented move, multi-Oscar nominated American composer and pianist Philip Glass (“The Hours”) has contributed key music to Mexican documentary “Cartas a Distancia” (“Letters from a Distance”) by Juan Carlos Rulfo.
Credit goes to Glass’s decades-long friendship and collaboration with the documentary’s lead composer and music producer Leonardo Heiblum, whose notable list of film credits include some highly acclaimed Latin American films, including “Frida,” “Maria Full of Grace,” “La Jaula de Oro,” Tatiano Huezo’s Cannes hit “Prayers for the Stolen” and Rulfo’s 2006 docu, “In the Pit.”
According to Glass, he and Heiblum met over 20 years ago when the latter worked for Glass’s company Dunvagen Music Publishers in New York. “He is an accomplished composer in his own right, so he eventually moved on to his own projects. Then I began to see him whenever I visited Mexico, and he would stop by for coffee...
Credit goes to Glass’s decades-long friendship and collaboration with the documentary’s lead composer and music producer Leonardo Heiblum, whose notable list of film credits include some highly acclaimed Latin American films, including “Frida,” “Maria Full of Grace,” “La Jaula de Oro,” Tatiano Huezo’s Cannes hit “Prayers for the Stolen” and Rulfo’s 2006 docu, “In the Pit.”
According to Glass, he and Heiblum met over 20 years ago when the latter worked for Glass’s company Dunvagen Music Publishers in New York. “He is an accomplished composer in his own right, so he eventually moved on to his own projects. Then I began to see him whenever I visited Mexico, and he would stop by for coffee...
- 8/9/2021
- by Anna Marie de la Fuente
- Variety Film + TV
In a much-anticipated move, giant streaming service Netflix has confirmed the launch of a Mexico City office this year. Netflix chief content officer Ted Sarandos was in Mexico City at a Netflix forum to also announce that the company had more than 50 projects in different stages of production in Mexico, some original content, others co-productions.
“The richness of talent in front of and behind the camera in Mexico was key in our decision to begin our local production strategy with ‘Club de Cuervos’ four years ago,” Sarandos said. “Since then, we have continued to expand our local investment and continue providing a platform for Mexican talent to be recognized around the world,” he added.
Four local films in the pipeline are destined for Netflix’s slate over the next two years. These include “Como Caído del Cielo,” a musical comedy inspired by the songs of Mexican legend Pedro Infante, starring...
“The richness of talent in front of and behind the camera in Mexico was key in our decision to begin our local production strategy with ‘Club de Cuervos’ four years ago,” Sarandos said. “Since then, we have continued to expand our local investment and continue providing a platform for Mexican talent to be recognized around the world,” he added.
Four local films in the pipeline are destined for Netflix’s slate over the next two years. These include “Como Caído del Cielo,” a musical comedy inspired by the songs of Mexican legend Pedro Infante, starring...
- 2/12/2019
- by Anna Marie de la Fuente
- Variety Film + TV
‘Whiplash’: Sundance Film Festival Awards’ rare double winner (photo: Miles Teller in ‘Whiplash’) Directed by Damien Chazelle — and acquired for domestic distribution by Sony Pictures Classics — Whiplash won the 2014 Sundance Film Festival U.S. Dramatic Grand Jury Prize and the U.S. Dramatic Audience Award. The story of a young, ambitious 19-year-old drummer (played by 26-year-old Miles Teller) under the tutelage of a ruthless teacher (J.K. Simmons), Whiplash also features Melissa Benoist, Paul Reiser, Austin Stowell, Nate Lang, Chris Mulkey, and Damon Gupton. Whiplash‘s double Sundance Film Festival win is quite rare. Previous such instances in Sundance’s three-decade history include Tony Bui’s Three Seasons in 1999, Richard Glatzer and Wash Westmoreland’s Quinceañera in 2006, Lee Daniels’ Precious in 2009, and Ryan Coogler’s Fruitvale Station last year. Of these, Precious is — somewhat surprisingly — the only Sundance double winner to have succeeded both at the domestic box office and during awards season,...
- 1/26/2014
- by Andre Soares
- Alt Film Guide
It's unfortunate that Austin Jewish Film Festival and Cine Las Americas International Film Festival overlap for four days this week, but you can treat yourself to a whirlwind of images, stories, music, and themes by jumping back and forth between the two. Ajff is already underway (my preview). Cine Las Americas starts tomorrow night and runs through Sunday with a full and varied lineup.
You can buy film passes and tickets from the fest's website, or individual tickets at the theaters before the screenings (space available). Films at the Mexican American Cultural Center are free; other venues (where you need tickets) include Stateside at the Paramount and Alamo Drafthouse Village.
As it has since the initiation of each festival, Austin Film Society is co-sponsoring films in both fests. For Cine Las Americas we are helping to present a fascinating elegiac documentary, Carriere: 250 Metros (Juan Carlos Rulfo, Mexico, 2011) at Stateside Theatre on Thursday,...
- 4/15/2013
- by Chale Nafus
- Slackerwood
Since 2003, the Morelia Film Festival has been nurturing filmmakers and audiences, and has rooted its niche as a discovery festival of up and coming Mexican filmmakers. At the same time it’s earned a prestigious reputation for its expertly curated sidebars that would make the most hard core cinephile drool, and for the Festival’s unparalleled attention and hospitality towards their guests, Invitados. The Festival invites renowned international cineastes to participate in showing their films for the first time in Mexico, in turn enticing them to experience the vibrant scene of Mexican Cinema in the most charming historic city of Morelia, Michoacán.
To celebrate its 10th year anniversary the powerhouse boutique festival has put together an epic program consisting of over 200 hand picked films as part of special screenings, tributes and homages to compliment its more solid than ever Mexican Competition made up of 25 documentaries, 45 shorts, 9 narrative features, along with 12 films from the hosting state of Michoacán. Among the special guests this year, English filmmaker Sally Potter, Iranian filmmaker Abbas Kiarostami, and Chicano filmmaker Gregory Nava.
I thank the tirelessly dynamic Director of the Festival, Daniela Michel for talking with me about the Festival’s programming then and now. {redacted and translated}
C: From the return of Regyadas with his highly anticipated Post-Tenebras Lux, who was one of three Mexican directors awarded a prize at Cannes (along with Fogo by documentary and fiction director, Yulene Olaizola, and Después de Lucía by Michel Franco which is Mexico’s foreign language Oscar entry), to Locarno Film Festival’s Carte Blanche spotlight of Mexican works in progress, 2012 has been a stellar year for Mexican films. The Festival is showing nine narrative features in competition, seven of them world premieres by first time filmmakers, reflecting this building breakthrough momentum…
D: Yes, we’re thrilled that Cannes was a big year for Mexican film. We were honored to have Artistic director, Thierry Frémaux as a guest at the Festival last year. He’s truly been supportive of Mexican films and we are profoundly thankful. When we first started the festival there just weren’t enough features films to warrant a solid competition program. Our mission was to build a program made up of the next generation of filmmakers and support them. We weren’t interested in showing already established Mexican filmmakers. In 2007 we had our first narrative feature length competition and we were grateful for having such a prominent jury comprised of Trevor Groth, Director of Programming at Sundance Film Festival, Peter Scarlet, at that time Artistic Director of Tribeca Film Festival and Cecilia Suarez, a talented Mexican actress. They bestowed the Best Film award to Nicolás Pereda’s first film, Where are their Stories. Pereda has gone on to be a prolific and singular talent. We are screening his 7th film out of competition, The Greatest Hits.
