On Wednesday, May 27th, Premios Platino's hosts Alessandra Rosaldo and Juan Carlos Arciniegas alongside actor Eugenio Derbez, as well as Elvi Cano (Director Egeda Us) and Gonzalo Elvira (Fipca Mexico) will announce the nominees for the Awards in Los Angeles, CA.
During the press conference Mexican actress Kate Del Castillo will announce the recipient of the Premio de Honor (Lifetime Achievement Award). In addition Rick Nicita, Chairman of the American Cinematheque, will accept a special Platino Award to The American Cinematheque for its contribution to Iberoamerican Cinema.
Produced by Egeda, in collaboration with Fipca, the Premios Platino of Iberoamerican Cinema was born with the vocation to establish itself as a major international ceremony, promoting Latin American cinema as a whole and transcending borders. It is one of the most important tools to promote and support our film industry and all the professionals who, day after day, put forth all their effort and commitment so that audiences can enjoy the best films.
The candidates for the 2nd Platino Awards (Premios Platino) were announced during the 18th Málaga Film Festival in Spain. 73 feature films and 18 Ibero- American countries compete for the final nominations in the 14 categories for this prestigious award. The competing films had to be commercially released or premiered in an A-List Film Festival during 2014. The final nominations will be announced tomorrow at the Andaz Hotel West Hollywood. The Premios Platino Award Ceremony will take place on July 18, 2015 at Starlite Marbella in Spain.
As part of the same event The Premios Platino has distinguished the Málaga Film Festival with a special award for its contribution to the circulation and promotion of Spanish and Ibero- American cinema.
Here is the list of preselected candidates in each category ahead of tomorrow's final nominations
Premio Platino for the Best Ibero-American Fictional Film
· "Cantinflas"
(Kenio Films) (Mexico).
· "Conducta" (Behavior)
(Instituto Cubano Del Arte E Industria Cinematográfica, Rtv Comercial) (Cuba).
· "El Mudo" (The Mute)
(Maretazo Cine, Urban Factory) (Peru, Mexico).
· "El Niño"
(Vaca Films Studio, S.L., Telecinco Cinema, S.A., Ikiru Films, S.L., La Ferme! Productions, El Niño la película, A.I.E.) (Spain).
· "La Danza de la Realidad" (The Dance of Reality)
(Camera One, Pathe Y Le Soleil Films) (Chile).
· "La Dictadura Perfecta" (The Perfect Dictatorship)
(Imcine - Instituto Mexicano De Cinematografía, Estudios Churubusco Azteca, S.A., Bandidos Films, Fidecine, Eficine 226) (Mexico).
· "La Isla Mínima" (Marshland)
(Antena 3 Films, S.L., Atípica Films, S.L. y Sacromonte Films S.L.) (Spain).
· "Libertador" (The Liberator)
(Producciones Insurgentes, San Mateo Films) (Venezuela, Spain).
· "Matar a un Hombre" (To Kill a Man)
(Arizona Production, El Remanso Cine Ltda) (Chile).
· "Mr. Kaplan"
(Baobab 66 Films, S.L., Salado Media, Expresso Films) (Uruguay, Spain).
· "O Lobo Atrás da Porta" (A Wolf at the Door)
(Tc Filmes, Gullane Filmes) (Brazil).
· "Os gatos não têm vertigens" (Cats Don't Have Vertigo)
(Mgn Filmes) (Portugal).
· "Pelo Malo" (Bad Hair)
(Sudaca Films, Hanfgarn & Ufer Filmproduktion, Artefactos S.F., Imagen Latina, La Sociedad Post) (Venezuela Peru, Argentina).
· "Refugiado"
(Gale Cine, Burning Blue, El Campo Cine, Staron Films, Bellota Films, Río Rojo Contenidos) (Argentina, Colombia).
. "Relatos Salvajes" (Wild Tales)
(Kramer & Sigman Films, El Deseo P.C - S.A.) (Argentina, Spain).
Premio Platino for Best Directing
Alberto Rodríguez (Spain), for "La Isla Mínima." Alejandro Jodorowsky (Chile), for "La danza de la Realidad." Álvaro Brechner (Uruguay), for "Mr Kaplan." António-Pedro Vasconcelos (Portugal), for "Os gatos não têm vertigens." Claudia Pinto (Venezuela), for "La Distancia más Larga." Damián Szifron (Argentina), for "Relatos Salvajes." Daniel Monzón (Spain), for "El Niño." Daniel Vega (Peru) and Diego Vega (Peru), for "El Mudo." Ernesto Daranas (Cuba), for "Conducta." Fernando Coimbra (Brazil), for "O lobo atrás da porta." Fernando Pérez (Cuba), "La Pared de las Palabras." Luis Estrada (Mexico), for "La Dictadura Perfecta." Mariana Rondón (Venezuela), for "Pelo Malo." Miguel Cohan (Argentina), for "Betibú." Sebastián del Amo (Mexico), for "Cantinflas. "
Premio Platino for Best Actor
Benicio Del Toro (Puerto Rico), for Escobar. "Paraíso Perdido." Damián Alcázar (Mexico), for "La Dictadura Perfecta. Dani Rovira (Spain), for "Ocho Apellidos Vascos." Daniel Candia (Chile), for "Matar a un Hombre." Daniel Fanego (Argentina), for "Betibú." Edgar Ramírez (Venezuela), for "Libertador." Fernando Bacilio (Peru), "El Mudo." Ghilherme Lobo (Brazil), "The Way He Looks." Javier Gutiérrez (Spain), for "La Isla Mínima." Jorge Perugorría (Cuba), for "La Pared de las Palabras." Leonardo Sbaraglia (Argentina), for "Relatos Salvajes." Oscar Jaenada (Spain), by "Cantinflas." Salvador del Solar (Peru), for "El Elefante Desaparecido." Viggo Mortensen (USA), for "Jauja." Wagner Moura (Brazil), for "Futuro Beach" .
Premio Platino for Best Actress
Angie Cepeda (Colombia), for "El Elefante Desaparecido." Bárbara Lennie (Spain), by "Magical Girl." Carme Elías (Spain), for "La Distancia Más Larga." Elena Anaya (Spain), for "Todos Están Muertos." Érica Rivas (Argentina), for "Relatos Salvajes." Geraldine Chaplin (USA), for "Dólares de Arena." Isabel Santos (Cuba), for "La Pared de las Palabras." Julieta Díaz (Argentina), for "Refugiado." Laura de la Uz (Cuba), for "Vestido de Novia." Leandra Leal (Brazil), for "O Lobo Atrás da Porta." Maria do Céu Guerra (Portugal), for "Os gatos não têm vertigens." Martha Higareda (Mexico), for "Cásese Quien Pueda." Paulina García (Chile), for "Las Analfabetas." Samantha Castillo (Venezuela), for "Pelo Malo." Silvia Navarro (Mexico), for "La Dictadura Perfecta. "
Premio Platino for Best Original Score
Adán Jodorowsky (Chile), for "La Danza de la Realidad." Antonio Pinto (Brazil), for "Trash. A esperança vem do lixo." Edilio Paredes (Dominican Republic), Ramón Cordero (Dominican Republic), Benjamín de Menil (Dominican Republic), for "Dólares de Arena." Federico Jusid (Argentina), for "Betibú" Gustavo Dudamel (Venezuela), for "Libertador." Gustavo Santaolalla (Argentina), for "Relatos Salvajes." Juan A. Leyva (Cuba), Magda R. Galbán (Cuba), for "Conducta." Julio de la Rosa (Spain), for "La iIsla Mínima." Mikel Salas (Spain), for "Mr Kaplan." Pedro Subercaseaux (Chile), for "Crystal Fairy y el Cactus Mágico." Ricardo Cutz (Brazil), "O lobo atrás da porta." Roque Baños (Spain), for "El Niño." Ruy Folguera (Argentina), for" Olvidados." Selma Mutal (Peru), for "El Elefante Desaparecido." Vicent Barrière (France), for "La Distancia más Larga."
Premio Platino for Best Animated Film
"Até que a Sbórnia nos Separe" (Otto Desenhos Animados) (Brazil). "Dixie y la Rebelión Zombi" (Abra Prod. S.L.) (Spain) "El Ultimo Mago o Bilembambudín" (Fabula Producciones, Aleph Media S.A., Filmar Uno) (Argentina, Chile). "Historia de Cronopios y de Famas" (Prodarte) (Argentina). "La Leyenda de las Momias de Guanajuato" (Ánima Estudios, S.A. De C.V.) (Mexico). "La Tropa de Trapo en la Selva del Arcoíris" (Continental Producciones, S.L, Anera Films, S.L., Abano Producions, S.L. La Tropa De Trapo, S.L.) (Spain, Brazil). "Meñique" (Ficción Producciones, S.L., Estudios De Animación Icaic) (Cuba, Spain). "Mortadelo y Filemón Contra Jimmy el Cachondo" (Zeta Audiovisual y Películas Pendelton) (Spain). "The Boy and the World" (Filme de Papel) (Brazil). "Pichinguitos. Tgus, la Película" (Non Plus Ultra) (Mexico, Honduras). "Ritos de Passagem" (Liberato Produçoes Culturais) (Brazil).
Premio Platino for Best Documentary Film
• "¿Quién es Dayani Cristal?" (Canana Films, Pulse Films Limited) (Mexico).
"2014, Nacido en Gaza" (La Claqueta Pc, S.L.Contramedia Films) (Spain). "Avant" (Trivial Media Srl, Tarkio Film) (Uruguay, Argentina). "Buscando a Gastón" (Chiwake Films) (Peru). "E agora? Lémbra-me" (C.R.I.M. Produçoes, Presente Edições De Autor) (Portugal). "El Color que Cayó del Cielo" (K & S Films) (Argentina). "El Ojo del Tiburón" (Astronauta Films, Gema Films) (Argentina, Spain). "El Río que Nos Atraviesa" (Ochi Producciones, Maraisa Films Producciones) (Venezuela). "El Sueño de Todos" (S3d Films, Tridi Films) (Chile). "El Vals de los Inútiles" (La Pata De Juana, Cusicanqui Films) (Chile, Argentina). "Invasión" (Apertura Films, Ajimolido Films) (Panama, Argentina). "Maracaná" (Coral Cine, S.R.L., Tenfield S.A.) (Uruguay, Brazil). "The Salt of the Earth" (Decia Films) (Brazil) "Paco de Lucía. La búsqueda" (Ziggurat Films, S.L.) (Spain) "Pichuco" (Puente Films) (Argentina).
Premio Platino for Best Screenplay
Alberto Rodríguez (Spain), Rafael Cobos (Spain), for" La Isla Mínima." Alejandro Jodorowsky (Chile), for "La Danza de la Realidad." Álvaro Brechner (Uruguay), for "Mr. Kaplan." Anahí Berneri (Argentina), Javier Van Couter (Argentina), for "Aire Libre." Carlos Vermut (Spain), for "Magical Girl." Claudia Pinto (Venezuela), for "La Distancia Más Larga." Damián Szifron (Argentina), for "Relatos Salvajes." Daniel Ribeiro (Brazil), for "The Way He Looks." Daniel Vega (Peru), Diego Vega (Peru), for "El Mudo." Ernesto Daranas (Cuba), for "Conducta." Fernando Coimbra (Brazil), for "O lobo atrás da porta." Luis Arambilet (Dominican Republic), for "Código Paz." Luis Estrada (Mexico), Jaime Sampietro (Mexico), for "La Dictadura Perfecta." Mariana Rondón (Venezuela), for "Pelo Malo." Tiago Santos (Portugal) for "Os gatos não têm vertigens. "
Premio Platino for Best Ibero-American Fiction Debut
"10.000 Km," by Carlos Marqués- Marcet (Lastor Media, S.L., La Panda) (Spain). "23 segundos," by Dimitry Rudakov (Clever Producciones) (Uruguay). "Branco sai, preto fica," by Adirley Queirós (Cinco Da Norte Serviços Audiovisuais) (Brazil). "Ciencias Naturales," by Matías Lucchesi (Tarea Fina, Metaluna Productions) (Argentina). "Código Paz," by Pedro Urrutia (One Alliance Srl) (Dominican Republic). "Feriado" by Diego Araujo (Cepa Audiovisual S.R.L., Abacafilms, S.A., Lunafilms Audiovisual) (Ecuador, Argentina). Historias del Canal (Hypatia Films, Manglar Films, Tvn Films and Wp Films) (Panama). "La Distancia Más Larga," by Claudia Pinto (Castro Producciones Cinematograficas, S.L.U., Sin Rodeos Films C.A., Claudia Lepage) (Venezuela). "Las Vacas con Gafas," by Alex Santiago Pérez (Cozy Light Pictures) (Puerto Rico). "Luna de Cigarras," by Jorge Bedoya (Oima Films, Koreko Gua, S.R.L., Sabate Films) (Paraguay). "Mateo," by Maria Gamboa (Hangar Filmsdiafragma, Fabrica De Peliculas, Cine Sud Promotion) (Colombia). "Perro Guardian," by Bacha Caravedo, Chinón Higashionna (Señor Z)(Peru). "Vestido de Novia," by Marilyn Solaya (Icaic) (Cuba). "Visitantes," by Acan Coen (Sobrevivientes Films, Akira Producciones, Nodancingtoday) (Mexico). "Volantín Cortao," by Diego Ayala and Aníbal Jofré (Gallinazo Films) (Chile)...
During the press conference Mexican actress Kate Del Castillo will announce the recipient of the Premio de Honor (Lifetime Achievement Award). In addition Rick Nicita, Chairman of the American Cinematheque, will accept a special Platino Award to The American Cinematheque for its contribution to Iberoamerican Cinema.
Produced by Egeda, in collaboration with Fipca, the Premios Platino of Iberoamerican Cinema was born with the vocation to establish itself as a major international ceremony, promoting Latin American cinema as a whole and transcending borders. It is one of the most important tools to promote and support our film industry and all the professionals who, day after day, put forth all their effort and commitment so that audiences can enjoy the best films.
The candidates for the 2nd Platino Awards (Premios Platino) were announced during the 18th Málaga Film Festival in Spain. 73 feature films and 18 Ibero- American countries compete for the final nominations in the 14 categories for this prestigious award. The competing films had to be commercially released or premiered in an A-List Film Festival during 2014. The final nominations will be announced tomorrow at the Andaz Hotel West Hollywood. The Premios Platino Award Ceremony will take place on July 18, 2015 at Starlite Marbella in Spain.
As part of the same event The Premios Platino has distinguished the Málaga Film Festival with a special award for its contribution to the circulation and promotion of Spanish and Ibero- American cinema.
Here is the list of preselected candidates in each category ahead of tomorrow's final nominations
Premio Platino for the Best Ibero-American Fictional Film
· "Cantinflas"
(Kenio Films) (Mexico).
· "Conducta" (Behavior)
(Instituto Cubano Del Arte E Industria Cinematográfica, Rtv Comercial) (Cuba).
· "El Mudo" (The Mute)
(Maretazo Cine, Urban Factory) (Peru, Mexico).
· "El Niño"
(Vaca Films Studio, S.L., Telecinco Cinema, S.A., Ikiru Films, S.L., La Ferme! Productions, El Niño la película, A.I.E.) (Spain).
· "La Danza de la Realidad" (The Dance of Reality)
(Camera One, Pathe Y Le Soleil Films) (Chile).
· "La Dictadura Perfecta" (The Perfect Dictatorship)
(Imcine - Instituto Mexicano De Cinematografía, Estudios Churubusco Azteca, S.A., Bandidos Films, Fidecine, Eficine 226) (Mexico).
· "La Isla Mínima" (Marshland)
(Antena 3 Films, S.L., Atípica Films, S.L. y Sacromonte Films S.L.) (Spain).
· "Libertador" (The Liberator)
(Producciones Insurgentes, San Mateo Films) (Venezuela, Spain).
· "Matar a un Hombre" (To Kill a Man)
(Arizona Production, El Remanso Cine Ltda) (Chile).
· "Mr. Kaplan"
(Baobab 66 Films, S.L., Salado Media, Expresso Films) (Uruguay, Spain).
· "O Lobo Atrás da Porta" (A Wolf at the Door)
(Tc Filmes, Gullane Filmes) (Brazil).
· "Os gatos não têm vertigens" (Cats Don't Have Vertigo)
(Mgn Filmes) (Portugal).
· "Pelo Malo" (Bad Hair)
(Sudaca Films, Hanfgarn & Ufer Filmproduktion, Artefactos S.F., Imagen Latina, La Sociedad Post) (Venezuela Peru, Argentina).
· "Refugiado"
(Gale Cine, Burning Blue, El Campo Cine, Staron Films, Bellota Films, Río Rojo Contenidos) (Argentina, Colombia).
. "Relatos Salvajes" (Wild Tales)
(Kramer & Sigman Films, El Deseo P.C - S.A.) (Argentina, Spain).
Premio Platino for Best Directing
Alberto Rodríguez (Spain), for "La Isla Mínima." Alejandro Jodorowsky (Chile), for "La danza de la Realidad." Álvaro Brechner (Uruguay), for "Mr Kaplan." António-Pedro Vasconcelos (Portugal), for "Os gatos não têm vertigens." Claudia Pinto (Venezuela), for "La Distancia más Larga." Damián Szifron (Argentina), for "Relatos Salvajes." Daniel Monzón (Spain), for "El Niño." Daniel Vega (Peru) and Diego Vega (Peru), for "El Mudo." Ernesto Daranas (Cuba), for "Conducta." Fernando Coimbra (Brazil), for "O lobo atrás da porta." Fernando Pérez (Cuba), "La Pared de las Palabras." Luis Estrada (Mexico), for "La Dictadura Perfecta." Mariana Rondón (Venezuela), for "Pelo Malo." Miguel Cohan (Argentina), for "Betibú." Sebastián del Amo (Mexico), for "Cantinflas. "
Premio Platino for Best Actor
Benicio Del Toro (Puerto Rico), for Escobar. "Paraíso Perdido." Damián Alcázar (Mexico), for "La Dictadura Perfecta. Dani Rovira (Spain), for "Ocho Apellidos Vascos." Daniel Candia (Chile), for "Matar a un Hombre." Daniel Fanego (Argentina), for "Betibú." Edgar Ramírez (Venezuela), for "Libertador." Fernando Bacilio (Peru), "El Mudo." Ghilherme Lobo (Brazil), "The Way He Looks." Javier Gutiérrez (Spain), for "La Isla Mínima." Jorge Perugorría (Cuba), for "La Pared de las Palabras." Leonardo Sbaraglia (Argentina), for "Relatos Salvajes." Oscar Jaenada (Spain), by "Cantinflas." Salvador del Solar (Peru), for "El Elefante Desaparecido." Viggo Mortensen (USA), for "Jauja." Wagner Moura (Brazil), for "Futuro Beach" .
Premio Platino for Best Actress
Angie Cepeda (Colombia), for "El Elefante Desaparecido." Bárbara Lennie (Spain), by "Magical Girl." Carme Elías (Spain), for "La Distancia Más Larga." Elena Anaya (Spain), for "Todos Están Muertos." Érica Rivas (Argentina), for "Relatos Salvajes." Geraldine Chaplin (USA), for "Dólares de Arena." Isabel Santos (Cuba), for "La Pared de las Palabras." Julieta Díaz (Argentina), for "Refugiado." Laura de la Uz (Cuba), for "Vestido de Novia." Leandra Leal (Brazil), for "O Lobo Atrás da Porta." Maria do Céu Guerra (Portugal), for "Os gatos não têm vertigens." Martha Higareda (Mexico), for "Cásese Quien Pueda." Paulina García (Chile), for "Las Analfabetas." Samantha Castillo (Venezuela), for "Pelo Malo." Silvia Navarro (Mexico), for "La Dictadura Perfecta. "
Premio Platino for Best Original Score
Adán Jodorowsky (Chile), for "La Danza de la Realidad." Antonio Pinto (Brazil), for "Trash. A esperança vem do lixo." Edilio Paredes (Dominican Republic), Ramón Cordero (Dominican Republic), Benjamín de Menil (Dominican Republic), for "Dólares de Arena." Federico Jusid (Argentina), for "Betibú" Gustavo Dudamel (Venezuela), for "Libertador." Gustavo Santaolalla (Argentina), for "Relatos Salvajes." Juan A. Leyva (Cuba), Magda R. Galbán (Cuba), for "Conducta." Julio de la Rosa (Spain), for "La iIsla Mínima." Mikel Salas (Spain), for "Mr Kaplan." Pedro Subercaseaux (Chile), for "Crystal Fairy y el Cactus Mágico." Ricardo Cutz (Brazil), "O lobo atrás da porta." Roque Baños (Spain), for "El Niño." Ruy Folguera (Argentina), for" Olvidados." Selma Mutal (Peru), for "El Elefante Desaparecido." Vicent Barrière (France), for "La Distancia más Larga."
Premio Platino for Best Animated Film
"Até que a Sbórnia nos Separe" (Otto Desenhos Animados) (Brazil). "Dixie y la Rebelión Zombi" (Abra Prod. S.L.) (Spain) "El Ultimo Mago o Bilembambudín" (Fabula Producciones, Aleph Media S.A., Filmar Uno) (Argentina, Chile). "Historia de Cronopios y de Famas" (Prodarte) (Argentina). "La Leyenda de las Momias de Guanajuato" (Ánima Estudios, S.A. De C.V.) (Mexico). "La Tropa de Trapo en la Selva del Arcoíris" (Continental Producciones, S.L, Anera Films, S.L., Abano Producions, S.L. La Tropa De Trapo, S.L.) (Spain, Brazil). "Meñique" (Ficción Producciones, S.L., Estudios De Animación Icaic) (Cuba, Spain). "Mortadelo y Filemón Contra Jimmy el Cachondo" (Zeta Audiovisual y Películas Pendelton) (Spain). "The Boy and the World" (Filme de Papel) (Brazil). "Pichinguitos. Tgus, la Película" (Non Plus Ultra) (Mexico, Honduras). "Ritos de Passagem" (Liberato Produçoes Culturais) (Brazil).
Premio Platino for Best Documentary Film
• "¿Quién es Dayani Cristal?" (Canana Films, Pulse Films Limited) (Mexico).
"2014, Nacido en Gaza" (La Claqueta Pc, S.L.Contramedia Films) (Spain). "Avant" (Trivial Media Srl, Tarkio Film) (Uruguay, Argentina). "Buscando a Gastón" (Chiwake Films) (Peru). "E agora? Lémbra-me" (C.R.I.M. Produçoes, Presente Edições De Autor) (Portugal). "El Color que Cayó del Cielo" (K & S Films) (Argentina). "El Ojo del Tiburón" (Astronauta Films, Gema Films) (Argentina, Spain). "El Río que Nos Atraviesa" (Ochi Producciones, Maraisa Films Producciones) (Venezuela). "El Sueño de Todos" (S3d Films, Tridi Films) (Chile). "El Vals de los Inútiles" (La Pata De Juana, Cusicanqui Films) (Chile, Argentina). "Invasión" (Apertura Films, Ajimolido Films) (Panama, Argentina). "Maracaná" (Coral Cine, S.R.L., Tenfield S.A.) (Uruguay, Brazil). "The Salt of the Earth" (Decia Films) (Brazil) "Paco de Lucía. La búsqueda" (Ziggurat Films, S.L.) (Spain) "Pichuco" (Puente Films) (Argentina).
