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Netflix is expanding its commitment to Mexican storytelling with the announcement of four brand-new series currently in production. As part of its ongoing $1 billion investment in the country’s creative industry, Netflix continues to deepen its collaboration with local talent and creators, highlighting the authenticity and diversity of Mexican stories.

Among the new titles announced are “Santita,” “Love 9 to 5,” “I’m Not Afraid” and “Corruptors,” all reflecting Netflix’s pledge to showcase Mexican narratives and culture.

“Santita,” directed by Rodrigo García, tells the story of María José Cano, a woman who, after a car accident confines her to a wheelchair, abandons the love of her life at the altar. Now, two decades later, she must face the consequences of her past when he unexpectedly reenters her life. Dubbed “Santita” despite being more sinner than saint, María José’s journey is a wickedly irreverent and unconventional love story. Paulina Dávila and...

Celebrated Argentine filmmaker Victoria Galardi returns to the San Sebastian Film Festival with her latest film in development, “The Hedgehogs “(“Los Erizos”), which participates in the prominent Spanish film event’s co-production forum.

Her dramedy “Cerro Bayo” competed in San Sebastian in 2010 where it won the Tve-Otra Mirada Award. In 2008, “Lovely Loneliness,” which Galardi co-directed with Martin Carranza, vied for the hefty cash prize in the festival’s Zabaltegi New Directors section and brought home a Youth Jury Award. Her 2013 pic “I Thought it was a Party” was nominated by the Argentine Academy for best editing, best cinematography and best production design.

Co-penned by Galardi and Fabian Casas, “The Hedgehogs” revolves around a couple who, after ten years of marriage, decide to separate. To break the news to their young son, they plan one last family trip to the sea. They arrive at an off-season coastal town, greeted by the caretaker,...

The Europe-Latin American Co-Production Forum and Wip Latam industry events are showcasing a wealth of new projects.

The Europe-Latin American Co-Production Forum and Wip Latam industry events are showcasing a selection of upcoming projects from Latin America to potential international partners at San Sebastian this month. Regional trends and financing models will also be in the spotlight.

Fifteen titles are in the Forum - from 222 submissions - and six films will showing a first cut in the Wip section. Both sections will take place from September 25-27.

There is a strong showing from Argentina in the Forum, despite the country’s long-running instability,...

Multi-prized Latin American directors Federico Veiroj, Theo Court, Alicia Scherson and Daniel Hendler head a muscular project lineup at September’s San Sebastian Europe-Latin America Co-Production Forum, the Spanish festival’s industry centerpiece which underscores this year a welling sea-change in the region’s filmmaking.

“The Moneychanger,” the latest film from Uruguay’s Veiroj, was selected for Toronto’s 2019 Platform; “White on White,” from Chile’s Court, won a best director Silver Lion at 2019’s Venice Horizons; Chile’s Alicia Scherson’s debut “Play” snagged new narrative director at Tribeca in 2005: multi-hyphenate Hendler, from Uruguay, scooped best director at Miami for “The Candidate” in 2017.

Also making the cut are Mexico’s Juan Pablo González and Ana Isabel Fernández, director and co-writer of 2022 Sundance Special Jury Prize winner “Dos Estaciones.” Ezequiel Yanco’s “La vida en común” took best documentary at the Biarritz Latin American Festival in 2019.

Mixing top cineasts...

Exclusive: Vix has begun production on 7 new original titles during the second quarter of the year including 6 series and one film. They include the Sofia Vergara-led Koati: Animated Series and the Benicio del Toro-produced film Matar Al Jockey (Kill The Jockey).

“With these 7 new productions we continue to increase our original content offerings on Vix, with stories that appeal to the diverse tastes of our audiences,” said Rodrigo Mazón, Chief Content Officer ViX for TelevisaUnivision, in a statement. “Since the launch, we have been working on a path of constant development and production that we know today strongly reflects and resonates with the audience’s preferences and generates great successes in our service,” he added.

Matar Al Jockey (Kill The Jockey) follows Remo Manfredini, a legend in the world of turf racing whose self-destructive behavior overshadows his great talent. Abril, an up-and-coming jockey, is pregnant by Remo and...

The South American dictatorships of the Seventies continue to provide fertile ground for the makers of tense psychological thrillers, with actress-turned-director Manuela Martelli’s impressive female-centric film following in the footsteps of the likes of Andres Wood (in whose Machuca she features) Pablo Larraín, Benjamín Naishtat (Rojo) and Federico Veiroj (The Moneychanger).

Her focus is Carmen (Aline Küppenheim), the well-heeled wife of a doctor, who used to be a nurse and who is heading with a pot of newly mixed paint to redecorate the family’s beach house, ready for a gathering of her grown up children and grandkids. Martelli flashes her style from the start, a couple of pink paint drops on a shoe almost idly reminiscent of blood, as somewhere outside the shop, someone is being plucked off the street and “disappeared” by Augusto Pinochet’s regime.