C: Documentaries are an integral part of the festival, this year the festival is showing a record breaking 25 documentaries in competition. Typically the Mexican documentary genre has generally fit into the ethnographic study type. How has this changed over the years?
D: We are seeing more intimate and personal journey type of stories that are breaking with that notion that there is only that kind of Mexican documentary. There are looks of forgotten history like Flor en Otomi by Luisa Riley about a young female guerilla fighter who disappeared following a violent raid, or Convict Patient by Alejandro Solar Luna about a man who attempted to assassinate the president in 1970 and is now homeless and mentally unstable. There are more experimental films, more personal portraits like Carriere, 250 Meters by Juan Carlos Rulfo and Natalia Gil about the inspiring writer and Bunuel collaborator Jean-Claude Carriere, Diario a Tres Voces by Otilia Portillo Padua, a compelling multigenerational look of three women in relationship to their age, Miradas Multiples (La Maquina Loca) by Emilio Maille which is about the great cinematographer Gabriel Figueroa. Definitely, Mexican documentary is expanding its horizons.
C: Last year you had Luis Valdez and as an honored guest and screened his seminal Chicano film, Zoot Suit. This year you are honoring Gregory Nava with a screening of El Norte and Mi Familia. What prompted this recognition of Chicano filmmakers at the festival?
D: We’ve always had a section called Cine Sin Fronteras (Cinema without Borders) curated by Jesse Lerner an academic expert on border films. While we had not, up until last year, recognized such well known chicano figures like Luis Valdez we’ve shown the work of lesser known, independent filmmakers. We felt it was overdue and important to introduce chicano films to mexico. Not necessarily a border crossing story but the perspective of Mexicans living in the United States. Certainly Luis Valdez deserved a homage here in Mexico. Unfortunately chicano cinema is not well known in Mexico. We are very happy that Gregory Nava who we highly respect, will be joining us this year.
C: The Michoacán section. The festival recognizes the talent of filmmakers from the hosting state with its separate competition section. How do you make sure this section does not fly under the radar or get lost in the shuffle since it competes with high profile national and international films.
D: Well, first of all the caliber has to be there and I think that since the festival’s inception, the filmmaking scene in Michoacán has been greatly stimulated as there’s been more production, filmmaking has become more accessible and over the past ten years we’ve seen the production value and quality getting better and better. Not only indigenous filmmakers which was very important to us like Dante Cerano and Pavel Rodriguez but filmmakers who were born and raised there and may live elsewhere. We make an effort to give these films the highest visibility by giving them the best time slots so that the public can easily find and discover.
C: Given the Festival’s success, there must be a desire and pressure to continue to expand and grow. How do you navigate the appeal of complimenting the festival with an increasing number of programs yet work to keep the mission’s integrity?
D: Interest in participating in the festival has certainly grown but we can’t lose focus that our main goal is to support the young mexican filmmakers so we select only the best work out there, always. Its important not to have any kind of institutional or political ties that might compromise that mission. One of the sections I most love which we created in 2008, based on the invaluable recommendation of Bertrand Tavernier who has an impressive knowledge of film, is called Imaginary Mexico. This section showcases work connected to Mexico imagined by foreign filmmakers abroad, revealing their perception of Mexico. It’s a rich, eye opening trove. For instance Mexico as seen by Hollywood. This year we are showing a number of Sam Peckinpah’s films (The Wild Bunch, among others). Two years ago we had the extraordinary gift of having Quentin Tarantino present Sergio Corbucci’s spaghetti westerns about the Mexican Revolution. These films had been previously banned in Mexico for its scathing portrayal of the revolution….
It’s a rich diaspora. The Festival supports the future of Mexican Cinema with the best work by the next generation of filmmakers just starting out. It celebrates Mexico of the past, through classics and retrospectives like this year’s homage to cinematographer Jose Ortiz Ramos born in the state of Michoacan, and the other, films about Mexico from outside of Mexico. We attack it on all fronts. This intersection of borders, indigenous films made by indigenous filmmakers who have a permanent space in our festival, film students and history.
C: About the Morelia audience
D: There is a big population of university students which combined with the city’s strong tradition of historical culture, we felt there was potential there. It wasn’t easy at first. I remember programming a Woody Allen film against a block of unknown shorts. We realized that once the tickets for the Woody Allen movie sold out, people who weren’t able to get in, naturally found their way into the shorts program. We are indeed grateful for that audience. Obviously showing Bela Tarr’s epic eight hour Satantango last year would not have worked had we programmed it the first year. We owe a lot of this audience development to our extraordinary colleague and dear friend Joaquin Rodriguez (founding programmer who passed away earlier this year). He worked year round developing that audience. His film appreciation classes there would have space for twenty, and five times the amount of people would show up. This edition is dedicated to him for his consummate professionalism, passion and brilliance.
C: We are a few days away from the 10th edition. How are you feeling now and do you remember how you felt ten years ago at this point?
D: It was one of the most stressful moments in my life because I had no idea how it was going to work. It was terrifying. Today I feel very blessed to have this incredible team because the work is put in by all of us and it would be impossible without the dedicated group assembled who I admire and respect very much. …Every year there is stress. But like they say “If you stop feeling the nerves then quit”. I’m a huge cinephile so I love sharing this gift of film with new audiences. Its endless, there is an endless vault of films to be re-discovered and that’s what I love best that these films return to life. You learn a lot about life seeing film.
Follow the Festival @Ficm. To see the competition lineup click here, and to download this year’s catalogue click here.
To celebrate its 10th year anniversary the powerhouse boutique festival has put together an epic program consisting of over 200 hand picked films as part of special screenings, tributes and homages to compliment its more solid than ever Mexican Competition made up of 25 documentaries, 45 shorts, 9 narrative features, along with 12 films from the hosting state of Michoacán. Among the special guests this year, English filmmaker Sally Potter, Iranian filmmaker Abbas Kiarostami, and Chicano filmmaker Gregory Nava.
I thank the tirelessly dynamic Director of the Festival, Daniela Michel for talking with me about the Festival’s programming then and now. {redacted and translated}
C: From the return of Regyadas with his highly anticipated Post-Tenebras Lux, who was one of three Mexican directors awarded a prize at Cannes (along with Fogo by documentary and fiction director, Yulene Olaizola, and Después de Lucía by Michel Franco which is Mexico’s foreign language Oscar entry), to Locarno Film Festival’s Carte Blanche spotlight of Mexican works in progress, 2012 has been a stellar year for Mexican films. The Festival is showing nine narrative features in competition, seven of them world premieres by first time filmmakers, reflecting this building breakthrough momentum…
D: Yes, we’re thrilled that Cannes was a big year for Mexican film. We were honored to have Artistic director, Thierry Frémaux as a guest at the Festival last year. He’s truly been supportive of Mexican films and we are profoundly thankful. When we first started the festival there just weren’t enough features films to warrant a solid competition program. Our mission was to build a program made up of the next generation of filmmakers and support them. We weren’t interested in showing already established Mexican filmmakers. In 2007 we had our first narrative feature length competition and we were grateful for having such a prominent jury comprised of Trevor Groth, Director of Programming at Sundance Film Festival, Peter Scarlet, at that time Artistic Director of Tribeca Film Festival and Cecilia Suarez, a talented Mexican actress. They bestowed the Best Film award to Nicolás Pereda’s first film, Where are their Stories. Pereda has gone on to be a prolific and singular talent. We are screening his 7th film out of competition, The Greatest Hits.