Premio Platino for Best Screenplay
Alberto Rodríguez (Spain), Rafael Cobos (Spain), for" La Isla Mínima." Alejandro Jodorowsky (Chile), for "La Danza de la Realidad." Álvaro Brechner (Uruguay), for "Mr. Kaplan." Anahí Berneri (Argentina), Javier Van Couter (Argentina), for "Aire Libre." Carlos Vermut (Spain), for "Magical Girl." Claudia Pinto (Venezuela), for "La Distancia Más Larga." Damián Szifron (Argentina), for "Relatos Salvajes." Daniel Ribeiro (Brazil), for "The Way He Looks." Daniel Vega (Peru), Diego Vega (Peru), for "El Mudo." Ernesto Daranas (Cuba), for "Conducta." Fernando Coimbra (Brazil), for "O lobo atrás da porta." Luis Arambilet (Dominican Republic), for "Código Paz." Luis Estrada (Mexico), Jaime Sampietro (Mexico), for "La Dictadura Perfecta." Mariana Rondón (Venezuela), for "Pelo Malo." Tiago Santos (Portugal) for "Os gatos não têm vertigens. "
Premio Platino for Best Ibero-American Fiction Debut
"10.000 Km," by Carlos Marqués- Marcet (Lastor Media, S.L., La Panda) (Spain). "23 segundos," by Dimitry Rudakov (Clever Producciones) (Uruguay). "Branco sai, preto fica," by Adirley Queirós (Cinco Da Norte Serviços Audiovisuais) (Brazil). "Ciencias Naturales," by Matías Lucchesi (Tarea Fina, Metaluna Productions) (Argentina). "Código Paz," by Pedro Urrutia (One Alliance Srl) (Dominican Republic). "Feriado" by Diego Araujo (Cepa Audiovisual S.R.L., Abacafilms, S.A., Lunafilms Audiovisual) (Ecuador, Argentina). Historias del Canal (Hypatia Films, Manglar Films, Tvn Films and Wp Films) (Panama). "La Distancia Más Larga," by Claudia Pinto (Castro Producciones Cinematograficas, S.L.U., Sin Rodeos Films C.A., Claudia Lepage) (Venezuela). "Las Vacas con Gafas," by Alex Santiago Pérez (Cozy Light Pictures) (Puerto Rico). "Luna de Cigarras," by Jorge Bedoya (Oima Films, Koreko Gua, S.R.L., Sabate Films) (Paraguay). "Mateo," by Maria Gamboa (Hangar Filmsdiafragma, Fabrica De Peliculas, Cine Sud Promotion) (Colombia). "Perro Guardian," by Bacha Caravedo, Chinón Higashionna (Señor Z)(Peru). "Vestido de Novia," by Marilyn Solaya (Icaic) (Cuba). "Visitantes," by Acan Coen (Sobrevivientes Films, Akira Producciones, Nodancingtoday) (Mexico). "Volantín Cortao," by Diego Ayala and Aníbal Jofré (Gallinazo Films) (Chile)...
- 5/26/2015
- by Sydney Levine
- Sydney's Buzz
The first Fénix Iberoamerican Film Awards, (Phoenix Awards) highlighting and celebrating cinema made in Latin America, Spain, and Portugal as well as applauding the professionals involved was inaugurated by Cinema 23 this October 30th, a couple days before Día de los Muertos, or Day of the Dead, one of the most important holidays in México. The event brought together hundreds of figures from the Iberoamerican film community who celebrated the well-deserved recognition to their work and to their dedication. At the same time, the event served to strengthen relationships among the diverse industries and will continuously help forge the region's identity.
Aside from enumerating the awards here, we wish to show how the films' dissemination throughout the world is, in fact succeeding by showing sales agents and commercial distributors, some of many festivals the films played, and some of the awards won.
Nominees in twelve categories were chosen from a shortlist of 58 feature films and 16 documentaries in the region and awarded by a jury made up of - among others - Luis Tosar, Wagner Moura, Daniel Hendler, Selton Mello, José María Yazpik, Maria de Medeiros, Paulina García, Amat Escalante, Fernando Meirelles, Rodrigo García, Sebastián Lelio, Rodrigo Pla.
Feature Film category
Winner: "The Golden Cage" ("La Juala de oro") by Diego Quemada-díez, a coproduction of Guatemala, Spain and Mexico, since its debut at the Cannes Film Festival's Un Certain Regard in 2013 where Quemada-díez won A Certain Talent Award for his directing work and the ensemble cast has received a total of 67 awards, including 9 Ariel awards by the Mexican Film Academy: Best Picture, Best Original Screenplay, Best First Feature, Best Actor, Best Upcoming Actor, Best Editing, Best Cinematography, Best Sound, Best Music. It also won Best Picture, Best Editing and Best Sound at the Fenix Awards. Producers sold to Benelux - Wild Bunch Benelux, France - Pretty Pictures , Mexico - Canibal Networks,, Portugal - Legendmain Filmes, Spain - Golem Distribución, Taiwan - Maison Motion, U.K. - Peccadillo Pictures.
Other contenders:
"Club Sandwich" by Fernando Eimbcke, a Mexican production, screened in Toronto International Film Festival 2013, San Sebastian 2013 among many others. International sales agent (Isa) Funny Balloons sold the film to Benelux - ABC - Cinemien, Brazil--Esfera Filmes, Mexico--Cine Pantera, Poland--Art House, Turkey--Filma Ltd.
"Heli" by Amat Escalante, a Mexican production premiered at the Cannes Film Festival 2013. Isa Ndm sold to U.S.--Outsider Pictures, Belgium--Film Fest Gent, Brazil--Zeta Filmes, Canada--K Films Amerique and A-z Films, Denmark--Ost For Paradis, France--Le Pacte, Greece--Ama Films, Hungary--Cirko Film Kft., Netherlands--Amstelfilm, Norway--Filmhuset Gruppen As & Europafilm As, Poland--Spectator, Puerto Ric--Wiesner Distribution, Serbia--Mcf Megacom Film, Spain--Savor Ediciones, S.A., Sweden--Njutafilms and Maywin Films Ab, Taiwan--Pomi International, Turkey--Filmarti Film, U.K.--Network
"Jauja" by Lisandro Alonso, a coproduction of Argentina, Denmark, France and Mexico and winner of the Fipresci Award in Cannes' Un Certain Regard 2014 where it debuted. It also played in Toronto and Busan among many other festivals. Isa Ndm, sold to U.S. -- The Cinema Guild; Argentina--Distribution Company Sudamericana S.A.; Spain--Noucinemart- Festival Internacional De Cinema D'autor De Barcelona; U.K.--Soda Pictures
"Bad Hair" ("Pelo Malo") by Mariana Rondon, a coproduction of Venezuela, Peru, Germany and Argentina premiered in Toronto 2013. FiGa sold it to U.S. – Pragda, Argentina--Obra Cine, Brazil--Esfera Filmes, Bulgaria--Sofia International Film Festival - Art Fest Ltd., France--Pyramide Distribution, Hungary -- Cirko, Italy--Cineclub Internazionale, Latin America--Palmera International, Portugal -- Nitrato Filmes, Serbia--European Film Festival Palic, Switzerland --Look Now! Filmdistribution, U.K.--Axiom Films International, Venezuela--Centro Nacional Autonomo De Cinematografia
Documentary Feature category
Winner: "Sobre la Marxa: the Creator of the Jungle" by Jordi Morató from Spain debuted at the International Film Festival Rotterdam.
Other Contenders:
"Letter to a Father" of Edgardo Cozarinsky, a coproduction from France and Argentina screened at Mar del Plata, Cinema du reel 2014 (Competition), Vienna and Jerusalem among other festivals. Doc and FIlms has the international rights.
"Echo Mountain" ("Eco de la montaña") by Nicolás Echevarría, a coproduction of U.S. and Mexico, premiered at Guadalajara Film Festival and Cinema du Reel in 2014.
"And Now? Remember Me" ("E agora? Lembra-me") by Joaquim Pinto from Portugal premiered at Locarno Film Festival 2013, has won 16 awards and 3 nominations and is distributed in France by Epicentre and by Midas in Portugal.
"Watch & Listen" by José Luis Torres Leiva
Best Female Role:
Winner:
Leandra Leal ("A Wolf At the Door" from Brazil premiered at Toronto Ff 2013. Isa: Im Global/Mundial sold to U.S.--Film Movement and Outsider Pictures, Benelux—Cdc United Network, Canada--A-z Films, Israel--United King Video Ltd., Latin America--Palmera International, So. Korea --Korean Film Art Center Baekdu-Daegan Films Co., Ltd, Portugal--Vendetta Filmes, Spain--Betta Pictures, Turkey--Moviebox)
Other Contenders:
Marian Álvarez ("The Wound" aka "La Herida" - Isa: Imagina, premiered San Sebastian Ff where the Special jury prize / Silver Shell for best actress went to Marian Álvarez), Samantha Castillo ("Bad Hair")
Paulina García ("Illiterate" - Isa: Habanero, screened at Guadalajara Ficg 2014, Sanfic - Santiago International Film Festival - Best Picture Audience award , Venice Film Festival - Settimana della Critica - Closing Film, Chicago International Film Festival - New Directors Competition, Sao Paulo International Film Festival - New Directors Competition )
Karen Martinez ("The Golden Cage")
Best Male Role:
Winner:
Viggo Mortensen ("Cockaigne" aka "Jauja")
Other Contenders:
Fernando Bacilio ("Mute" aka "El Mudo" by Daniel Vega premiered at Toronto in 2013. Udi sold it to Encore for airlines)
Alex Brendemühl ("Stella cadente" aka "Falling Star" by Luis Miñarro from Spain screened in Bafici (Buenos Aires) 2014 Panorama, San Sebastian 2014 Made in Spain, Gent Iff 2014 Feature Films, Rotterdam Iffr 2014 (Tiger Competition). Isa: Ndm sold it to Germany--Salzgeber & Co. Medien Gmbh Puerto Rico--Wiesner Distribution, Spain--Vercine)
Brandon Lopez ("The Golden Cage")
Antonio de la Torre ("Cannibal" by Manuel Martin Cuenca, a coproduction of Spain, Romania, Russia, France premiered at Toronto and San Sebastian 2013. Isa Film Factory sold it to U.S. - Film Movement, Belgium--Film Fest Gent, Hong Kong--Encore Inflight Limited-, Japan--Broadmedia Studios Corporation, Latin America--Palmera International, Spain--Mod Producciones, Taiwan--Creative Century Entertainment Co., Ltd.)
Eight other awards (listed below) were granted in the photography category, costumes, art direction, sound, music, editing and screenplay.
Four special awards were also presented:
The Latin American Festival Award, decided by the Advisory Council Cinema23 went to the Havana Film Festival (Festival de Nuevo Cine Latinoamericano). On December 3, 1979, over five hundred film professionals, mainly from Latin America, met in Havana, Cuba, for the inaugural Festival of New Latin American Cinema, which in its own words, "sought to build a space to identify and disseminate films whose significance and artistic values enrich and reaffirm American and Caribbean cultural identity where rich dialogue between film professionals, students and the informed public and critics gather". For decades and through its multiple realities Havana has played a role in community building around film as an art form and as an incentive for social reflection.
The work of more than three decades by a team led today by Ivan Giroud and which survives the noble and generous spirit of its founder, Alfredo Guevara, and those like Santiago Alvarez and Gabriel García Márquez, who have accompanied him from his beginnings, deserves to be recognized by those who think that culture is a way that allows us to approach, meet, recognize and move away from violence towards a better world. "With this award go our admiration and our gratitude to the Festival of New Latin American Cinema of Havana."
The Critics' Award, selected by Fipresci (Federation International Film Critics) went to the Brazilian writer José Carlos Avellar for his critical work. An admired and appreciated writer, critic, teacher and programmer, Avellar worked for over twenty years for the newspaper Jornal do Brasil, and has published six books on Brazilian and Latin American cinema. The former vice-president of Fipresci is also Berlinale's delegate in Brazil. More information and examples of his work can be found in his website www.escrevercinema.com.
Recognition of the Exhibition Sector, awarded by the leading exhibitors in the region went to Mexican actor and producer, Eugenio Derbez, for "No se aceptan devoluciones" ("Instructions Not Included").
The resurgence of Mexican films which began in 2001 with the all-time hit "Amores Perros" by Alejandro González Iñárritu and which also introduced Gael Garcia Bernal to the public (U.S. box office $5,408,467, worldwide $20,908,467) and "El crimen del Padre Amaro" in 2002 (U.S. box office $5,717,044, worldwide: $26,996,738) up until the hits, "Nosotros los Nobles" and "No se aceptan devoluciones" had the highest number admissions than any other Mexican film. Twelve years later, in six weeks "No se aceptan devolucions" outgrossed both "Amores" and "El crimen" combined. México Televisa’s Videocine Mexican box office was Us $44,882,061 and U.S. box office was $44,143,000. This is truly an exhibitor's dream movie.
No sooner had "Los Nobles" swept the Mexican box-office off its feet than another Mexican movie, independently produced by Monica Lozano’s México City-based Alebrije Cine y Video, "Instructions Not Included" was released -- first in the U.S. by Pantelion on August 30, 2013, almost three weeks before its Mexican release on September 20, 2013. The two countries grossed an equal amount. Moreover, Videocine released the film on 1,500 prints similar to a major release of a film such as "Batman". Through the Cinepolis chain’s use of satellite, these 1,500 prints were able to show on 2,500 screens. This represents both a new release pattern and a new type of Mexican film.
Previously Mexican films which were meant for the Mexican and Mexican-American audience (as opposed to those targeted to the art house audiences) were perceived as too Mexican by their U.S. target and they were released in the U.S. only after the Mexican release, and by that time, piracy had done its work in the U.S. and the film lacked the prestige of an "American" film. This film and the previous film, "The Noble Family", are not typically Mexican. Their storyline could be transposed anywhere, and in fact "The Noble Family" remake rights have been sold to U.S. In addition, releasing the film first in the U.S. changes the perception of the film in México. Being such a success in U.S. paves the way for its success in México as if it were validated as a "good" film.
Added to these two elements is the third key to success, Eugenio Derbez, the director and star of "Instructions", is a major TV comedy star in México and is known by all Mexicans wherever they reside. Mexican TV is quite powerful, it has a duopoly made by Televisa and TV Azteca. Derbez comes from Televisa. The film was also shot in English and Spanish and takes place in the U.S. Finally, Derbez himself and former head of production at Pantelion, Ben Odell, have now established a production company, 3 Spas, pronounced "Tres Paz" which funnily enough sounds like "tripas" or "guts". Reese Witherspoon whose film "Wild" opened the festival said that she had approached Derbez for a film she was producing already, but he was busy. However, she hopes they will soon find a project to do together. How great that will be for the exhibitors, the distributors and the audiences around the world!
The Phoenix Lifetime Achievement Award, which is awarded by the different academies and film associations in all the differenct countries of the region and announced by the Mexican Academy of Arts and Cinematographic Sciences, went to Arturo Ripstein. Recognized as one of the great masters in the history of Mexican cinema, Ripstein said, "I'm glad to say that a lifetime achievement award is usually given when one is finished with everything. But I am pleased to say that I still need a bit of experience, because next week I start my new film. I've been practicing this craft half a century, and this (the Phoenix Award ) symbolizes what it has really cost me over the past 50 years."
List of all winners include:
Narrative Film: Diego Quemada-Diez ("La Jaula de Oro")
Documentary Film: Jordi Morato ("Sobre la Marxa")
Screenplay: Amat Escalante y Gabriel Reyes ("Heli")
Director: Amat Escalante ("Heli")
Photography: Julián Apezteguia ("El ardor")
Art Design: José Luis Arrizabalaga y Arturo García ("Las Brujas de Zugarramurdi")
Editing: Paloma López Carrillo y Felipe Gómez ("La Jaula de Oro")
Costume Design: Chris Garrido ("Tatuagem")
Sound Design: Matías Barberis, Raúl Locatelli y Jaime Baksht ("La Jaula de oro")
Music: Joan Valent ("Las brujas de Zugarramurdi")
Lead Actor: Viggo Mortensen ("Jauja")
Lead Actress: Leandra Leal ("A Wolf at the Door")
Diego Quemada-Diez Receives the Award for Best Narrative Film for "La Jaula de Oro"
Amat Escalante Receives the Award for Best Director for "Heli"
Viggo Mortensen Receives the Award for Best Lead Actor for "Jauja"
Leandra Leal Receives the Award for Best Lead Actress for "A Wolf at the Door"...
Aside from enumerating the awards here, we wish to show how the films' dissemination throughout the world is, in fact succeeding by showing sales agents and commercial distributors, some of many festivals the films played, and some of the awards won.
Nominees in twelve categories were chosen from a shortlist of 58 feature films and 16 documentaries in the region and awarded by a jury made up of - among others - Luis Tosar, Wagner Moura, Daniel Hendler, Selton Mello, José María Yazpik, Maria de Medeiros, Paulina García, Amat Escalante, Fernando Meirelles, Rodrigo García, Sebastián Lelio, Rodrigo Pla.
Feature Film category
Winner: "The Golden Cage" ("La Juala de oro") by Diego Quemada-díez, a coproduction of Guatemala, Spain and Mexico, since its debut at the Cannes Film Festival's Un Certain Regard in 2013 where Quemada-díez won A Certain Talent Award for his directing work and the ensemble cast has received a total of 67 awards, including 9 Ariel awards by the Mexican Film Academy: Best Picture, Best Original Screenplay, Best First Feature, Best Actor, Best Upcoming Actor, Best Editing, Best Cinematography, Best Sound, Best Music. It also won Best Picture, Best Editing and Best Sound at the Fenix Awards. Producers sold to Benelux - Wild Bunch Benelux, France - Pretty Pictures , Mexico - Canibal Networks,, Portugal - Legendmain Filmes, Spain - Golem Distribución, Taiwan - Maison Motion, U.K. - Peccadillo Pictures.
Other contenders:
"Club Sandwich" by Fernando Eimbcke, a Mexican production, screened in Toronto International Film Festival 2013, San Sebastian 2013 among many others. International sales agent (Isa) Funny Balloons sold the film to Benelux - ABC - Cinemien, Brazil--Esfera Filmes, Mexico--Cine Pantera, Poland--Art House, Turkey--Filma Ltd.
"Heli" by Amat Escalante, a Mexican production premiered at the Cannes Film Festival 2013. Isa Ndm sold to U.S.--Outsider Pictures, Belgium--Film Fest Gent, Brazil--Zeta Filmes, Canada--K Films Amerique and A-z Films, Denmark--Ost For Paradis, France--Le Pacte, Greece--Ama Films, Hungary--Cirko Film Kft., Netherlands--Amstelfilm, Norway--Filmhuset Gruppen As & Europafilm As, Poland--Spectator, Puerto Ric--Wiesner Distribution, Serbia--Mcf Megacom Film, Spain--Savor Ediciones, S.A., Sweden--Njutafilms and Maywin Films Ab, Taiwan--Pomi International, Turkey--Filmarti Film, U.K.--Network
"Jauja" by Lisandro Alonso, a coproduction of Argentina, Denmark, France and Mexico and winner of the Fipresci Award in Cannes' Un Certain Regard 2014 where it debuted. It also played in Toronto and Busan among many other festivals. Isa Ndm, sold to U.S. -- The Cinema Guild; Argentina--Distribution Company Sudamericana S.A.; Spain--Noucinemart- Festival Internacional De Cinema D'autor De Barcelona; U.K.--Soda Pictures
"Bad Hair" ("Pelo Malo") by Mariana Rondon, a coproduction of Venezuela, Peru, Germany and Argentina premiered in Toronto 2013. FiGa sold it to U.S. – Pragda, Argentina--Obra Cine, Brazil--Esfera Filmes, Bulgaria--Sofia International Film Festival - Art Fest Ltd., France--Pyramide Distribution, Hungary -- Cirko, Italy--Cineclub Internazionale, Latin America--Palmera International, Portugal -- Nitrato Filmes, Serbia--European Film Festival Palic, Switzerland --Look Now! Filmdistribution, U.K.--Axiom Films International, Venezuela--Centro Nacional Autonomo De Cinematografia
Documentary Feature category
Winner: "Sobre la Marxa: the Creator of the Jungle" by Jordi Morató from Spain debuted at the International Film Festival Rotterdam.
Other Contenders:
"Letter to a Father" of Edgardo Cozarinsky, a coproduction from France and Argentina screened at Mar del Plata, Cinema du reel 2014 (Competition), Vienna and Jerusalem among other festivals. Doc and FIlms has the international rights.
"Echo Mountain" ("Eco de la montaña") by Nicolás Echevarría, a coproduction of U.S. and Mexico, premiered at Guadalajara Film Festival and Cinema du Reel in 2014.
"And Now? Remember Me" ("E agora? Lembra-me") by Joaquim Pinto from Portugal premiered at Locarno Film Festival 2013, has won 16 awards and 3 nominations and is distributed in France by Epicentre and by Midas in Portugal.
"Watch & Listen" by José Luis Torres Leiva
Best Female Role:
Winner:
Leandra Leal ("A Wolf At the Door" from Brazil premiered at Toronto Ff 2013. Isa: Im Global/Mundial sold to U.S.--Film Movement and Outsider Pictures, Benelux—Cdc United Network, Canada--A-z Films, Israel--United King Video Ltd., Latin America--Palmera International, So. Korea --Korean Film Art Center Baekdu-Daegan Films Co., Ltd, Portugal--Vendetta Filmes, Spain--Betta Pictures, Turkey--Moviebox)
Other Contenders:
Marian Álvarez ("The Wound" aka "La Herida" - Isa: Imagina, premiered San Sebastian Ff where the Special jury prize / Silver Shell for best actress went to Marian Álvarez), Samantha Castillo ("Bad Hair")
Paulina García ("Illiterate" - Isa: Habanero, screened at Guadalajara Ficg 2014, Sanfic - Santiago International Film Festival - Best Picture Audience award , Venice Film Festival - Settimana della Critica - Closing Film, Chicago International Film Festival - New Directors Competition, Sao Paulo International Film Festival - New Directors Competition )
Karen Martinez ("The Golden Cage")
Best Male Role:
Winner:
Viggo Mortensen ("Cockaigne" aka "Jauja")
Other Contenders:
Fernando Bacilio ("Mute" aka "El Mudo" by Daniel Vega premiered at Toronto in 2013. Udi sold it to Encore for airlines)
Alex Brendemühl ("Stella cadente" aka "Falling Star" by Luis Miñarro from Spain screened in Bafici (Buenos Aires) 2014 Panorama, San Sebastian 2014 Made in Spain, Gent Iff 2014 Feature Films, Rotterdam Iffr 2014 (Tiger Competition). Isa: Ndm sold it to Germany--Salzgeber & Co. Medien Gmbh Puerto Rico--Wiesner Distribution, Spain--Vercine)
Brandon Lopez ("The Golden Cage")
Antonio de la Torre ("Cannibal" by Manuel Martin Cuenca, a coproduction of Spain, Romania, Russia, France premiered at Toronto and San Sebastian 2013. Isa Film Factory sold it to U.S. - Film Movement, Belgium--Film Fest Gent, Hong Kong--Encore Inflight Limited-, Japan--Broadmedia Studios Corporation, Latin America--Palmera International, Spain--Mod Producciones, Taiwan--Creative Century Entertainment Co., Ltd.)
Eight other awards (listed below) were granted in the photography category, costumes, art direction, sound, music, editing and screenplay.
