Marialy Rivas had a hit on her hands with the delightfully provocative Sundance hit "Joven Y Alocada" (Young and Wild), a film that is an energetic kaleidoscope of sex, defiance & artistically experimental – everything that pretty much happens to you when you come-of-age. Rivas was back at Sundance this year, which saw her switch gears to a short documentary entitled "Melody." Set in Chonchi, a small town in Chiloé, one of the most southern islands in Chile, Melody Jerez is a teacher who was determined to bring escape through music to her students, one being Georgina, a flower on the wall, precocious young girl. Here we capture their journey from a poor, seemingly inescapable town to the grand Teatro Municipal in Chile’s capital, Santiago. "Melody" is one of the most beautiful, delicate films about the virtue of what the simple act of caring can do in a child’s life.
LatinoBuzz: How did you meet Melody Jerez and Georgina and what exactly made you decide that you wanted to make this film?
Marialy: I was participating in the short film challenge of the Sundance Institute, sponsored by The Bill & Melinda Gates Foundation. The premise was: to tell a story about people that help other people to overcome poverty. There are good people in the world they said, let's show their stories. I do believe that with all my heart so the challenge sounded perfect. What drew me to the film was an actual serious problem in Chile. My country, after Pinochet's dictatorship became a place with one of the most expensive education system in the world, this in time has generated no social mobility, if you are born poor, you won't be able to study so it's almost certain you will stay poor for the rest of your life. I thought the story of the Youth Orchestras, a free music program for at risk children, was a good example on how education can change your life forever so this would show how urgent is to make education free for everyone. This little story will mirror the big picture of my country. I knew the first youth Orchestra started during the 90's in Curanilahue so I start asking who belonged to that Orchestra.
Then one day Melody appeared. She was working as an Orchestra teacher herself for the Chilean Youth Orchestras Foundation. From then on everything was a mix of luck and the beauty of the always giving Universe. Approaching the Sundance challenge, I knew I wanted to tell the story about a woman and a girl, both musicians, I wanted the story of them to mirror each other. I spoke to Melody on a Tuesday by Skype and I flew to shoot her on Thursday because she was having the big concert that appears at the end of the film that same Sunday. I knew I have to shoot that event. The first day I arrived I asked Melody to introduce me to all her girls between 8 and 12 that played in her Orchestra. I took them all to a nearby gym and interview them about how they felt about music. Georgina struck me for her determination and hunger for music. When I told Melody I picked Geo, she asked why and I said I could see in her eyes she wanted music more than anything.
Only then the story of Geo was revealed to me, how she was living with Melody as a "daughter". I didn't know they were connected when I picked them separately and the story of both of them was more powerful than anything I could ever have imagined. When I was editing my editor told me: I think I have heard the name Melody before, I think a friend of mine did a short film in the nineties with a girl named Melody... we contacted the filmmaker and again another amazing gift: there she was, Melody on film, at 10 years old. That ended up closing the circle of the story. It was a beautiful experience to say the least.
LatinoBuzz: The voice over is spoken in such a wonderful manner you would think Melody and Georgina are thinking aloud to themselves or to anyone who may listen. What was the process of that?
Marialy: When I approached the documentary I knew I wanted the short to have a poetic feel to it, like Hiroshima Mon Amour or Miguel Gomes Redemption. I recorded hours of interview with both of them, I reviewed the material, I edited the conversations and then we went back with Melody and Geo to all the subjects so we will use their words and experience but sounding like a stream of consciousness, we recorded that and it was the final voice over of the film.
LatinoBuzz: Did you enjoy making a documentary as much as you do a narrative?
Marialy: Oh my God they are so exciting in such different ways. With the documentary it felt all the time like a gift, I was just there watching an amazing story unravel, these diamonds were there ready to shine and I just needed to pay attention. It is also a lot of improvisation, trust in the moment, to go where the story is taking you, you have to be present at all times. And wow, the places they can take you. At least this is how this experience felt to me. I liked the smaller crew. I liked the fact that the scripts builds itself as you go But I also think It Is So Incredibly Hard!!! This was a short film and I was lucky that everything flowed almost in a magical way but I can see how hard a feature documentary can be, building the trust, waiting, being there, I really think documentary filmmakers are heroes.