C: Documentaries are an integral part of the festival, this year the festival is showing a record breaking 25 documentaries in competition. Typically the Mexican documentary genre has generally fit into the ethnographic study type. How has this changed over the years?
D: We are seeing more intimate and personal journey type of stories that are breaking with that notion that there is only that kind of Mexican documentary. There are looks of forgotten history like Flor en Otomi by Luisa Riley about a young female guerilla fighter who disappeared following a violent raid, or Convict Patient by Alejandro Solar Luna about a man who attempted to assassinate the president in 1970 and is now homeless and mentally unstable. There are more experimental films, more personal portraits like Carriere, 250 Meters by Juan Carlos Rulfo and Natalia Gil about the inspiring writer and Bunuel collaborator Jean-Claude Carriere, Diario a Tres Voces by Otilia Portillo Padua, a compelling multigenerational look of three women in relationship to their age, Miradas Multiples (La Maquina Loca) by Emilio Maille which is about the great cinematographer Gabriel Figueroa. Definitely, Mexican documentary is expanding its horizons.
C: Last year you had Luis Valdez and as an honored guest and screened his seminal Chicano film, Zoot Suit. This year you are honoring Gregory Nava with a screening of El Norte and Mi Familia. What prompted this recognition of Chicano filmmakers at the festival?
D: We’ve always had a section called Cine Sin Fronteras (Cinema without Borders) curated by Jesse Lerner an academic expert on border films. While we had not, up until last year, recognized such well known chicano figures like Luis Valdez we’ve shown the work of lesser known, independent filmmakers. We felt it was overdue and important to introduce chicano films to mexico. Not necessarily a border crossing story but the perspective of Mexicans living in the United States. Certainly Luis Valdez deserved a homage here in Mexico. Unfortunately chicano cinema is not well known in Mexico. We are very happy that Gregory Nava who we highly respect, will be joining us this year.
C: The Michoacán section. The festival recognizes the talent of filmmakers from the hosting state with its separate competition section. How do you make sure this section does not fly under the radar or get lost in the shuffle since it competes with high profile national and international films.
D: Well, first of all the caliber has to be there and I think that since the festival’s inception, the filmmaking scene in Michoacán has been greatly stimulated as there’s been more production, filmmaking has become more accessible and over the past ten years we’ve seen the production value and quality getting better and better. Not only indigenous filmmakers which was very important to us like Dante Cerano and Pavel Rodriguez but filmmakers who were born and raised there and may live elsewhere. We make an effort to give these films the highest visibility by giving them the best time slots so that the public can easily find and discover.
C: Given the Festival’s success, there must be a desire and pressure to continue to expand and grow. How do you navigate the appeal of complimenting the festival with an increasing number of programs yet work to keep the mission’s integrity?
D: Interest in participating in the festival has certainly grown but we can’t lose focus that our main goal is to support the young mexican filmmakers so we select only the best work out there, always. Its important not to have any kind of institutional or political ties that might compromise that mission. One of the sections I most love which we created in 2008, based on the invaluable recommendation of Bertrand Tavernier who has an impressive knowledge of film, is called Imaginary Mexico. This section showcases work connected to Mexico imagined by foreign filmmakers abroad, revealing their perception of Mexico. It’s a rich, eye opening trove. For instance Mexico as seen by Hollywood. This year we are showing a number of Sam Peckinpah’s films (The Wild Bunch, among others). Two years ago we had the extraordinary gift of having Quentin Tarantino present Sergio Corbucci’s spaghetti westerns about the Mexican Revolution. These films had been previously banned in Mexico for its scathing portrayal of the revolution….
It’s a rich diaspora. The Festival supports the future of Mexican Cinema with the best work by the next generation of filmmakers just starting out. It celebrates Mexico of the past, through classics and retrospectives like this year’s homage to cinematographer Jose Ortiz Ramos born in the state of Michoacan, and the other, films about Mexico from outside of Mexico. We attack it on all fronts. This intersection of borders, indigenous films made by indigenous filmmakers who have a permanent space in our festival, film students and history.
C: About the Morelia audience
D: There is a big population of university students which combined with the city’s strong tradition of historical culture, we felt there was potential there. It wasn’t easy at first. I remember programming a Woody Allen film against a block of unknown shorts. We realized that once the tickets for the Woody Allen movie sold out, people who weren’t able to get in, naturally found their way into the shorts program. We are indeed grateful for that audience. Obviously showing Bela Tarr’s epic eight hour Satantango last year would not have worked had we programmed it the first year. We owe a lot of this audience development to our extraordinary colleague and dear friend Joaquin Rodriguez (founding programmer who passed away earlier this year). He worked year round developing that audience. His film appreciation classes there would have space for twenty, and five times the amount of people would show up. This edition is dedicated to him for his consummate professionalism, passion and brilliance.
C: We are a few days away from the 10th edition. How are you feeling now and do you remember how you felt ten years ago at this point?
D: It was one of the most stressful moments in my life because I had no idea how it was going to work. It was terrifying. Today I feel very blessed to have this incredible team because the work is put in by all of us and it would be impossible without the dedicated group assembled who I admire and respect very much. …Every year there is stress. But like they say “If you stop feeling the nerves then quit”. I’m a huge cinephile so I love sharing this gift of film with new audiences. Its endless, there is an endless vault of films to be re-discovered and that’s what I love best that these films return to life. You learn a lot about life seeing film.
Follow the Festival @Ficm. To see the competition lineup click here, and to download this year’s catalogue click here.
- 10/31/2012
- by Christine Davila
- Sydney's Buzz
Above: Ulrich Seidl's Paradise: Love.
The lineup for the 39th Telluride Film Festival has been announced, with the guest programming slot this year being given to Geoff Dyer. His program, along with the Pordenone, Medallion, and Spotlight sections, contain one of the best aspects of the Telluride festival: side-by-side programming of new films with old. Tucked away at the bottom is the program we're most excited about: short films by neglected Hollywood director Jean Negulesco.
Show
The Act Of Killing (Joshua Oppenheimer, Denmark)
Amour (Michael Haneke, Austria)
At Any Price (Ramin Bahrani, Us)
The Attack (Ziad Doueiri, Lebanon/France)
Barbara (Christian Petzold, Germany)
The Central Park Five (Ken Burns, Sarah Burns, David McMahon, Us)
Everyday (Michael Winterbottom, UK)
Frances Ha (Noah Baumbach, Us)
The Gatekeepers (Dror Moreh, Israel)
Ginger And Rosa (Sally Potter, UK)
The Hunt (Thomas Vinterberg, Denmark)
Hyde Park On Hudson (Roger Michell, Us)
The Iceman (Ariel Vromen,...
The lineup for the 39th Telluride Film Festival has been announced, with the guest programming slot this year being given to Geoff Dyer. His program, along with the Pordenone, Medallion, and Spotlight sections, contain one of the best aspects of the Telluride festival: side-by-side programming of new films with old. Tucked away at the bottom is the program we're most excited about: short films by neglected Hollywood director Jean Negulesco.