Four special awards were also presented:
The Latin American Festival Award, decided by the Advisory Council Cinema23 went to the Havana Film Festival (Festival de Nuevo Cine Latinoamericano). On December 3, 1979, over five hundred film professionals, mainly from Latin America, met in Havana, Cuba, for the inaugural Festival of New Latin American Cinema, which in its own words, "sought to build a space to identify and disseminate films whose significance and artistic values enrich and reaffirm American and Caribbean cultural identity where rich dialogue between film professionals, students and the informed public and critics gather". For decades and through its multiple realities Havana has played a role in community building around film as an art form and as an incentive for social reflection.
The work of more than three decades by a team led today by Ivan Giroud and which survives the noble and generous spirit of its founder, Alfredo Guevara, and those like Santiago Alvarez and Gabriel García Márquez, who have accompanied him from his beginnings, deserves to be recognized by those who think that culture is a way that allows us to approach, meet, recognize and move away from violence towards a better world. "With this award go our admiration and our gratitude to the Festival of New Latin American Cinema of Havana."
The Critics' Award, selected by Fipresci (Federation International Film Critics) went to the Brazilian writer José Carlos Avellar for his critical work. An admired and appreciated writer, critic, teacher and programmer, Avellar worked for over twenty years for the newspaper Jornal do Brasil, and has published six books on Brazilian and Latin American cinema. The former vice-president of Fipresci is also Berlinale's delegate in Brazil. More information and examples of his work can be found in his website www.escrevercinema.com.
Recognition of the Exhibition Sector, awarded by the leading exhibitors in the region went to Mexican actor and producer, Eugenio Derbez, for "No se aceptan devoluciones" ("Instructions Not Included").
The resurgence of Mexican films which began in 2001 with the all-time hit "Amores Perros" by Alejandro González Iñárritu and which also introduced Gael Garcia Bernal to the public (U.S. box office $5,408,467, worldwide $20,908,467) and "El crimen del Padre Amaro" in 2002 (U.S. box office $5,717,044, worldwide: $26,996,738) up until the hits, "Nosotros los Nobles" and "No se aceptan devoluciones" had the highest number admissions than any other Mexican film. Twelve years later, in six weeks "No se aceptan devolucions" outgrossed both "Amores" and "El crimen" combined. México Televisa’s Videocine Mexican box office was Us $44,882,061 and U.S. box office was $44,143,000. This is truly an exhibitor's dream movie.
No sooner had "Los Nobles" swept the Mexican box-office off its feet than another Mexican movie, independently produced by Monica Lozano’s México City-based Alebrije Cine y Video, "Instructions Not Included" was released -- first in the U.S. by Pantelion on August 30, 2013, almost three weeks before its Mexican release on September 20, 2013. The two countries grossed an equal amount. Moreover, Videocine released the film on 1,500 prints similar to a major release of a film such as "Batman". Through the Cinepolis chain’s use of satellite, these 1,500 prints were able to show on 2,500 screens. This represents both a new release pattern and a new type of Mexican film.
Previously Mexican films which were meant for the Mexican and Mexican-American audience (as opposed to those targeted to the art house audiences) were perceived as too Mexican by their U.S. target and they were released in the U.S. only after the Mexican release, and by that time, piracy had done its work in the U.S. and the film lacked the prestige of an "American" film. This film and the previous film, "The Noble Family", are not typically Mexican. Their storyline could be transposed anywhere, and in fact "The Noble Family" remake rights have been sold to U.S. In addition, releasing the film first in the U.S. changes the perception of the film in México. Being such a success in U.S. paves the way for its success in México as if it were validated as a "good" film.
Added to these two elements is the third key to success, Eugenio Derbez, the director and star of "Instructions", is a major TV comedy star in México and is known by all Mexicans wherever they reside. Mexican TV is quite powerful, it has a duopoly made by Televisa and TV Azteca. Derbez comes from Televisa. The film was also shot in English and Spanish and takes place in the U.S. Finally, Derbez himself and former head of production at Pantelion, Ben Odell, have now established a production company, 3 Spas, pronounced "Tres Paz" which funnily enough sounds like "tripas" or "guts". Reese Witherspoon whose film "Wild" opened the festival said that she had approached Derbez for a film she was producing already, but he was busy. However, she hopes they will soon find a project to do together. How great that will be for the exhibitors, the distributors and the audiences around the world!
The Phoenix Lifetime Achievement Award, which is awarded by the different academies and film associations in all the differenct countries of the region and announced by the Mexican Academy of Arts and Cinematographic Sciences, went to Arturo Ripstein. Recognized as one of the great masters in the history of Mexican cinema, Ripstein said, "I'm glad to say that a lifetime achievement award is usually given when one is finished with everything. But I am pleased to say that I still need a bit of experience, because next week I start my new film. I've been practicing this craft half a century, and this (the Phoenix Award ) symbolizes what it has really cost me over the past 50 years."
List of all winners include:
Narrative Film: Diego Quemada-Diez ("La Jaula de Oro")
Documentary Film: Jordi Morato ("Sobre la Marxa")
Screenplay: Amat Escalante y Gabriel Reyes ("Heli")
Director: Amat Escalante ("Heli")
Photography: Julián Apezteguia ("El ardor")
Art Design: José Luis Arrizabalaga y Arturo García ("Las Brujas de Zugarramurdi")
Editing: Paloma López Carrillo y Felipe Gómez ("La Jaula de Oro")
Costume Design: Chris Garrido ("Tatuagem")
Sound Design: Matías Barberis, Raúl Locatelli y Jaime Baksht ("La Jaula de oro")
Music: Joan Valent ("Las brujas de Zugarramurdi")
Lead Actor: Viggo Mortensen ("Jauja")
Lead Actress: Leandra Leal ("A Wolf at the Door")
Diego Quemada-Diez Receives the Award for Best Narrative Film for "La Jaula de Oro"
Amat Escalante Receives the Award for Best Director for "Heli"
Viggo Mortensen Receives the Award for Best Lead Actor for "Jauja"
Leandra Leal Receives the Award for Best Lead Actress for "A Wolf at the Door"...
- 11/19/2014
- by Sydney Levine
- Sydney's Buzz
Early predictions have emerged for most Academy Award categories. As the studios reveal their hopeful offers to be released in the final months of the year, the speculation increases. But despite all the information available on the centerpiece awards, other more obscure races remain a complete mystery at this point. Among these, the Best Foreign Language Film Oscar is almost certainly the most complex to prognosticate. The lengthy process that precedes the announcement of the final nominees makes for a competition that begins months in advance in nations around the globe.
Having the opportunity to submit only one film, each country must carry out its own selection process. Once these decisions have been made, their chosen works will compete to make it to the nine-film shortlist, and eventually into the final five slots. Although this procedure allows for a certain degree of democracy, it also excludes all those other films that were left behind in their homelands. This, in turn, gives us a narrow view of what is being produced abroad.
Therefore, after lots of research and arduous educated guessing to put it together, the list below offers a more insightful look at this race before the actual individual selections are announced. For the sake of time, the amount of films is limited to five per country, but in some cases the choices are scarcer and less films are listed. While trying to speculate is always an uncertain endeavor, the factors taken into account to determine which are some of this year’s most important films in each country and their prospects of being chosen as their representative at the Academy Awards, were varied. Festival exposure, release date, the country’s previous submissions, and even the thematic elements of a few of them were considered to create this piece.
Clearly nothing is definitive at this point, but at the very least, this compilation will provide a sense of what the film industries in these territories are putting out and sharing with the world.
It is important to note that several of the films mentioned below are being handled by Mundial, a joint venture between Im Gobal and Canana, including "Gueros," "A Wolf at the Door," and "The Liberator."
Here is the first list dedicated to the Americas
Argentina
With four films presented at Cannes and several others receiving praise in festivals around the world, Argentina has several interesting options this year. Unfortunately, Lisandro Alonso’s period piece “Jauja” will almost certainly be ineligible due to its November release date, unless a qualifying one-week run is scheduled. That scenario seems unlikely. Screening in the Directors’ Forthnight, Diego Lerman’s “Refugee” (Refugiado) will open on October 3rd, also a few days after the deadline. That leaves the Almodovar-produced “Wild Tales” as the undisputed favorite. Acclaimed films such as “Natural Sciences," “The Third Side of the River”, “El Ardor“ (staring Gael Garcia Bernal), and “La Paz” are longer shots but still viable choices.
1. "Wild Tales" (Relatos Salvajes)
2. "Natural Sciences" (Ciencias Naturales)
3."The Ardor" (El Ardor)
4."The Third Side of the River" (La Tercera Orilla)
5."La Paz"
Bolivia
The last time the landlocked country submitted a film was back in 2009. However, this year offers several possibilities for the Bolivian film industry. Given its production value and historical theme, it is likely that - if they choose to send a film - it will be Mexican director Carlos Bolado’s “Forgotten” (Olvidados), which deals with the 70s Operation Condor. Another likely choice is “Yvy Maraey,” which highlights the mysticism of the country’s indigenous people and is the latest work by Juan Carlos Valdivia, whose films have represented Bolivia in 3 out of the 6 occasions they’ve participated. A long delayed road trip flick (“Once Upon a Time in Bolivia”) and a unique documentary (“Apricot”) round up the list of contenders.
1. "Forgotten" (Olvidados)
2. "Yvy Maraey: Land Without Evil" (Yvy Maraey: Tierra Sin Mal)
3. "Once Upon a Time in Bolivia" (Erase una vez en Bolivia)
4. "Apricot" (Durazno)
Brazil
Producing an impressive amount of films per year, the Brazilian film industry is seeing incredible progress recently. Particularly this year, the quality of works was exceptional across the board. Having such an overflow of great material could make it difficult to select just one. However, there are a few films that standout amongst the crowd. Fernando Coimbra’s debut feature “A Wolf at the Door” is undoubtedly the one to beat after receiving rave reviews and touring some of the most important international festivals. Its biggest competitors are the quiet character study “The Man of the Crowd” and the adorable coming-of-age tale “The Way He Looks.” Rounding up the top five are locally acclaimed “Runriver” and powerful Lgbt drama “Futuro Beach.”
1. "A Wolf at the Door" (O Lobo atrás da Porta)
2. "The Man of the Crowd" (O Homem das Multidões)
3. "The Way He Looks" (Hoje Eu Quero Voltar Sozinho)
4. "Riverrun" (Riocorrente)
5. "Futuro Beach" (Praia do Futuro)
Canada
This definitely seems like Xavier Dolan’s year. After sharing an award with New Wave patriarch Jean-Luc Godard in Cannes, the 25-year-old prodigy is almost a safe bet having two films that could represent his country. While “Mommy” is the clear favorite, it will have to go against “An Eye for Beauty, ” the latest film from Oscar-winner Denys Arcand. Both films will screen at Tiff in the upcoming weeks, just as time runs out for Canada to nominate a film by the end of September. Less probable but still great options are Dolan’s own “Tom at the Farm,” quirky black-and-white dramedy “Tu Dors Nicole,” and the well-received rural family drama “The Auction. ”
1. "Mommy"
2. "An Eye for Beauty" (Le Règne de la Beauté)
3. "Tom at the Farm" (Tom à la ferme)
4. "You's Sleeping Nicole" (Tu Dors Nicole)
5. "The Auction" (Le démantèlement)
Chile
Here is one of the few countries in the region with a very clear choice, but which sadly might decide to miss that opportunity. Alejandro Fernández Almendras ‘“To Kill a Man” won at Sundance, Rotterdam, Berlin, Cartagena amongst several other festivals and has received extremely positive reactions from critics and audiences. Yet, its opening date in its homeland (October 16th) might prevent it from being selected, which would be a regrettable mistake. A one-week run or an earlier release date would be a worthwhile investment. If they decide to leave it behind for next year, this great film would definitely miss its chance. If that is the case, the South American nation, which in recent years has garnered incredible success with films like “No” and “Gloria,” might decide to go with “The Dance of Reality,” the first film in over 20 years by veteran auteur Alejandro Jodorowsky. Other plausible candidates include “Illiterate” (starring Paulina Garcia), Marcela Said’s remarkable “The Summer of Flying Fish,” and historical biopic “Neruda.”
1. "To Kill a Man" (Matar a un Hombre)
2. "The Dance of Reality" (La Danza de la Realidad)
3. "Illiterate" (Las Analfabetas)
4. "The Summer of Flying Fish" (El Verano de los Peces Voladores)
5. "Neruda"
Colombia
Being forced to resort to mainstream cartel-themed fare in past occasions, this year has fortunately seen a fantastic reemergence of auteur-driven works in the country. Cartagena winner “Dust on the Tongue” is by far the most promising Colombian offer of the year with a thought-provoking premise. Next in line is “Mateo” about a young man struggling to pursue his passion for theater while living in a crime-ridden community. Other films include the touching “Catching Fireflies,” apocalyptic comedy “Chronicle of the End of the World,” and music-infused romance “Ciudad Delirio.” Franco Lolli’s award-winning “Gente de Bien” doesn’t have a release date yet, but will probably be in the running next year.
1. "Dust on the Tongue" (Tierra en la Lengua)
2. "Mateo"
3. "Chasing Fireflies" (Cazando Luciernagas)
4. "Chronicle of the End of the World" (Crónica del Fin del Mundo)
5. "Ciudad Delirio"
Costa Rica
Having three great films eligible for consideration, Costa Rica will likely enter the Oscar race for what would be only the third time in its history. Without a doubt, the country is spearheading Central America in terms of increased film production. Lauded throughout multiple festivals, “Red Princesses,” about a girl growing up in the Sandinista-era, is the most notable work. “Port Father,” a coming-of-age drama set in a coastal town and the comedy “All About the Feathers” are the other two that could be picked. Regardless of which one is selected, they all serve as an encouraging sign of growth for the Costa Rican industry.
1. "Red Princesses" (Princesas Rojas)
2. "Port Father" (Puerto Padre)
3. "All About the Feathers" (Por las Plumas)
Cuba
Hosting the Havana International Film Festival and its consistent investment in local talent make Cuba a unique place for film in the Caribbean. In spite of this, only a few national productions have reached cinemas this year. The three notable titles revolve around personal stories of survival and the struggles associated with living on the island. Winner of several international awards, “Behavior” is the clear favorite. “Melaza,” another local drama dealing with the economic challenges Cubans face and the gay love story “The Last Match,” complete the trio.
1. "Behavior" (Conducta)
2."Melaza"
3. "The Last Match" (La Partida)
Dominican Republic
For its size, this island nation has an impressive working industry that steadily produces films in diverse genres. The Dominican Republic will almost certainly participate again with one of the works by its homegrown talent. Screening in Toronto last year, crime romance “Cristo Rey” has the highest probability of being chosen. In second place is the documentary “The Mountain,” which centers on a unique expedition to Mount Everest by a Dominican team. Passionate road trip story “To the South of Innocence” and psychological thriller “Despertar ” conform the list of options.
1. "Cristo Rey"
2. "The Mountain"(La Montaña)
3. "To the South of Innocence" (Al Sur de la Inocencia)
4. "Despertar"
Ecuador
Seemingly dormant for many decades, the Ecuadorian film industry has recently exploded. Even though they have only submitted three times in the past, it appears they plan to make their presence more consistent moving forward. What is even more surprising, are the numerous alternatives they have to make their selection. At the top of the list is “Holiday,” which premiered in Berlin and has received considerable praise. Two other art house offers, “Silence in Dreamland” and “Saudade,” could be serious contenders. “Girl Without Fear,” a gritty crime film and “The Facilitator,” a politically charged work, have less chances but are still interesting offers.
1. "Holiday" (Feriado)
2. "Silence in Dreamland" (El Silencio en la Tierra de los Sueños)
3. "Saudade"
4. "Girl With No Fear" (Ciudad Sin Sombra)
5. "The Facilitator" (El Facilitador)
El Salvador
Sporadically producing feature length works due to the lack of initiatives that facilitate their funding, El Salvador has never entered the race. Nevertheless, there are three films that could potentially be submitted: Supernatural horror film "The Supreme Book," romantic comedy "The Re-Search," and the more viable choice, " The Four Cardinal Points," a documentary about the diverse lifestyles throughout the tiny country. The latter was exhibited commercially as part of Ambulante El Salvador for about a week, which could possibly make it eligible. But in all honesty, it is hard to think they’ll feel so inclined as to participate.
1. "El Salvador: The Four Cardinal Points" (El Salvador: Cuatro Puntos Cardinales)
2. "The Re-Search" (La ReBusqueda)
3. "The Supreme Book" (El Libro Supremo)
Guatemala
With only one submission under their belt back in 1994 and several missed opportunities in recent years, Guatemala might opt to remain out of the spotlight once again. If, however, they change their mind, there are three films that qualify to be entered. Focusing on the indigenous Maya‘s beliefs and legends, “Where the Sun is Born” is surely the most authentic and visually powerful of these films. Then there is “Pol,” a story about two teenage friends and their mishaps. Lastly, there is “12 Seconds,” a sort of slasher flick set in the countryside. It’s been 20 years since their last try, it wouldn’t hurt to see them make the effort once again.
1. "Where the Sun is Born" (Donde Nace el Sol)
2. "Pol"
3. "12 Seconds" (12 Segundos)
Honduras
Although they have never submitted an entry, the Central American country is showing signs of progress in terms of its film industry. With only two local, low budget films released this year, it is highly unlikely they will enter. Nevertheless, they do have an eligible film “11 Cipotes,” a sports comedy about a soccer team in a small town. The other film, “The Zwickys,” is surprisingly ineligible because it is mostly in English.
1. "11 Kids" (11 Cipotes)
Mexico
Now that the Mexican Academy has announced their shortlist - which strangely and inexplicably includes titles that have no scheduled release dates or that will be released after AMPAS' deadline (September 30th, 2014) - the landscape has dramatically changed. Three of the original selections mentioned here (“The Empty Hours,” “Potosi,” and “ Club Sandwich”) are not included among the finalists. It is important to note that films need to be submitted by the filmmakers in order to be considered by the Mexican Academy. One can assume that these films, though they qualify, decided not to participate. The 21 films listed include several documentaries such as “Purgatorio: A Journey Into the Heart of the Border,” “Disrupted” (Quebranto), “Eufrosina’s Revolution” (La Revolución de los Alcatraces), and “H2Omx" among others. But even if many of these are outstanding films, it is highly unlikely that the Academy will decide to go with a documentary over a narrative given their track record and the other options available. Comedic offers like the charming “Paraíso” by Mariana Chenillo, "Flying Low" (Volando Bajo), and "The Last Call" (Tercera Llamada) also made it in. Just like last year with “Instructions Not Included,” most people could assume that the film with the most commercial prospects would make for a good candidate for Oscar consideration, in this case that would be the biopic “Cantinflas," which was also listed. Fortunately, however, the selection committee often prefers to bet on films honored internationally regardless of their controversial content (“Heli,” “After Lucia,” “Silent Light,” “The Crime of Father Amaro”).
With the new additions, the possibilities have shifted. On the top spot is Alonso Ruiz Palacios’ black and white debut “Güeros,” which won in Berlin and Tribeca, and screened at Karlovy Vary. The festival pedigree will definitely help this unique road trip film set in Mexico City during the late 90s. The runner up is Luis Urquiza’s “Perfect Obedience,” though it did not have any festival exposure or a highly profitable theatrical run, the local critics praised the compelling portrayal of a depraved Catholic priest with satirical undertones. It would definitely make for a great contender if the Academy were willing to run the risk given its controversial subject matter. At number three we have Christian Diaz Pardo’s “Gonzalez,” an intriguing drama about a man looking to change his destiny by joining a for profit evangelical church. Dark comedy “ Workers,” by Salvadoran filmmaker Jose Luis Valle, comes in at number four. Lastly, there is Luis Estrada’s long awaited new film “The Perfect Dictatorship,” which made the cut despite having an October 16th release date. The film could definitely come into play; however, voters should consider the fact that its premise and humor might be too specific to the Mexican political idiosyncrasies to connect with foreign voters. Two other films that might be in the race next year are “Perpetual Sadness” (La Tirisia) and “ The Well” (Manto Acuifero)
1."Güeros"
2. "Perfect Obedience" (Obediencia Perfecta)
3. "Gonzalez"
4. "Workers"
5. "The Perfect Dictatorship" (La Dictadura Perfecta)
Nicaragua
With three submissions in over 30 years (1982, 1988, 2010), Nicaragua is the Central American nation with the most attempts at Oscar glory. More astonishing perhaps, is the fact that their first ever entry, “Alsino and the Condor,” earned them a nomination. These days production is almost non-existent. Still, the country’s most prolific filmmaker Florence Jaugey, responsible for their last submission “La Yuma,” made a small documentary titled “Class Days." It is just over 50 minutes long but actually had a theatrical run. Though eligible, it’s probable they’ll decide to skip this year. On the other hand, Jaugey has just finished a new narrative new feature, “The Naked Screen” (La Pantalla Desnuda), which will surely be part of the conversation next year.
1. "Class Days" (Dias de Clase)
Panama
An unprecedented amount of national productions were scheduled to premier in Panama during 2014. All of those four films - which by the country’s standards is an exceptional number - are documentaries. However, only two of them will be eligible given their set release dates. Out of those two, the top choice would certainly be Abner Benaim’s “Invasion” which uses reenactments in lieu of archive footage to revisit the American military intervention in the Central American country in 1989. The runner-up, “Majesty,” deals with the more lighthearted subject of carnival queens. In any case, should Panama decide to submit a film, this would be their first ever appearance.
1. "Invasion"
2. "Majesty" (Reinas)
Paraguay
Disappointed after missing the chance to submit last year's surprise hit “7 Boxes”due to the lack of a selection committee, Paraguayan authorities have stressed their wish to send a film to compete this time around. Unfortunately, it appears that their two best options might be scheduled to open theatrically past the Academy’s deadline. The documentary “Cloudy Times,” a Swiss co-production, has garnered positive reactions internationally and would be their best shot. A second choice could be the crime flick “Filthy Luck,” which sports a decent production value. But if neither of them manages to qualify, then the country’s only other option is yet another crime film “End of the Line.” In any case, hopefully they follow through with their intentions and participate for the first time.
1. "Cloudy Times" (El Tiempo Nublado)
2. "Filthy Luck" (Luna de Cigarras)
3. "End of the Line" (Fin de Linea)
Peru
The eclectic collection of Peruvian films released this year speaks of the great development the medium is experiencing in that country. The five films mentioned here represent the array of genres and stories coming out of Peru today. Given its incredible reception abroad, dark comedy “The Mute” by Daniel Vega Vidal & Diego Vega Vidal is undoubtedly the frontrunner. Behind it comes the intriguing thriller “Guard Dog” starring Peruvian star Carlos Alcántara, multi-narrative drama “The Gospel of the Flesh,” romantic tearjerker “Trip to Timbuktu,” and “Old Friends” about a group of elderly men on a mission. Definitely a though decision needs to be made.
1. "The Mute" (El Mudo)
2. "Guard Dog" (Perro Guardian)
3. "The Gospel of the Flesh" (El Evangelio de la Carne)
4. "Trip to Timbuktu" (Viaje a Tombuctu)
5. "Old Friends" (Viejos Amigos)
Uruguay
Last year the country decided to take a chance and submit the adorable animated film “Anina,” which despite not getting a nomination has become a great success. This time they have “The Militant,” a serious contender about a man retuning to his late father’s hometown. Empowered by a positive festival run, this seems to be their most ideal option. “23 Seconds,” a drama about an unlikely connection between two people and “Mr. Kaplan,” a buddy comedy by Álvaro Brechner - whose previous film “A Bad Day to Go Fishing” was selected a few years back - are the next best choices. The remaining film “At 60 km/h” is a documentary about a unique journey around the world.
