More interesting news surrounding the wonderful world of Ghostbusters has recently been released ― as the film turns 35 this year. A new documentary called Cleanin' Up the Town: Remembering Ghostbusters is set to premiere at this year's Cannes Film Festival. Also: Hola Mexico Film Festival lineup, and details on both In the Blink of an Eye anthology series and Gunpowder & Sky and Justin Lin's student short film competition.
Ghostbusters Documentary's Cannes Premiere Details: "Leading global distributor Kew Media Distribution has secured international sales rights to a raft of new films that the company will be headlining in Cannes including the stunning and mysterious sci-fi film Deus, rock’n’roll documentary The Quiet One, the retrospective documentary Cleanin’ Up The Town: Remembering Ghostbusters, the bizarre and deceptive documentary The Amazing Johnathan Documentary, the dystopian sci-fi film 2067, and the thriller Itsy Bitsy.
Kew Media Distribution’s Evp of Sales Jonathan Ford...
Ghostbusters Documentary's Cannes Premiere Details: "Leading global distributor Kew Media Distribution has secured international sales rights to a raft of new films that the company will be headlining in Cannes including the stunning and mysterious sci-fi film Deus, rock’n’roll documentary The Quiet One, the retrospective documentary Cleanin’ Up The Town: Remembering Ghostbusters, the bizarre and deceptive documentary The Amazing Johnathan Documentary, the dystopian sci-fi film 2067, and the thriller Itsy Bitsy.
Kew Media Distribution’s Evp of Sales Jonathan Ford...
- 5/10/2019
- by Tamika Jones
- DailyDead
Duck Season
The lovely, unpredictable comedy "Duck Season" marks the arrival of a fresh talent in writer-director Fernando Eimbcke. His script is vibrant with unforced humanist observations, the performances are natural and endearing, and the black-and-white imagery bears a distinct visual style that well serves the present-day tale without overpowering it.
The deceptively simple story of two Mexico City teens wasting time while home alone has enjoyed a warm reception on the festival circuit, reaped 11 Ariel Awards (Mexico's highest film honors) and received a 2006 Independent Spirit Awards nomination for best foreign film. Although its gentle charms and lack of incident might be too low-key for some viewers, positive reviews and word-of-mouth should help the film reach an appreciative audience as it expands beyond Friday's bow in Los Angeles and New York.
On a random Sunday in a working-class Mexico City apartment complex, 14-year-old best friends Flama (Daniel Miranda) and Moko (Diego Catano) are hanging out in Flama's apartment, his mother (Carolina Politi) having left, somewhat nervously, for a social engagement. Video games (Bush vs. bin Laden) are the main attraction for the boys, along with a liter of Coke expertly poured into two giant glasses. The first interruption of their slacker bliss arrives with 16-year-old neighbor Rita (Danny Perea), who needs to borrow their oven in order to bake a cake. While she explores the fridge and kitchen cupboards, helping herself to samples, the boys must contend with a second disruption: a power outage that thrusts them into listless silence. Potato chips don't quite fill the void, so they order pizza.
With the electricity still out in the building, the Telepizza guy must race up many flights to meet the company's 30-minute delivery guarantee. According to the boys' ruthless timing, he arrives 11 seconds late. Thus begins a standoff, with the bespectacled Ulises (Enrique Arreola) refusing to leave until he is paid. The boys stick to their guns, not so much out of principle as from a teen need to test their power through offhand cruelty. Among the film's many strengths is the way the young actors act like kids rather than miniature adults.
A video game challenge ends the impasse between Ulises and Flama, while Rita enlists the mop-headed Moko's assistance in her string of pastry disasters. Such is the "action," the ennui interlaced with deadpan silliness, tentative flirtations, ethical debates and soul-searching confessions. Without show-stopping fireworks, Eimbcke detonates revelations full of compassion and loneliness and the ache of living.
The film's title ("Temporada de Patos" in Spanish) refers to a rather generic landscape painting in Flama's living room. For the boy, it's a symbol of his parents' bitter divorce; for the philosophical Ulises, who reassesses his life in the course of the day, it's a window onto new possibilities.
The good-looking film unfolds almost entirely inside the apartment, with the exception of a few scene-setting exterior shots, one brief dip into magic realism and a winsome visual of the foursome on the balcony, which quotes an iconic series of Beatles album covers. In its affectionate look at this quartet of souls, "Duck Season" is a delight.
Duck Season
Warner Independent Pictures
Warner Independent Pictures and Alfonso Cuaron's Esperanto Filmoj present a Cinepantera, Lulu Producciones and Fidecine production with the support of Instituto Mexicano de Cinematografia
Credits:
Writer-director: Fernando Eimbcke
Script written with the collaboration of Paula Markovitch and the advice of Felipe Cazals
Producer: Christian Valdelievre
Executive producer: Jaime B. Ramos
Director of photography: Alexis Zabe
Production designer: Diana Quiroz
Music: Alejandro Rosso, Liquits
Costume designer: Lissi De La Concha
Editor: Mariana Rodriguez
Cast:
Ulises: Enrique Arreola
Flama: Daniel Miranda
Moko: Diego Catano
Rita: Danny Perea
Flama's mother: Carolina Politi
MPAA rating R
Running time -- 87 minutes...
