Christian Camargo and Michael Chernus are attached to co-star in “Ona Sur,” one of the buzzed-up projects at Match Me!, one of Locarno Festival’s industry sections.
Brazilian actress Barbara Colen is in preliminary talks to play Maria, one of the film’s female leads, “Ona Sur” producer Gabriela Gavica at Mexico’s Mandarina Cine said at Locarno’s Match Me! forum.
Lead-produced by Gavica and producer-director Carlos Hernández at Mandarina Cine, a Mexico City production-distribution house, “Ona Sur” is co-produced by Switzerland’s Lunica Productions, headed by Yves Bouzaglo.
Joseph Mastantuono, whose first feature as a producer, Miles Joris-Peyrafitte’s “As You Are,” won the Special Jury Prize in the U.S. Dramatic category at the Sundance Film Festival, is also on board as a co-producer.
Presented at Los Cabos Festival in November, “Ona Sur” marks the feature debut of Spain’s Brooklyn-based Begoña Colomar, who has worked as...
Brazilian actress Barbara Colen is in preliminary talks to play Maria, one of the film’s female leads, “Ona Sur” producer Gabriela Gavica at Mexico’s Mandarina Cine said at Locarno’s Match Me! forum.
Lead-produced by Gavica and producer-director Carlos Hernández at Mandarina Cine, a Mexico City production-distribution house, “Ona Sur” is co-produced by Switzerland’s Lunica Productions, headed by Yves Bouzaglo.
Joseph Mastantuono, whose first feature as a producer, Miles Joris-Peyrafitte’s “As You Are,” won the Special Jury Prize in the U.S. Dramatic category at the Sundance Film Festival, is also on board as a co-producer.
Presented at Los Cabos Festival in November, “Ona Sur” marks the feature debut of Spain’s Brooklyn-based Begoña Colomar, who has worked as...
- 8/10/2019
- by John Hopewell
- Variety Film + TV
As the star-studded Cannes 70th anniversary gala dinner wrapped up on May 23, a mariachi band came out to play “Cielito lindo,” “México lindo y querido,” and the Spanish version of “Happy Birthday” turning this year’s Cannes Film Festival into a celebration of #MexiCannes.2017 Cannes.. Photograph by Justin Bishop. Salma Hayek wears Yves Saint Laurent and a Boucheron necklace. Francois-Henri Pinault wears Gucci.Read more in Remezcla here. In a few red-tinted videos, Salma Hayek, Guillermo del Toro, Emmanuel Lubezki, Alfonso Cuarón, Alejandro G. Iñárritu, and BFFs Diego Luna and Gael García Bernal can be seen gathering around Table 46 to sing along with the mariachis. They also attracted other celebrities like Isabelle Huppert and quickly became the center of attention. As they loudly sang, a larger group surrounded them and recorded them on their phones. And with GdT giving the performance of a lifetime, it’s hard to blame onlookers.
- 6/5/2017
- by Sydney Levine
- Sydney's Buzz
Mexican showcase to take place on May 21.
Four projects will participate in Los Cabos Goes To Cannes, the second partnership between the Marché du Film and the Los Cabos International Film Festival.
The showcase of Mexican films takes place on May 21 at the Palais in Room K and exposes the projects and their filmmakers to producers, sales agents, film funds and festival programmers, among others.
Sex Panchitos Punk is a documentary about prisoners eager to start a new life directed by Gustavo Gamou and produced by Chantal Elise Guedy and Tatiana Graullera.
The Second Coming (El Segundo Advenimiento) is a documentary by Miguel Calderón and produced by Graullera. It centres on three falconers who rely on their birds to survive the harsh reality of life.
My Brother (Mi Hermano) from Cinematrópodos, Pimienta Films, and Gavilan Cine follows two orphaned boys from Russia adopted by an unmarried woman.
Alana Simões directs and Nicolás Celis serves as producer alongside...
Four projects will participate in Los Cabos Goes To Cannes, the second partnership between the Marché du Film and the Los Cabos International Film Festival.