Show
The Act Of Killing (Joshua Oppenheimer, Denmark)
Amour (Michael Haneke, Austria)
At Any Price (Ramin Bahrani, Us)
The Attack (Ziad Doueiri, Lebanon/France)
Barbara (Christian Petzold, Germany)
The Central Park Five (Ken Burns, Sarah Burns, David McMahon, Us)
Everyday (Michael Winterbottom, UK)
Frances Ha (Noah Baumbach, Us)
The Gatekeepers (Dror Moreh, Israel)
Ginger And Rosa (Sally Potter, UK)
The Hunt (Thomas Vinterberg, Denmark)
Hyde Park On Hudson (Roger Michell, Us)
The Iceman (Ariel Vromen,...
- 8/30/2012
- MUBI
The most secretive of the fall festivals has now been unveiled. Kicking off Friday, Telluride 2012 has revealed their line-up, with highlights including Michael Haneke‘s Amour, Ramin Bahrani‘s At Any Price, Thomas Vinterberg‘s The Hunt, Roger Michell‘s Hyde Park on Hudson, Jacques Audiard‘s Rust & Bone, Noah Baumbach‘s Frances Ha and Sarah Polley‘s Stories We Tell.
Unfortunately absent are a few major titles, including Paul Thomas Anderson‘s The Master, Derek Cianfrance‘s The Place Beyond the Pines, Terrence Malick‘s To the Wonder, Olivier Assayas‘ Something in the Air, but rumors point to Ben Affleck‘s Argo secretly getting a bow there, as they will announce a few more as the festival progresses this weekend. Check out the line-up and press release below, which includes more programs, such as showings of Stalker and Baraka.
The Act Of Killing (d. Joshua Oppenheimer, Denmark, 2012)
Amour (d.
Unfortunately absent are a few major titles, including Paul Thomas Anderson‘s The Master, Derek Cianfrance‘s The Place Beyond the Pines, Terrence Malick‘s To the Wonder, Olivier Assayas‘ Something in the Air, but rumors point to Ben Affleck‘s Argo secretly getting a bow there, as they will announce a few more as the festival progresses this weekend. Check out the line-up and press release below, which includes more programs, such as showings of Stalker and Baraka.
The Act Of Killing (d. Joshua Oppenheimer, Denmark, 2012)
Amour (d.
- 8/30/2012
- by jpraup@gmail.com (thefilmstage.com)
- The Film Stage
It’s rare for a film in Spanish or Portuguese to make it to a U.S. theater. Even within Latin America or Spain, it’s difficult for local films to compete against Hollywood blockbusters. Once in a while, against all odds, Latino films triumph at their local box office. Juan Carlos Rulfo’s De Panzazo (Barely Passing), a Mexican documentary that denounces the education system, clobbered Oscar-nominated films The Artist (Isa:Wild Bunch) in Mexico and Extremely Loud & Incredibly Close taking in $870,000 on its opening weekend this past February. Last year’s Violeta se fue a los cielos (Violeta Went to Heaven) (Isa:Latido Films) peaked as the second highest grossing film in its final weekend in Chilean theaters, beating out Woody Allen’s Midnight in Paris (Isa: Imagina) and the Green Lantern. It ended up being the highest grossing Chilean film of 2011. Directed by the renowned filmmaker Andrés Wood, it was selected as Chile’s official submission for the Best Foreign Language Film Oscar and had its U.S. premiere at Sundance earlier this year. These successes are hard to come by, but a lucky few make it. Here are the most recent box office numbers on the Latino films that broke into the top ten.
Mexico
[Rec]³ Génesis
The Spanish horror film [Rec]³ Génesis (Isa:Filmax) reached number nine in Mexico making $350,251. The film is the 3rd sequel in the [Rec] franchise. Quarantine was an American remake of the original [Rec]. In the U.S. it will be released on Video on Demand on August 3, and a limited run in theaters starts September 7, 2012.
Argentina
Extraños en la noche
[Rec]³ Génesis made less money in Argentina ($150,391), but reached a higher spot, as the sixth highest grossing film of the weekend.
Ninth place went to Extraños en la noche (Strangers in the Night), a locally produced romantic comedy about a young couple who work as musicians, unhappily performing for tourists.
Brazil
Xingu
Having premiered at Tribeca last week, Xingu (Isa:Rezo Films), a story about environmental activism and inspired by true events in a village of Brazilian Xingu Indians took the ninth spot making $246,772.
Spain
Grupo 7 (Unit 7)
Grupo 7 (Unit 7), a Spanish crime thriller about a police unit on an extremely dangerous special mission, came in at number nine with $282,116. It was just awarded a Special Jury Mention at the Tribeca Film Festival for Best Cinematography.
The most recent box office statistics available on Box Office Mojo for Latin America and Spain are from the weekend of April 20, 2012.
Extraños en la noche...
Mexico
[Rec]³ Génesis
The Spanish horror film [Rec]³ Génesis (Isa:Filmax) reached number nine in Mexico making $350,251. The film is the 3rd sequel in the [Rec] franchise. Quarantine was an American remake of the original [Rec]. In the U.S. it will be released on Video on Demand on August 3, and a limited run in theaters starts September 7, 2012.
Argentina
Extraños en la noche
[Rec]³ Génesis made less money in Argentina ($150,391), but reached a higher spot, as the sixth highest grossing film of the weekend.
Ninth place went to Extraños en la noche (Strangers in the Night), a locally produced romantic comedy about a young couple who work as musicians, unhappily performing for tourists.
Brazil
Xingu
Having premiered at Tribeca last week, Xingu (Isa:Rezo Films), a story about environmental activism and inspired by true events in a village of Brazilian Xingu Indians took the ninth spot making $246,772.
Spain
Grupo 7 (Unit 7)
Grupo 7 (Unit 7), a Spanish crime thriller about a police unit on an extremely dangerous special mission, came in at number nine with $282,116. It was just awarded a Special Jury Mention at the Tribeca Film Festival for Best Cinematography.
The most recent box office statistics available on Box Office Mojo for Latin America and Spain are from the weekend of April 20, 2012.
Extraños en la noche...
- 5/2/2012
- by Vanessa Erazo
- Sydney's Buzz
Guadalajara Wraps and a New Fest Begins
Ficg (pronounced FeeSeeg and standing for the Festival International de Cine in Guadalajara), displayed a new vibrancy. Besides some great films, great attendance and great organization, several Latin American countries are entering the international film business for the first time (Peru and Ecuador) with subsidies from their government pointing to an optimism for film production as an economic factor in their country's growth. I blogged about the Dominican Republic but not about the new Law 226 in Mexico which encourages businesses to invest up to 20 million pesos (U.S.$2 million) or 10% of the taxes they owed the previous year (whichever is higher) into Mexican film production, or Brazilian access to subsidies.
In addition, Guadalajara is becoming known as the Silicon Valley of Mexico as its economy is based especially on information technology with a large number of international firms having facilities there. It is also considered to be the home of Mariachi music. The city is named after the Spanish city of Guadalajara with the name originating from the Arabic word meaning "Valley of Stones". It is the highest ranking major Mexican city and has the second strongest economic potential of any major North American city. Only Chicago scores more highly for sheer economic potential (Per a 2007 report in fDi magazine, an English-language news and foreign direct investment publication owned by The Financial Times Ltd and edited in London). The same research calls Guadalajara the "city of the future" due to its youthful population, low unemployment and large number of recent foreign investment deals. It was also ranked the third most business friendly city in North America.
A new digital film studio is going up. The University is an important center of culture and learning.