As Martelli immerses us in the atmosphere of...

Pantaya, the fast-growing premiere U.S. Hispanic/Latino SVOD service, has signed a multiyear production partnership with Mexico’s Corazón Films, producer and co-creator of smash hit “El Juego de las Llaves” and the anticipated “Mi Tío,” starring José Eduardo Dérbez and Ariadne Díaz.

Both these series were produced with Amazon and Pantaya. The new production partnership now builds on the Pantaya-Corazón Films relationship, seeing Corazón committing to produce premium original series exclusively for the streamer.

First up by way of shows is “Erotica,” described by Pantaya as a “sexy anthology exploring the realm of fantasy in a similar way as ‘Red Shoe Diaries,’ but following the Pov of female desires that is characteristic of Corazón Film’s previous work.”

Airing from August 2019, “El Juego de las Llaves” turned on four young but longterm couples who experiment with swinging.

“Erotica” will mark the debut of eight new female directors in...

Seville’s Ferdydurke Films, the label of San Sebastian and Goya-winning director Fernando Franco, will join forces with San Sebastian’s Kowalski Films and Madrid’s Lazona Films to produce “The Rite of Spring” (“La consacración de la primavera”), Franco’s awaited third feature as a director.

Delayed by Covid-19 – the project was originally presented at Paris forum Small is Beautiful in 2019 – “The Rite of Spring” is scheduled to shoot in the first quarter of 2022.

Also written by Franco, “The Rite of Spring” is backed by Spain’s Icaa film agency, the regional government of Andalusia and Madrid and Andalusian public broadcaster Canal Sur. It turns on Laura, 18, who arrives in Madrid to begin university and, alone, strikes up a friendship with the slightly older David. The film is a coming of age story: While Stravinsky’s work portrayed a sacrificial rite, Franco’s film will look more at the...

Mubi has unveiled their lineup for next month, featuring the exclusive streaming premiere of Frederick Wiseman’s masterful documentary City Hall, the late Monte Hellman’s final film Road to Nowhere, a trio of works by Stephen Cone, two films by Alain Resnais, the multi-month series Sex, Truth, and Videotape: French Feminist Activism, and Abel Ferrara’s Bad Lieutenant.

As a special addition in addition to the regular programming listed below, the new restoration of Meeting the Man: James Baldwin in Paris will be available as a free presentation celebrating Juneteenth, from June 18-19. Timed with the release of his latest gem Undine, a Christian Petzold retrospective continues with his earlier, essential films Yella, Barbara, Ostwärts, and The Warm Money.

Check out the lineup below, with links to reviews where available, and get 30 days of Mubi for free here. One can also check back for our new streaming picks every Friday here.

As British cinemas prepare to reopen, delve into the rich history of films that put movie theatres in the spotlight

At long last, cinemas are reopening on Monday, ending a long winter for those of us who, with due respect to the streaming platforms that fuel this very column, don’t only wish to watch films from the comfort of our living rooms. No amount of technological advancement in home cinema systems can compensate for the communal thrill of big-screen immersion. But for anyone still wary of setting foot back in their local picture house, I thought I’d devote this week’s column to the often grandly atmospheric films set in and around cinemas that you can nonetheless stream from a cautious distance.

Some of the first titles I thought of turned out to be, perhaps with appropriate resistance to modernity, unavailable to stream. You’ll have to order...

An almost suffocating air of secrecy permeates Azor, a Swiss-Argentinean coproduction concerning the mutual suspicion and damnable complicity of patrician North Atlantic capitalism and repressive regimes in the postcolonial Global South. The year is 1980, and a private banker from Geneva circulates among the Buenos Aires elite. This is at the height of the Dirty War, though so absolute is the Swiss banker’s discretion—so clean his hands—that the military junta’s crimes against its people feel as suggestively peripheral to the film’s narrative as the word “disappeared” implies. Filmmaker Andreas Fontana’s debut feature is a film of almost Le Carréan subtlety, of oblique plotting, crouching dialogue, and guarded performances masking sinister realpolitik.

Yvan De Wiel (Fabrizio Rongione), the third-generation scion of a Swiss private banking family—as Fontana himself is—arrives in Argentina with his wife Ines (Stéphanie Cléau), to meet with clients and colleagues: landowners,...

Uruguay-based director Federico Veiroj, a fixture at the Toronto and San Sebastian Film Festivals, has launched a new company, Keen Tales, which aims to create English-language stories and content for cinema and streaming platforms.

Keen Tales’ intended customers are U.S.-based production companies, and topics will be “thought strategically considering their distribution capacity in the global market,” Veiroj, whose five features have played both Toronto and San Sebastian, told Variety.

U.S. and Uruguay-based, Keen Tales has been co-founded with Martín Molinaro, founding partner of creative agency Kozó, with offices in Argentina, Uruguay and the U.S., and also a newspaper comic strip writer.