The showcase of Mexican films takes place on May 21 at the Palais in Room K and exposes the projects and their filmmakers to producers, sales agents, film funds and festival programmers, among others.
Sex Panchitos Punk is a documentary about prisoners eager to start a new life directed by Gustavo Gamou and produced by Chantal Elise Guedy and Tatiana Graullera.
The Second Coming (El Segundo Advenimiento) is a documentary by Miguel Calderón and produced by Graullera. It centres on three falconers who rely on their birds to survive the harsh reality of life.
My Brother (Mi Hermano) from Cinematrópodos, Pimienta Films, and Gavilan Cine follows two orphaned boys from Russia adopted by an unmarried woman.
Alana Simões directs and Nicolás Celis serves as producer alongside...
- 5/9/2017
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Chloé Robichaud’s Sarah Prefers To Run prevailed in the $15,000 Los Cabos Competition section as the second Baja International Film Festival came to a conclusion in Los Cabos, Mexico.
Over the course of four days the festival presented 35 films, of which six were world premieres, 14 were Mexican premieres and one was a Latin American premiere.
The municipality of Los Cabos hosted more than 80 producers and representatives from Mexico, the Us and Canada, as well as the UK, Chile, Colombia, Spain, France, Germany, Mexico, Switzerland, Argentina and Brazil.
Mexican star Gael Garcia Bernal was the subject of a career tribute and Carlos Reygadas, Amat Escalante, Jaime Romandia and Peter Greenaway attended a celebration marking the 15th anniversary of production company Mantarraya Producciones.
The festival ran from November 13-16 and closed with a screening of Oscar contender Dallas Buyers Club and the awards ceremony.
Sarah Prefers To Run (pictured) won the Los Cabos Competition section and a $15,000 prize. [link...
Over the course of four days the festival presented 35 films, of which six were world premieres, 14 were Mexican premieres and one was a Latin American premiere.
The municipality of Los Cabos hosted more than 80 producers and representatives from Mexico, the Us and Canada, as well as the UK, Chile, Colombia, Spain, France, Germany, Mexico, Switzerland, Argentina and Brazil.
Mexican star Gael Garcia Bernal was the subject of a career tribute and Carlos Reygadas, Amat Escalante, Jaime Romandia and Peter Greenaway attended a celebration marking the 15th anniversary of production company Mantarraya Producciones.
The festival ran from November 13-16 and closed with a screening of Oscar contender Dallas Buyers Club and the awards ceremony.
Sarah Prefers To Run (pictured) won the Los Cabos Competition section and a $15,000 prize. [link...
- 11/19/2013
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Chicago – In its final days, the 48th Annual Chicago International Film Festival is poised to close with a glorious bang. Chicago native Robert Zemeckis (of “Back to the Future” and “Forrest Gump” fame) will return to the festival for the closing night screening of “Flight,” a thriller starring Denzel Washington. It’s Zemeckis’s first live-action feature since 2000’s “Cast Away.” Here are the highlights covering the remaining days of the festival, from October 18th to October 25th, 2012.
Zemeckis isn’t the only exciting guest scheduled to attend the festival in the days ahead. David O. Russell (“Three Kings,” “The Fighter”) will be on hand for the October 23rd screening of his widely celebrated dramedy, “The Silver Linings Playbook,” which has been singled out as a major awards season player, according to festival buzz. On the heels of his Guillermo del Toro-produced chiller, “The Orphanage,” filmmaker Juan Antonio Bayona...
Zemeckis isn’t the only exciting guest scheduled to attend the festival in the days ahead. David O. Russell (“Three Kings,” “The Fighter”) will be on hand for the October 23rd screening of his widely celebrated dramedy, “The Silver Linings Playbook,” which has been singled out as a major awards season player, according to festival buzz. On the heels of his Guillermo del Toro-produced chiller, “The Orphanage,” filmmaker Juan Antonio Bayona...
- 10/18/2012
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
14th Mumbai Film Festival (Mff) announced its complete lineup today in a press conference. Mff will be held from October 18th to 25th at the National Centre for the Performing Arts (Ncpa) and Inox, Nariman Point, Liberty Cinemas, Marine Lines as the main festival venues and Cinemax, Andheri and Cinemax Sion as the satellite venues. Click here to watch trailers and highlights from the festival.