And sadly, violence over drugs is not far away. This past Friday, Narco gangs appropriated 25 vehicles in 16 separate incidents – 11 of them in the Guadalajara metropolitan zone where they set fire to them in retaliation for action taken against them in a military action to capture two Mexican drug cartel members. At the Centro Magno festival venue, festival transport staff stopped filmgoers leaving a screening of Andres Wood's Violeta Went to Heaven as they sought to return to the festival's central Expo Center venue, acknowledging concerns for safety. A truck was set on fire not far (but not too close either: at Calzada Lázaro Cárdenas and Mezquite, at la Colonia de El Fresno) from the Expo where the festival was still being held, but there was no disruption of the festival.
Our friend, Hebe Tabachnik, Iberoamerican programmer for the Palm Springs Film Festival is on the jury and writes from there:
Dear friends, in spite of the disruptive and unfortunately deadly incidents in Guadalajara today, all the attendees to the Ficg Guadalajara are Ok. We are sorry this beautiful city and specially its amazing people have to experience this kind of criminal acts. The festival is going ahead with its schedule events, as it should be. Celebrating the arts and show no fear is the best way to manifest against the non sense violence. Viva Guadalajara. Viva Mexico!!!!
The activities of the industry, with meetings about Iberoamerican coproductions with its well presented professional projects, the film market itself with films available to watch up to 2 weeks after the closing, the Cannes Marche Producers Network, Works in Progress, Berlinale's Talent Campus and Doculab, and of course, the festival itself with galas every night, a Focus on U.K. and Mike Leigh, Homages, Mexican and Iberoamerican Competition, Sounds of Cinema, Children's Cinema, Lgbt prizes, Open Air Screenings - all defy easy decision making on how best to spend one's time there.
The prize winners:
PalmarÉS FICG27
Premio Maguey
Mención Especial
“Todo el mundo tiene alguien menos yo” (México) Dir. Raúl Fuentes
Premio Maguey
“Mía“ (Argentina) Dir. Javier van de Couter
Premio del Público Milenio
“Espacio Interior“ (México) Dir. Kai Parlange
Premio Mezcal
“Un mundo secreto“ (México) Dir. Gabriel Mariño
Premio Cinecolor
“Un mundo secreto“ (México) Dir. Gabriel Mariño
Mejor Cortometraje de Animación - Premio Rigo Mora
“Un ojo” (México) Dir. Lorenza Manrique
Mejor Cortometraje Iberoamericano
“Minuto 200” (Colombia) Dir. Frank Benítez
Mejor Cortometraje Mexicano
“Lucy vs. los límites de la voz” (México) Dir. Mónica Herrera
Largometraje Iberoamericano Documental
Mención Especial
“El salvavidas“ (Chile) Dir. Maite Alberdi
Mejor Documental Iberoamericano
“ ¡Vivan las antípodas! “(Argentina - Chile - Alemania - Holanda) Dir. Víctor Kossakovsky
Largometraje Mexicano Documental
Mención Especial
“Carrière, 250 metros” Dir. Juan Carlos Rulfo y Natalia Gil
Mención Especial
“El paciente interno” Dir. Alejandro Solar
Mejor Documental Mexicano
“Cuates de Australia” Everardo González
Largometraje de Ficción Iberoamericana
Mejor Guion
Jaime Osorio por “El páramo” (Colombia)
Mejor Fotografía
Mauro Pinheiro Jr. por “Sudoeste” (Brasil)
Mejor Actriz
Francisca Gavilán por “Violeta se fue a los cielos” (Chile)
Mejor Actor
Andrés Crespo por “Pescador” (Ecuador)
Premio Especial del Jurado
“Los pasos dobles” (España - Suiza) Dir. Isaki Lacuesta
Mejor Opera Prima
“Transeunte” (Brasil) Dir. Eryk Rocha
Mejor Director
Sebastián Cordero por “Pescador” (Ecuador)
Mejor Película Iberoamericana
"Abrir puertas y ventanas" (Argentina) "Dir. Milagros Mumenthaler
Largometraje de Ficción Mexicana
Mención Especial
Música Original de "Días de gracia"
Mejor Guion
Miguel Bonilla por “Diente por diente”
Mejor Fotografía
Jerónimo Rodríguez por “Todo el mundo tiene a alguien menos yo”
Mejor Actriz
Martha Higareda por “Mariachi Gringo”
Mejor Actor
Kuno Becker por “Espacio Interior”
Mejor Opera Prima
"El fantástico mundo de Juan Orol" Dir. Sebastián del Amo
Mejor Director
Everardo Gout por “Días de gracia”.
Mejor Película
“Mariachi Gringo” Dir. Tom Gustafson
alt=premios-paralelos>
Premio de los Niños
“El secreto del medallón de jade” (México) Dir. Rodolfo Guzmán y Leopoldo Aguilar
Premio Feisal
Mención Especial
“No hay lugar lejano” (México) Dir. Michelle Ibaven
Mención Especial
“Oro Colombiano: 400 años de música del alma” (Colombia) Dir. Sanjay Agarwal e Iván Higa
Premio Feisal
“75 habitantes, 20 casas, 300 vacas” (Argentina) Dir. Fernando Domínguez
Premio Fipresci
“Violeta se fue a los cielos” (Chile) Dir. Andrés Wood
Guerrero de la Prensa
Mejor largometraje de ficción “Días de gracia” (México) Dir. Everardo Gout Mejor largometraje documental “El paciente interno” (México) Dir. Alejandro Solar
Academia Jalisciense de Cinematografía
Mejor cortometraje jalisciense “La noria” Dir. Karla Castañeda Mejor largometraje jalisciense “Fecha de caducidad” Dir. Kenya Márquez
No sooner does this festival and market wrap when a new Mexican festival, the Riviera Maya Film Festival, begins March 20 - 25 which will play in Cancun, Playa del Carmen, Tulum, Cozumel and Holbox. The industry component Rivieralab, a coproduction event will take place in Quintana Roo March 22-25 and will host 158 projects from Latin America and Europe. 10 projects will be showcased to financiers, fund representatives, producers and sales agents, 3 will receive 200,000 pesos or approximately Us$15,500. 8 international works in progress at post-production stage from a pool of 40 will be selected to receive support.
Ficg (pronounced FeeSeeg and standing for the Festival International de Cine in Guadalajara), displayed a new vibrancy. Besides some great films, great attendance and great organization, several Latin American countries are entering the international film business for the first time (Peru and Ecuador) with subsidies from their government pointing to an optimism for film production as an economic factor in their country's growth. I blogged about the Dominican Republic but not about the new Law 226 in Mexico which encourages businesses to invest up to 20 million pesos (U.S.$2 million) or 10% of the taxes they owed the previous year (whichever is higher) into Mexican film production, or Brazilian access to subsidies.
In addition, Guadalajara is becoming known as the Silicon Valley of Mexico as its economy is based especially on information technology with a large number of international firms having facilities there. It is also considered to be the home of Mariachi music. The city is named after the Spanish city of Guadalajara with the name originating from the Arabic word meaning "Valley of Stones". It is the highest ranking major Mexican city and has the second strongest economic potential of any major North American city. Only Chicago scores more highly for sheer economic potential (Per a 2007 report in fDi magazine, an English-language news and foreign direct investment publication owned by The Financial Times Ltd and edited in London). The same research calls Guadalajara the "city of the future" due to its youthful population, low unemployment and large number of recent foreign investment deals. It was also ranked the third most business friendly city in North America.
A new digital film studio is going up. The University is an important center of culture and learning.