1. "The Militant" (El Lugar del Hijo)
2. "23 Seconds" (23 Segundos)
3. "Mr. Kaplan"
4. "At 60 Km/h" (A 60 Km/h)
Venezuela
Dubbed as “the most expensive film ever made in Latin America” and focusing on the accomplishments of the country’s most important historical figure, selecting “The Liberator” is simply a no-brainer. Added to those qualities, the film is actually an elegantly achieved period piece that really showcases the sizable budget and director Alberto Arvelo’s talent. Two of his previous films have also represented his country in the past. On the other hand, this has been a monumental year for Venezuelan films. Festival darling “Bad Hair” would be the perfect choice if it weren’t going against the imposing major production. Other important films that could figure in the mix but have much less prospects are the emotional road-trip film “The Longest Distance,” the women-centered drama “Liz in September,” and the acclaimed thriller “Solo.”
1. "The Liberator" (El Libertador)
2. "Bad Hair" (Pelo Malo)
3. "The Longest Distance" (La Distnacia Mas Larga)
4. "Liz in September" (Liz en Septiembre)
5. "Solo"...
Having the opportunity to submit only one film, each country must carry out its own selection process. Once these decisions have been made, their chosen works will compete to make it to the nine-film shortlist, and eventually into the final five slots. Although this procedure allows for a certain degree of democracy, it also excludes all those other films that were left behind in their homelands. This, in turn, gives us a narrow view of what is being produced abroad.
Therefore, after lots of research and arduous educated guessing to put it together, the list below offers a more insightful look at this race before the actual individual selections are announced. For the sake of time, the amount of films is limited to five per country, but in some cases the choices are scarcer and less films are listed. While trying to speculate is always an uncertain endeavor, the factors taken into account to determine which are some of this year’s most important films in each country and their prospects of being chosen as their representative at the Academy Awards, were varied. Festival exposure, release date, the country’s previous submissions, and even the thematic elements of a few of them were considered to create this piece.
Clearly nothing is definitive at this point, but at the very least, this compilation will provide a sense of what the film industries in these territories are putting out and sharing with the world.
It is important to note that several of the films mentioned below are being handled by Mundial, a joint venture between Im Gobal and Canana, including "Gueros," "A Wolf at the Door," and "The Liberator."
Here is the first list dedicated to the Americas
Argentina
With four films presented at Cannes and several others receiving praise in festivals around the world, Argentina has several interesting options this year. Unfortunately, Lisandro Alonso’s period piece “Jauja” will almost certainly be ineligible due to its November release date, unless a qualifying one-week run is scheduled. That scenario seems unlikely. Screening in the Directors’ Forthnight, Diego Lerman’s “Refugee” (Refugiado) will open on October 3rd, also a few days after the deadline. That leaves the Almodovar-produced “Wild Tales” as the undisputed favorite. Acclaimed films such as “Natural Sciences," “The Third Side of the River”, “El Ardor“ (staring Gael Garcia Bernal), and “La Paz” are longer shots but still viable choices.
1. "Wild Tales" (Relatos Salvajes)
2. "Natural Sciences" (Ciencias Naturales)
3."The Ardor" (El Ardor)
4."The Third Side of the River" (La Tercera Orilla)
5."La Paz"
Bolivia
The last time the landlocked country submitted a film was back in 2009. However, this year offers several possibilities for the Bolivian film industry. Given its production value and historical theme, it is likely that - if they choose to send a film - it will be Mexican director Carlos Bolado’s “Forgotten” (Olvidados), which deals with the 70s Operation Condor. Another likely choice is “Yvy Maraey,” which highlights the mysticism of the country’s indigenous people and is the latest work by Juan Carlos Valdivia, whose films have represented Bolivia in 3 out of the 6 occasions they’ve participated. A long delayed road trip flick (“Once Upon a Time in Bolivia”) and a unique documentary (“Apricot”) round up the list of contenders.
1. "Forgotten" (Olvidados)
2. "Yvy Maraey: Land Without Evil" (Yvy Maraey: Tierra Sin Mal)
3. "Once Upon a Time in Bolivia" (Erase una vez en Bolivia)
4. "Apricot" (Durazno)
Brazil
Producing an impressive amount of films per year, the Brazilian film industry is seeing incredible progress recently. Particularly this year, the quality of works was exceptional across the board. Having such an overflow of great material could make it difficult to select just one. However, there are a few films that standout amongst the crowd. Fernando Coimbra’s debut feature “A Wolf at the Door” is undoubtedly the one to beat after receiving rave reviews and touring some of the most important international festivals. Its biggest competitors are the quiet character study “The Man of the Crowd” and the adorable coming-of-age tale “The Way He Looks.” Rounding up the top five are locally acclaimed “Runriver” and powerful Lgbt drama “Futuro Beach.”
1. "A Wolf at the Door" (O Lobo atrás da Porta)
2. "The Man of the Crowd" (O Homem das Multidões)
3. "The Way He Looks" (Hoje Eu Quero Voltar Sozinho)
4. "Riverrun" (Riocorrente)
5. "Futuro Beach" (Praia do Futuro)
Canada
This definitely seems like Xavier Dolan’s year. After sharing an award with New Wave patriarch Jean-Luc Godard in Cannes, the 25-year-old prodigy is almost a safe bet having two films that could represent his country. While “Mommy” is the clear favorite, it will have to go against “An Eye for Beauty, ” the latest film from Oscar-winner Denys Arcand. Both films will screen at Tiff in the upcoming weeks, just as time runs out for Canada to nominate a film by the end of September. Less probable but still great options are Dolan’s own “Tom at the Farm,” quirky black-and-white dramedy “Tu Dors Nicole,” and the well-received rural family drama “The Auction. ”
1. "Mommy"
2. "An Eye for Beauty" (Le Règne de la Beauté)
3. "Tom at the Farm" (Tom à la ferme)
4. "You's Sleeping Nicole" (Tu Dors Nicole)
5. "The Auction" (Le démantèlement)
Chile
Here is one of the few countries in the region with a very clear choice, but which sadly might decide to miss that opportunity. Alejandro Fernández Almendras ‘“To Kill a Man” won at Sundance, Rotterdam, Berlin, Cartagena amongst several other festivals and has received extremely positive reactions from critics and audiences. Yet, its opening date in its homeland (October 16th) might prevent it from being selected, which would be a regrettable mistake. A one-week run or an earlier release date would be a worthwhile investment. If they decide to leave it behind for next year, this great film would definitely miss its chance. If that is the case, the South American nation, which in recent years has garnered incredible success with films like “No” and “Gloria,” might decide to go with “The Dance of Reality,” the first film in over 20 years by veteran auteur Alejandro Jodorowsky. Other plausible candidates include “Illiterate” (starring Paulina Garcia), Marcela Said’s remarkable “The Summer of Flying Fish,” and historical biopic “Neruda.”
1. "To Kill a Man" (Matar a un Hombre)
2. "The Dance of Reality" (La Danza de la Realidad)
3. "Illiterate" (Las Analfabetas)
4. "The Summer of Flying Fish" (El Verano de los Peces Voladores)
5. "Neruda"
Colombia
Being forced to resort to mainstream cartel-themed fare in past occasions, this year has fortunately seen a fantastic reemergence of auteur-driven works in the country. Cartagena winner “Dust on the Tongue” is by far the most promising Colombian offer of the year with a thought-provoking premise. Next in line is “Mateo” about a young man struggling to pursue his passion for theater while living in a crime-ridden community. Other films include the touching “Catching Fireflies,” apocalyptic comedy “Chronicle of the End of the World,” and music-infused romance “Ciudad Delirio.” Franco Lolli’s award-winning “Gente de Bien” doesn’t have a release date yet, but will probably be in the running next year.
1. "Dust on the Tongue" (Tierra en la Lengua)
2. "Mateo"
3. "Chasing Fireflies" (Cazando Luciernagas)
4. "Chronicle of the End of the World" (Crónica del Fin del Mundo)
5. "Ciudad Delirio"
Costa Rica
Having three great films eligible for consideration, Costa Rica will likely enter the Oscar race for what would be only the third time in its history. Without a doubt, the country is spearheading Central America in terms of increased film production. Lauded throughout multiple festivals, “Red Princesses,” about a girl growing up in the Sandinista-era, is the most notable work. “Port Father,” a coming-of-age drama set in a coastal town and the comedy “All About the Feathers” are the other two that could be picked. Regardless of which one is selected, they all serve as an encouraging sign of growth for the Costa Rican industry.
1. "Red Princesses" (Princesas Rojas)
2. "Port Father" (Puerto Padre)
3. "All About the Feathers" (Por las Plumas)
Cuba
Hosting the Havana International Film Festival and its consistent investment in local talent make Cuba a unique place for film in the Caribbean. In spite of this, only a few national productions have reached cinemas this year. The three notable titles revolve around personal stories of survival and the struggles associated with living on the island. Winner of several international awards, “Behavior” is the clear favorite. “Melaza,” another local drama dealing with the economic challenges Cubans face and the gay love story “The Last Match,” complete the trio.
1. "Behavior" (Conducta)
2."Melaza"
3. "The Last Match" (La Partida)
Dominican Republic
For its size, this island nation has an impressive working industry that steadily produces films in diverse genres. The Dominican Republic will almost certainly participate again with one of the works by its homegrown talent. Screening in Toronto last year, crime romance “Cristo Rey” has the highest probability of being chosen. In second place is the documentary “The Mountain,” which centers on a unique expedition to Mount Everest by a Dominican team. Passionate road trip story “To the South of Innocence” and psychological thriller “Despertar ” conform the list of options.
1. "Cristo Rey"
2. "The Mountain"(La Montaña)
3. "To the South of Innocence" (Al Sur de la Inocencia)
4. "Despertar"
Ecuador
Seemingly dormant for many decades, the Ecuadorian film industry has recently exploded. Even though they have only submitted three times in the past, it appears they plan to make their presence more consistent moving forward. What is even more surprising, are the numerous alternatives they have to make their selection. At the top of the list is “Holiday,” which premiered in Berlin and has received considerable praise. Two other art house offers, “Silence in Dreamland” and “Saudade,” could be serious contenders. “Girl Without Fear,” a gritty crime film and “The Facilitator,” a politically charged work, have less chances but are still interesting offers.
1. "Holiday" (Feriado)
2. "Silence in Dreamland" (El Silencio en la Tierra de los Sueños)
3. "Saudade"
4. "Girl With No Fear" (Ciudad Sin Sombra)
5. "The Facilitator" (El Facilitador)
El Salvador
Sporadically producing feature length works due to the lack of initiatives that facilitate their funding, El Salvador has never entered the race. Nevertheless, there are three films that could potentially be submitted: Supernatural horror film "The Supreme Book," romantic comedy "The Re-Search," and the more viable choice, " The Four Cardinal Points," a documentary about the diverse lifestyles throughout the tiny country. The latter was exhibited commercially as part of Ambulante El Salvador for about a week, which could possibly make it eligible. But in all honesty, it is hard to think they’ll feel so inclined as to participate.
1. "El Salvador: The Four Cardinal Points" (El Salvador: Cuatro Puntos Cardinales)
2. "The Re-Search" (La ReBusqueda)
3. "The Supreme Book" (El Libro Supremo)
Guatemala
With only one submission under their belt back in 1994 and several missed opportunities in recent years, Guatemala might opt to remain out of the spotlight once again. If, however, they change their mind, there are three films that qualify to be entered. Focusing on the indigenous Maya‘s beliefs and legends, “Where the Sun is Born” is surely the most authentic and visually powerful of these films. Then there is “Pol,” a story about two teenage friends and their mishaps. Lastly, there is “12 Seconds,” a sort of slasher flick set in the countryside. It’s been 20 years since their last try, it wouldn’t hurt to see them make the effort once again.
1. "Where the Sun is Born" (Donde Nace el Sol)
2. "Pol"
3. "12 Seconds" (12 Segundos)
Honduras
Although they have never submitted an entry, the Central American country is showing signs of progress in terms of its film industry. With only two local, low budget films released this year, it is highly unlikely they will enter. Nevertheless, they do have an eligible film “11 Cipotes,” a sports comedy about a soccer team in a small town. The other film, “The Zwickys,” is surprisingly ineligible because it is mostly in English.
1. "11 Kids" (11 Cipotes)
Mexico
Now that the Mexican Academy has announced their shortlist - which strangely and inexplicably includes titles that have no scheduled release dates or that will be released after AMPAS' deadline (September 30th, 2014) - the landscape has dramatically changed. Three of the original selections mentioned here (“The Empty Hours,” “Potosi,” and “ Club Sandwich”) are not included among the finalists. It is important to note that films need to be submitted by the filmmakers in order to be considered by the Mexican Academy. One can assume that these films, though they qualify, decided not to participate. The 21 films listed include several documentaries such as “Purgatorio: A Journey Into the Heart of the Border,” “Disrupted” (Quebranto), “Eufrosina’s Revolution” (La Revolución de los Alcatraces), and “H2Omx" among others. But even if many of these are outstanding films, it is highly unlikely that the Academy will decide to go with a documentary over a narrative given their track record and the other options available. Comedic offers like the charming “Paraíso” by Mariana Chenillo, "Flying Low" (Volando Bajo), and "The Last Call" (Tercera Llamada) also made it in. Just like last year with “Instructions Not Included,” most people could assume that the film with the most commercial prospects would make for a good candidate for Oscar consideration, in this case that would be the biopic “Cantinflas," which was also listed. Fortunately, however, the selection committee often prefers to bet on films honored internationally regardless of their controversial content (“Heli,” “After Lucia,” “Silent Light,” “The Crime of Father Amaro”).
With the new additions, the possibilities have shifted. On the top spot is Alonso Ruiz Palacios’ black and white debut “Güeros,” which won in Berlin and Tribeca, and screened at Karlovy Vary. The festival pedigree will definitely help this unique road trip film set in Mexico City during the late 90s. The runner up is Luis Urquiza’s “Perfect Obedience,” though it did not have any festival exposure or a highly profitable theatrical run, the local critics praised the compelling portrayal of a depraved Catholic priest with satirical undertones. It would definitely make for a great contender if the Academy were willing to run the risk given its controversial subject matter. At number three we have Christian Diaz Pardo’s “Gonzalez,” an intriguing drama about a man looking to change his destiny by joining a for profit evangelical church. Dark comedy “ Workers,” by Salvadoran filmmaker Jose Luis Valle, comes in at number four. Lastly, there is Luis Estrada’s long awaited new film “The Perfect Dictatorship,” which made the cut despite having an October 16th release date. The film could definitely come into play; however, voters should consider the fact that its premise and humor might be too specific to the Mexican political idiosyncrasies to connect with foreign voters. Two other films that might be in the race next year are “Perpetual Sadness” (La Tirisia) and “ The Well” (Manto Acuifero)
1."Güeros"
2. "Perfect Obedience" (Obediencia Perfecta)
3. "Gonzalez"
4. "Workers"
5. "The Perfect Dictatorship" (La Dictadura Perfecta)
Nicaragua
With three submissions in over 30 years (1982, 1988, 2010), Nicaragua is the Central American nation with the most attempts at Oscar glory. More astonishing perhaps, is the fact that their first ever entry, “Alsino and the Condor,” earned them a nomination. These days production is almost non-existent. Still, the country’s most prolific filmmaker Florence Jaugey, responsible for their last submission “La Yuma,” made a small documentary titled “Class Days." It is just over 50 minutes long but actually had a theatrical run. Though eligible, it’s probable they’ll decide to skip this year. On the other hand, Jaugey has just finished a new narrative new feature, “The Naked Screen” (La Pantalla Desnuda), which will surely be part of the conversation next year.
1. "Class Days" (Dias de Clase)
Panama
An unprecedented amount of national productions were scheduled to premier in Panama during 2014. All of those four films - which by the country’s standards is an exceptional number - are documentaries. However, only two of them will be eligible given their set release dates. Out of those two, the top choice would certainly be Abner Benaim’s “Invasion” which uses reenactments in lieu of archive footage to revisit the American military intervention in the Central American country in 1989. The runner-up, “Majesty,” deals with the more lighthearted subject of carnival queens. In any case, should Panama decide to submit a film, this would be their first ever appearance.
1. "Invasion"
2. "Majesty" (Reinas)
Paraguay
Disappointed after missing the chance to submit last year's surprise hit “7 Boxes”due to the lack of a selection committee, Paraguayan authorities have stressed their wish to send a film to compete this time around. Unfortunately, it appears that their two best options might be scheduled to open theatrically past the Academy’s deadline. The documentary “Cloudy Times,” a Swiss co-production, has garnered positive reactions internationally and would be their best shot. A second choice could be the crime flick “Filthy Luck,” which sports a decent production value. But if neither of them manages to qualify, then the country’s only other option is yet another crime film “End of the Line.” In any case, hopefully they follow through with their intentions and participate for the first time.
1. "Cloudy Times" (El Tiempo Nublado)
2. "Filthy Luck" (Luna de Cigarras)
3. "End of the Line" (Fin de Linea)
Peru
The eclectic collection of Peruvian films released this year speaks of the great development the medium is experiencing in that country. The five films mentioned here represent the array of genres and stories coming out of Peru today. Given its incredible reception abroad, dark comedy “The Mute” by Daniel Vega Vidal & Diego Vega Vidal is undoubtedly the frontrunner. Behind it comes the intriguing thriller “Guard Dog” starring Peruvian star Carlos Alcántara, multi-narrative drama “The Gospel of the Flesh,” romantic tearjerker “Trip to Timbuktu,” and “Old Friends” about a group of elderly men on a mission. Definitely a though decision needs to be made.
1. "The Mute" (El Mudo)
2. "Guard Dog" (Perro Guardian)
3. "The Gospel of the Flesh" (El Evangelio de la Carne)
4. "Trip to Timbuktu" (Viaje a Tombuctu)
5. "Old Friends" (Viejos Amigos)
Uruguay
Last year the country decided to take a chance and submit the adorable animated film “Anina,” which despite not getting a nomination has become a great success. This time they have “The Militant,” a serious contender about a man retuning to his late father’s hometown. Empowered by a positive festival run, this seems to be their most ideal option. “23 Seconds,” a drama about an unlikely connection between two people and “Mr. Kaplan,” a buddy comedy by Álvaro Brechner - whose previous film “A Bad Day to Go Fishing” was selected a few years back - are the next best choices. The remaining film “At 60 km/h” is a documentary about a unique journey around the world.
1. "The Militant" (El Lugar del Hijo)
2. "23 Seconds" (23 Segundos)
3. "Mr. Kaplan"
4. "At 60 Km/h" (A 60 Km/h)
Venezuela
Dubbed as “the most expensive film ever made in Latin America” and focusing on the accomplishments of the country’s most important historical figure, selecting “The Liberator” is simply a no-brainer. Added to those qualities, the film is actually an elegantly achieved period piece that really showcases the sizable budget and director Alberto Arvelo’s talent. Two of his previous films have also represented his country in the past. On the other hand, this has been a monumental year for Venezuelan films. Festival darling “Bad Hair” would be the perfect choice if it weren’t going against the imposing major production. Other important films that could figure in the mix but have much less prospects are the emotional road-trip film “The Longest Distance,” the women-centered drama “Liz in September,” and the acclaimed thriller “Solo.”
1. "The Liberator" (El Libertador)
2. "Bad Hair" (Pelo Malo)
3. "The Longest Distance" (La Distnacia Mas Larga)
4. "Liz in September" (Liz en Septiembre)
5. "Solo"...
- 8/22/2014
- by Carlos Aguilar
- Sydney's Buzz
Yesterday the Guadalajara International Film Festival in Los Angeles - Ficg in La - presented by the University of Guadalajara Foundation in USA and Conaculta, with Principal Sponsors University of Guadalajara, the Guadalajara International Film Festival, the Institute of Cinema Mexico (Imcine) and Univision, announced its lineup. "The Hours with You" (Las Horas Contigo) directed by Catalina Aguilar Mastretta, will be the Opening Night film for the 2014 Festival. The film stars Cassandra Ciangherotti, María Rojo, Isela Vega, Arcelia Ramírez and Julio Bracho.
The 2014 Ficg in La, which returns to the Egyptian Theatre in Hollywood for its fourth year and runs from Thursday, September 4 to Sunday, September 7, brings the best of contemporary Mexican and Latin American cinema to Los Angeles, and is an extension of the Guadalajara International Film Festival.
Featuring outstanding and award-winning titles from FICG29, which ran from March 21-29, 2014 in Guadalajara, Ficg in La will offer the premiere of other titles that have emerged in the world of cinema throughout the year to great critical acclaim.
The aim of the festival is to increase access and visibility of Mexican and Latin American cinema in the U.S., facilitating the exchange of ideas through stories and issues of cultural and social relevance, create a space for collaboration between filmmakers, and strengthen relations between the film industry in Mexico and the U.S.
Ficg in La includes film screenings followed by Q&As with filmmakers and talent, as well as galas and special award recognitions to Latin American and U.S. Latino artists.
“This year, we are truly proud to bring two artistic programs to Ficg in La that supports emerging independent filmmakers, in effect, fulfilling part of our mission to nourish and sustain emerging talent across international film industries. Many of the films in this year's showcase reveal the cross-cultural collaborations currently taking place between film industries in Latin America, the Us, and Canada. These collaborations have resulted in the creation of groundbreaking, authentic, multicultural stories that move seamlessly across national and cultural boundaries." said Hebe Tabachnik, Director and Producer of Ficg in La.
“We are constantly finding ways for Ibero-American filmmakers to promote their films and share their experiences with moviemakers from all over the world. Now that we have reached our fourth year, we realized that we have become one of the leading platforms for Latino cinematography to enter the United States market,” said Iván Trujillo, Festival Director of Ficg.
Among the celebrities that have accompanied us in previous editions are: Carlos Cuarón, Edward James Olmos, Sergio Arau, Diana Bracho, Alfonso Arau, Kate del Castillo, Martha Higareda, Beto Cuevas, Irene Azuela, Dulce Maria, Carmen Salinas and Jay Hernandez.
Oscar nominee Demian Bichir , Nalip (The National Association of Latino Independent Producers), Ruben Luengas (journalist) and Gabriela Teissier (anchor woman) from Univision Radio and TV will receive the festival’s Tree of Life Award for their contributions to Mexican, Latino and Ibero American culture. Previous recipients include Ambulante, Juan Carlos Arciniegas (CNN en Espanol), Fernando Luján (actor), Gabriel Beristain (Director of Photography) and Emilio Kauderer (Music Composer).
Ficg in La continues to support Latino and Ibero-American films with Guadalajara Construye in Los Angeles 1 and DocuLab.1 Los Angeles by selecting six projects from filmmakers seeking post-production funds. The films will be screened for jury members, sponsors and film industry professionals. The winners will be announced on Opening Night.
In addition, the winning projects in each competition will automatically qualify to be considered for Guadalajara Construye 9 or DocuLab.7 Guadalajara, or for the Ibero-American Competitions of the next edition of the Guadalajara International Film Festival (FICG30) – March 6 - 15, 2015.
To reaffirm the social mission of Ficg and the University of Guadalajara Foundation in USA, Ficg in La will donate again all of its proceeds to a charitable cause. We will announce soon the recipient of this year’s fundraising effort.