Here is the complete list of films to be screened during the festival (October 18-25)
International Competition for the First Feature Films of Directors
1. From Tuesday To Tuesday (De Martes A Martes)
Dir.: Gustavo Fernandez Triviño (Argentina / 2012 / Col. / 111′)
2. The Last Elvis (El Último Elvis)
Dir.: Armando Bo (Argentina / 2012 / Col. / 91′)
3. The Sapphires
Dir.: Wayne Blair (Australia / 2012 / Col. / 103′)
4. The Wall (Die Wand)
Dir.: Julian Pölsler (Austria-Germany / 2012 / Col. / 108′)
5. Teddy Bear (10 timer til Paradis)
Dir.: Mads Matthiesen (Denmark / 2012 / Col. / 93′)
6. Augustine
Dir.: Alice Winccour (France / 2012 / Col.
Here is the complete list of films to be screened during the festival (October 18-25)
International Competition for the First Feature Films of Directors
1. From Tuesday To Tuesday (De Martes A Martes)
Dir.: Gustavo Fernandez Triviño (Argentina / 2012 / Col. / 111′)
2. The Last Elvis (El Último Elvis)
Dir.: Armando Bo (Argentina / 2012 / Col. / 91′)
3. The Sapphires
Dir.: Wayne Blair (Australia / 2012 / Col. / 103′)
4. The Wall (Die Wand)
Dir.: Julian Pölsler (Austria-Germany / 2012 / Col. / 108′)
5. Teddy Bear (10 timer til Paradis)
Dir.: Mads Matthiesen (Denmark / 2012 / Col. / 93′)
6. Augustine
Dir.: Alice Winccour (France / 2012 / Col.
- 9/24/2012
- by NewsDesk
- DearCinema.com
After the last two weeks’ blogs on highlights of Toulouse’s Cinélatino film festival, this week will conclude with a selection of films which, in my opinion, should be avoided at all costs. First of all, Alejo Franzetti’s The Destruction of the Ruling Order (La Destrucción del orden vigente), which wanted to be a thriller/murder mystery. Unfortunately, wooden acting made it more like a failed comedy. From the very first moment, the film felt passé, the style of its music and title sequence vaguely evocative of Almodovar’s early work: a film of La Movida, 30 years late. It was as though the film itself were on ketamine, the protagonist’s drug of choice. Clara tries to find out how her boyfriend died. At the same time, she receives mysterious fake newspapers with headlines warning her to investigate her mother’s death—‘it was not a heart attack’, they say cryptically.
- 4/23/2012
- by Alison Frank
- The Moving Arts Journal
A Secret World (Un mundo secreto, 2012) was among 14 films in the fiction feature competition at Cinélatino, Toulouse’s Latin American Film Festival. The film received a special mention from the French critics’ jury. Perhaps more important, though, it also received the ‘Prix lycéen de la fiction’, an prize for best fiction film as awarded by a jury of local high school students: their approval suggests that director Gabriel Mariño did an excellent job of capturing the teenage experience in this film.
The film centres on Maria, a strange young woman who lives in a world of her own. She has just graduated from high school, and has sex with anyone who asks her to. Far from being a seductive glamour girl, though, she dresses in the relaxed uniform of the adolescent: baggy jeans, tank tops, ragged scarves and hoodies. As she heads off for her last day at school, her...
The film centres on Maria, a strange young woman who lives in a world of her own. She has just graduated from high school, and has sex with anyone who asks her to. Far from being a seductive glamour girl, though, she dresses in the relaxed uniform of the adolescent: baggy jeans, tank tops, ragged scarves and hoodies. As she heads off for her last day at school, her...