LatinoBuzz: You start the next film this week? Can you tell us a little bit about it?
Marialy: I can tell you that I feel like I am gonna start escalating the Everest and I know I need more weeks of training and more weeks to arrive to the top but it's now or never. Movies in Latin America and probably at this point everywhere in the world except Hollywood and Bollywood are always lacking money. I would give everything for one more week of preproduction and one more week of shooting. But what we have I have to make it work, so I will leap into the void hoping I will be able to make it. Are we ever ready to anything I wonder? Maybe I keep telling this to myself to not go crazy.
LatinoBuzz: Do you hope your film can open eyes in Chile to further enhance children’s education through the arts?
Marialy: Oh yes I wish it could. Kids are everything, they are so willing to learn and grow in all the possible ways and it is our duty as adults to open a world of opportunities to them. They can all make it and the arts introduce amazing values in the children. Creativity and Discipline in the same extent. Enjoy the music you play but also experience the tremendous effort to play it well. I think like sound pretty similar to life no?
LatinoBuzz: The closing shot of them is gorgeous. My favorite. They look like sisters and you feel the love formed between them. What is their relationship today?
Marialy: The have formed a family. A family with their own rules and timings, but a family. When I was shooting them, they used to only make jokes about music and talk long about composers. It’s true they are like sisters maybe even more than an "adoptive mom", they love each other profoundly and this love is what you see piercing the screen. They admire each other, they support each other. It is profoundly beautiful.
Follow Marialy on the twittersphere @marialy_rivas
Written by Juan Caceres . 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 [At]LatinoBuzz on Twitter and Facebook...
LatinoBuzz: How did you meet Melody Jerez and Georgina and what exactly made you decide that you wanted to make this film?
Marialy: I was participating in the short film challenge of the Sundance Institute, sponsored by The Bill & Melinda Gates Foundation. The premise was: to tell a story about people that help other people to overcome poverty. There are good people in the world they said, let's show their stories. I do believe that with all my heart so the challenge sounded perfect. What drew me to the film was an actual serious problem in Chile. My country, after Pinochet's dictatorship became a place with one of the most expensive education system in the world, this in time has generated no social mobility, if you are born poor, you won't be able to study so it's almost certain you will stay poor for the rest of your life. I thought the story of the Youth Orchestras, a free music program for at risk children, was a good example on how education can change your life forever so this would show how urgent is to make education free for everyone. This little story will mirror the big picture of my country. I knew the first youth Orchestra started during the 90's in Curanilahue so I start asking who belonged to that Orchestra.
Then one day Melody appeared. She was working as an Orchestra teacher herself for the Chilean Youth Orchestras Foundation. From then on everything was a mix of luck and the beauty of the always giving Universe. Approaching the Sundance challenge, I knew I wanted to tell the story about a woman and a girl, both musicians, I wanted the story of them to mirror each other. I spoke to Melody on a Tuesday by Skype and I flew to shoot her on Thursday because she was having the big concert that appears at the end of the film that same Sunday. I knew I have to shoot that event. The first day I arrived I asked Melody to introduce me to all her girls between 8 and 12 that played in her Orchestra. I took them all to a nearby gym and interview them about how they felt about music. Georgina struck me for her determination and hunger for music. When I told Melody I picked Geo, she asked why and I said I could see in her eyes she wanted music more than anything.
Only then the story of Geo was revealed to me, how she was living with Melody as a "daughter". I didn't know they were connected when I picked them separately and the story of both of them was more powerful than anything I could ever have imagined. When I was editing my editor told me: I think I have heard the name Melody before, I think a friend of mine did a short film in the nineties with a girl named Melody... we contacted the filmmaker and again another amazing gift: there she was, Melody on film, at 10 years old. That ended up closing the circle of the story. It was a beautiful experience to say the least.