Keen Tales’ first slate is called ‘4 + 4,’ a group of eight projects, including four movies and four series, marked by a diversity of genres, formats and audiences, ranging from literary adaptations — strong stories with character-driven content, the partners said — to original, present-day dramatic comedies.

First up is “The Plot,...

The Moneychanger (Así Habló El Cambista) director Federico Veiroj with Anne-Katrin Titze on Alain Delon in Monsieur Klein: "You see all the ambiguity of the time inside his character. That's something that was in fact a reference for me…" Photo: Jared Chambers

Uruguay’s Oscar submission The Moneychanger (Así Habló El Cambista), directed by Federico Veiroj and co-written with Arauco Hernández Holz and Martín Mauregui is based on Juan Enrique Gruber’s novel Thus Spoke The Moneychanger and stars Daniel Hendler, Dolores Fonzi, Luis Machín, and Benjamín Vicuña with Germán de Silva (Pablo Giorgelli’s Las Acacias), Gabriel Perez, and David Roizner Selanikio.

Schweinsteiger (Luis Machín) with Humberto Brause (Daniel Hendler)

During the 57th New York Film Festival, Federico Veiroj joined me for a conversation that led to a discussion of the production design by Pablo Maestre Galli, the editing by Fernando Epstein and Fernando Franco, the fashion of the Fifties,...

Sex in all its permutations dominates this year’s crop of Latin American submissions, whether it be intersex issues in Venezuela’s “Being Impossible,” Bolivia’s homophobia in “Tu Me Manques,” or a transgender’s person’s plight in Panama’s “Everybody Changes.”

“Retablo,” set in a mountaintop hamlet in Peru, is Alvaro Delgado-Aparicio’s nuanced portrait of a young indigenous teen as he struggles with a revelation about his devoted father, exacerbated by the ultra-conservative, religious community they live in.

The Dominican Republic’s Jose Maria Cabral, representing his county for the third time with “The Projectionist,” also dwells on unsettling revelations about parents in the context of a road movie.

Colombian Alejandro Landes’ “Monos” is a breed apart although one of its child soldiers is androgynous in this haunting tropical mash-up of “Apocalypse Now” and “Lord of the Flies.”

Out of the 15 entries this year, four are by women,...

If you’re going to open your film with a sequence straight out of the Bible, you had better not come to play. That’s the gambit Uruguayan director Federico Veiroj lays out at the beginning of The Moneychanger as the film’s titular financier, Daniel Hendler’s Humberto Brause, connects himself to the very profession that Jesus singled […]

The post ‘The Moneychanger’ Review: A Slight Political Drama with a Few Delights [Nyff] appeared first on /Film.

Expanded shortlist of 10 films to be announced on December 16.

The Academy on Monday (7) confirmed that 93 countries have submitted films for consideration in the international feature film category for the 92nd Academy Awards.

Ghana, Nigeria and Uzbekistan are first-time entrants with Kwabena Gyansah’s Azali, Genevieve Nnaji’s Lionheart, and Umid Khamdamov’s Hot Bread, respectively.

Earlier this year, the Academy board voted to rename the category formerly known as foreign language film, and expand the shortlist from nine to 10 films.

The shortlist will be announced on December 16. Nominations for the 92nd Oscars will be unveiled on January 13, 2020, and the Oscars...

Above: French poster for Parasite.This evening the 57th edition of the New York Film Festival comes in like a lion with the world premiere of Martin Scorsese’s The Irishman and, as I’ve been doing every year since 2010, I have tried to collect posters for all of the twenty-nine films in the main slate. Sadly, it’s a rather uninspiring bunch this year, many of them nothing more than an arresting still with the title slapped on, which isn’t unusual for festival posters, but there still seem to be fewer designs of note than usual this year. The most unique poster—to me, though it won’t be to everybody’s taste—is the simple sketch of a bird (a pheasant?) for Angela Shanelec’s I Was at Home, But..., but that poster premiered nine months ago for the film’s Berlin debut. Last year, I had...

Mr. Schweinsteiger (Luis Machín) ran a good game in Uruguay by helping unsavory folks launder money through him for a percentage. He was smart too, refusing to work with politicians knowing they’d eventually screw something up and drag his name down with them. Unfortunately, however, the man he willingly took under his wing as a logical successor and future son-in-law proved greedier than he was intelligent. Humberto Brause (Daniel Hendler) did what Schweinsteiger wouldn’t because the dollar signs were too attractive to be ignored and ultimately suffered the fate his boss always tried to avoid: prison. While that time away didn’t make him any smarter, Humberto did get luckier. More often than not he probably wished the opposite were true since good luck can still get you killed.

Based on the novel by Juan Enrique Gruber, director Federico Veiroj and his co-writers Arauco Hernández Holz and Martín Mauregui...