- 4/7/2012
- by Alison Frank
- The Moving Arts Journal
I am happy to announce a great addition to SydneysBuzz. Juan Caceres will be writing about his discoveries and thoughts on the Latino Film Circuit. Juan is an independent film producer whose latest credit is Elliot Loves, a feature film that will reach the festival circuit in 2012 and was funded entirely independently. He has also written and directed the award winning short film Hero The Great and is currently adapting a young adult novel into a screenplay that he hopes will be his feature directing debut. Juan's greatest pride is being a founding member and Director of Programming for the HBO New York International Latino International Film Festival. He is also a programming associate for Tribeca All Access, an initiative of the Tribeca Film Festival that aids and supports undeserved minorities in the film industry. He has recently started subjecting his filmmaker friends to his craziness in his blog, 'the science of fresh'. Juan currently lives in an Empire State of Mind.
Being part of the cognoscenti of festivals, his opinion of the inaugural Riviera Maya Film Festival in Mexico is particularly well-informed. So read on!
The Riviera Maya Film Festival concluded its inaugural year on Sunday March 25th after 5 days of screening over 60 films of which half were Mexican premieres. Given that it's in its first year, that is impressive and no easy feat. The ideals of Rmff is to consolidate a connection between the love of cinema, the environment and support for local tourism. The festival solidified that commitment by paying tribute to actress Susan Sarandon, a frequent visitor to the area, with an award for her commitment to global, political and environmental issues.
The programming at Rmff, not without a few missteps, was highly respectable and even exciting. In some ways it made a statement that this is its own film festival and that it is determined to make a mark on the Mexican and international cinema landscape. A festival is always only as good as its film selection and the core reason for the success of Rmff was bringing in Michel Lipkes, who used to program the influential festival Ficco in Mexico City.
Undeterred by being on the heels of Guadalajara International Film Festival (a decision I'm curious about), Rmff boasted a roster of award winning films from across the globe, including a bitter sweet screening of This Is Not A Film (Isa: Wide) by Jafar Panahi and a treat of Wim Wenders' Pina (Isa: HanWay).
The Mexican showcase here was incredibly strong and I found Lipkes' reputation carried such weight that several filmmakers told me that their decision to participate in a first year film festival was solely because of programming team. This included Gabriel Mariño, director of the subtle yet affecting Un Mundo Secreto (Isa: Shoreline), who said that after playing festivals worldwide he never hesitated the offer to screen at Rmff, "As soon as I knew who the programmers were, there was no question I wanted to be a part of the festival" says Mariño. This is factor that will be key to Rmff's future: having a team which is headed by festival director Paula Chaurand and which filmmakers acknowledge and respect. Filmmakers want to know that their 'baby' is in the right hands.
I found the selection eclectic enough to warrant attention in future editions from filmmakers and industry alike -- if it irons out a few kinks. In all fairness, festivals in their first few years are always going to have kinks and quirks, no question about that.
One of the most exciting initiatives presented at Rmff was the RivieraLab, a co-production market and works-in-progress showcase. It screened projects from established, burgeoning and underserved film markets and generated excitement among those in attendance. Look forward to Reimon by Rodrigo Moreno (Argentina/Colombia), Nueva Espana by Raya Martin (Phillipines) & Tormentero by Ruben Imaz (Mexico) to make an impression on the festival circuit in the near future. The RivieraLab is a bold program to take on for most festivals and Rmff was committed enough to connect all the dots and make it a success and something that will eventually draw the eyes of the industry as a trusted place to discover exciting talent.
One thing that I was trying to put my finger on at Rmff was, who is the audience for this festival. By and large it was attended by young locals, an under 40 crowd, which in part was by design making the festival 'inclusive' and not another festival that takes up residence in an unsuspecting town like say, Park City, and turning it into something locals will resent. It's a beautiful gesture that must be connected with industry and cinephiles equally in attendance. At some of the galas I found very few people still left watching the film as the credits rolled which left for an awkward moment for the filmmakers, festival directors and any hope for a post screening Q&A. Fault did not rest on the quality of the film in any case but rather with an audience that perhaps is not used to film festival etiquette - if there is such a thing - and instead were anxious to experience the after party. I can't complain about the beautiful idyllic beach surroundings of the screenings but I'm sure it didn't help. You are planting people in paradise and asking them for two hours of pure focus. Again, not a personal complaint, just an observation.