LatinoBuzz: The voice over is spoken in such a wonderful manner you would think Melody and Georgina are thinking aloud to themselves or to anyone who may listen. What was the process of that?
Marialy: When I approached the documentary I knew I wanted the short to have a poetic feel to it, like Hiroshima Mon Amour or Miguel Gomes Redemption. I recorded hours of interview with both of them, I reviewed the material, I edited the conversations and then we went back with Melody and Geo to all the subjects so we will use their words and experience but sounding like a stream of consciousness, we recorded that and it was the final voice over of the film.
LatinoBuzz: Did you enjoy making a documentary as much as you do a narrative?
Marialy: Oh my God they are so exciting in such different ways. With the documentary it felt all the time like a gift, I was just there watching an amazing story unravel, these diamonds were there ready to shine and I just needed to pay attention. It is also a lot of improvisation, trust in the moment, to go where the story is taking you, you have to be present at all times. And wow, the places they can take you. At least this is how this experience felt to me. I liked the smaller crew. I liked the fact that the scripts builds itself as you go But I also think It Is So Incredibly Hard!!! This was a short film and I was lucky that everything flowed almost in a magical way but I can see how hard a feature documentary can be, building the trust, waiting, being there, I really think documentary filmmakers are heroes.
LatinoBuzz: You start the next film this week? Can you tell us a little bit about it?
Marialy: I can tell you that I feel like I am gonna start escalating the Everest and I know I need more weeks of training and more weeks to arrive to the top but it's now or never. Movies in Latin America and probably at this point everywhere in the world except Hollywood and Bollywood are always lacking money. I would give everything for one more week of preproduction and one more week of shooting. But what we have I have to make it work, so I will leap into the void hoping I will be able to make it. Are we ever ready to anything I wonder? Maybe I keep telling this to myself to not go crazy.
LatinoBuzz: Do you hope your film can open eyes in Chile to further enhance children’s education through the arts?
Marialy: Oh yes I wish it could. Kids are everything, they are so willing to learn and grow in all the possible ways and it is our duty as adults to open a world of opportunities to them. They can all make it and the arts introduce amazing values in the children. Creativity and Discipline in the same extent. Enjoy the music you play but also experience the tremendous effort to play it well. I think like sound pretty similar to life no?
LatinoBuzz: The closing shot of them is gorgeous. My favorite. They look like sisters and you feel the love formed between them. What is their relationship today?
Marialy: The have formed a family. A family with their own rules and timings, but a family. When I was shooting them, they used to only make jokes about music and talk long about composers. It’s true they are like sisters maybe even more than an "adoptive mom", they love each other profoundly and this love is what you see piercing the screen. They admire each other, they support each other. It is profoundly beautiful.
Follow Marialy on the twittersphere @marialy_rivas
Written by Juan Caceres . 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 [At]LatinoBuzz on Twitter and Facebook...
- 2/13/2015
- by Juan Caceres
- Sydney's Buzz
Exclusive: German sales team launches experimental Miguel Gomes drama at Efm.
German outfit The Match Factory has begun talking to buyers at the Efm about Tabu director Miguel Gomes’ latest project Arabian Nights (As 1001 Noites).
Gomes’ film transposes contemporary Portugal - beset by economic crisis - into the structure of the famous collection of folk tales One Thousand and One Nights, also known as Arabian Nights.
Stories within the film will be based on real stories taken from news and press in Portugal during the production period.
The one-year shoot started in early December 2013 and will continue throughout 2014.
The cast includes Adriano Luz, Carloto Cotta, Rogério Samora, Diogo Dória and Crista Alfaiate.
Co-writers include Tabu writer Mariana Ricardo and Tabu editor Telmo Churro. Uncle Boonmee cinematographer Sayombhu Mukdeeprom is also on board.
The production has also created an online blog (www.as1001noites.com/en) for the film featuring contributions from Portuguese journalists and illustrators.
O Som...
