Argentina’s Magma Cine is powering up a female-dominated slate with some of Latin America’s biggest talent. Chile’s Paulina Garcia, best known for her Berlinale Silver Bear Best Actress-winning performance in Sebastian Lelio’s “Gloria,” plays opposite another giant talent, Argentine thesp Mercedes Moran who co-wrote the dramedy “Norma” with Santiago Giralt, who directs it.
“Norma” revolves around the titular character, played by Moran, whose quiet life in a village is upended when her long-time maid of 20 years abruptly resigns. Now 60, she sets off with her new eccentric friend, played by Garcia, in search of the life she has always wanted.
Uruguay’s El Cielo Cine, an ad agency run by Federico Cetta that’s venturing into filmmaking, has joined Magma Cine along with Argentina’s Ají Molido (Alejandro Israel) and Los Griegos (Federico Carol and Giralt). Chile’s Storyboard Media, run by Gabriela Sandoval and Carlos Nuñez,...
“Norma” revolves around the titular character, played by Moran, whose quiet life in a village is upended when her long-time maid of 20 years abruptly resigns. Now 60, she sets off with her new eccentric friend, played by Garcia, in search of the life she has always wanted.
Uruguay’s El Cielo Cine, an ad agency run by Federico Cetta that’s venturing into filmmaking, has joined Magma Cine along with Argentina’s Ají Molido (Alejandro Israel) and Los Griegos (Federico Carol and Giralt). Chile’s Storyboard Media, run by Gabriela Sandoval and Carlos Nuñez,...
- 12/3/2020
- by Anna Marie de la Fuente
- Variety Film + TV
Where did the Hollywood thriller go? Remember the days when movies like Fatal Attraction, The Hand That Rocks The Cradle, Basic Instinct et al jostled for space on screens? Hollywood seems to have abandoned these sorts of films almost entirely these days - the mid budget film aimed at an adult audience - but luckily for us it seems like the rest of the world is stepping into the vacated space quite nicely. The wave of quality Nordic thrillers over the past few years has been undeniable and now it appears there's a quality Argentinian offering coming in Arrebato.While there doesn't appear to be much in the way of English language info out there on the title, the trailer for Sandra Gugliotta's picture promises the...
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- 8/13/2014
- Screen Anarchy
For the fifth year running, we tally up the Other Year's Best -- the films that made it to DVD (or onto U.S. home video in any format) but not to theatrical, which generally meant they posed too much of a marketing challenge. As in, the films were either too odd, too original, too archival, too subtle, too something. DVDs still stand as our go-to B-movie-distribution stream of choice, although as I've barked every year, video debuts are still not eligible for any year-end toasts or trophies. Except ours.
10. "Parking" (Chung Mong-hong, Taiwan) At first blush a Taiwanese riff on "After Hours," this measured little odyssey is more realistic, evoking those all-night odysseys we've all had, when time evaporates and tiny logistical dilemmas drive us insane and eventually it's morning and something about our lives is different. Chung doesn't spring for laughs when you think he will -- he holds back,...
10. "Parking" (Chung Mong-hong, Taiwan) At first blush a Taiwanese riff on "After Hours," this measured little odyssey is more realistic, evoking those all-night odysseys we've all had, when time evaporates and tiny logistical dilemmas drive us insane and eventually it's morning and something about our lives is different. Chung doesn't spring for laughs when you think he will -- he holds back,...
- 12/9/2010
- by Michael Atkinson
- ifc.com
- The jury composed of Walter Carvalho, Saverio Costanzo, Irène Jacob, Jia Zhang-ke, Romuald Karmakar and Bruno Todeschini gave out a bunch of leopards on the weekend. Masahiro Kobayashi (see pic above) won the Golden Leopard for his film Ai no yokan (The Rebirth). Best Director was awarded to Capitaine Achab by Philippe Ramos (France) and the Special Jury Prize went to Memories (Jeonju Digital Project 2007) by Pedro Costa, Harun Farocki and Eugène Green. Spanish actress Carmen Maura and the French actor Michel Piccoli both received an Excellence Award (Michel Piccoli also received the prize for best actor in Sous les toits de Paris, joint winner was Michele Venitucci in Fuori dalle corde). And finally (and not surprisingly), Death at a Funeral (the Brit comedy by Frank Oz) won the audience award – this making it the 5th or 6th time that it has walked away from an international festival with such honors.
- 8/13/2007
- IONCINEMA.com
Locarno International Film Festival
LOCARNO, Switzerland -- A beautiful woman seeks her missing husband in the cold and forbidding landscape of Patagonia in Sandra Gugliotta's engrossing Possible Lives (Las vidas posibles), a tale that suggests that truth is sometimes what you want it to be.
Beautifully shot in the far southern reaches of Argentina, Gugliotta's romantic mystery, screened here in Competition, should attract audiences with its "what if?" take on the vagaries of love.