Uruguayan auteur Federico Veiroj broadens his usual intimate dramatic scope to diminishing returns for his fifth feature, “The Moneychanger,” . Adapted from a novella by compatriot Juan Enrique Gruber, the period (mid-1950s to mid-1970s) tale centers on the eponymous character, an amoral currency exchanger, who winds up laundering some of the dirtiest money in Latin America during an era of military dictatorships, political expediency, brutality and corruption. Beaucoup festival travel is booked, but theatrical play is likely limited to Spanish-language territories.

The moneychanger of the title is the innocuous Humberto Brause, who also provides cynical voiceover narration, as the story jumps forward and back in time and moves between Uruguay, Brazil and Argentina and back again. Brause recounts how he got his start in the business of capital flight, learning from his boss, the refined Schwensteiger (Luís Machín), a classical music-loving gent who eventually becomes his father-in-law. Although Schwensteiger has some scruples,...

Money can't buy you love, but Humberto Brause (Daniel Hendler) doesn't care for such sentiment. To this chicly dressed grifter, cash is the only true beloved. For the two decades (1950s-1970s) covered in Federico Veiroj's lightweight dark comedy, The Moneychanger, Brause takes advantage of the lax economic oversight in his home country of Uruguay. From his office in Montevideo and on numerous trips abroad, he oversees the buying and selling of currency itself, lining his own pockets (often literally whenever he crosses borders) and living the high life.

Or at least trying to live the high life....

Money can't buy you love, but Humberto Brause (Daniel Hendler) doesn't care for such sentiment. To this chicly dressed grifter, cash is the only true beloved. For the two decades (1950s-1970s) covered in Federico Veiroj's lightweight dark comedy, The Moneychanger, Brause takes advantage of the lax economic oversight in his home country of Uruguay. From his office in Montevideo and on numerous trips abroad, he oversees the buying and selling of currency itself, lining his own pockets (often literally whenever he crosses borders) and living the high life.

Or at least trying to live the high life....

Which film will follow on from ‘Roma’ in winning the prize?

Submissions for the best international feature film award at the 2020 Academy Awards have started to come in, and Screen is keeping a running list of each film below.

This is the first year the award will be given under the new name of ‘best international feature film’, after a change in April from ‘foreign-language film’.

Scroll down for latest entries

The eligibility rules remain the same: an international feature film is defined as a feature-length motion picture produced outside the Us with a predominantly non-English dialogue track and can include animated and documentary features.

Films have had a love affair with crime dating back over a century, but the misdeeds showcased are usually a flashy kind that’s grown rare in reality – gangsters, gunplay, and getaways. However, since the financial collapse of 2008, there’s been a realization that white-collar crime often shapes our world to a greater extent, and a subsequent effort by filmmakers has been made to explore more lowkey, opaque financial crimes. White-collar crime proves both the making and unmaking of the title character in Uruguayan director Federico Veiroj’s latest, “The Moneychanger,” a character study of Humberto Brause (Daniel Hendler), a bumbling banker who keeps money flowing for criminals and dictators in 1970s South America.

Continue reading ‘The Moneychanger’: A White-Collar Criminal Gets In Over His Head In Federico Veiroj’s Latest [Tiff Review] at The Playlist.

Money Ain’t for Nothin’: Veiroj Turns to Political Period Caper

A common saying in Montevideo, Uruguay, meant to succinctly condense the city’s appeal and cement its eternal draw is “Because no one here is better than anybody else.” Such may be the subconscious charm to the oddball protagonist of the fifth film from Federico Veiroj, The Moneychanger, (Así habló el cambista) adapted from a 1979 novella by Juan Enrique Gruber. One of Uruguay’s leading contemporary auteurs, who landed in Cannes with his 2008 debut Acne and competed in San Sebastian with The Apostate, Veiroj seems poised for greater international acclaim with his latest, which plays like the unassuming, more realistic Latin American counterpart to something like the Tom Cruise starrer American Made (2017), a Hollywood studio flick concerning a notorious drug-runner during the Iran-Contra Affair.…...

Which film will follow on from ‘Roma’ in winning the prize?

Submissions for the best international feature film award at the 2020 Academy Awards have started to come in, and Screen is keeping a running list of each film below.

This is the first year the award will be given under the new name of ‘best international feature film’, after a change in April from ‘foreign-language film’.

The eligibility rules remain the same: an international feature film is defined as a feature-length motion picture produced outside the Us with a predominantly non-English dialogue track and can include animated and documentary features.

The Uruguayan Film Institute on Tuesday announced that Federico Veiroj's The Moneychanger will be the country's submission in the international feature film category of the 2020 Academy Awards.

A 1970s-set dramedy-thriller starring Uruguay's top actor-director Daniel Hendler (The Candidate, To Fool a Thief) and Argentina's Dolores Fonzi (The Summit), The Moneychanger follows protagonist Humberto Brause (Hendler), a man who furiously throws himself into the buying and selling of currency supported by his father-in-law, a veteran in the business of capital flight. Consumed by his outsized ambition and compulsive drive, Humberto assumes the direction of the family business and ...