German outfit The Match Factory has begun talking to buyers at the Efm about Tabu director Miguel Gomes’ latest project Arabian Nights (As 1001 Noites).
Gomes’ film transposes contemporary Portugal - beset by economic crisis - into the structure of the famous collection of folk tales One Thousand and One Nights, also known as Arabian Nights.
Stories within the film will be based on real stories taken from news and press in Portugal during the production period.
The one-year shoot started in early December 2013 and will continue throughout 2014.
The cast includes Adriano Luz, Carloto Cotta, Rogério Samora, Diogo Dória and Crista Alfaiate.
Co-writers include Tabu writer Mariana Ricardo and Tabu editor Telmo Churro. Uncle Boonmee cinematographer Sayombhu Mukdeeprom is also on board.
The production has also created an online blog (www.as1001noites.com/en) for the film featuring contributions from Portuguese journalists and illustrators.
O Som...
- 2/9/2014
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
Line-up includes two programmes curated by Ai Weiwei and The Yes Men.
Copenhagen documentary festival Cph:dox has unveiled the programme for its 11th edition, which runs Nov 7-17.
More than 200 films will be screened including 57 world and international premieres; a new prize for journalistic documentaries called F:act Award; and curated programmes from artist Ai Weiwei and activist duo The Yes Men.
For the first time, the festival is introducing an overall theme: Everything is Under Control.
Chinese artist Ai Weiwei has selected 10 films for this year’s festival with the theme in mind, reflecting “artists’ role and responsibility towards the acts of the establishment”.
The festival will also screen the world premiere of Weiwei’s new film Stay Home!, about a 10-year old girl who is not allowed to receive medical care for her HIV-infection, as she is the second child in the family.
Us activist duo The Yes Men aim to bring the power of the...
Copenhagen documentary festival Cph:dox has unveiled the programme for its 11th edition, which runs Nov 7-17.
More than 200 films will be screened including 57 world and international premieres; a new prize for journalistic documentaries called F:act Award; and curated programmes from artist Ai Weiwei and activist duo The Yes Men.
For the first time, the festival is introducing an overall theme: Everything is Under Control.
Chinese artist Ai Weiwei has selected 10 films for this year’s festival with the theme in mind, reflecting “artists’ role and responsibility towards the acts of the establishment”.
The festival will also screen the world premiere of Weiwei’s new film Stay Home!, about a 10-year old girl who is not allowed to receive medical care for her HIV-infection, as she is the second child in the family.
Us activist duo The Yes Men aim to bring the power of the...
- 10/14/2013
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Below you will find our total coverage of the 2013 Toronto International Film Festival, including a round up on experimental short films, reviews, and the festival-spanning dialog between our two main critics at Tiff. More interviews will be added to the index as they are published.
Correspondences
between Fernando F. Croce and Daniel Kasman
#1
Daniel Kasman's introduction
#2
Fernando F. Croce on Jim Jarmusch's Only Lovers Left Alive, François Ozon’s Young & Beautiful, Frank Pavich's Jodorowsky's Dune
#3
Daniel Kasman on Catherine Breillat's Abuse of Weakness, Jafar Panahi's Closed Curtain, Frederick Wiseman's At Berkeley
#4
Fernando F. Croce on Kelly Reichardt's Night Moves, Eli Roth's The Green Inferno, Hélène Cattet and Bruno Forzani's The Strange Colour of Your Body's Tears, Sylvain Chomet's Atilla Marcel
#5
Daniel Kasman on David Rimmer's Variations on a Cellophane Wrapper, Luther Price's Pop Takes, Kenneth Anger's Airships, Stephen Broomer's Pepper's Ghost,...