10 Feature and documentary films and six short films will be showcased in this year’s festival
Opening Night Gala – September 5, 2014
• "The Hours with You" (Las Horas Contigo), Dir. Catalina Aguilar Mastretta, Mexico. Us Premiere
Closing Night Gala – September 7, 2014
• "One for the Road" (En el Ultimo Trago), Dir. Jack Zagha Kababie, Mexico. Us Premiere
Feature Films
• "Echo of the Mountain" (Eco de la Montaña), Dir. Nicolás Echevarría, Mexico. Us Premiere (documentary)
• "Grazing the Sky" (A Ras del Cielo), Dir. Horacio Alcala, Spain/ Mexico/ Portugal. L.A. Premiere (documentary)
• "Ignasi M.," Dir. Ventura Pons, Spain. L.A. Premiere (documentary)
• "Los Ángeles," Dir. Damian John Harper USA/Mexico.
• "The Mute" (El Mudo), Dir. Daniel Vega Vidal & Diego Vega Vidal, Peru. L.A. Premiere
• "Natural Sciences" (Ciencias naturales), Dir. Matías Lucchesi, Argentina.
• "Paraíso," Dir. Mariana Chenillo. Mexico. L.A Premiere
• "A Wolf at the Door" (O Lobo atras da Porta), Dir. Fernando Coimbra, Brazil. L.A. Premiere
Short Films
• "Diego," Dir. Sara Seligman, Mexico/Germany. (live action Drama)
• "A Family Day" (Un día en Familia), Dir. Pedro Zulu González, Mexico. (animation)
• "Minerita," Dir. Raúl de la Fuente, Spain (documentary)
• "Pickman's Model" (El modelo de Pickman), Dir. Pablo Ángeles Zuman, Mexico. Us Premiere (animation)
• "The Queen" (La Reina), Dir. Manuel Abramovich, Argentina (documentary)
• "Yearbook," Dir. Bernardo Britto, USA. (animation)
The screening of the selected work-in-progress films will be for industry accredited to the festival. These screenings are not open to the general public or member of the press.
Guadalajara Construye in Los Angeles 1
• "Blue Lips," Dir. Daniela De Carlo, Julieta Lima, Gustavo Lipsztein, Antonello Novellino, Nacho Ruipérez and Nobu Shima USA/Argentina/ Brazil/ Spain
• "Whisper of the Forest" (Gritos del Bosque), Dir. Jorge Olguín, Chile/USA
• Pocha, Dir. Michael Dwyer, Mexico/USA
DocuLab.1 Los Angeles
• "Gaucho del Norte," Dir. Andres Caballero, Sofia Khan Argentina/USA
• "Hotel de Paso," Dir. Paulina Sánchez Mexico/USA
• "Juanicas," Dir. Karina Garcia Casanova, Mexico/Canada
Ficg in La is presented by the University of Guadalajara Foundation in the United States and Conaculta, and Principal Sponsors, the University of Guadalajara, the Guadalajara International Film Festival, the Institute of Cinema Mexico (Imcine) and Univision, and Supporting Sponsors Cultura Udg, University of Guadalajara Foundation in Los Angeles, LeaLa, Channel 31.2 and the Consulate General of Mexico in Los Angeles.
About Ficg
The Guadalajara International Film Festival was founded by Guillermo del Toro and other Mexican filmmakers in 1986, and will celebrate its 30th edition March 6-15, 2015.
Ficg is the lead film festival in Latin America. It is a forum for the training, education, and creative exchange among industry professionals, film critics, and film students from all over Ibero-America.
About the University of Guadalajara – Mexico
The University of Guadalajara is a member of the University Network in the State of Jalisco, and it is the second oldest university in Mexico. The University of Guadalajara is committed to the betterment of society through higher education. It supports scientific and technological research that makes important contributions to a sustainable and inclusive society, respecting cultural diversity and honoring the principles of social justice, democracy, coexistence, and prosperity for all. The University is renowned in Mexico and abroad as a leader in the transformation of society through innovative means of social development and dissemination of knowledge.
About the Foundation of the University of Guadalajara in the U.S.
The University of Guadalajara Foundation in the United States of America (Udg Foundation-usa) is an extension of Fundación Universidad de Guadalajara, A.C., and is made up of a number of prominent academic and social leaders. The Foundation works to attain private support from individuals, foundations and corporations in order to fulfill the mission and vision of the University of Guadalajara in Los Angeles.
U.S. Udg Foundation seeks to improve the quality of life and social integration of migrants and Hispanic nationals by increasing their access to education and enhancing their sense of belonging and identification with their environment by developing their skills and capabilities through educational services and relevant social research.
The 2014 Ficg in La, which returns to the Egyptian Theatre in Hollywood for its fourth year and runs from Thursday, September 4 to Sunday, September 7, brings the best of contemporary Mexican and Latin American cinema to Los Angeles, and is an extension of the Guadalajara International Film Festival.
Featuring outstanding and award-winning titles from FICG29, which ran from March 21-29, 2014 in Guadalajara, Ficg in La will offer the premiere of other titles that have emerged in the world of cinema throughout the year to great critical acclaim.
The aim of the festival is to increase access and visibility of Mexican and Latin American cinema in the U.S., facilitating the exchange of ideas through stories and issues of cultural and social relevance, create a space for collaboration between filmmakers, and strengthen relations between the film industry in Mexico and the U.S.
Ficg in La includes film screenings followed by Q&As with filmmakers and talent, as well as galas and special award recognitions to Latin American and U.S. Latino artists.
“This year, we are truly proud to bring two artistic programs to Ficg in La that supports emerging independent filmmakers, in effect, fulfilling part of our mission to nourish and sustain emerging talent across international film industries. Many of the films in this year's showcase reveal the cross-cultural collaborations currently taking place between film industries in Latin America, the Us, and Canada. These collaborations have resulted in the creation of groundbreaking, authentic, multicultural stories that move seamlessly across national and cultural boundaries." said Hebe Tabachnik, Director and Producer of Ficg in La.
“We are constantly finding ways for Ibero-American filmmakers to promote their films and share their experiences with moviemakers from all over the world. Now that we have reached our fourth year, we realized that we have become one of the leading platforms for Latino cinematography to enter the United States market,” said Iván Trujillo, Festival Director of Ficg.
Among the celebrities that have accompanied us in previous editions are: Carlos Cuarón, Edward James Olmos, Sergio Arau, Diana Bracho, Alfonso Arau, Kate del Castillo, Martha Higareda, Beto Cuevas, Irene Azuela, Dulce Maria, Carmen Salinas and Jay Hernandez.
Oscar nominee Demian Bichir , Nalip (The National Association of Latino Independent Producers), Ruben Luengas (journalist) and Gabriela Teissier (anchor woman) from Univision Radio and TV will receive the festival’s Tree of Life Award for their contributions to Mexican, Latino and Ibero American culture. Previous recipients include Ambulante, Juan Carlos Arciniegas (CNN en Espanol), Fernando Luján (actor), Gabriel Beristain (Director of Photography) and Emilio Kauderer (Music Composer).
Ficg in La continues to support Latino and Ibero-American films with Guadalajara Construye in Los Angeles 1 and DocuLab.1 Los Angeles by selecting six projects from filmmakers seeking post-production funds. The films will be screened for jury members, sponsors and film industry professionals. The winners will be announced on Opening Night.
In addition, the winning projects in each competition will automatically qualify to be considered for Guadalajara Construye 9 or DocuLab.7 Guadalajara, or for the Ibero-American Competitions of the next edition of the Guadalajara International Film Festival (FICG30) – March 6 - 15, 2015.
To reaffirm the social mission of Ficg and the University of Guadalajara Foundation in USA, Ficg in La will donate again all of its proceeds to a charitable cause. We will announce soon the recipient of this year’s fundraising effort.
10 Feature and documentary films and six short films will be showcased in this year’s festival
Opening Night Gala – September 5, 2014
• "The Hours with You" (Las Horas Contigo), Dir. Catalina Aguilar Mastretta, Mexico. Us Premiere
Closing Night Gala – September 7, 2014
• "One for the Road" (En el Ultimo Trago), Dir. Jack Zagha Kababie, Mexico. Us Premiere
Feature Films
• "Echo of the Mountain" (Eco de la Montaña), Dir. Nicolás Echevarría, Mexico. Us Premiere (documentary)
• "Grazing the Sky" (A Ras del Cielo), Dir. Horacio Alcala, Spain/ Mexico/ Portugal. L.A. Premiere (documentary)
• "Ignasi M.," Dir. Ventura Pons, Spain. L.A. Premiere (documentary)
• "Los Ángeles," Dir. Damian John Harper USA/Mexico.
• "The Mute" (El Mudo), Dir. Daniel Vega Vidal & Diego Vega Vidal, Peru. L.A. Premiere
• "Natural Sciences" (Ciencias naturales), Dir. Matías Lucchesi, Argentina.
• "Paraíso," Dir. Mariana Chenillo. Mexico. L.A Premiere
• "A Wolf at the Door" (O Lobo atras da Porta), Dir. Fernando Coimbra, Brazil. L.A. Premiere
Short Films
• "Diego," Dir. Sara Seligman, Mexico/Germany. (live action Drama)
• "A Family Day" (Un día en Familia), Dir. Pedro Zulu González, Mexico. (animation)
• "Minerita," Dir. Raúl de la Fuente, Spain (documentary)
• "Pickman's Model" (El modelo de Pickman), Dir. Pablo Ángeles Zuman, Mexico. Us Premiere (animation)
• "The Queen" (La Reina), Dir. Manuel Abramovich, Argentina (documentary)
• "Yearbook," Dir. Bernardo Britto, USA. (animation)
The screening of the selected work-in-progress films will be for industry accredited to the festival. These screenings are not open to the general public or member of the press.
Guadalajara Construye in Los Angeles 1
• "Blue Lips," Dir. Daniela De Carlo, Julieta Lima, Gustavo Lipsztein, Antonello Novellino, Nacho Ruipérez and Nobu Shima USA/Argentina/ Brazil/ Spain
• "Whisper of the Forest" (Gritos del Bosque), Dir. Jorge Olguín, Chile/USA
• Pocha, Dir. Michael Dwyer, Mexico/USA
DocuLab.1 Los Angeles
• "Gaucho del Norte," Dir. Andres Caballero, Sofia Khan Argentina/USA
• "Hotel de Paso," Dir. Paulina Sánchez Mexico/USA
• "Juanicas," Dir. Karina Garcia Casanova, Mexico/Canada
Ficg in La is presented by the University of Guadalajara Foundation in the United States and Conaculta, and Principal Sponsors, the University of Guadalajara, the Guadalajara International Film Festival, the Institute of Cinema Mexico (Imcine) and Univision, and Supporting Sponsors Cultura Udg, University of Guadalajara Foundation in Los Angeles, LeaLa, Channel 31.2 and the Consulate General of Mexico in Los Angeles.
About Ficg
The Guadalajara International Film Festival was founded by Guillermo del Toro and other Mexican filmmakers in 1986, and will celebrate its 30th edition March 6-15, 2015.
Ficg is the lead film festival in Latin America. It is a forum for the training, education, and creative exchange among industry professionals, film critics, and film students from all over Ibero-America.
About the University of Guadalajara – Mexico
The University of Guadalajara is a member of the University Network in the State of Jalisco, and it is the second oldest university in Mexico. The University of Guadalajara is committed to the betterment of society through higher education. It supports scientific and technological research that makes important contributions to a sustainable and inclusive society, respecting cultural diversity and honoring the principles of social justice, democracy, coexistence, and prosperity for all. The University is renowned in Mexico and abroad as a leader in the transformation of society through innovative means of social development and dissemination of knowledge.
About the Foundation of the University of Guadalajara in the U.S.
The University of Guadalajara Foundation in the United States of America (Udg Foundation-usa) is an extension of Fundación Universidad de Guadalajara, A.C., and is made up of a number of prominent academic and social leaders. The Foundation works to attain private support from individuals, foundations and corporations in order to fulfill the mission and vision of the University of Guadalajara in Los Angeles.
U.S. Udg Foundation seeks to improve the quality of life and social integration of migrants and Hispanic nationals by increasing their access to education and enhancing their sense of belonging and identification with their environment by developing their skills and capabilities through educational services and relevant social research.
- 8/20/2014
- by Carlos Aguilar
- Sydney's Buzz
Today I am writing from Cartagena, Colombia where I attended Ficci, the Festival Internacional de Cine de Cartagena de Indias.
This former colonial jewel in the crown of Spain offers a huge array of delights, film-wise, art-wise, food-wise and people-wise. Gorgeous arts and gorgeous people, sweet, polite and proud. As much as I love Havana, Cartagena is how Havana should look.
And as much as I loved Careyes where I was last week, the art and artisanal scope here is so wide; from the Colombian painter and sculptor, Botero to indigenous palm weaving – décor for homes (not cheap!), bags, designer clothing, linen and rubies.
Aside from films, my big discoveries of the day are Ruby Rumie, a Colombian artist who spends much of her time here in her studio in the Getsemaní section of town and in Chile. Coincidentally (again) Gary Meyer (Telluride Film Festival) and his wife Cathy who are here with Gary on the Documentary Competition Jury (I just left them in Careyas!) also just discovered her as well. The other artist, Olga Amaral, works in indigenous styles of weaving and textile production and now is favoring gold leaf displays of woven wall tapestries. Stunning. Both are available at the Nh Gallery, a place I just happened to wander into as I was walking from the theater to my equally stunning hotel Casa Pestagua.
The courteous and helpful people here are a proud mix of white, brown and black. They say the blacks will never follow the orders of a white. They say the blood of slaves is embedded in the wall fortifications of the city. The Inquisition here was very powerful, and they say the Jews (Conversos) coming in the conquistadors’ ships went to settle Medellín and the Catholics to Bogotá. Cartagena was the last city to be free of the Spanish crown and as such, it was extremely conservative.
It would take days to visit all the museums throughout the city. The Art Biennale is now in many of them (free entry) including the Museum of the Inquisition with its torture machines. The Museum of Gold with pre-Colombian gold artworks is astounding. All the gold of Latin America (and emeralds, diamonds and silver) went from here in the Spanish galleons back to Spain until the city declared its independence in 1811. We in the North know this history but from a different perspective. Eduardo Galeano’s Open Veins of Latin America and Gonzalo Arijon’s documentary Eyes Wide Open, an update of Galeano’s ideas are good starting points for understanding this part of the world. Eye opening indeed!
The beauty of the city and its people is matched by the food. There is great food here here and some very haute cuisine restaurants. Ceviches of many kinds, new sweet fruits like the pitaya and the drink mixing limeade and coconut milk delight the palate. The festival invites enough but not too many industry folks so it can host lunches and dinners in wonderful venues along with cocktail hours where we can all meet and talk. Talk among us is of food and film, film and food…even of food film festivals that are cropping up from Berlin, San Sebastian, here and in Northern California…stay tuned.
The Colombian government is aware of the need for the public to rediscover their own stories and to this end all the festival screenings are free, and all are packed Sro. The government also supports filmmakers with a deliberate, well-planned and well executed strategy to increase production and create an infrastructure.
Colombian films’ biggest challenge is to increase their share of their rapidly growing domestic market, worth $182.3 million in box office in 2012. One way forward is international co-production, where Bam (Bogotá Audiovisual Market) July 14-18, 2014 plays a large role. There is a mini version of this here (Encuentros Cartagena), centering on French and Colombian co-production, but not limited to that, with guests like George Goldenstern from Cinefondation (Cannes), producer/ international sales agent Marie-Pierre Masia and and the ever present Thierry Lenouvel of Cine-Sud whose film Tierra en la lengua aka Dust on the Tongue won the Best Picture Award in Competition. Vincenzo Bugno of World Cinema Fund of the Berlinale is always here too as is Jose Maria Riba on the Jury of the Competition and programmer for San Sebastian and Directors Fortnight. Also on the jury are Wendy Mitchel and Pawel Pawlikowski whose film Ida (Isa: Portobello Film Sales) is playing (outside of the Competition). A look at the winning competition films shows the strength of co-productions today.
Best Picture: Dust on the Tongue of Ruben Mendoza (Colombia) Colombia Film of $15,000. Special Jury Prize: The Third Side of the River (La tercera orilla) which premiered in Competition at the Berlinale, by Celina Murga (Argentina, Netherlands, Germany) (Isa: The Match Factory) Best Director: Alejandro Fernández Almendras for To kill a man (Matar a un hombre) which premiered in Sundance (Chile, France). Film Factory is selling international rights and Film Movement has U.S. It also won the Fipresci or International Critics’ Award. Best Actor: Fernando Bacilio by El Mudo (Peru, Mexico, France), Urban Distribution International is the sales agent.
Cinema in Colombia continues its steep ascent in the international production world. The reasons, according to Bugno, lie in “new political decisions, funding structures, and the developing of a new producing environment that also has to do with new emerging young talent.”
A visit to the festival headquarters proves the point of the extensive government support of film not only for its own sake, but for the sake of all the people, dispossessed, abused, Lgbt, children and women. It is a beautiful sight to see such support, and the people seem to reciprocate; I hear more praise than complaints about the government and everyone seems cautiously optimistic, aware of its current position vis à vis what has thankfully become recent history with the guerillas who had been waging war with the government for the past 40 years and the current elections and competing points of view between the former President Uribe and the current President Juan Manuel Santos.
Aecid , Association Espagnola de Cooperacon Internacional para el Desarrollo (The Spanish Association for International Cooperation for Development), a festival sponsor supports social cohesion, equality of genders, construction of peace, respect for cultural diversity and the reduction of poverty.
Currently in Colombia, national cinema holds a 10% share of the Colombian market and 8% of the box office. In 2012, 213 films were produced in Colombia, a huge increase since 2009 when 19 were produced according to Ocal, the Observotario del Cine f nCl [sic]. In 2012, 23 of the 213 domestic films were released theatrically, a tremendous increase from the 6 Colombian films released in the year 2000. [1],[2] This number surpasses every record in Colombia’s film history
This 10 day spectacular film festival gives free entry to all at 8 theaters and, proving the point that people love the movies, every single screening is packed solid, Sro. More than 135 films come from 27 countries. 48 daily screenings include 14 open air screenings in great locations. There are 40 world premieres and 26 Latin American premieres.
150 invited guests included Abbas Kiarostami, Clive Owen, Alejandro Gonzales Inarritu, Pavel Pawlikowsky with his film Ida, John Sayles with whom I had an interesting talk about U.S. current distribution and of Return of Seacaucus Seven and Sunshine State. The screening of his film Go For Sisters has received an enthusiastic response from the audiences.
Since 2013, coproductions between the U.S. and Colombia with variations on the theme are on the rise. With its 40% cash rebate, Colombia is proving to be a great place to make movies.
Colombians such as Simon Brand are making English language genre films such as this year’s festival debuting Default (Isa: Wild Bunch). For budgets under Us$1 million, action, thrillers and horror genres can cross borders, and can recoup costs and even profit.
The reverse is also notable. Four films screening here are Colombian films made by Americans. The winner to three prizes here for Best Director, Best Documentary and the Audience Prize, Marmato by Marc Grieco was workshopped twice at Sundance where it premiered this January 2014. It is represented internationally by Ro*co and its U.S. representative is Ben Weiss at Paradigm. The other three remarkable debut films are Mambo Cool by Chris Gude,Manos Sucias by Josef Wladyka (a Japanese-Polish American) and Parador Hungaro by Patrick Alexander and Aseneth Suarez Ruiz. Look for upcoming interviews with these four directors who came to Colombia and, because of their experiences here, decided to make these exceptional movies. My next blog will be interviews with each of these films’ directors.
Secundaria , the first film I saw here was not shot here although it too was directed by an American who made 21 trips to Cuba to make it. Documenting the high school ballet training and competitions held by Cuba’s world famous National Ballet School -- Watch the trailer here -- it was not only beautiful but it magically captured the ever-present economic issues of Cuba. I can’t wait to see Primaria about the grade school of the Nbs.
Director and coproducer Mary Jane Doherty has been an Associate Professor of Film at Boston University since 1990. Proud of her lineage as a student of iconic documentarian Ricky Leacock, she developed B.U.’s Narrative Documentary Program: a novel approach to non-fiction storytelling using the building blocks of fiction film. Lyda Kuth , the coproducer, is founding board member and executive director of the Lef Foundation, which supports independent filmmakers through the Lef Moving Image Fund. In 2005, she established Nadita Productions and was producer/director on her first feature documentary, Love and Other Anxieties.
A cocktail party is given daily at the festival where we can all meet up. It was there I met Gail Gendler VP of Acquisitions for AMC/ Sundance Channel Global (international not domestic) and Gus
Dinner one night was with the jury for Nuevos Creadores (New Creators). Cynthia Garcia Calvo, Editor in Chief of LatamCinema.com, a Latino equivalent to Indiewire.com out of Chile and Argentina and I spoke of possible ways to cooperate. The third member of the jury, Javier Mejia, director of Colombia’s best film of 2008 Apocalypsur also has a documentary here, Duni, about a Chilean filmmaker who left Chile during the dictatorship and came to Colombia where he made political films in Medellin but never discussed his reasons for coming or even his Chilean roots. How happy I was that I had seen and enjoyed the films of the third jury member, Daniel Vega, who with his brother Diego made The Mute aka El Mudo (Isa: Urban Media) which played in Toronto and San Sebastian and his earlier film October, both dark comedies or perhaps dramadies dealing with subjective realities in unique environs of Peru we have never seen. He promised to help me with the Peru chapter of my upcoming book. Peru is in the lower middle of countries which support filmmaking. Their film fund is a rather laid back affair administered by the Ministry of Culture who receives money from the Ministry of Finance when they “get around to it”.
Jury for New Creators: Javier Mejía, Cynthia García Calvo and Diego Vega,displaying the winner for the Best Short Film: Alen Natalia Imery (Universidad del Valle) who won a Sony video camera, 2,000, 000 pesos of in kind services from Shock Magazin, and a scholarship for graduate Project Management and Film Production at the Autonomous University of Bucaramanga
Second prize went to The murmur of the earth Alejandro Daza (National University) - Win a Sony camera, and a Fellowship for Graduate Record Audio and Sound Design of the Autonomous University of Bucaramanga.
Other winners are:
Official Colombian Film Competition
Jurors: David Melo - Alissa Simon - Daniela Michel
Best Film: Marmato by Mark Grieco (Colombia, USA) Winner of the I.Sat Award for $30K and the Cinecolor Award for $11k in deliveries
Special Jury Prize: Mateo by María Gamboa
Best Director: Rubén Mendoza for Dust on the Tongue (Tierra en la lengua). Winner of Hangar Films Award for $30K in film equipment to produce his next film.
Additional Awards
Audience Award Colombia: Marmato by Mark Grieco (Colombia, USA). Winner of $15K
Official Documentary Competition
Jurors: Gary Meyer- Luis Ospina - Laurie Collyer
Best Film: Marmato by Mark Grieco (Colombia, USA). Winner of the Cinecolor Award for $13Kin post-production services.
Special Jury Prize: What Now? Remind Me (E Agora? Lembra-me) by Joaquim Pinto (Portugal)
Best Director: Justin Webster for I Will Be Murdered (Seré asesinado) (Spain, Denmark, U.K.)
Official Short Film Competition
JurorsOswaldo Osorio -Pacho Bottia - Denis de la Roca
Best Short Film: Statues (Estatuas) by Roberto Fiesco (Mexico). Winner of a professional Sony camera and $3K from Cinecolor in post-production services for his next project.