The deceptively simple story of two Mexico City teens wasting time while home alone has enjoyed a warm reception on the festival circuit, reaped 11 Ariel Awards (Mexico's highest film honors) and received a 2006 Independent Spirit Awards nomination for best foreign film. Although its gentle charms and lack of incident might be too low-key for some viewers, positive reviews and word-of-mouth should help the film reach an appreciative audience as it expands beyond Friday's bow in Los Angeles and New York.
On a random Sunday in a working-class Mexico City apartment complex, 14-year-old best friends Flama (Daniel Miranda) and Moko (Diego Catano) are hanging out in Flama's apartment, his mother (Carolina Politi) having left, somewhat nervously, for a social engagement. Video games (Bush vs. bin Laden) are the main attraction for the boys, along with a liter of Coke expertly poured into two giant glasses. The first interruption of their slacker bliss arrives with 16-year-old neighbor Rita (Danny Perea), who needs to borrow their oven in order to bake a cake. While she explores the fridge and kitchen cupboards, helping herself to samples, the boys must contend with a second disruption: a power outage that thrusts them into listless silence. Potato chips don't quite fill the void, so they order pizza.
With the electricity still out in the building, the Telepizza guy must race up many flights to meet the company's 30-minute delivery guarantee. According to the boys' ruthless timing, he arrives 11 seconds late. Thus begins a standoff, with the bespectacled Ulises (Enrique Arreola) refusing to leave until he is paid. The boys stick to their guns, not so much out of principle as from a teen need to test their power through offhand cruelty. Among the film's many strengths is the way the young actors act like kids rather than miniature adults.
A video game challenge ends the impasse between Ulises and Flama, while Rita enlists the mop-headed Moko's assistance in her string of pastry disasters. Such is the "action," the ennui interlaced with deadpan silliness, tentative flirtations, ethical debates and soul-searching confessions. Without show-stopping fireworks, Eimbcke detonates revelations full of compassion and loneliness and the ache of living.
The film's title ("Temporada de Patos" in Spanish) refers to a rather generic landscape painting in Flama's living room. For the boy, it's a symbol of his parents' bitter divorce; for the philosophical Ulises, who reassesses his life in the course of the day, it's a window onto new possibilities.
The good-looking film unfolds almost entirely inside the apartment, with the exception of a few scene-setting exterior shots, one brief dip into magic realism and a winsome visual of the foursome on the balcony, which quotes an iconic series of Beatles album covers. In its affectionate look at this quartet of souls, "Duck Season" is a delight.
Duck Season
Warner Independent Pictures
Warner Independent Pictures and Alfonso Cuaron's Esperanto Filmoj present a Cinepantera, Lulu Producciones and Fidecine production with the support of Instituto Mexicano de Cinematografia
Credits:
Writer-director: Fernando Eimbcke
Script written with the collaboration of Paula Markovitch and the advice of Felipe Cazals
Producer: Christian Valdelievre
Executive producer: Jaime B. Ramos
Director of photography: Alexis Zabe
Production designer: Diana Quiroz
Music: Alejandro Rosso, Liquits
Costume designer: Lissi De La Concha
Editor: Mariana Rodriguez
Cast:
Ulises: Enrique Arreola
Flama: Daniel Miranda
Moko: Diego Catano
Rita: Danny Perea
Flama's mother: Carolina Politi
MPAA rating R
Running time -- 87 minutes...
- 3/9/2006
- The Hollywood Reporter - Movie News
Tiny 'Duck' wins big at Ariel Awards
MEXICO CITY -- Temporada de Patos (Duck Season), a black-and-white comedy made on a shoestring budget, swept the 47th Ariel Awards ceremony, winning 11 of Mexico's top film prizes, including best picture and director. Tuesday night's event at Mexico City's Palace of Fine Arts belonged to Duck Season director Fernando Eimbcke, who also walked away with awards for best first work and original screenplay. Eimbcke co-wrote the story about three teens battling boredom in a Mexico City apartment. Cine Pantera and Lulu co-produced the picture, which cost slightly less than $1 million. Duck Season also claimed prizes for best actor, Enrique Arreola, and actress, Danny Perea. Last year the movie won a record seven awards at the Guadalajara Film Festival and walked away with the Grand Jury Prize at the AFI fest. Producer Christian Valdelievre said he is still shopping for a distribution deal in the U.S. market.
- 3/30/2005
- The Hollywood Reporter - Movie News
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