Correspondences
between Fernando F. Croce and Daniel Kasman
#1
Daniel Kasman's introduction
#2
Fernando F. Croce on Jim Jarmusch's Only Lovers Left Alive, François Ozon’s Young & Beautiful, Frank Pavich's Jodorowsky's Dune
#3
Daniel Kasman on Catherine Breillat's Abuse of Weakness, Jafar Panahi's Closed Curtain, Frederick Wiseman's At Berkeley
#4
Fernando F. Croce on Kelly Reichardt's Night Moves, Eli Roth's The Green Inferno, Hélène Cattet and Bruno Forzani's The Strange Colour of Your Body's Tears, Sylvain Chomet's Atilla Marcel
#5
Daniel Kasman on David Rimmer's Variations on a Cellophane Wrapper, Luther Price's Pop Takes, Kenneth Anger's Airships, Stephen Broomer's Pepper's Ghost,...
- 9/30/2013
- by Notebook
- MUBI
Dear Danny,
Among other things, Tiff is a place for getting rid of aesthetic prejudices. I often drag my feet going to experimental projects—you know, from our conversations, that I’m far more of a narrative guy—and yet I always marvel at the beauties I find in them. Imagery and rhythm are self-sufficient pleasures, and the three-part Wavelengths program we saw showcased plenty of these elements. Following Un conte de Michel de Montaigne, João Pedro Rodrigues’ The King’s Body also uses a statue as a recurring image—not the smilingly contemplative Montaigne of Jean-Marie Straub’s splendid recitation, but the armored-for-battle Afonso Henriques, Portugal’s first conquering monarch. There their similarities end, however: whereas Straub gets his mysterious effects from sun-dappled tableaux punctured by darkness, the rustling of leaves and Barbara Ulrich’s reading of the text, Rodrigues envisions a different form of performance through a parade of sinewy beefcake.
Among other things, Tiff is a place for getting rid of aesthetic prejudices. I often drag my feet going to experimental projects—you know, from our conversations, that I’m far more of a narrative guy—and yet I always marvel at the beauties I find in them. Imagery and rhythm are self-sufficient pleasures, and the three-part Wavelengths program we saw showcased plenty of these elements. Following Un conte de Michel de Montaigne, João Pedro Rodrigues’ The King’s Body also uses a statue as a recurring image—not the smilingly contemplative Montaigne of Jean-Marie Straub’s splendid recitation, but the armored-for-battle Afonso Henriques, Portugal’s first conquering monarch. There their similarities end, however: whereas Straub gets his mysterious effects from sun-dappled tableaux punctured by darkness, the rustling of leaves and Barbara Ulrich’s reading of the text, Rodrigues envisions a different form of performance through a parade of sinewy beefcake.
- 9/17/2013
- by Fernando F. Croce
- MUBI
Exclusive: Tabu director’s short film will be screened at Toronto this week.
The Match Factory has picked up Miguel Gomes’ new short film Redemption, which had its world premiere in Venice and will be screened at Tiff this week.
The Cologne-based sales company has previously worked with Gomes, handling his 2012 Berlin winner Tabu.
Redemption combines archive footage and uses voice overs, the epistolary monologues (in Portuguese, Italian, French and German) of four different personalities who recall important stages in their lives which had an impact on who they became.
It was made by O Som E A Fúria in co-production with Le Fresnoy - Studio National des Arts Contemporains, Komplizenfilm, Okta Film, HFilms and Zdf/arte.
The Match Factory has picked up Miguel Gomes’ new short film Redemption, which had its world premiere in Venice and will be screened at Tiff this week.
The Cologne-based sales company has previously worked with Gomes, handling his 2012 Berlin winner Tabu.
Redemption combines archive footage and uses voice overs, the epistolary monologues (in Portuguese, Italian, French and German) of four different personalities who recall important stages in their lives which had an impact on who they became.
It was made by O Som E A Fúria in co-production with Le Fresnoy - Studio National des Arts Contemporains, Komplizenfilm, Okta Film, HFilms and Zdf/arte.
- 9/10/2013
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Nb: Films by Robert Beavers, Peter Hutton, and Luther Price were unavailable for preview. However, I said some very nice things about these men and their work in general over at The Dissolve.