Special Jury Prize: About a Month (Pouco Mais de um Mês) by André Novais Oliveira (Brazil)
Best Director: Manuel Camacho Bustillo for Blackout chapter 4 "A Call to Neverland" (Blackout capítulo 4 "Una llamada a Neverland") (Mexico). Winner of a Sony photographic camera.
Gems
Jurors: Mauricio Reina - Manuel Kalmanowitz - Sofia Gomez Gonzalez
Best Film: Like Father, Like Son by Hirokazu Koreeda (Japan). Winner of the Rcn Award for $50 to promote the release of the film in Colombia.
Special Jury Prize: Ilo Ilo by Anthony Chen (Singapore)
[1] http://www.cinelatinoamericano.org/ocal/cifras.aspx
[2] http://www.mincultura.gov.co/areas/cinematografia/estadisticas-del-sector/Documents/Anuario%202012.p...
This former colonial jewel in the crown of Spain offers a huge array of delights, film-wise, art-wise, food-wise and people-wise. Gorgeous arts and gorgeous people, sweet, polite and proud. As much as I love Havana, Cartagena is how Havana should look.
And as much as I loved Careyes where I was last week, the art and artisanal scope here is so wide; from the Colombian painter and sculptor, Botero to indigenous palm weaving – décor for homes (not cheap!), bags, designer clothing, linen and rubies.
Aside from films, my big discoveries of the day are Ruby Rumie, a Colombian artist who spends much of her time here in her studio in the Getsemaní section of town and in Chile. Coincidentally (again) Gary Meyer (Telluride Film Festival) and his wife Cathy who are here with Gary on the Documentary Competition Jury (I just left them in Careyas!) also just discovered her as well. The other artist, Olga Amaral, works in indigenous styles of weaving and textile production and now is favoring gold leaf displays of woven wall tapestries. Stunning. Both are available at the Nh Gallery, a place I just happened to wander into as I was walking from the theater to my equally stunning hotel Casa Pestagua.
The courteous and helpful people here are a proud mix of white, brown and black. They say the blacks will never follow the orders of a white. They say the blood of slaves is embedded in the wall fortifications of the city. The Inquisition here was very powerful, and they say the Jews (Conversos) coming in the conquistadors’ ships went to settle Medellín and the Catholics to Bogotá. Cartagena was the last city to be free of the Spanish crown and as such, it was extremely conservative.
It would take days to visit all the museums throughout the city. The Art Biennale is now in many of them (free entry) including the Museum of the Inquisition with its torture machines. The Museum of Gold with pre-Colombian gold artworks is astounding. All the gold of Latin America (and emeralds, diamonds and silver) went from here in the Spanish galleons back to Spain until the city declared its independence in 1811. We in the North know this history but from a different perspective. Eduardo Galeano’s Open Veins of Latin America and Gonzalo Arijon’s documentary Eyes Wide Open, an update of Galeano’s ideas are good starting points for understanding this part of the world. Eye opening indeed!
The beauty of the city and its people is matched by the food. There is great food here here and some very haute cuisine restaurants. Ceviches of many kinds, new sweet fruits like the pitaya and the drink mixing limeade and coconut milk delight the palate. The festival invites enough but not too many industry folks so it can host lunches and dinners in wonderful venues along with cocktail hours where we can all meet and talk. Talk among us is of food and film, film and food…even of food film festivals that are cropping up from Berlin, San Sebastian, here and in Northern California…stay tuned.
The Colombian government is aware of the need for the public to rediscover their own stories and to this end all the festival screenings are free, and all are packed Sro. The government also supports filmmakers with a deliberate, well-planned and well executed strategy to increase production and create an infrastructure.
Colombian films’ biggest challenge is to increase their share of their rapidly growing domestic market, worth $182.3 million in box office in 2012. One way forward is international co-production, where Bam (Bogotá Audiovisual Market) July 14-18, 2014 plays a large role. There is a mini version of this here (Encuentros Cartagena), centering on French and Colombian co-production, but not limited to that, with guests like George Goldenstern from Cinefondation (Cannes), producer/ international sales agent Marie-Pierre Masia and and the ever present Thierry Lenouvel of Cine-Sud whose film Tierra en la lengua aka Dust on the Tongue won the Best Picture Award in Competition. Vincenzo Bugno of World Cinema Fund of the Berlinale is always here too as is Jose Maria Riba on the Jury of the Competition and programmer for San Sebastian and Directors Fortnight. Also on the jury are Wendy Mitchel and Pawel Pawlikowski whose film Ida (Isa: Portobello Film Sales) is playing (outside of the Competition). A look at the winning competition films shows the strength of co-productions today.
Best Picture: Dust on the Tongue of Ruben Mendoza (Colombia) Colombia Film of $15,000. Special Jury Prize: The Third Side of the River (La tercera orilla) which premiered in Competition at the Berlinale, by Celina Murga (Argentina, Netherlands, Germany) (Isa: The Match Factory) Best Director: Alejandro Fernández Almendras for To kill a man (Matar a un hombre) which premiered in Sundance (Chile, France). Film Factory is selling international rights and Film Movement has U.S. It also won the Fipresci or International Critics’ Award. Best Actor: Fernando Bacilio by El Mudo (Peru, Mexico, France), Urban Distribution International is the sales agent.
Cinema in Colombia continues its steep ascent in the international production world. The reasons, according to Bugno, lie in “new political decisions, funding structures, and the developing of a new producing environment that also has to do with new emerging young talent.”
A visit to the festival headquarters proves the point of the extensive government support of film not only for its own sake, but for the sake of all the people, dispossessed, abused, Lgbt, children and women. It is a beautiful sight to see such support, and the people seem to reciprocate; I hear more praise than complaints about the government and everyone seems cautiously optimistic, aware of its current position vis à vis what has thankfully become recent history with the guerillas who had been waging war with the government for the past 40 years and the current elections and competing points of view between the former President Uribe and the current President Juan Manuel Santos.
Aecid , Association Espagnola de Cooperacon Internacional para el Desarrollo (The Spanish Association for International Cooperation for Development), a festival sponsor supports social cohesion, equality of genders, construction of peace, respect for cultural diversity and the reduction of poverty.
Currently in Colombia, national cinema holds a 10% share of the Colombian market and 8% of the box office. In 2012, 213 films were produced in Colombia, a huge increase since 2009 when 19 were produced according to Ocal, the Observotario del Cine f nCl [sic]. In 2012, 23 of the 213 domestic films were released theatrically, a tremendous increase from the 6 Colombian films released in the year 2000. [1],[2] This number surpasses every record in Colombia’s film history
This 10 day spectacular film festival gives free entry to all at 8 theaters and, proving the point that people love the movies, every single screening is packed solid, Sro. More than 135 films come from 27 countries. 48 daily screenings include 14 open air screenings in great locations. There are 40 world premieres and 26 Latin American premieres.
150 invited guests included Abbas Kiarostami, Clive Owen, Alejandro Gonzales Inarritu, Pavel Pawlikowsky with his film Ida, John Sayles with whom I had an interesting talk about U.S. current distribution and of Return of Seacaucus Seven and Sunshine State. The screening of his film Go For Sisters has received an enthusiastic response from the audiences.
Since 2013, coproductions between the U.S. and Colombia with variations on the theme are on the rise. With its 40% cash rebate, Colombia is proving to be a great place to make movies.
Colombians such as Simon Brand are making English language genre films such as this year’s festival debuting Default (Isa: Wild Bunch). For budgets under Us$1 million, action, thrillers and horror genres can cross borders, and can recoup costs and even profit.
The reverse is also notable. Four films screening here are Colombian films made by Americans. The winner to three prizes here for Best Director, Best Documentary and the Audience Prize, Marmato by Marc Grieco was workshopped twice at Sundance where it premiered this January 2014. It is represented internationally by Ro*co and its U.S. representative is Ben Weiss at Paradigm. The other three remarkable debut films are Mambo Cool by Chris Gude,Manos Sucias by Josef Wladyka (a Japanese-Polish American) and Parador Hungaro by Patrick Alexander and Aseneth Suarez Ruiz. Look for upcoming interviews with these four directors who came to Colombia and, because of their experiences here, decided to make these exceptional movies. My next blog will be interviews with each of these films’ directors.
Secundaria , the first film I saw here was not shot here although it too was directed by an American who made 21 trips to Cuba to make it. Documenting the high school ballet training and competitions held by Cuba’s world famous National Ballet School -- Watch the trailer here -- it was not only beautiful but it magically captured the ever-present economic issues of Cuba. I can’t wait to see Primaria about the grade school of the Nbs.
Director and coproducer Mary Jane Doherty has been an Associate Professor of Film at Boston University since 1990. Proud of her lineage as a student of iconic documentarian Ricky Leacock, she developed B.U.’s Narrative Documentary Program: a novel approach to non-fiction storytelling using the building blocks of fiction film. Lyda Kuth , the coproducer, is founding board member and executive director of the Lef Foundation, which supports independent filmmakers through the Lef Moving Image Fund. In 2005, she established Nadita Productions and was producer/director on her first feature documentary, Love and Other Anxieties.
A cocktail party is given daily at the festival where we can all meet up. It was there I met Gail Gendler VP of Acquisitions for AMC/ Sundance Channel Global (international not domestic) and Gus
Dinner one night was with the jury for Nuevos Creadores (New Creators). Cynthia Garcia Calvo, Editor in Chief of LatamCinema.com, a Latino equivalent to Indiewire.com out of Chile and Argentina and I spoke of possible ways to cooperate. The third member of the jury, Javier Mejia, director of Colombia’s best film of 2008 Apocalypsur also has a documentary here, Duni, about a Chilean filmmaker who left Chile during the dictatorship and came to Colombia where he made political films in Medellin but never discussed his reasons for coming or even his Chilean roots. How happy I was that I had seen and enjoyed the films of the third jury member, Daniel Vega, who with his brother Diego made The Mute aka El Mudo (Isa: Urban Media) which played in Toronto and San Sebastian and his earlier film October, both dark comedies or perhaps dramadies dealing with subjective realities in unique environs of Peru we have never seen. He promised to help me with the Peru chapter of my upcoming book. Peru is in the lower middle of countries which support filmmaking. Their film fund is a rather laid back affair administered by the Ministry of Culture who receives money from the Ministry of Finance when they “get around to it”.
Jury for New Creators: Javier Mejía, Cynthia García Calvo and Diego Vega,displaying the winner for the Best Short Film: Alen Natalia Imery (Universidad del Valle) who won a Sony video camera, 2,000, 000 pesos of in kind services from Shock Magazin, and a scholarship for graduate Project Management and Film Production at the Autonomous University of Bucaramanga
Second prize went to The murmur of the earth Alejandro Daza (National University) - Win a Sony camera, and a Fellowship for Graduate Record Audio and Sound Design of the Autonomous University of Bucaramanga.
Other winners are:
Official Colombian Film Competition
Jurors: David Melo - Alissa Simon - Daniela Michel
Best Film: Marmato by Mark Grieco (Colombia, USA) Winner of the I.Sat Award for $30K and the Cinecolor Award for $11k in deliveries
Special Jury Prize: Mateo by María Gamboa
Best Director: Rubén Mendoza for Dust on the Tongue (Tierra en la lengua). Winner of Hangar Films Award for $30K in film equipment to produce his next film.
Additional Awards
Audience Award Colombia: Marmato by Mark Grieco (Colombia, USA). Winner of $15K
Official Documentary Competition
Jurors: Gary Meyer- Luis Ospina - Laurie Collyer
Best Film: Marmato by Mark Grieco (Colombia, USA). Winner of the Cinecolor Award for $13Kin post-production services.
Special Jury Prize: What Now? Remind Me (E Agora? Lembra-me) by Joaquim Pinto (Portugal)
Best Director: Justin Webster for I Will Be Murdered (Seré asesinado) (Spain, Denmark, U.K.)
Official Short Film Competition
JurorsOswaldo Osorio -Pacho Bottia - Denis de la Roca
Best Short Film: Statues (Estatuas) by Roberto Fiesco (Mexico). Winner of a professional Sony camera and $3K from Cinecolor in post-production services for his next project.
Special Jury Prize: About a Month (Pouco Mais de um Mês) by André Novais Oliveira (Brazil)
Best Director: Manuel Camacho Bustillo for Blackout chapter 4 "A Call to Neverland" (Blackout capítulo 4 "Una llamada a Neverland") (Mexico). Winner of a Sony photographic camera.
Gems
Jurors: Mauricio Reina - Manuel Kalmanowitz - Sofia Gomez Gonzalez
Best Film: Like Father, Like Son by Hirokazu Koreeda (Japan). Winner of the Rcn Award for $50 to promote the release of the film in Colombia.
Special Jury Prize: Ilo Ilo by Anthony Chen (Singapore)
[1] http://www.cinelatinoamericano.org/ocal/cifras.aspx
[2] http://www.mincultura.gov.co/areas/cinematografia/estadisticas-del-sector/Documents/Anuario%202012.p...
- 3/26/2014
- by Sydney Levine
- Sydney's Buzz
The 54th Edition of the Cartagena Film Festival has come to an end and the winners have been announced. The indisputable protagonists this year were Marmato by Mark Grieco, winning three awards, Rubén Mendoza's Dust on the Tongue, and the Chilean film To Kill a Man by Alejandro Fernández Almendras, with two awards each. Surely these three films and several other winners will become important works at other upcoming festivals since many of them have already done well at Sundance, Rotterdam, and Berlin.
Official Competition: Narrative Feature
Members of the Jury: Wendy Mitchell - Jose Maria Riba - Pawel Pawlikowski
Best Film: Dust on the Tongue (Tierra en la Lengua) by Rubén Mendoza (Colombia- Winner of $15K
Special Jury Prize: The Third Side of the River (La Tercera Orilla) by Celina Murga (Argentina, The Netherlands, Germany)
Best Director: Alejandro Fernández Almendras for To Kill a Man (Matar a un hombre) (Chile, France)
Best Actor: Fernando Bacilio for El Mudo (Peru, Mexico, France)
Fipresci
Members of the Jury: Carlos Heredero - Hiroaki Saitô - Michal Oleszczyk
Best Film: To Kill a Man by Alejandro Fernández Almendras (Chile, France)
Other Awards
Oclacc Award (Catholic Organization of Communications for Latin America and the Caribbean)
Special Mention: Mateo by María Gamboa (Colombia
Official Competition: Colombian Cinema
Members of the Jury: David Melo - Alissa Simon - Daniela Michel
Best Film: Marmato by Mark Grieco (Colombia, USA) Winner of the I.Sat Award for $30K and the Cinecolor Award for $11k in deliveries
Special Jury Prize: Mateo by María Gamboa
Best Director: Rubén Mendoza for Dust on the Tongue (Tierra en la lengua). Winner of Hangar Films Award for $30K in film equipment to produce his next film.
Additional Awards
Audience Award Colombia: Marmato by Mark Grieco (Colombia, USA). Winner of $15K
Official Competition: Documentary
Members of the Jury: Gary Meyer- Luis Ospina - Laurie Collyer
Best Film: Marmato by Mark Grieco (Colombia, USA). Winner of the Cinecolor Award for $13Kin post-production services.
Special Jury Prize: What Now? Remind Me (E Agora? Lembra-me) by Joaquim Pinto (Portugal)
Best Director: Justin Webster for I Will Be Murdered (Seré asesinado) (Spain, Denmark, U.K.)
Official Competition: Short Film
Members of the Jury: Oswaldo Osorio - Pacho Bottia - Denis de la Roca
Best Short Film: Statues (Estatuas) by Roberto Fiesco (Mexico). Winner of a professional Sony camera and $3K from Cinecolor in post-production services for his next project.
Special Jury Prize: About a Month (Pouco Mais de um Mês) by André Novais Oliveira (Brazil)
Best Director: Manuel Camacho Bustillo for Blackout chapter 4 "A Call to Neverland" (Blackout capítulo 4 "Una llamada a Neverland") (Mexico). Winner of a Sony photographic camera.
Gems
Members of the Jury:Mauricio Reina - Manuel Kalmanowitz - Sofia Gomez Gonzalez
Best Film: Like Father, Like Son by Hirokazu Koreeda (Japan). Winner of the Rcn Award for $50 to promote the release of the film in Colombia.
Special Jury Prize: Ilo Ilo by Anthony Chen (Singapore)
New Creators
Members of the Jury: Javier Mejía- Diego Vega - Cynthia García Calvo
Best Short Film: Alén by Natalia Imery (Universidad del Valle).
Runner-up: The Earth's Whisper (El murmullo de la tierra) by Alejandro Daza (Universidad Nacional)...
Official Competition: Narrative Feature
Members of the Jury: Wendy Mitchell - Jose Maria Riba - Pawel Pawlikowski
Best Film: Dust on the Tongue (Tierra en la Lengua) by Rubén Mendoza (Colombia- Winner of $15K
Special Jury Prize: The Third Side of the River (La Tercera Orilla) by Celina Murga (Argentina, The Netherlands, Germany)
Best Director: Alejandro Fernández Almendras for To Kill a Man (Matar a un hombre) (Chile, France)
Best Actor: Fernando Bacilio for El Mudo (Peru, Mexico, France)
Fipresci
Members of the Jury: Carlos Heredero - Hiroaki Saitô - Michal Oleszczyk
Best Film: To Kill a Man by Alejandro Fernández Almendras (Chile, France)
Other Awards
Oclacc Award (Catholic Organization of Communications for Latin America and the Caribbean)
Special Mention: Mateo by María Gamboa (Colombia
Official Competition: Colombian Cinema
Members of the Jury: David Melo - Alissa Simon - Daniela Michel
Best Film: Marmato by Mark Grieco (Colombia, USA) Winner of the I.Sat Award for $30K and the Cinecolor Award for $11k in deliveries
Special Jury Prize: Mateo by María Gamboa
Best Director: Rubén Mendoza for Dust on the Tongue (Tierra en la lengua). Winner of Hangar Films Award for $30K in film equipment to produce his next film.
Additional Awards
Audience Award Colombia: Marmato by Mark Grieco (Colombia, USA). Winner of $15K
Official Competition: Documentary
Members of the Jury: Gary Meyer- Luis Ospina - Laurie Collyer
Best Film: Marmato by Mark Grieco (Colombia, USA). Winner of the Cinecolor Award for $13Kin post-production services.
Special Jury Prize: What Now? Remind Me (E Agora? Lembra-me) by Joaquim Pinto (Portugal)
Best Director: Justin Webster for I Will Be Murdered (Seré asesinado) (Spain, Denmark, U.K.)
Official Competition: Short Film
Members of the Jury: Oswaldo Osorio - Pacho Bottia - Denis de la Roca
Best Short Film: Statues (Estatuas) by Roberto Fiesco (Mexico). Winner of a professional Sony camera and $3K from Cinecolor in post-production services for his next project.
Special Jury Prize: About a Month (Pouco Mais de um Mês) by André Novais Oliveira (Brazil)
Best Director: Manuel Camacho Bustillo for Blackout chapter 4 "A Call to Neverland" (Blackout capítulo 4 "Una llamada a Neverland") (Mexico). Winner of a Sony photographic camera.
Gems
Members of the Jury:Mauricio Reina - Manuel Kalmanowitz - Sofia Gomez Gonzalez
Best Film: Like Father, Like Son by Hirokazu Koreeda (Japan). Winner of the Rcn Award for $50 to promote the release of the film in Colombia.
Special Jury Prize: Ilo Ilo by Anthony Chen (Singapore)
New Creators
Members of the Jury: Javier Mejía- Diego Vega - Cynthia García Calvo
Best Short Film: Alén by Natalia Imery (Universidad del Valle).
Runner-up: The Earth's Whisper (El murmullo de la tierra) by Alejandro Daza (Universidad Nacional)...
- 3/22/2014
- by Sydney Levine
- Sydney's Buzz
Dust On The Tongue [pictured], Marmato, To Kill A Man take home prizes.
The 54th edition of the Cartagena Film Festival wrapped tonight in Colombia, with the festival’s main Latin American competition prize going to a local film, Ruben Mendoza’s Dust On The Tounge (Tierra En La Lengua). The award comes with $15,000.
The film blends fake documentary and fiction in the story of a crude, violent patriarch (Jairo Salcedo) who brings his cityslicker grandchildren to his ranch to help him die.
The jury gave its best director prize to Alejandro Fernández Almendras for To Kill A Man (Matar a un hombre), a Chilean dark dramatic thriller that also took home Cartagena’s Fipresci prize.
Best actor was Fernando Bacilio for The Mute (El Mudo) by Daniel and Diego Vega from Peru. The special jury prize went to Celina Murga’s The Third Side of the River (La tercera orilla) from Argentina.
Best documentary...
The 54th edition of the Cartagena Film Festival wrapped tonight in Colombia, with the festival’s main Latin American competition prize going to a local film, Ruben Mendoza’s Dust On The Tounge (Tierra En La Lengua). The award comes with $15,000.
The film blends fake documentary and fiction in the story of a crude, violent patriarch (Jairo Salcedo) who brings his cityslicker grandchildren to his ranch to help him die.
The jury gave its best director prize to Alejandro Fernández Almendras for To Kill A Man (Matar a un hombre), a Chilean dark dramatic thriller that also took home Cartagena’s Fipresci prize.
Best actor was Fernando Bacilio for The Mute (El Mudo) by Daniel and Diego Vega from Peru. The special jury prize went to Celina Murga’s The Third Side of the River (La tercera orilla) from Argentina.
Best documentary...
- 3/20/2014
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
The 54th International Film Festival of Cartagena de Indias in Colombia has invited me to attend March 13 - 19, 2014.
One of Ficci's main goals is supporting the development of Colombian cinema. With that in mind, the festival will open with the world premiere of Ciudad Delirio, inviting the audience to get to know Cali, the only city in Latin America that loves all Latin American music, a center of creative development for Colombia's cinema, splendidly and authentically presented through the passion and flavor of salsa. Ficci is once again betting on the kind of cinema that speaks locally and globally, cinema that invites, seduces and embraces all kinds of audiences.
Starring Carolina Ramírez , Cauca Valley dancer and actress renown for her performance in soap operas such as La hija del mariachiand La Pola and Spaniard Julián Villagrán, winner of a Goya for his performance in Grupo 7, Ciudad Delirio also features Colombian actors of such caliber as Vicky Hernández Jorge Herrera , Margarita Ortega and John Alex Castillo. Thanks to a world-class team lead by Spanish dancer, choreographer and filmmaker Blanca Li, who has worked for The Berlin State Ballet, Kylie Minogue, Beyoncé and Daft Punk, and by multiple time Salsa World Champion Viviana Vargas, Cartagena will get to experience the madness of one of the most sensual dances on earth.
Ciudad Delirio was produced by Diego F. Ramírez, head of 64-a Films in Colombia, which has produced such films as Perro come perro,Todos tus muertos, Dr. Alemán, En coma, and180 segundos and Spaniard Elena Manrique, founder of Film Fatal and renown for her production of movies such asEl laberinto del fauno (Pan's Labyrinth), El orfanato and Transsiberiano, to name just a few.
For seven weeks during the making of Ciudad delirio, 45 locations in Cali, Colombia and Madrid, Spain were overrun by salsa. More than 3,200 extras from Cauca Valley helped to tell this love story that revolves around the show Delirio, a long-standing cultural tradition in Sultana del Valle.