The Uruguayan Film Institute on Tuesday announced that Federico Veiroj's The Moneychanger will be the country's submission in the international feature film category of the 2020 Academy Awards.

A 1970s-set dramedy-thriller starring Uruguay's top actor-director Daniel Hendler (The Candidate, To Fool a Thief) and Argentina's Dolores Fonzi (The Summit), The Moneychanger follows protagonist Humberto Brause (Hendler), a man who furiously throws himself into the buying and selling of currency supported by his father-in-law, a veteran in the business of capital flight. Consumed by his outsized ambition and compulsive drive, Humberto assumes the direction of the family business and ...

Madrid — Film Factory Entertainment, a premiere sales agent of Spanish-language films, has acquired sales rights to the U.S., Europe and Asia on Federico Veiroj’s “Asi habló el cambista” (“The Moneychanger”) which has just been announced as one of the 12 titles playing Toronto’s prestigious Platform program.

Buena Vista Intl. will release “The Moneychanger” in Latin America. World premiering at Toronto, “The Moneychanger” will also play the New York and San Sebastian festivals, featuring in the latter’s Horizontes Latinos section.

Veiroj’s fifth feature – after “Acne,” “A Useful Life,” “The Apostate” and “Belmonte” – “The Moneychanger” most certainly marks a step-up in scale and move towards the mainstream while retaining his hallmark sense of humor in a buoyantly withering chronicle.

Written by Veiroj, Arauco Hernandez, a writer on “A Useful Life” and cinematographer on “The Moneychanger,” and Martín Mauregui, co-scribe on Pablo Trapero’s “Lion’s Den,” “Carancho” and “The White Elephant,...

The Toronto International Film Festival has set a slew of films for its Platform strand including the world premiere Sarah Gavron’s Rocks, which will open the programme, and bookened by Pietro Marcello’s Martin Eden.

Suffragette and Brick Lane director Gavron’s Rocks stars Bukky Bakray as a teenager who suddenly finds herself struggling to take care of herself and her younger brother. A film about resilience, joy, and the spirit of girlhood, Rocks follows a teenager who fears that she and her little brother will be forced apart if anyone finds out they are living alone. With the help of her friends, she evades the authorities and navigates the most defining days of her teenage life. Fable Pictures produces.

“Rocks brilliantly reimagines the coming-of-age narrative with a pathos and precision we rarely see,” said Cameron Bailey, Platform Co-Curator and Tiff Artistic Director and Co-Head. “Across only two features,...

The Toronto International Film Festival has announced the fifth edition of its Platform lineup, a director-driven section that aims to showcase original names in international cinema. This year, Platform will screen to 10 feature films, including world premieres from Julie Delpy, Alice Winocour, and Anthony Chen. The section will also host a number of debut films, including Darius Marder’s “Sound of Metal” and David Zonana’s “Workforce.”

Of the 10 features in this year’s selection, 40 percent are directed by women. All but one are world premieres, and they hail from all over the world, including Europe, Latin America, East Asia, and the U.S. Sarah Gavron’s “Rocks,” which follows “a teenager who fears that she and her little brother will be forced apart if anyone finds out they are living alone,” will open the section. The international premiere of Pietro Marcello’s “Martin Eden,” an adaptation of the Jack London...

Sarah Gavron’s “Rocks,” Julie Delpy’s “My Zoe,” Alice Winocur’s “Proxima” and Darius Marder’s “Sound of Metal” are among the 10 films that will make up the competitive Platform section at this year’s Toronto International Film Festival, Tiff organizers announced on Wednesday.

“Rocks,” a coming-of-age story of a teenage girl living alone with her younger brother in London, is the third feature from “Suffragette” and “Brick Lane” director Gavron, and will be the section’s opening-night film.

Italian director Pietro Marcello’s “Martin Eden,” an adaptation of the 1909 novel by Jack London, will close the section.

Also Read: Mister Rogers, the Joker and Judy Garland Are All Headed to Toronto Film Festival

Other films will include “My Zoe,” in which actress-director Delpy stars with Richard Armitage and Daniel Bruhl; “Promixa,” starring Eva Green and Matt Dillon; “Sound of Metal,” with Riz Ahmed and Olivia Cooke; “Wet Season,...

Pietro Marcello’s Martin Eden to close section.

The world premiere of UK filmmaker Sarah Gavron’s Rocks will open the Toronto International Film festival’s (Tiff) Platform section for strong and distinctive directorial voices.

Closing the programme, now in its fifth year, is the international premiere of Pietro Marcello’s Martin Eden, a historical romance drama based loosely on the 1909 novel by Jack London, which will receives its world premiere at Venice.

The roster of 10 features includes four films by women. In addition to Gavron, they are Julie Delpy with genre-bending tale of maternal grief My Zoe , Alice Winocour with Proxima,...