In years past, I have attempted to present this extended article as a preview; my aim has been to send it off into the world either the day before of the day of Tiff's kick-off. That has proven impossible this year, and, dear reader, I am heartily sorry for having offended thee... But the fact that Wavelengths is a beat that is becoming harder and harder for one person to adequately cover is undoubtedly a sign of good health. Since last year, when Tiff enfolded the former Visions section (a space for formally adventurous narrative features) into Wavelengths (Tiff's experimental showcase), not only has interest in the section grown exponentially. The section can now more fully reflect...
In years past, I have attempted to present this extended article as a preview; my aim has been to send it off into the world either the day before of the day of Tiff's kick-off. That has proven impossible this year, and, dear reader, I am heartily sorry for having offended thee... But the fact that Wavelengths is a beat that is becoming harder and harder for one person to adequately cover is undoubtedly a sign of good health. Since last year, when Tiff enfolded the former Visions section (a space for formally adventurous narrative features) into Wavelengths (Tiff's experimental showcase), not only has interest in the section grown exponentially. The section can now more fully reflect...
- 9/9/2013
- by Michael Sicinski
- MUBI
News.
Tiff is just about underway and so is our coverage of the festival! For the TIFFers out there trying to manage their viewing schedule, we recommend using Tiffr, a simple and easy way to browse the program and assemble your watchlist and sched. The great Hayao Miyazaki has officially announced that The Wind Rises will be his final feature film. While he has changed his mind about retirement in the past, this could be the real deal. By the way, if you want something to get you primed for the film, check out Scott Foundas' review in Variety.
Finds.
Above: a teaser for Kelly Reichardt's newly premiered Night Moves. Cinema Scope has starting rolling out their massive Tiff coverage, some of which comes from the next issue, some of which is strictly online. There are too many highlights to single anything out, so subscribe to the feed and start browsing!
Tiff is just about underway and so is our coverage of the festival! For the TIFFers out there trying to manage their viewing schedule, we recommend using Tiffr, a simple and easy way to browse the program and assemble your watchlist and sched. The great Hayao Miyazaki has officially announced that The Wind Rises will be his final feature film. While he has changed his mind about retirement in the past, this could be the real deal. By the way, if you want something to get you primed for the film, check out Scott Foundas' review in Variety.
Finds.
Above: a teaser for Kelly Reichardt's newly premiered Night Moves. Cinema Scope has starting rolling out their massive Tiff coverage, some of which comes from the next issue, some of which is strictly online. There are too many highlights to single anything out, so subscribe to the feed and start browsing!
- 9/4/2013
- by Adam Cook
- MUBI
Italian soft porn director Tinto Brass, the subject of a documentary screening at Venice film festival Saturday, told reporters he wants to make a film about ex-premier Silvio Berlusconi's escorts.
"I want to make a film about Berlusconi. I had in mind the title 'Thank you, Daddy'", Brass said, referring to the nickname given to Berlusconi by the girls who attended the famously bawdy parties in his villa.
Brass -- best known for his erotic films "All Ladies Do It", a raunchy take on Mozart's opera Cosi Fan Tutte, and the brutal cult movie "Caligula" -- is in Venice to mark the screening of "Intintobrass", a documentary about his life.
Kicking back on the terrace of the luxury Excelsior hotel with his busty companion Caterina Varzi, who he describes as his "muse", the 80-year-old lamented "the preference today for senseless Internet porn over crafted erotic films."
His would-be subject matter,...
"I want to make a film about Berlusconi. I had in mind the title 'Thank you, Daddy'", Brass said, referring to the nickname given to Berlusconi by the girls who attended the famously bawdy parties in his villa.
Brass -- best known for his erotic films "All Ladies Do It", a raunchy take on Mozart's opera Cosi Fan Tutte, and the brutal cult movie "Caligula" -- is in Venice to mark the screening of "Intintobrass", a documentary about his life.
Kicking back on the terrace of the luxury Excelsior hotel with his busty companion Caterina Varzi, who he describes as his "muse", the 80-year-old lamented "the preference today for senseless Internet porn over crafted erotic films."
His would-be subject matter,...
- 9/1/2013
- by Agence France Presse
- Huffington Post
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