In Ciudad Delirio, Javier, a shy, reserved Spanish doctor, attends a medical conference in Cali, Colombia. There, through a chance meeting, he shares a magical night with Angie, a dancer and choreographer who dreams of being part of the world's most famous salsa show, Delirio, if only she can pass the audition. Javier and Angie begin an impossible romance full of obstacles, surrounded by salsa, and accompanied by a cast of characters that are as authentic as they are hilarious.
The festival's guest of honor will be the prolific British actor Clive Owen, who is known for his diverse roles in films like Closer Children of Men, and The International . The Latin American premier of his latest film, Guillaume Canet's Blood Ties (2013), will be a highlight of the Friday, March 14th event, taking place at 6:00 pm in the Adolfo Mejía Theater, where, after being presented with the India Catalina prize, the actor will be interviewed by Ficci's director, Monika Wagenberg.
Another special honoree will be Mexican director Alejando Gonazlez Iñárritu, who has garnered international acclaim throughout the years with films such as Amores Perros , 21 Grams , Babel, and Biutiful . Established within the film industry as one of Latin America's most important directors of the new century, Iñárritu is currently in-production for Birdman (2014), a film he wrote and directed starring Emma Stone and Edward Norton . Participants of the 54th Ficci will have the opportunity to attend the Tribute honoring this Academy Award-nominated filmmaker on Sunday, March 16th, as well as his Master class the following day during Salón Ficci – the festival's academic program.
In regards to the festival's line-up, it is interesting to note that several of the filmmakers that will take part in the Dramatic Competition are directors who have participated at Ficci with their previous films and have established themselves in the international festival circuit winning prestigious awards. Others will arrive to Cartagena for the first time with their operas primas.
"2014 promises to be a good year for Iberoamerican cinema and we are proud to feature several of the most recent films of the region in our Official Dramatic Competition, in which half of the chosen movies are Latin American Premieres (movies that come directly to Cartagena after their world premieres at Sundance and Berlin Festivals). Eight of the twelve films in the Colombian Official Competition (known before as Colombia al 100%) are World Premieres. This way, we have managed to achieve the goal we set four years ago: becoming the main national and international launching platform of local films", stated Ficci's Director Monika Wagenberg.
Wagenberg also addressed some chances in the festival's rules that will allow for more experience filmmakers to partake in the event.
"One of the big news of Ficci 54 is that this time we have not limited the Official Dramatic Competition to first, second and third time Ibero-American films. Ending this restriction will make possible for those directors from this region who are producing feature films at a fast pace not, to be excluded from the competition" Wagenberg added.
The Official Dramatic Competition will feature the Latin American premieres The Lock Charmer (El Cerrajero) by Natalia Smirnoff (Argentina), Natural Sciences (Ciencias Naturales) by Matías Lucchesi(Argentina), The Way He Looks (Hoje Eu Quero Voltar Sozinho) by Daniel Ribeiro(Brazil), Celina Murga's Berlin Official Competition, The Three Sides of the River (La tercera orilla) (Argentina), recent Sundance and Rotterdam winner, To Kill a Man (Matar a un hombre) by Alejandro Fernández Almendras (Chile), Mateo, first film by Maria Gamboa (Colombia), and the world premiere of Dust on the Tongue (Tierra en la lengua) by Ruben Mendoza (Colombia).
This section also includes other outstanding films such as Bad Hair (Pelo malo), written and directed by Mariana Rondón (Venezuela) which comes to Ficci after its triumph at the San Sebastián Film Festival; The Mute (El Mudo), directed by brothers Daniel and Diego Vega (Perú), which had its world premiere at the Locarno Film Festival and are coming back to Ficci after competing winning Best Director award in 2010; premiering at the Toronto International Film Festival and awarded the Concha de Plata for Best Director in San Sebastián, comes Club Sándwich by Fernando Eimbcke(México), and the 12th film in this section is Root (Raíz) by Matías Rojas Valencia (Chile), the winner of Best Chilean Film winner at the Valdivia Film Festival.
The Official Documentary Competition will showcase the world premieres of El color que cayó del cielo by Sergio Wolf (Argentina) and Heaven or Hell (Infierno o paraíso) de German Piffano(Colombia); as well as the Latin American premiere of The Silence of the Flies (El silencio de las moscas) by Eliezer Arias (Venezuela), Marmato by Mark Grieco (Colombia, USA), and Apples, Chickens and Chimeras (Manzanas, pollos y quimeras) de Inés París (España). The rest of the program includes Argentine Street Years (Años de calle) by Alejandra Grinschpun, I Feel Much Better Now (E-agora? Lembra me) by Joaquim Pinto(Portugal), Naomi Campbel by icolas Videla and Camila José Donoso (Chile), Cesar's Grill (El Grill de Cesar) by Dario Aguirre, I Will Be Murdered (Seré asesinado) by Justin Webster (Spain), Mexican documentary, Elevator (Elevador) by Adrián Ortizl and the most recent work by talented Brazilian documentary film director Maria Ramos , Hills of Pleasures (Morro dos Prazeres).
Lastly, in the Colombian Official Competition we will present the world premieres of Banished (Desterrada) by Diego Guerra, Manos sucias by Joseph Wladyka, Memorias del calavero and Tierra en la lengua by Rubén Mendoza, Monte adentro by Nicolás Macario Alonso, Parador Húngaro by Aseneth Suarez and Patrick Alexander, Infierno o paraíso by Germán Piffano; as well as the Latin American premieres of Inés, memorias de una vida by Luisa Sossa; Gente de papel, con el alma en la selva by Andrés Felipe Vásquez, Mateo by Maria Gamboa, Marmato by Mark Grieco and the Colombian premiere of Mambo Cool by Chris Gude.
One of Ficci's main goals is supporting the development of Colombian cinema. With that in mind, the festival will open with the world premiere of Ciudad Delirio, inviting the audience to get to know Cali, the only city in Latin America that loves all Latin American music, a center of creative development for Colombia's cinema, splendidly and authentically presented through the passion and flavor of salsa. Ficci is once again betting on the kind of cinema that speaks locally and globally, cinema that invites, seduces and embraces all kinds of audiences.
Starring Carolina Ramírez , Cauca Valley dancer and actress renown for her performance in soap operas such as La hija del mariachiand La Pola and Spaniard Julián Villagrán, winner of a Goya for his performance in Grupo 7, Ciudad Delirio also features Colombian actors of such caliber as Vicky Hernández Jorge Herrera , Margarita Ortega and John Alex Castillo. Thanks to a world-class team lead by Spanish dancer, choreographer and filmmaker Blanca Li, who has worked for The Berlin State Ballet, Kylie Minogue, Beyoncé and Daft Punk, and by multiple time Salsa World Champion Viviana Vargas, Cartagena will get to experience the madness of one of the most sensual dances on earth.
Ciudad Delirio was produced by Diego F. Ramírez, head of 64-a Films in Colombia, which has produced such films as Perro come perro,Todos tus muertos, Dr. Alemán, En coma, and180 segundos and Spaniard Elena Manrique, founder of Film Fatal and renown for her production of movies such asEl laberinto del fauno (Pan's Labyrinth), El orfanato and Transsiberiano, to name just a few.
For seven weeks during the making of Ciudad delirio, 45 locations in Cali, Colombia and Madrid, Spain were overrun by salsa. More than 3,200 extras from Cauca Valley helped to tell this love story that revolves around the show Delirio, a long-standing cultural tradition in Sultana del Valle.
In Ciudad Delirio, Javier, a shy, reserved Spanish doctor, attends a medical conference in Cali, Colombia. There, through a chance meeting, he shares a magical night with Angie, a dancer and choreographer who dreams of being part of the world's most famous salsa show, Delirio, if only she can pass the audition. Javier and Angie begin an impossible romance full of obstacles, surrounded by salsa, and accompanied by a cast of characters that are as authentic as they are hilarious.
The festival's guest of honor will be the prolific British actor Clive Owen, who is known for his diverse roles in films like Closer Children of Men, and The International . The Latin American premier of his latest film, Guillaume Canet's Blood Ties (2013), will be a highlight of the Friday, March 14th event, taking place at 6:00 pm in the Adolfo Mejía Theater, where, after being presented with the India Catalina prize, the actor will be interviewed by Ficci's director, Monika Wagenberg.
Another special honoree will be Mexican director Alejando Gonazlez Iñárritu, who has garnered international acclaim throughout the years with films such as Amores Perros , 21 Grams , Babel, and Biutiful . Established within the film industry as one of Latin America's most important directors of the new century, Iñárritu is currently in-production for Birdman (2014), a film he wrote and directed starring Emma Stone and Edward Norton . Participants of the 54th Ficci will have the opportunity to attend the Tribute honoring this Academy Award-nominated filmmaker on Sunday, March 16th, as well as his Master class the following day during Salón Ficci – the festival's academic program.
In regards to the festival's line-up, it is interesting to note that several of the filmmakers that will take part in the Dramatic Competition are directors who have participated at Ficci with their previous films and have established themselves in the international festival circuit winning prestigious awards. Others will arrive to Cartagena for the first time with their operas primas.
"2014 promises to be a good year for Iberoamerican cinema and we are proud to feature several of the most recent films of the region in our Official Dramatic Competition, in which half of the chosen movies are Latin American Premieres (movies that come directly to Cartagena after their world premieres at Sundance and Berlin Festivals). Eight of the twelve films in the Colombian Official Competition (known before as Colombia al 100%) are World Premieres. This way, we have managed to achieve the goal we set four years ago: becoming the main national and international launching platform of local films", stated Ficci's Director Monika Wagenberg.
Wagenberg also addressed some chances in the festival's rules that will allow for more experience filmmakers to partake in the event.
"One of the big news of Ficci 54 is that this time we have not limited the Official Dramatic Competition to first, second and third time Ibero-American films. Ending this restriction will make possible for those directors from this region who are producing feature films at a fast pace not, to be excluded from the competition" Wagenberg added.
The Official Dramatic Competition will feature the Latin American premieres The Lock Charmer (El Cerrajero) by Natalia Smirnoff (Argentina), Natural Sciences (Ciencias Naturales) by Matías Lucchesi(Argentina), The Way He Looks (Hoje Eu Quero Voltar Sozinho) by Daniel Ribeiro(Brazil), Celina Murga's Berlin Official Competition, The Three Sides of the River (La tercera orilla) (Argentina), recent Sundance and Rotterdam winner, To Kill a Man (Matar a un hombre) by Alejandro Fernández Almendras (Chile), Mateo, first film by Maria Gamboa (Colombia), and the world premiere of Dust on the Tongue (Tierra en la lengua) by Ruben Mendoza (Colombia).
This section also includes other outstanding films such as Bad Hair (Pelo malo), written and directed by Mariana Rondón (Venezuela) which comes to Ficci after its triumph at the San Sebastián Film Festival; The Mute (El Mudo), directed by brothers Daniel and Diego Vega (Perú), which had its world premiere at the Locarno Film Festival and are coming back to Ficci after competing winning Best Director award in 2010; premiering at the Toronto International Film Festival and awarded the Concha de Plata for Best Director in San Sebastián, comes Club Sándwich by Fernando Eimbcke(México), and the 12th film in this section is Root (Raíz) by Matías Rojas Valencia (Chile), the winner of Best Chilean Film winner at the Valdivia Film Festival.
The Official Documentary Competition will showcase the world premieres of El color que cayó del cielo by Sergio Wolf (Argentina) and Heaven or Hell (Infierno o paraíso) de German Piffano(Colombia); as well as the Latin American premiere of The Silence of the Flies (El silencio de las moscas) by Eliezer Arias (Venezuela), Marmato by Mark Grieco (Colombia, USA), and Apples, Chickens and Chimeras (Manzanas, pollos y quimeras) de Inés París (España). The rest of the program includes Argentine Street Years (Años de calle) by Alejandra Grinschpun, I Feel Much Better Now (E-agora? Lembra me) by Joaquim Pinto(Portugal), Naomi Campbel by icolas Videla and Camila José Donoso (Chile), Cesar's Grill (El Grill de Cesar) by Dario Aguirre, I Will Be Murdered (Seré asesinado) by Justin Webster (Spain), Mexican documentary, Elevator (Elevador) by Adrián Ortizl and the most recent work by talented Brazilian documentary film director Maria Ramos , Hills of Pleasures (Morro dos Prazeres).
Lastly, in the Colombian Official Competition we will present the world premieres of Banished (Desterrada) by Diego Guerra, Manos sucias by Joseph Wladyka, Memorias del calavero and Tierra en la lengua by Rubén Mendoza, Monte adentro by Nicolás Macario Alonso, Parador Húngaro by Aseneth Suarez and Patrick Alexander, Infierno o paraíso by Germán Piffano; as well as the Latin American premieres of Inés, memorias de una vida by Luisa Sossa; Gente de papel, con el alma en la selva by Andrés Felipe Vásquez, Mateo by Maria Gamboa, Marmato by Mark Grieco and the Colombian premiere of Mambo Cool by Chris Gude.
- 2/27/2014
- by Sydney Levine
- Sydney's Buzz
Now that a new year is upon us let's reflect back on 2013. Something like a year in Latino film. Latin American filmmakers continued to kill it on the international film festival circuit. Chile, in particular, has been conquering the world one film festival award at a time.
Sadly, American Latino filmmakers were mostly absent from big name festivals like Sundance, Toronto, Berlin, and Cannes. Normally, the major Latino film festivals in New York, Los Angeles, Chicago, and San Diego offer a home to these overlooked films. The surprising collapse of the New York International Latino Film Festival this past summer and with the Los Angeles Latino International Film Festival barely recovering from financial difficulties, the exhibition of American Latino indies remains in a precarious position.
Still, there is much to celebrate. Starting in the early part of the year, at Sundance, Chilean director Sebastian Silva joined a very elite club of filmmakers -- those who have premiered two films at the same festival. His mescaline-fueled odyssey Crystal Fairy won the World Cinema Dramatic Directing Award and the psychological thriller Magic, Magic starring Michael Cera went on to play Director's Fortnight in Cannes.
The Berlinale, in February, brought the much anticipated world premiere of Sebastian Lelio's fourth film Gloria and the charming Uruguayan family comedy Tanta Agua. Cementing 2013 as the year of Chile, actress Paulina Garcia won the Silver Bear for her dazzling and dynamic performance as a middle-aged divorcee in Gloria.
Mid-year, Mexican filmmakers took Cannes by storm again, winning the Best Director prize for the second year in a row. In 2013, the victor was Amat Escalante for his feature film Heli. The year prior Carlos Reygadas took home the prize for Post Tenebras Lux.
In the fall, Toronto spoiled us with Latin American riches. The gargantuan fest showcased more than 300 films from 70 different countries including the Mexican documentary El Alcalde, Venezuela's Pelo Malo (Bad Hair), Peruvian black comedy El Mudo (The Mute), the Brazilian drama O lobo atras da porta (A Wolf at the Door), and the world premiere of Fernando Eimbcke's Club Sandwich. Costa Rica made a first-time appearance at the Toronto Film Festival with Por las plumas (All About the Feathers) and the Dominican Republic showcased Cristo Rey.
Over Labor Day weekend, Eugenio Derbez, a Mexican actor most Americans had never heard of released his sleeper hit Instructions Not Included. Totally ignored by mainstream film critics, the Spanish-language family comedy went on to shatter box office records. It beat out Woody Allen's Blue Jasmine and critical darling 12 Years a Slave making it the top grossing indie film of the year. It also became the highest grossing Spanish-language film ever in the United States. A few weeks later, when Instructions opened in Derbez's home country, it became the most-watched Mexican film of all time.
Despite being snubbed by the Academy Awards (no Latin American productions made the shortlist for Best Foreign Language Film), Latino films ended the year on a high note. The triumph of our films abroad coupled with a Spanish-language box office hit at home bodes well for the Latino films of 2014.
In case you were living under a rock this past year and missed it all, we've got you covered. Thankfully, there are professionals who get paid to keep track of what Latino movies are receiving accolades, have the most buzz, and got picked up for distribution. LatinoBuzz went straight to the experts, film programmers, to ask, "What are your top 5 Latino films of 2013?"
Christine Davila, Director of Ambulante California
There is no shortage of original and compelling Us Latino writer/directors working across different genres out there, and this list proves it. These confident artists have captured fresh and mighty perspectives far too underrepresented, and they are storming through the cluster neck of homogeneity that continues to reign in film content.
Water & Power (Richard Montoya, USA)
Los Wild Ones (Elise Salomon, USA)
Delusions of Grandeur (Iris Almaraz, Gustavo Ramos, USA)
Sleeping with the Fishes (Nicole Gomez Fisher, USA)
The House that Jack Built (Henry Barrial, USA)
Marcela Goglio, Programmer at the Film Society of Lincoln Center
No special criteria in these choices, just some of the many accomplished Latin American films that, in my opinion, create universes or make statements in beautiful, original and/or powerful ways.
Viola (Matias Pineiro, Argentina)
El alcalde (Emiliano Altuna/Carlos Rossini/Diego Osorno, Mexico)
La eterna noche de las doce lunas (Priscilla Padilla, Colombia)
El futuro (Alicia Scherson, Chile)
Gloria (Sebastian Lelio, Chile)
Carlos A. Gutierrez, Co-founder and Executive Director of Cinema Tropical
For practical purposes, my list features five Latin American films (my area of expertise) that I highly recommend, and that screened in the U.S. in 2013 (in alphabetical order):
El Alcalde / The Mayor (Carlos F. Rossini, Emiliano Altuna and Diego Osorno, Mexico)
El otro dia / The Other Day (Ignacio Aguero, Chile)
Los mejores temas / Greatest Hits (Nicolas Pereda, Mexico)
Tanta Agua / So Much Water (Ana Guevara and Leticia Jorge, Uruguay)
Viola (Matias Pineiro, Argentina)
Lucho Ramirez, Founder & Executive Director of Cine+Mas Sf, presenter of the Cm San Francisco Latino Film Festival
There are so many works by Latino and Latin American filmmakers that merit the public and the tastemaker's attention. Compiling a list of 5 is difficult for me as a festival director because each film that we program is beloved. In addition, there are the other films I see at other fests or at theaters, particularly the bigger ones replete with distribution, celebrity, and marketing budgets. It's hard for independent, quality films to break through and that's part of the reason I seek those out. I believe there is an audience for artisanal films with substance, creativity, and diversity.
I went on memory for this list. Included are films that I saw this year that really stuck with me long after watching them. What's important to me is seeing images of Latinos by Latinos on the screen. This doesn't mean sanitized. Bless Me, Ultima is an important literary work. It was a huge accomplishment to get this on the screen for all us non-readers. Sex, Love, & Salsa packs all the punch of a big romantic comedy in very local and Latino way; Tlatelolco is a historical drama that's really well done, revisiting a chaotic time in Mexico's history but interpreted in a narrow sliver of a relationship that can't be; Porcelain Horse mixes sex, drugs, and rich-kid problems and really does something different with a crime-drama; Delusions of Grandeuer is purely Latino hipster fun.
Bless Me, Ultima (Carl Franklin, USA)
Sex, Love, & Salsa (Adrian Manzano, USA)
Tlatelolco, Summer of 68 (Carlos Bolado, Mexico)
Porcelain Horse (Javier Andrade, Ecuador)
Delusions of Grandeur (Iris Almaraz, Gustavo Ramos, USA)
Glenn Heath Jr., Artistic Director of the San Diego Latino Film Festival
De Jueves a Domingo is a fascinating and subtext-heavy debut from director Dominga Sotomayor Castillo about a family road trip that could be the beginning of the end. In Viola Shakespeare is reinvented, it's art house cinema meets the off-note pacing of jazz. My Sister's Quinceañera is an honest and poignant look at the complexities of family and identity in small town America. Aqui y Alla is riveting in its acute understanding of how the mundane adds up to something grand. Fecha de Caducidad is dark comedy at its finest.
De Jueves a Domingo (Dominga Sotomayor Castillo, Chile)
Viola (Matias Pineiro, Argentina)
My Sister's Quinceanera (Aaron Douglas Johnston, USA)
Aqui y Alla (Antonio Mendez Esparza, Mexico)
Fecha de Caducidad (Kenya Marquez , Mexico)
Diana Vargas, Artistic Director at the Havana Film Festival New York
In Gloria Paulina Garcia's performance is unforgettable and the way the director talks about the middle life crisis of a woman that seems unremarkable until she finds out she can make her own choices and maybe to be single is not that bad, haha. La Sirga portrays the crude reality of the Colombian conflict without showing explicit violence, through impeccable cinematography. In a cinema verite style, La jaula de oro shows 3 Guatemalan adolescents experiencing the harshness of the journey of those who want to immigrate to U.S. 7 Cajas, the biggest Paraguayan box office hit, is as entertaining as well done. With an impeccable screenplay and Guarani dialogues, the film shows a country that usually don't have a strong representation in the festivals around the world. Sibila de Teresa Arredondo (Chile). Sibila Arguedas is the widow of one of the most iconic public figures in Peruvian literature. She's also Chilean and a political prisoner, accused of being a Sendero Luminoso collaborator. This documentary made by Sibila's niece brings to light one of the most fascinating, enimagtic and contradictory characters of the last century.
Gloria (Sebastian Lelio, Chile)
La Sirga (William Vega, Colombia).
La jaula de oro (Diego Quemada-Diez, Mexico)
7 Cajas (Tana Schembori, Juan Carlos Maneglia, Paraguay)
Sibila (Teresa Arredondo, Chile)
Juan Caceres, Director of Programming at the New York International Latino Film Festival
2013 was a great year for Latin American films. Ecuador, Panama, Guatemala and Paraguay, countries with no real infrastructure for filmmaking, all were present in festivals. Chile in particular showed no sign of slowing down their own presence on the festival circuit, taking home prizes at the major festivals. I think it's no coincidence that they share this wonderful genuine camaraderie where there is a support system that includes producing each others projects to simply rooting for one another when it comes to award nominations (you can go to all their Fb pages and occasionally they have each others films as their cover pics! It's uber dope). It's as real as it gets and I think it's something lacking here in the Us. So my list is the Chilean films you should not miss.
Gloria, (Sebastian Lelio, Chile)
No (Pablo Larrain, Chile)
Il Futuro / The Future (Alicia Scherson, Chile)
El verano de los peces voladores / The Summer of Flying Fish (Marcela Said, Chile)
Las cosas como son / Things The Way They Are (Fernando Lavanderos, Chile)
Marlene Dermer, Director/Programmer at the Los Angeles Latino International Film Festival
It has been really hard to narrow it to five I have to say. I find Latino cinema and its creators in a wonderful period. It’s alive and beats like a heart. There is so much talent in our communities and they are doing some of the most interesting work in world cinema. It's thought provoking or personal and universal. It's also tough to include U.S. works with Latin American work because there are many more countries and many with support. This year in our festival we had the largest showcase of U.S.A. films which was very exciting to see. As a programmer for 22 years I find it stimulating to discover all these new voices coming up in our community and truly sharing the screens at festivals and theaters around the world. There is a new generation in every country, that is very exciting and promising for the future of cinema, our community and the audio visual world.
Club Sandwich (Fernando Eimbcke, Mexico)
Pelo Malo (Mariana Rondón, Venezuela)
Gloria (Sebastian Lelio, Chile)
O lobo atras da porta (Fernando Coimbra, Brazil)
Tanta Agua / So Much Water (Ana Guevara and Leticia Jorge, Uruguay)
Written by Vanessa Erazo. LatinoBuzz is a weekly feature on SydneysBuzz that highlights Latino indie talent and upcoming trends in Latino film with the specific objective of presenting a broad range of Latino voices. Follow @LatinoBuzz on Twitter and Facebook.