Ana Celentano, a Juliette Binoche-style knockout, brings assurance to her first lead role as Carla, the wife of a geologist who disappears on one of his regular jaunts to the south. Luciano (German Palacios) is a rugged, bearded and resourceful-looking man, and she takes his departure in stride until suddenly he cannot be reached.
His cell phone has a constant busy signal, and he has not arrived at the hotel where he has booked a room. Unsatisfied by the response of authorities who are not necessarily alarmed by a husband's absence, Carla decides to look for herself.
Checking into the room her husband booked, she speaks to local police who assure her that they will begin looking when the weather improves in a practically deserted region of 2,000 square kilometers.
Things get spooky when she spots what she believes is her husband at a real estate office and he doesn't recognize her. He's the spitting image of Luciano, but he says his name is Luis (also Palacios), he's married and has lived there for six years. The concierge at the hotel confirms it.
But Carla is unconvinced, and she asks Luis to help find her a house in the area in order to spend more time with him. His enigmatic response does little to discourage her, and her quest to find her husband takes on a mystical aspect. When a car is found in the water and a corpse is recovered, she denies that it is her husband.
A character in the film refers to a phenomenon called the "illness of the south," and the film exploits Patagonia's extraordinary landscape to achieve a moody sensuousness. Palacios is effectively opaque as the man who may be someone else, and Celentano makes Carla shrewdly intelligent rather than impressionable, which serves to deepen the mystery.
POSSIBLE LIVES
El Angel Films
Credits:
Director-screenwriter: Sandra Gugliotta
Producer: Victor Cruz
Executive producer: Juan Pablo Gugliotta
Director of photography: Lucio Bonelli
Production designer: Fita Piotti
Music: Sebastian Escofet
Co-producers: Mario Stefan, Clarens Grollman
Costume designer: Mariela Fondeville
Editor: Juan Pablo Di Bitonto
Cast:
Luis/Luciano: German Palacios
Carla: Ana Celentano
Marcia: Natalia Oreiro
Concierge: Osmar Nunez
Elena: Marina Glezer
Gutierrez: Guillermo Arengo
Hospital employee: Ezequiel Diaz
Policeman: Ricardo Diaz Mourelle
Running time -- 80 minutes
No MPAA rating...
LOCARNO, Switzerland -- A beautiful woman seeks her missing husband in the cold and forbidding landscape of Patagonia in Sandra Gugliotta's engrossing Possible Lives (Las vidas posibles), a tale that suggests that truth is sometimes what you want it to be.
Beautifully shot in the far southern reaches of Argentina, Gugliotta's romantic mystery, screened here in Competition, should attract audiences with its "what if?" take on the vagaries of love.
Ana Celentano, a Juliette Binoche-style knockout, brings assurance to her first lead role as Carla, the wife of a geologist who disappears on one of his regular jaunts to the south. Luciano (German Palacios) is a rugged, bearded and resourceful-looking man, and she takes his departure in stride until suddenly he cannot be reached.
His cell phone has a constant busy signal, and he has not arrived at the hotel where he has booked a room. Unsatisfied by the response of authorities who are not necessarily alarmed by a husband's absence, Carla decides to look for herself.
Checking into the room her husband booked, she speaks to local police who assure her that they will begin looking when the weather improves in a practically deserted region of 2,000 square kilometers.
Things get spooky when she spots what she believes is her husband at a real estate office and he doesn't recognize her. He's the spitting image of Luciano, but he says his name is Luis (also Palacios), he's married and has lived there for six years. The concierge at the hotel confirms it.
But Carla is unconvinced, and she asks Luis to help find her a house in the area in order to spend more time with him. His enigmatic response does little to discourage her, and her quest to find her husband takes on a mystical aspect. When a car is found in the water and a corpse is recovered, she denies that it is her husband.
A character in the film refers to a phenomenon called the "illness of the south," and the film exploits Patagonia's extraordinary landscape to achieve a moody sensuousness. Palacios is effectively opaque as the man who may be someone else, and Celentano makes Carla shrewdly intelligent rather than impressionable, which serves to deepen the mystery.
POSSIBLE LIVES
El Angel Films
Credits:
Director-screenwriter: Sandra Gugliotta
Producer: Victor Cruz
Executive producer: Juan Pablo Gugliotta
Director of photography: Lucio Bonelli
Production designer: Fita Piotti
Music: Sebastian Escofet
Co-producers: Mario Stefan, Clarens Grollman
Costume designer: Mariela Fondeville
Editor: Juan Pablo Di Bitonto
Cast:
Luis/Luciano: German Palacios
Carla: Ana Celentano
Marcia: Natalia Oreiro
Concierge: Osmar Nunez
Elena: Marina Glezer
Gutierrez: Guillermo Arengo
Hospital employee: Ezequiel Diaz
Policeman: Ricardo Diaz Mourelle
Running time -- 80 minutes
No MPAA rating...
- 8/10/2007
- The Hollywood Reporter - Movie News
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