And sadly, violence over drugs is not far away. This past Friday, Narco gangs appropriated 25 vehicles in 16 separate incidents – 11 of them in the Guadalajara metropolitan zone where they set fire to them in retaliation for action taken against them in a military action to capture two Mexican drug cartel members. At the Centro Magno festival venue, festival transport staff stopped filmgoers leaving a screening of Andres Wood's Violeta Went to Heaven as they sought to return to the festival's central Expo Center venue, acknowledging concerns for safety. A truck was set on fire not far (but not too close either: at Calzada Lázaro Cárdenas and Mezquite, at la Colonia de El Fresno) from the Expo where the festival was still being held, but there was no disruption of the festival.
Our friend, Hebe Tabachnik, Iberoamerican programmer for the Palm Springs Film Festival is on the jury and writes from there:
Dear friends, in spite of the disruptive and unfortunately deadly incidents in Guadalajara today, all the attendees to the Ficg Guadalajara are Ok. We are sorry this beautiful city and specially its amazing people have to experience this kind of criminal acts. The festival is going ahead with its schedule events, as it should be. Celebrating the arts and show no fear is the best way to manifest against the non sense violence. Viva Guadalajara. Viva Mexico!!!!
The activities of the industry, with meetings about Iberoamerican coproductions with its well presented professional projects, the film market itself with films available to watch up to 2 weeks after the closing, the Cannes Marche Producers Network, Works in Progress, Berlinale's Talent Campus and Doculab, and of course, the festival itself with galas every night, a Focus on U.K. and Mike Leigh, Homages, Mexican and Iberoamerican Competition, Sounds of Cinema, Children's Cinema, Lgbt prizes, Open Air Screenings - all defy easy decision making on how best to spend one's time there.
The prize winners:
PalmarÉS FICG27
Premio Maguey
Mención Especial
“Todo el mundo tiene alguien menos yo” (México) Dir. Raúl Fuentes
Premio Maguey
“Mía“ (Argentina) Dir. Javier van de Couter
Premio del Público Milenio
“Espacio Interior“ (México) Dir. Kai Parlange
Premio Mezcal
“Un mundo secreto“ (México) Dir. Gabriel Mariño
Premio Cinecolor
“Un mundo secreto“ (México) Dir. Gabriel Mariño
Mejor Cortometraje de Animación - Premio Rigo Mora
“Un ojo” (México) Dir. Lorenza Manrique
Mejor Cortometraje Iberoamericano
“Minuto 200” (Colombia) Dir. Frank Benítez
Mejor Cortometraje Mexicano
“Lucy vs. los límites de la voz” (México) Dir. Mónica Herrera
Largometraje Iberoamericano Documental
Mención Especial
“El salvavidas“ (Chile) Dir. Maite Alberdi
Mejor Documental Iberoamericano
“ ¡Vivan las antípodas! “(Argentina - Chile - Alemania - Holanda) Dir. Víctor Kossakovsky
Largometraje Mexicano Documental
Mención Especial
“Carrière, 250 metros” Dir. Juan Carlos Rulfo y Natalia Gil
Mención Especial
“El paciente interno” Dir. Alejandro Solar
Mejor Documental Mexicano
“Cuates de Australia” Everardo González
Largometraje de Ficción Iberoamericana
Mejor Guion
Jaime Osorio por “El páramo” (Colombia)
Mejor Fotografía
Mauro Pinheiro Jr. por “Sudoeste” (Brasil)
Mejor Actriz
Francisca Gavilán por “Violeta se fue a los cielos” (Chile)
Mejor Actor
Andrés Crespo por “Pescador” (Ecuador)
Premio Especial del Jurado
“Los pasos dobles” (España - Suiza) Dir. Isaki Lacuesta
Mejor Opera Prima
“Transeunte” (Brasil) Dir. Eryk Rocha
Mejor Director
Sebastián Cordero por “Pescador” (Ecuador)
Mejor Película Iberoamericana
"Abrir puertas y ventanas" (Argentina) "Dir. Milagros Mumenthaler
Largometraje de Ficción Mexicana
Mención Especial
Música Original de "Días de gracia"
Mejor Guion
Miguel Bonilla por “Diente por diente”
Mejor Fotografía
Jerónimo Rodríguez por “Todo el mundo tiene a alguien menos yo”
Mejor Actriz
Martha Higareda por “Mariachi Gringo”
Mejor Actor
Kuno Becker por “Espacio Interior”
Mejor Opera Prima
"El fantástico mundo de Juan Orol" Dir. Sebastián del Amo
Mejor Director
Everardo Gout por “Días de gracia”.
Mejor Película
“Mariachi Gringo” Dir. Tom Gustafson
alt=premios-paralelos>
Premio de los Niños
“El secreto del medallón de jade” (México) Dir. Rodolfo Guzmán y Leopoldo Aguilar
Premio Feisal
Mención Especial
“No hay lugar lejano” (México) Dir. Michelle Ibaven
Mención Especial
“Oro Colombiano: 400 años de música del alma” (Colombia) Dir. Sanjay Agarwal e Iván Higa
Premio Feisal
“75 habitantes, 20 casas, 300 vacas” (Argentina) Dir. Fernando Domínguez
Premio Fipresci
“Violeta se fue a los cielos” (Chile) Dir. Andrés Wood
Guerrero de la Prensa
Mejor largometraje de ficción “Días de gracia” (México) Dir. Everardo Gout Mejor largometraje documental “El paciente interno” (México) Dir. Alejandro Solar
Academia Jalisciense de Cinematografía
Mejor cortometraje jalisciense “La noria” Dir. Karla Castañeda Mejor largometraje jalisciense “Fecha de caducidad” Dir. Kenya Márquez
No sooner does this festival and market wrap when a new Mexican festival, the Riviera Maya Film Festival, begins March 20 - 25 which will play in Cancun, Playa del Carmen, Tulum, Cozumel and Holbox. The industry component Rivieralab, a coproduction event will take place in Quintana Roo March 22-25 and will host 158 projects from Latin America and Europe. 10 projects will be showcased to financiers, fund representatives, producers and sales agents, 3 will receive 200,000 pesos or approximately Us$15,500. 8 international works in progress at post-production stage from a pool of 40 will be selected to receive support.
- 3/12/2012
- by Sydney Levine
- Sydney's Buzz
Mexico City -- The Mexican film De Panzazo raked in $870,000 on its opening weekend and pulled off an impressive feat for a locally-produced documentary: it outperformed several Oscar contenders. Photos: Academy Awards 2012: The Winners Directed by Juan Carlos Rulfo (Those Who Remain) and narrated by Televisa news anchor Carlos Loret de Mola, the Michael Moore-style De Panzazo (literally translated as "barely passing") denounces Mexico's education system and its flawed teachers union. Opening on 200-plus screens Friday, the film went on over the weekend to beat out Academy Award winner The Artist and best
read more...
read more...
- 2/27/2012
- by John Hecht
- The Hollywood Reporter - Movie News
Guatemala and Mexico release secret documents and artefacts for forthcoming film Revelations of the Mayans 2012 and Beyond
The ancient Mayans had contact with alien visitors who left behind evidence of their existence, according to a new Mexican documentary.
Sundance winner Juan Carlos Rulfo's Revelations of the Mayans 2012 and Beyond is currently in production for release next year to coincide with the end of the Mayan calendar, reports the Wrap.
Producer Raul Julia-Levy said the documentary-makers were working in cooperation with the Mexican government for what he said was "the good of mankind". He said the order to collaborate had come directly from the country's president, Álvaro Colom Caballeros.