Following the announcements that Martin Scorsese’s The Irishman, Noah Baumbach’s Marriage Story, and Edward Norton’s Motherless Brooklyn would occupy the gala slots at the 57th New York Film Festival, Film at Lincoln Center have now unveiled all 29 films of their Main Slate selection. In terms of highly anticipated fall festival premieres, the lineup includes Kelly Reichardt’s First Cow, Olivier Assayas’ Wasp Network, and Pedro Costa’s Vitalina Varela, as well as a number of favorites from Berlinale and Cannes.

Nyff Director and Selection Committee Chair Kent Jones said, “Cinema is the domain of freedom, and it’s an ongoing struggle to maintain that freedom. It’s getting harder and harder for anyone to make films of real ambition anywhere in this world. Each and every movie in this lineup, big or small, whether it’s made in Italy or Senegal or New York City, is the...

Pedro Almodóvar, Bong Joon-ho, and Kelly Reichardt are some of the auteurs hitting the Big Apple to screen their latest works at this year’s New York Film Festival, which runs Sept. 27-Oct. 13 at the Lincoln Center.

Now in its 57th year, the gathering for cinephiles has become a key stop for moviemakers hoping to propel their films into the awards race. To that end, Almodóvar and Bong will bring “Pain and Glory” and “Parasite,” two movies that earned rave reviews out of Cannes and that look to be major contenders for this year’s foreign language Oscar. Reichardt, an indie maverick who has previously scored with the likes of “Meeks Crossing” and “Night Moves,” will screen “First Cow,” a drama that unfolds in the old West.

Their movies are among the 29 films screening as part of the festival’s main slate. Other films that will get splashy premieres at...

The New York Film Festival has announced its main slate of programming for its 2019 edition, which features films from 17 different countries, including new titles from Nyff regulars and favorites from the international festival circuit as well as some newcomers. Standouts include Bong Joon-ho’s Palme d’Or winner “Parasite,” Céline Sciamma’s “Portrait of a Lady on Fire,” Kelly Reichardt’s “First Cow,” and the late Agnes Varda’s final film, “Varda by Agnes.”

Nine Nyff picks screened at this year’s Cannes Film Festival, including Mati Diop’s “Atlantics: A Ghost Love Story” and Pedro Almodóvar’s “Pain and Glory.” Berlin offerings include Nadav Lapid’s Golden Bear winner “Synonyms” and Angela Schanelec’s “I Was at Home, But…,” which won the Silver Bear for Best Director.

Other filmmakers with new films screening at the festival include Olivier Assayas, Bertrand Bonello, Pedro Costa, Jean-Pierre and Luc Dardenne, Arnaud Desplechin,...

New films from Kelly Reichardt, Agnes Varda, Olivier Assayas and Marco Bellochio will be coming to the 2019 New York Film Festival, Film at Lincoln Center announced on Tuesday.

Among the 29 films, only six female directors are represented: Reichardt, Varda, Celine Sciamma, Mati Diop, Justine Triet and Angela Schanelec. That’s just over 20%, which is better than this year’s competition slates at Cannes (19%) and Venice (10%) — but well below other major festivals like Sundance (46%) and Berlin (40%).

After announcing last week that its opening-night film will be Martin Scorsese’s “The Irishman,” its centerpiece booking will be Noah Baumbach’s “Marriage Story” and its closing-night film will be Edward Norton’s “Motherless Brooklyn,” Nyff unveiled the rest of the 29 films that will make up its main slate, including work from 17 different countries.

Also Read: Agnès Varda Appreciation: She Had Endless Curiosity About People and Filmmaking, And It Shows

The films include Kelly Reichardt’s “First Cow,...

Special Events, Retrospective, Revivals, and more to be announced shortly.

New York Film Festival brass have announced the full line-up, adding Bong Joon Ho’s Palme d’Or winner Parasite, Céline Sciamma’s Portrait Of A Lady On Fire, and Nadav Lapid’s Golden Bear–winner Synonyms,to the roster.

Overall the slate encompasses films from 17 countries and includes Pedro Almodóvar’s Pain And Glory from Spain, Juliano Dornelles’ Cannes Jury Prize–winner Bacurau from Brazil, French auteur Olivier Assayas’ Wasp Network, Mati Diop’s Cannes Grand Prix–winner Atlantics: A Ghost Love Story, Kelly Reichardt’s anticipated First Cow,...

Venice premieres La Llorona and El Príncipe are among the 15 titles.

The line-up for the Horizontes Latinos section at this year’s San Sebastián International Film Festival (September 20-28) includes films that have won awards at Cannes and Sundance.

The strand will showcase 15 Latin American productions of which seven are first or second works. All the titles (except Jayro Bustamante’s La Llorona) are competing for the Horizontes Award, which comes with a €35,000.

Among this year’s line-up is César Díaz’s Critics Week title Our Mothers, which won the Camera d’Or for best first film at Cannes. There...

Colombian drug war saga Birds Of Passage from Cristina Gallego and Ciro Guerra is among more than 20 selections in the eighth Iff Panama’s Iberoamerican line-up.