Sadly, American Latino filmmakers were mostly absent from big name festivals like Sundance, Toronto, Berlin, and Cannes. Normally, the major Latino film festivals in New York, Los Angeles, Chicago, and San Diego offer a home to these overlooked films. The surprising collapse of the New York International Latino Film Festival this past summer and with the Los Angeles Latino International Film Festival barely recovering from financial difficulties, the exhibition of American Latino indies remains in a precarious position.
Still, there is much to celebrate. Starting in the early part of the year, at Sundance, Chilean director Sebastian Silva joined a very elite club of filmmakers -- those who have premiered two films at the same festival. His mescaline-fueled odyssey Crystal Fairy won the World Cinema Dramatic Directing Award and the psychological thriller Magic, Magic starring Michael Cera went on to play Director's Fortnight in Cannes.
The Berlinale, in February, brought the much anticipated world premiere of Sebastian Lelio's fourth film Gloria and the charming Uruguayan family comedy Tanta Agua. Cementing 2013 as the year of Chile, actress Paulina Garcia won the Silver Bear for her dazzling and dynamic performance as a middle-aged divorcee in Gloria.
Mid-year, Mexican filmmakers took Cannes by storm again, winning the Best Director prize for the second year in a row. In 2013, the victor was Amat Escalante for his feature film Heli. The year prior Carlos Reygadas took home the prize for Post Tenebras Lux.
In the fall, Toronto spoiled us with Latin American riches. The gargantuan fest showcased more than 300 films from 70 different countries including the Mexican documentary El Alcalde, Venezuela's Pelo Malo (Bad Hair), Peruvian black comedy El Mudo (The Mute), the Brazilian drama O lobo atras da porta (A Wolf at the Door), and the world premiere of Fernando Eimbcke's Club Sandwich. Costa Rica made a first-time appearance at the Toronto Film Festival with Por las plumas (All About the Feathers) and the Dominican Republic showcased Cristo Rey.
Over Labor Day weekend, Eugenio Derbez, a Mexican actor most Americans had never heard of released his sleeper hit Instructions Not Included. Totally ignored by mainstream film critics, the Spanish-language family comedy went on to shatter box office records. It beat out Woody Allen's Blue Jasmine and critical darling 12 Years a Slave making it the top grossing indie film of the year. It also became the highest grossing Spanish-language film ever in the United States. A few weeks later, when Instructions opened in Derbez's home country, it became the most-watched Mexican film of all time.
Despite being snubbed by the Academy Awards (no Latin American productions made the shortlist for Best Foreign Language Film), Latino films ended the year on a high note. The triumph of our films abroad coupled with a Spanish-language box office hit at home bodes well for the Latino films of 2014.
In case you were living under a rock this past year and missed it all, we've got you covered. Thankfully, there are professionals who get paid to keep track of what Latino movies are receiving accolades, have the most buzz, and got picked up for distribution. LatinoBuzz went straight to the experts, film programmers, to ask, "What are your top 5 Latino films of 2013?"
Christine Davila, Director of Ambulante California
There is no shortage of original and compelling Us Latino writer/directors working across different genres out there, and this list proves it. These confident artists have captured fresh and mighty perspectives far too underrepresented, and they are storming through the cluster neck of homogeneity that continues to reign in film content.
Water & Power (Richard Montoya, USA)
Los Wild Ones (Elise Salomon, USA)
Delusions of Grandeur (Iris Almaraz, Gustavo Ramos, USA)
Sleeping with the Fishes (Nicole Gomez Fisher, USA)
The House that Jack Built (Henry Barrial, USA)
Marcela Goglio, Programmer at the Film Society of Lincoln Center
No special criteria in these choices, just some of the many accomplished Latin American films that, in my opinion, create universes or make statements in beautiful, original and/or powerful ways.
Viola (Matias Pineiro, Argentina)
El alcalde (Emiliano Altuna/Carlos Rossini/Diego Osorno, Mexico)
La eterna noche de las doce lunas (Priscilla Padilla, Colombia)
El futuro (Alicia Scherson, Chile)
Gloria (Sebastian Lelio, Chile)
Carlos A. Gutierrez, Co-founder and Executive Director of Cinema Tropical
For practical purposes, my list features five Latin American films (my area of expertise) that I highly recommend, and that screened in the U.S. in 2013 (in alphabetical order):
El Alcalde / The Mayor (Carlos F. Rossini, Emiliano Altuna and Diego Osorno, Mexico)
El otro dia / The Other Day (Ignacio Aguero, Chile)
Los mejores temas / Greatest Hits (Nicolas Pereda, Mexico)
Tanta Agua / So Much Water (Ana Guevara and Leticia Jorge, Uruguay)
Viola (Matias Pineiro, Argentina)
Lucho Ramirez, Founder & Executive Director of Cine+Mas Sf, presenter of the Cm San Francisco Latino Film Festival
There are so many works by Latino and Latin American filmmakers that merit the public and the tastemaker's attention. Compiling a list of 5 is difficult for me as a festival director because each film that we program is beloved. In addition, there are the other films I see at other fests or at theaters, particularly the bigger ones replete with distribution, celebrity, and marketing budgets. It's hard for independent, quality films to break through and that's part of the reason I seek those out. I believe there is an audience for artisanal films with substance, creativity, and diversity.
I went on memory for this list. Included are films that I saw this year that really stuck with me long after watching them. What's important to me is seeing images of Latinos by Latinos on the screen. This doesn't mean sanitized. Bless Me, Ultima is an important literary work. It was a huge accomplishment to get this on the screen for all us non-readers. Sex, Love, & Salsa packs all the punch of a big romantic comedy in very local and Latino way; Tlatelolco is a historical drama that's really well done, revisiting a chaotic time in Mexico's history but interpreted in a narrow sliver of a relationship that can't be; Porcelain Horse mixes sex, drugs, and rich-kid problems and really does something different with a crime-drama; Delusions of Grandeuer is purely Latino hipster fun.
Bless Me, Ultima (Carl Franklin, USA)
Sex, Love, & Salsa (Adrian Manzano, USA)
Tlatelolco, Summer of 68 (Carlos Bolado, Mexico)
Porcelain Horse (Javier Andrade, Ecuador)
Delusions of Grandeur (Iris Almaraz, Gustavo Ramos, USA)
Glenn Heath Jr., Artistic Director of the San Diego Latino Film Festival
De Jueves a Domingo is a fascinating and subtext-heavy debut from director Dominga Sotomayor Castillo about a family road trip that could be the beginning of the end. In Viola Shakespeare is reinvented, it's art house cinema meets the off-note pacing of jazz. My Sister's Quinceañera is an honest and poignant look at the complexities of family and identity in small town America. Aqui y Alla is riveting in its acute understanding of how the mundane adds up to something grand. Fecha de Caducidad is dark comedy at its finest.
De Jueves a Domingo (Dominga Sotomayor Castillo, Chile)
Viola (Matias Pineiro, Argentina)
My Sister's Quinceanera (Aaron Douglas Johnston, USA)
Aqui y Alla (Antonio Mendez Esparza, Mexico)
Fecha de Caducidad (Kenya Marquez , Mexico)
Diana Vargas, Artistic Director at the Havana Film Festival New York
In Gloria Paulina Garcia's performance is unforgettable and the way the director talks about the middle life crisis of a woman that seems unremarkable until she finds out she can make her own choices and maybe to be single is not that bad, haha. La Sirga portrays the crude reality of the Colombian conflict without showing explicit violence, through impeccable cinematography. In a cinema verite style, La jaula de oro shows 3 Guatemalan adolescents experiencing the harshness of the journey of those who want to immigrate to U.S. 7 Cajas, the biggest Paraguayan box office hit, is as entertaining as well done. With an impeccable screenplay and Guarani dialogues, the film shows a country that usually don't have a strong representation in the festivals around the world. Sibila de Teresa Arredondo (Chile). Sibila Arguedas is the widow of one of the most iconic public figures in Peruvian literature. She's also Chilean and a political prisoner, accused of being a Sendero Luminoso collaborator. This documentary made by Sibila's niece brings to light one of the most fascinating, enimagtic and contradictory characters of the last century.
Gloria (Sebastian Lelio, Chile)
La Sirga (William Vega, Colombia).
La jaula de oro (Diego Quemada-Diez, Mexico)
7 Cajas (Tana Schembori, Juan Carlos Maneglia, Paraguay)
Sibila (Teresa Arredondo, Chile)
Juan Caceres, Director of Programming at the New York International Latino Film Festival
2013 was a great year for Latin American films. Ecuador, Panama, Guatemala and Paraguay, countries with no real infrastructure for filmmaking, all were present in festivals. Chile in particular showed no sign of slowing down their own presence on the festival circuit, taking home prizes at the major festivals. I think it's no coincidence that they share this wonderful genuine camaraderie where there is a support system that includes producing each others projects to simply rooting for one another when it comes to award nominations (you can go to all their Fb pages and occasionally they have each others films as their cover pics! It's uber dope). It's as real as it gets and I think it's something lacking here in the Us. So my list is the Chilean films you should not miss.
Gloria, (Sebastian Lelio, Chile)
No (Pablo Larrain, Chile)
Il Futuro / The Future (Alicia Scherson, Chile)
El verano de los peces voladores / The Summer of Flying Fish (Marcela Said, Chile)
Las cosas como son / Things The Way They Are (Fernando Lavanderos, Chile)
Marlene Dermer, Director/Programmer at the Los Angeles Latino International Film Festival
It has been really hard to narrow it to five I have to say. I find Latino cinema and its creators in a wonderful period. It’s alive and beats like a heart. There is so much talent in our communities and they are doing some of the most interesting work in world cinema. It's thought provoking or personal and universal. It's also tough to include U.S. works with Latin American work because there are many more countries and many with support. This year in our festival we had the largest showcase of U.S.A. films which was very exciting to see. As a programmer for 22 years I find it stimulating to discover all these new voices coming up in our community and truly sharing the screens at festivals and theaters around the world. There is a new generation in every country, that is very exciting and promising for the future of cinema, our community and the audio visual world.
Club Sandwich (Fernando Eimbcke, Mexico)
Pelo Malo (Mariana Rondón, Venezuela)
Gloria (Sebastian Lelio, Chile)
O lobo atras da porta (Fernando Coimbra, Brazil)
Tanta Agua / So Much Water (Ana Guevara and Leticia Jorge, Uruguay)
Written by Vanessa Erazo. LatinoBuzz is a weekly feature on SydneysBuzz that highlights Latino indie talent and upcoming trends in Latino film with the specific objective of presenting a broad range of Latino voices. Follow @LatinoBuzz on Twitter and Facebook.
- 1/1/2014
- by Vanessa Erazo
- Sydney's Buzz
Steve McQueen’s 12 Years A Slave to open festival; director Peter Greenaway to receive Visionary Award.Scroll down for full line-up
Steve McQueen’s historic drama 12 Years a Slave is to open the Stockholm International Film Festival (Nov 6-17) and is nominated in the Stockholm Xxiv Competition.
Starring Chiwetel Ejiofor, the drama about free black man kidnapped from his family and sold into slavery in the 1850s debuted at Telluride and has received positive reactions throughout its festival tour of Toronto, New York and London among others.
It will be released in Sweden on Dec 20 by Ab Svensk Filmindustri.
Screenwriter John Ridley, who will be present during the festival, is nominated for the Aluminum Horse in the category Best Script.
McQueen’s Hunger won Best Directorial Debut at Stockholm in 2008.
Line-up
The 24th Siff includes more than 180 films from more than 50 countries.
As previously announced, the spotlight of this year’s festival is freedom but Chinese artist...
Steve McQueen’s historic drama 12 Years a Slave is to open the Stockholm International Film Festival (Nov 6-17) and is nominated in the Stockholm Xxiv Competition.
Starring Chiwetel Ejiofor, the drama about free black man kidnapped from his family and sold into slavery in the 1850s debuted at Telluride and has received positive reactions throughout its festival tour of Toronto, New York and London among others.
It will be released in Sweden on Dec 20 by Ab Svensk Filmindustri.
Screenwriter John Ridley, who will be present during the festival, is nominated for the Aluminum Horse in the category Best Script.
McQueen’s Hunger won Best Directorial Debut at Stockholm in 2008.
Line-up
The 24th Siff includes more than 180 films from more than 50 countries.
As previously announced, the spotlight of this year’s festival is freedom but Chinese artist...
- 10/22/2013
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
International Competition
Golden Leopard - Story of My Death, directed by Albert Serra
Special Jury Prize - What Now? Remind Me, directed by Joaquim Pinto
Best Director - Hong Sang-soo, Our Sunhi
Best Actor - Fernando Bacilio, El Mudo
Best Actress - Brie Larson, Short Term 12
Special Jury Mentions - Short Term 12, directed by Destin Cretton; Tableau Noir, directed by Yves Yersin
Check out our Notebook coverage of What Now? Remind Me (x2) and Short Term 12.
Filmmakers of the Present
Golden Leopard for Filmmakers of the Present - Manakamana, directed by Pacho Velez & Stephanie Spray
Best Emerging Filmmaker - Costa da Morte, directed by Lois Patiño
Special Jury Prize - Mouton, directed by Gilles Deroo & Marianne Pistone
Check out our Notebook coverage of Manakamana.
Opera Prima
Best First Film - Mouton, directed by Gilles Deroo & Marianne Pistone
Special Mention - Manakamana, directed by Pacho Velez & Stephanie Spray...
Golden Leopard - Story of My Death, directed by Albert Serra
Special Jury Prize - What Now? Remind Me, directed by Joaquim Pinto
Best Director - Hong Sang-soo, Our Sunhi
Best Actor - Fernando Bacilio, El Mudo
Best Actress - Brie Larson, Short Term 12
Special Jury Mentions - Short Term 12, directed by Destin Cretton; Tableau Noir, directed by Yves Yersin
Check out our Notebook coverage of What Now? Remind Me (x2) and Short Term 12.
Filmmakers of the Present
Golden Leopard for Filmmakers of the Present - Manakamana, directed by Pacho Velez & Stephanie Spray
Best Emerging Filmmaker - Costa da Morte, directed by Lois Patiño
Special Jury Prize - Mouton, directed by Gilles Deroo & Marianne Pistone
Check out our Notebook coverage of Manakamana.
Opera Prima
Best First Film - Mouton, directed by Gilles Deroo & Marianne Pistone
Special Mention - Manakamana, directed by Pacho Velez & Stephanie Spray...
- 8/19/2013
- by Notebook
- MUBI
Spanish director Albert Serra with his Locarno's Golden Leopard for Story of My Death (Historia de la Meva Mort) The much-heralded Catalan-language drama Story of My Death (Historia de la Meva Mort), Albert Serra’s dreamlike interpretation of the life and demise of the infamous 18th-century Venetian libertine and adventurer Giacomo Casanova, won the 2013 Locarno Film Festival’s Golden Leopard at the weekend (17 August).
Vicenc Altaio plays Casanova in Story Of My Death, which won the Golden Leopard at Locarno Originally touted for Cannes earlier in the year, it created a Locarno buzz right from its initial screening.
It marks the first time a Spanish film has won the top award in the festival's 66-year history.
A Portuguese title won the jury prize - What Now? Remind Me (E Agora? Lembra-Me), Joaquim Pinto’s story of his own battle against HIV and Hepatitis C.
The Leopard award for Best Director...
Vicenc Altaio plays Casanova in Story Of My Death, which won the Golden Leopard at Locarno Originally touted for Cannes earlier in the year, it created a Locarno buzz right from its initial screening.
It marks the first time a Spanish film has won the top award in the festival's 66-year history.
A Portuguese title won the jury prize - What Now? Remind Me (E Agora? Lembra-Me), Joaquim Pinto’s story of his own battle against HIV and Hepatitis C.
The Leopard award for Best Director...
- 8/18/2013
- by Richard Mowe
- eyeforfilm.co.uk
The 66th Locarno International Film Festival has announced its annual awards, or Palmares. The Pardo d'Oro went to Albert Serra's "La Historia de la Meva Mort." Best Actress went to Brie Larson for "Short Term 12," which also won a special mention, while Balthasar Kormakur picked up the Variety Piazza Grand Award for '2 Guns,' starring Denzel Washington and Mark Wahlberg, Fernando Bacilio took home Best Actor for the Vega brothers' "El Mudo." Concorso internazionale Pardo d’oro Historia De La Meva Mort by Albert Serra, Spain/France Premio speciale della giuria E Agora? Lembra-me by Joaquim Pinto, Portugal Pardo per la migliore regia (Best Director) Hong Sangsoo for U Ri Sunhi (Our Suhni), South Korea Pardo per la miglior interpretazione femminile (Best Actress) Brie Larson for film Short Term 12 by Destin Cretton, United States Pardo per la miglior interpretazione maschile (Best Actor) Fernando Bacilio for El Mudo...
- 8/17/2013
- by Anne Thompson
- Thompson on Hollywood
Final batch of Tiff titles were announced today and among the international hodgepodge of items trickling we find Berlin (Golden Bear winner Child’s Pose), Cannes (The Selfish Giant – Europa Cinemas Label winner and Stranger by the Lake by Alain Guiraudie), Karlovy Vary (Crystal Globe winner Le Grand Cahier ) and Locarno (Corneliu Porumboiu’s When Evening Falls on Bucharest or Metabolism) Film Fest items added to the Toronto Int. Film Festival’s Contemporary World Cinema lineup. Alongside those that have already premiered elsewhere, the titles that have got our attention are world premiere offerings from the likes of award-winning Icelandic helmer Ragnar Bragason (Metalhead), Revanche‘s Götz Spielmann (October November – see pic above) and Mexican filmmaker Fernando Eimbcke’s Club Sandwich. Here’s the added titles to the section which already includes: Catherine Martin’s A Journey (Une Jeune Fille), Ingrid Veninger’s The Animal Project, Terry Miles’ Cinemanovels, Bruce Sweeney...
- 8/13/2013
- by Eric Lavallee
- IONCINEMA.com
The titles just keep coming as we are now just over three weeks away from the start of the 2013 Toronto International Film Festival and they have gone and added 90 new feature length titles to the program and it's not as if they are titles you haven't heard of. New to the Galas selection is Guillaume Canet's Blood Ties which premiered at Cannes earlier this year (read my review here) and Words and Pictures starring Clive Owen and Juliette Binoche. In the Special Presentations selection you find the bulk of the more noted titles including Alex Gibney's new documentary The Armstrong Lie about cyclist Lance Armstrong, Johnnie To's Blind Detective which also premiered at Cannes, James Franco's Child of God based on the Cormac McCarthy novel, John Turturro's Fading Gigolo which features Woody Allen in one of the roles, Kevin Macdonald's How I Live Now...
- 8/13/2013
- by Brad Brevet
- Rope of Silicon
World premieres of Kevin Macdonald’s How I Live Now, Fred Schepisi’s Words And Pictures and John Turturro’s Fading Gigolo are among the Tiff line-up of galas and special presentations.
The Contemporary World Cinema strand includes first views of Jan Hrebejk’s Honeymoon, Donovan Marsh’s iNumber Number and Fernando Coimbra’s A Wolf At The Door.
The Toronto International Film Festival is scheduled to run from Sept 5-15.
Wp = World premiere
IP = International premiere
Np = North American premiere
Cp = Canadian premiere
Tp = Toronto premiere
GALASBlood Ties Guillaume Canet (France-us) NAPBright Days Ahead (Les Beaux Jours) Marion Vernoux (France) NAPWords & Pictures Fred Schepisi (Us) Wpspecial Presentationsa Promise (Une Promesse) Patrice Leconte (Belgium-France) NAPThe Armstrong Lie Alex Gibney (Us) NAPBlind Detective Johnnie To (Hong Kong) NAPChild Of God James Franco (Us) NAPThe Face Of Love Arie Posin (Us) WPFading Gigolo John Turturro (Us) WPThe Finishers Nils Tavernier (Belgium-France) WPHow I Live Now Kevin Macdonald (UK) WPThe...
The Contemporary World Cinema strand includes first views of Jan Hrebejk’s Honeymoon, Donovan Marsh’s iNumber Number and Fernando Coimbra’s A Wolf At The Door.
The Toronto International Film Festival is scheduled to run from Sept 5-15.
Wp = World premiere
IP = International premiere
Np = North American premiere
Cp = Canadian premiere
Tp = Toronto premiere
GALASBlood Ties Guillaume Canet (France-us) NAPBright Days Ahead (Les Beaux Jours) Marion Vernoux (France) NAPWords & Pictures Fred Schepisi (Us) Wpspecial Presentationsa Promise (Une Promesse) Patrice Leconte (Belgium-France) NAPThe Armstrong Lie Alex Gibney (Us) NAPBlind Detective Johnnie To (Hong Kong) NAPChild Of God James Franco (Us) NAPThe Face Of Love Arie Posin (Us) WPFading Gigolo John Turturro (Us) WPThe Finishers Nils Tavernier (Belgium-France) WPHow I Live Now Kevin Macdonald (UK) WPThe...
- 8/13/2013
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
World premieres of Kevin Macdonald’s How I Live Now, Fred Schepisi’s Words And Pictures and John Turturro’s Fading Gigolo are among the TIFF line-up of galas and special presentations announced on Tuesday [13].
The Contemporary World Cinema strand includes first views of Jan Hrebejk’s Honeymoon, Donovan Marsh’s iNumber Number and Fernando Coimbra’s A Wolf At The Door.
The Toronto International Film Festival is scheduled to run from Sept 5-15.
Wp = World premiere
IP = International premiere
Np = North American premiere
Cp = Canadian premiere
Tp = Toronto premiere
GALASBlood Ties Guillaume Canet (France-us) NAPBright Days Ahead (Les Beaux Jours) Marion Vernoux (France) NAPWords & Pictures Fred Schepisi (Us) Wpspecial Presentationsa Promise (Une Promesse) Patrice Leconte (Belgium-France) NAPThe Armstrong Lie Alex Gibney (Us) NAPBlind Detective Johnnie To (Hong Kong) NAPChild Of God James Franco (Us) NAPThe Face Of Love Arie Posin (Us) WPFading Gigolo John Turturro (Us) WPThe Finishers Nils Tavernier (Belgium-France) WPHow I Live Now [link...
The Contemporary World Cinema strand includes first views of Jan Hrebejk’s Honeymoon, Donovan Marsh’s iNumber Number and Fernando Coimbra’s A Wolf At The Door.
The Toronto International Film Festival is scheduled to run from Sept 5-15.
Wp = World premiere
IP = International premiere
Np = North American premiere
Cp = Canadian premiere
Tp = Toronto premiere
GALASBlood Ties Guillaume Canet (France-us) NAPBright Days Ahead (Les Beaux Jours) Marion Vernoux (France) NAPWords & Pictures Fred Schepisi (Us) Wpspecial Presentationsa Promise (Une Promesse) Patrice Leconte (Belgium-France) NAPThe Armstrong Lie Alex Gibney (Us) NAPBlind Detective Johnnie To (Hong Kong) NAPChild Of God James Franco (Us) NAPThe Face Of Love Arie Posin (Us) WPFading Gigolo John Turturro (Us) WPThe Finishers Nils Tavernier (Belgium-France) WPHow I Live Now [link...
- 8/13/2013
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.