"Mexico will release codices, artefacts and significant documents with evidence of Mayan and extraterrestrial contact, and all of their information will be corroborated by archaeologists," he said. "The Mexican government is not making this statement on their own – everything we say,...
The ancient Mayans had contact with alien visitors who left behind evidence of their existence, according to a new Mexican documentary.
Sundance winner Juan Carlos Rulfo's Revelations of the Mayans 2012 and Beyond is currently in production for release next year to coincide with the end of the Mayan calendar, reports the Wrap.
Producer Raul Julia-Levy said the documentary-makers were working in cooperation with the Mexican government for what he said was "the good of mankind". He said the order to collaborate had come directly from the country's president, Álvaro Colom Caballeros.
"Mexico will release codices, artefacts and significant documents with evidence of Mayan and extraterrestrial contact, and all of their information will be corroborated by archaeologists," he said. "The Mexican government is not making this statement on their own – everything we say,...
- 9/29/2011
- by Ben Child
- The Guardian - Film News
Guatemala and Mexico release secret documents and artefacts for forthcoming film Revelations of the Mayans 2012 and Beyond
The ancient Mayans had contact with alien visitors who left behind evidence of their existence, according to a new Mexican documentary.
Sundance winner Juan Carlos Rulfo's Revelations of the Mayans 2012 and Beyond is currently in production for release next year to coincide with the end of the Mayan calendar, reports the Wrap.
Continue reading...
The ancient Mayans had contact with alien visitors who left behind evidence of their existence, according to a new Mexican documentary.
Sundance winner Juan Carlos Rulfo's Revelations of the Mayans 2012 and Beyond is currently in production for release next year to coincide with the end of the Mayan calendar, reports the Wrap.
Continue reading...
- 9/29/2011
- by Ben Child
- The Guardian - Film News
We may have watched some of these before, but we can watch them again on the big screen at the The State Theatre of Modesto. The Modesto Film Society and others have sponsored movies from classic, to cult classics, independent and even musicals. The highlight of the line up is the Grease Sing-a-Long movie (it has the words captioned on the bottom like in karaoke). The State Theatre obtained the newly restored 35mm print that is only available in select theaters. They are hosting an interactive viewing; you can actually dress up as your favorite characters from the movie. So, break out the pink satin jackets and saddle shoes to compete for prizes. This movie would not really be a sing-a-long if you had to sit quietly and watch, so you can dance and sing in the aisles. If you are a fan of the movie this must be intriguing.
- 9/17/2010
- by thekiddianna
- Examiner Movies Channel
Filmmaker Juan Carlos Rulfo brings us the wonderful documentary In The Pit (En El Hoyo) about the countless Mexican workers labouring to construct the massive second story of the Periferico freeway in Mexico City filmed during March 2003 to December 2005. Focusing on a handful of the tireless workers who are no more than just regular everyday men we get to follow them as they work and talk about poverty, their colleagues, their personal lives and a belief that according to Mexican legend that for every bridge built the devil would ask for one soul so that the bridge never fell.
Among the whole host of nicknamed characters we are introduced to there are a host of characters that instantly grab your attention in the film, first is “Shorty” who has a calming and likable ‘live and let live’ attitude to his personal and working life while close friend and colleague “El...
Among the whole host of nicknamed characters we are introduced to there are a host of characters that instantly grab your attention in the film, first is “Shorty” who has a calming and likable ‘live and let live’ attitude to his personal and working life while close friend and colleague “El...
- 6/18/2010
- by Gary Phillips
- HeyUGuys.co.uk
The Scorecard Review will be there to cover the interviews, movie reviews and red carpet moments of the Chicago International Film Festival in October. Here’s a list of 21 movies that will be a part of the event. We’ll have all the news you’ll need to be ready for the fest right here.
October 8 – 22, 2009
Chicago, September 16, 2009 – Cinema/Chicago is proud to announce another 20 films that will appear at this year’s Chicago International Film Festival. From dazzling CGI animation to tales of existential ennui and little white lies gone wrong, The 45th Chicago International Film Festival promises an impressive array of diverse films that will excite cinema fans in Chicago and beyond. Below is a newly released sampling of the 145 films that will be shown at this year’s Chicago International Film Festival, which will take place October 8th through the 22nd at the AMC River East 21 Theater (322 E.
October 8 – 22, 2009
Chicago, September 16, 2009 – Cinema/Chicago is proud to announce another 20 films that will appear at this year’s Chicago International Film Festival. From dazzling CGI animation to tales of existential ennui and little white lies gone wrong, The 45th Chicago International Film Festival promises an impressive array of diverse films that will excite cinema fans in Chicago and beyond. Below is a newly released sampling of the 145 films that will be shown at this year’s Chicago International Film Festival, which will take place October 8th through the 22nd at the AMC River East 21 Theater (322 E.
- 9/19/2009
- by Jeff Bayer
- The Scorecard Review
The 2009 Los Angeles Film Festival just wrapped up on June 28 and the Independent Film Alliance has announced the award-winners at this year's festival. Take a look at the full list of award winners below.
Target Filmmaker Award (for Best Narrative Feature)
Winner: Wah Do Dem (What They Do) written and directed by Sam Fleischner & Ben Chace
Producers: Sam Fleischner, Katina Hubbard, Ben Chace, Martha Lapham, Henry Kasdon
Cast: Sean Bones, Norah Jones, Kevin Bewersdorf, Carl Bradshaw
Film Description: Max's dream Caribbean cruise becomes a solitary odyssey after his girlfriend dumps him days before their departure. Now, he'll have to go with the Jamaican flow in this disarming and incisive debut feature.
The Target Filmmaker Award carries an unrestricted cash prize of $50,000 funded by Target, offering the financial means to help filmmakers transfer their vision to the screen. The award recognizes the finest narrative film in competition, and is given to the director.
Target Filmmaker Award (for Best Narrative Feature)
Winner: Wah Do Dem (What They Do) written and directed by Sam Fleischner & Ben Chace
Producers: Sam Fleischner, Katina Hubbard, Ben Chace, Martha Lapham, Henry Kasdon
Cast: Sean Bones, Norah Jones, Kevin Bewersdorf, Carl Bradshaw
Film Description: Max's dream Caribbean cruise becomes a solitary odyssey after his girlfriend dumps him days before their departure. Now, he'll have to go with the Jamaican flow in this disarming and incisive debut feature.
The Target Filmmaker Award carries an unrestricted cash prize of $50,000 funded by Target, offering the financial means to help filmmakers transfer their vision to the screen. The award recognizes the finest narrative film in competition, and is given to the director.
- 6/30/2009
- MovieWeb
The Los Angeles International Film Festival, which ran from June 18-28, has decided on its winners. Here’s a breakdown of what films and filmmakers came away with awards.
Sam Fleischner and Ben Chace’s Wah Do Dem (What They Do) earned the Target Filmmaker Award for best narrative film, while Juan Carlos Rulfo and Carlos Hagerman’ Those Who Remain (Los Que se Quedan) took home the Target Documentary Award. The two top festival awards, which have a $50,000 cash prize each that go to the directors, were announced at Film Independent’s Filmmaker Awards Ceremony Brunch at the Hammer Museum in Westwood.
Wah Do Dem is the story a man who takes a Caribbean cruise alone after he is dumped by his girlfriend. Those Who Remain looks at Mexican families who are left behind after some of their family members emigrate north. This year the fest also presented a new award,...