Colombian drug war saga Birds Of Passage from Cristina Gallego and Ciro Guerra is among more than 20 selections in the eighth Iff Panama’s Iberoamerican line-up.

“This year we bring Iff Panama a creative and intelligent section with the best productions of our cinema,” said Iff artistic director Diana Sanchez. “It is a selection that includes works internationally celebrated by critics and audiences. They are very different films, in genre and theme and countries of production.

The Santa Barbara International Film Festival has announced the lineup for its 34th edition, which takes place from Jan. 30 to Feb. 9. Sixty-three world premieres will debut at the California fest, which is also hosting 59 U.S. premieres from 48 countries. “Diving Deep: The Life and Times of Mike deGruy” will open the festival, with “Spoons: A Santa Barbara Story” closing it.

Sbiff also serves as an awards-season stop, and this year’s honorees include Viggo Mortensen, Glenn Close, Melissa McCarthy, Yalitza Aparicio, Sam Elliott, Elsie Fisher, Claire Foy, Richard E. Grant, Thomasin McKenzie, John David Washington, Steven Yeun, and Michael B. Jordan.

Here’s the lineup:

Babysplitters, USA – World Premiere

Directed by Sam Friedlander

Better Together, USA – World Premiere

Directed by Isaac Hernández

The Bird Catcher, Norway, UK – World Premiere

Directed by Ross Clarke

Cemetery Park, USA – World Premiere

Directed by Brandon Alvis

Diving Deep: The Life and Times of Mike deGruy,...

Uruguayan authorities have created a new Uruguay Audiovisual Fund that offers cash rebates for international productions shooting in Uruguay, as well as extra grants for Uruguayan productions.

Announced last week in Montevideo, and part of a new roadmap for Uruguay’s create industries, news of the new Fund comes days after Matías Ganz’s “Los Indefensos,” an idiosyncratic genre blender, won Le Film Français prize, one of the major awards at Ventana Sur’s Primer Corte pix-in-post strand.

That sums up the current contradiction of Uruguay’s industry. Despite its small size, with a population of just 3.4 million, Uruguay punches above its weight in film terms. It boasts exceptional upscale directors – Federico Veiroj, Alvaro Brechner and Gustavo Hernández are just three – and has seen Uruguayan Fede Alvarez direct two U.S. chart toppers – 2013’s “Evil Dead” and 2016’s “Don’t Breath.”

But Uruguay’s movie industry also suffers from acute under-capitalization: Alvarez works in Hollywood,...

Below you will find an index of our coverage from the Toronto International Film Festival (Tiff) in 2018, as well as our favorite films.Top Picksdaniel KASMANFeatures:1. What You Gonna Do When the World's on Fire? (Roberto Minervini)2. High Life (Claire Denis)3. Monrovia, Indiana (Frederick Wiseman)4. Green Book (Peter Farrelly)5. aKasha (hajooj kuka)6. Rojo (Benjamin Naishtat)7. Roma (Alfonso Cuarón)8. Belmonte (Federico Veiroj)9. If Beale Street Could Talk (Barry Jenkins)10. Hidden Man (Jiang Wen)Shorts:1. Blue (Apichatpong Weerasethakul)2. Arena (Björn Kämmerer)3. Polly One (Kevin Jerome Everson)4. Colophon (Nathaniel Dorsky)5. Please step out of the frame. (Karissa Hahn)6. Wall Unwalled (Lawrence Abu Hamdan)7. Ada Kaleh (Helena Wittmann)8. Alitplano (Malena Szlam)9. Norman Norman (Sophy Romvari)10. Hoarders without Borders, 1.0 (Jodie Mack)Kelley DONG1. "I Do Not Care If We Go Down In History As Barbarians" (Radu Jude)2. High Life (Claire Denis)3. Our Time (Carlos Reygadas)4. Our Body (Han Ka-Ram)5. A Star is Born (Bradley Cooper...

A lot of filmgoers seem perplexed by or vaguely hostile to the the work of Uruguayan director Federico Veiroj, and to his new film Belmonte (2018) in particular. I love and admire all Veiroj’s films on contact, but I understand how he might perturb others. For a filmmaker who seems to work comfortably within the bounds of story-based naturalism, he throws so many wrenches into the works that one needs an experimentalist temperament to stay with him. And yet there’s nothing violent about his subversion: he is always gentle and tender as he destroys our narrative expectations.Belmonte’s story is so simple that there barely seems to be a movie there. The title character (Gonzalo Delgado), a forceful, driven, somewhat successful artist, seems not to have reassembled his life after his divorce from Jeanne (Jeannette Sauksteliskis), who is pregnant by her new partner. His warm relationship with his...