Sam Fleischner and Ben Chace’s Wah Do Dem (What They Do) earned the Target Filmmaker Award for best narrative film, while Juan Carlos Rulfo and Carlos Hagerman’ Those Who Remain (Los Que se Quedan) took home the Target Documentary Award. The two top festival awards, which have a $50,000 cash prize each that go to the directors, were announced at Film Independent’s Filmmaker Awards Ceremony Brunch at the Hammer Museum in Westwood.
Wah Do Dem is the story a man who takes a Caribbean cruise alone after he is dumped by his girlfriend. Those Who Remain looks at Mexican families who are left behind after some of their family members emigrate north. This year the fest also presented a new award,...
- 6/29/2009
- by Matt Raub
- The Flickcast
- Spain: Local Film Scene Teaserland is a very unique film festival. It is solely comprised of film trailers for films that do not exist. This is exactly the point of this brand new festival created under the guidance of the Sitges Film Fest folk. The winner walks away is with 30.000€ and so his/her trailer has the opportunity to take the shape of an actual short film. The competition, which started more as a funny, crazy idea than anything else has up to this point received more than one thousand fake trailers. Among the jury we find the influential figures of the Spanish cinema in: director Jaume Balagueró (Rec) and film critics Jaume Figueres and Mirito Torreiro. There are only 4 trailers remaining in the competition and every week one of them is eliminated via a popularity vote on the fest's website. You can go ahead and vote for your favorite at www.
- 5/28/2009
- IONCINEMA.com
Universal Pictures' "Public Enemies," starring Johnny Depp as John Dillinger, will screen as the Centerpiece Premiere at the Los Angeles Film Festival, which runs June 18-28.
Directed by Michael Mann, whose "Collateral" screened as a sneak peek at the festival five years ago, "Enemies" also stars Christian Bale and Marion Cotillard. The film opens nationally July 1.
Organized by Film Independent, the fest announced the bulk of its lineup Tuesday,encompassing more than 70 feature films, 70 shorts and 50 music videos drawn from more than 30 countries.
Said Rebecca Yeldham, who recently stepped into her new role as the festival's director: "The Laff is a celebration of culture, cinema and community. We're dedicated to our public, and we're dedicated to our filmmakers. We see ourselves as part of the international community of artists and passionate cinephiles."
Joining Yeldham and programming director Rachel Rosen at the Hotel Palomar in Westwood, actors Gael Garcia Bernal...
Directed by Michael Mann, whose "Collateral" screened as a sneak peek at the festival five years ago, "Enemies" also stars Christian Bale and Marion Cotillard. The film opens nationally July 1.
Organized by Film Independent, the fest announced the bulk of its lineup Tuesday,encompassing more than 70 feature films, 70 shorts and 50 music videos drawn from more than 30 countries.
Said Rebecca Yeldham, who recently stepped into her new role as the festival's director: "The Laff is a celebration of culture, cinema and community. We're dedicated to our public, and we're dedicated to our filmmakers. We see ourselves as part of the international community of artists and passionate cinephiles."
Joining Yeldham and programming director Rachel Rosen at the Hotel Palomar in Westwood, actors Gael Garcia Bernal...
- 5/5/2009
- by By Gregg Kilday and Jay A. Fernandez
- The Hollywood Reporter - Movie News
Press Release 108 films from 40 countries will compete in Documenta Madrid 09 • 108 documentaries selected from among the 1000 films presented to the competition will participate in the Competitive Sections, which have a strong Spanish representation. • Chema Rodríguez has two films in the Official Section, with his full-length Coyote and his short film Triste Borracha. • The Spanish-Dutch director Sonia Herman Dolz, the Mexican Juan Carlos Rulfo, the Chilean Ignacio Agüero Piwonka return to the festival to compete for the Award for Best Full-length Film. Madrid, 14 abril -’09 In its 6th year, Documenta Madrid furthers its commitment to the Competitive Sections, which are made up entirely of films previously unreleased in Spain for the first time in its history. Of the 1078 documentaries received to participate in the competition, 108 have been selected. By category, they will compete in: 54 films in the Original Documentary Section (22 full-length films and [...]...
- 4/14/2009
- by Andre Soares
- Alt Film Guide
Mos Def, Polley on Sundance jury
Actor-rapper Mos Def, director Catherine Hardwicke, Film Independent executive director Dawn Hudson, film editor Pamela Martin and actress-director Sarah Polley will serve as jurors for the U.S. dramatic film competition at the 2007 Sundance Film Festival, which begins today in Park City and runs through Jan. 28.
The U.S. documentary competition jury consists of filmmaker Alan Berliner, film editor Lewis Erskine, photographer and docu director Lauren Greenfield, docu filmmaker Julia Reichert and producer-director Carlos Sandoval.
The jury for the world dramatic competition will be made up of editor-turned-director Carlos Bolado, director Lynne Ramsay and director U-Wei Bin Haji Saari.
For the world documentary competition, the jurors are writer-director-producer Raoul Peck, docu filmmaker Juan Carlos Rulfo and Elizabeth Weatherford, founding director of the Film and Video Center of the Smithsonian National Museum of the American Indian.
The American and international shorts will be judged by director Jared Hess, film critic and festival director Daniela Michel and Mark Rosenberg, founder and artistic director of Rooftop Films.
The U.S. documentary competition jury consists of filmmaker Alan Berliner, film editor Lewis Erskine, photographer and docu director Lauren Greenfield, docu filmmaker Julia Reichert and producer-director Carlos Sandoval.
The jury for the world dramatic competition will be made up of editor-turned-director Carlos Bolado, director Lynne Ramsay and director U-Wei Bin Haji Saari.
For the world documentary competition, the jurors are writer-director-producer Raoul Peck, docu filmmaker Juan Carlos Rulfo and Elizabeth Weatherford, founding director of the Film and Video Center of the Smithsonian National Museum of the American Indian.
The American and international shorts will be judged by director Jared Hess, film critic and festival director Daniela Michel and Mark Rosenberg, founder and artistic director of Rooftop Films.
- 1/18/2007
- The Hollywood Reporter - Movie News
Kino wins rights to Rulfo's 'Pit'
Kino International has picked up U.S. theatrical and television rights to Juan Carlos Rulfo's Mexican feature Into the Pit, the winner of the jury prize for world cinema documentary at January's Sundance Film Festival. "Pit" follows the dangerous lives of workers as they build a section of a freeway in Mexico City. Kino is planning a platform release for the film beginning in January in Los Angeles and New York.
- 11/19/2006
- The Hollywood Reporter - Movie News
- Last Call I caught more than 30 films, but I've managed to miss most of this year's winners. At least I'll have films to look forward to seeing later this year. Here's the remaining batch of reviews followd by the complete list of this year's winners. Richard Glatzer and Wash Westmoreland’s Quinceañera Read review here. Dito Montiel’s A Guide to Recognizing your Saints Read review here. Neil Marshall’s The Descent Read review here. The Grand Jury Prize: Documentary was given to God Grew Tired Of Us, directed by Christopher Quinn. In the late 1980’s, 27,000 Sudanese lost boys marched barefoot over thousands of miles of barren desert, seeking safe haven from the brutal civil war in their homeland. The film chronicles the experiences of three of these boys who seek refuge in the U.S. as they work to adjust to a strange new world. The
- 1/29/2006
- IONCINEMA.com
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