In Belmonte, Federico Veiroj takes the hoary theme of the life/art balance and crafts it into a whole that's quiet, subtle and slightly exasperating. This melancholy story, dealing with an artist approaching middle age who's straddled between the demands of his art and those of the people around him, combines Veiroj’s engagingly fastidious and quirky directorial style — shown to its best advantage in 2011’s multiple award-winning A Useful Life — with a greater emotional range than he has so far delivered. But it’s also less playful, more austere and generally more forbidding than his previous work....

In Belmonte, Federico Veiroj takes the hoary theme of the life/art balance and crafts it into a whole that's quiet, subtle and slightly exasperating. This melancholy story, dealing with an artist approaching middle age who's straddled between the demands of his art and those of the people around him, combines Veiroj’s engagingly fastidious and quirky directorial style — shown to its best advantage in 2011’s multiple award-winning A Useful Life — with a greater emotional range than he has so far delivered. But it’s also less playful, more austere and generally more forbidding than his previous work....

Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSApichatpong Weerasethakul's Blue.The Toronto International Film Festival is continuing to roll out an impressive (and massive) lineup of films, this time for its Masters and Wavelengths sections, including a mysterious 12-minute "portrait of feverish slumber" by Apichatpong Weerasethakul, entitled Blue, the international premiere of Naomi Kawase's Vision, about a woman's search for a Japanese medicinal plant in a strange forest, and the North American premiere of Jia Zhangke's gangster film Ash is Purest White.Recommended VIEWINGWith fall festival season upon us, a slew of new trailers has arrived: Firstly, Gaspar Noé is back with what is destined, based on reviews from Cannes, to be yet another contentious film. Lawrence Garcia wrote about the "virtuosic, infernal" film for Notebook. Here's the U.S. trailer. A sublime, oneiric first trailer for Naomi Kawase's aforementioned Tiff-bound Vision,...

Argentine film agency Meikincine Entertainment has picked up worldwide sales rights to family drama “Belmonte,” the fourth feature by noted Uruguayan-Spanish filmmaker Federico Veiroj. Variety has had exclusive access to the film’s brand new trailer.

“Belmonte” receives this September its world premiere at the Toronto Film Festival and days after will have its European premiere in San Sebastian.

The film portrays Belmonte, a 43-year-old divorced man, with a successful career as a painter but jealous of his ten-year-old daughter Celeste’s new family life. Following the painter’s point of view, the film focuses on the things he is attracted to, and how his sensitivity informs his art.

“In a way, I would like to think the film shows how creativity mixes with domestic life, and how both things couldn’t be separated because neither would make sense without the other,” Veiroj commented.

“Belmonte” marks the first Federico Veiroj...

‘Green Book’, ‘Gloria Bell’ and ’Mid90s’ among titles added.

World premieres of Peter Farrelly’s 1960s-set race drama Green Book starring Viggo Mortensen and Mahershala Ali, Sebastian Lelio’s Gloria remake Gloria Bell starring Julianne Moore, and Jonah Hill’s feature directorial debut Mid90s are among a giant announcement of new titles by the Toronto International Film Festival (Tiff) on Tuesday (August 14).

The selection of films comprises 26 additions to Galas and Special Presentations, 47 Contemporary World Cinema selections, 11 Masters entries, and shorts and features in the Wavelengths section. Earlier in the day Tiff announced the world premieres of Outlaw...

The Cinema Tropical Awards, which honor the best in Latin American film production, have announced the nominees for their seventh annual ceremony. They feature 23 films from eight countries nominated in six different categories: Best Feature Film; Best Documentary Film; Best Director, Feature Film; Best Director, Documentary Film; Best First Film and Best U.S. Latino Film.

Read More: LatinoBuzz: Nominees Announced for the 6th Annual Cinema Tropical Awards

The winners will be announced at a special evening ceremony at The New York Times Company headquarters in New York City on Friday, January 13. The winning films will be showcased as part of the Cinema Tropical Festival at Museum of the Moving Image this winter.

The jury for the festival this year includes the following: Carlos Aguilar, film critic and journalist; Fábio Andrade, film critic and screenwriter; Ela Bittencourt, film critic and programmer; Eric Hynes, Associate Curator of Film, Museum of the Moving Image; Toby Lee,...

Welcome back to the Weekend Warrior, your weekly look at the new movies hitting theaters this weekend, as well as other cool events and things to check out.

This Past Weekend:

As expected, Labor Day weekend wasn’t good for the two new wide releases at all, although the romantic drama The Light Between Oceans (DreamWorks), starring Michael Fassbender and Alicia Vikander, ended up doing far better of the two. Also as expected, Fede Alvarez’s Don’t Breathe (Screen Gems) won the weekend with a four-day total of $19.7 million, a little less than I predicted. The Light Between Oceans ended up with slightly over $6 million, roughly the same as my original prediction but 20th Century Fox’s thriller Morgan, starring Kate Mara, bomb-bomb-bombed with a ridiculously bad four-day opening of just $2.5 million in its first four days. The Mexican comedy No Manches Frida (Lionsgate/Pantelion) ended up faring better in just 362 theaters,...