Important attention will have to be given in identifying who exactly is the festival audience as it seeks to further the benefits to the filmmakers in attendance.
Location wise, Rmff was spread over several towns covering approximate 80 miles which, as far as press goes, can be a logistical problem. It is not ideal when one film alone can consume a large amount of time just in travelling to get to it. This may be another area of Rmff to reconsider: How to consolidate in order to maximize press and audience attendance.
I was incredibly impressed with Rmff as an organization. They were efficient in getting people from location to location and screenings started on time for the most part. The staff was cordial and attentive to attendees, press and filmmakers even if they weren't considered "V.I.P". Judging by all who participated from the “V.I.Ps” down to the volunteers, I left with the feeling that this festival is a film lover’s festival. I'm convinced Rmff will find its own voice and separate itself from any comparisons and be competive with any other festival in Mexico because it has the talent and passion to do so. I think we will be hearing Rmff make even more noise next year. Rmff gave us some of the best Mexico has to offer - Wonderful cinema and wonderful people.
Being part of the cognoscenti of festivals, his opinion of the inaugural Riviera Maya Film Festival in Mexico is particularly well-informed. So read on!
The Riviera Maya Film Festival concluded its inaugural year on Sunday March 25th after 5 days of screening over 60 films of which half were Mexican premieres. Given that it's in its first year, that is impressive and no easy feat. The ideals of Rmff is to consolidate a connection between the love of cinema, the environment and support for local tourism. The festival solidified that commitment by paying tribute to actress Susan Sarandon, a frequent visitor to the area, with an award for her commitment to global, political and environmental issues.
The programming at Rmff, not without a few missteps, was highly respectable and even exciting. In some ways it made a statement that this is its own film festival and that it is determined to make a mark on the Mexican and international cinema landscape. A festival is always only as good as its film selection and the core reason for the success of Rmff was bringing in Michel Lipkes, who used to program the influential festival Ficco in Mexico City.
Undeterred by being on the heels of Guadalajara International Film Festival (a decision I'm curious about), Rmff boasted a roster of award winning films from across the globe, including a bitter sweet screening of This Is Not A Film (Isa: Wide) by Jafar Panahi and a treat of Wim Wenders' Pina (Isa: HanWay).
The Mexican showcase here was incredibly strong and I found Lipkes' reputation carried such weight that several filmmakers told me that their decision to participate in a first year film festival was solely because of programming team. This included Gabriel Mariño, director of the subtle yet affecting Un Mundo Secreto (Isa: Shoreline), who said that after playing festivals worldwide he never hesitated the offer to screen at Rmff, "As soon as I knew who the programmers were, there was no question I wanted to be a part of the festival" says Mariño. This is factor that will be key to Rmff's future: having a team which is headed by festival director Paula Chaurand and which filmmakers acknowledge and respect. Filmmakers want to know that their 'baby' is in the right hands.
I found the selection eclectic enough to warrant attention in future editions from filmmakers and industry alike -- if it irons out a few kinks. In all fairness, festivals in their first few years are always going to have kinks and quirks, no question about that.
One of the most exciting initiatives presented at Rmff was the RivieraLab, a co-production market and works-in-progress showcase. It screened projects from established, burgeoning and underserved film markets and generated excitement among those in attendance. Look forward to Reimon by Rodrigo Moreno (Argentina/Colombia), Nueva Espana by Raya Martin (Phillipines) & Tormentero by Ruben Imaz (Mexico) to make an impression on the festival circuit in the near future. The RivieraLab is a bold program to take on for most festivals and Rmff was committed enough to connect all the dots and make it a success and something that will eventually draw the eyes of the industry as a trusted place to discover exciting talent.
One thing that I was trying to put my finger on at Rmff was, who is the audience for this festival. By and large it was attended by young locals, an under 40 crowd, which in part was by design making the festival 'inclusive' and not another festival that takes up residence in an unsuspecting town like say, Park City, and turning it into something locals will resent. It's a beautiful gesture that must be connected with industry and cinephiles equally in attendance. At some of the galas I found very few people still left watching the film as the credits rolled which left for an awkward moment for the filmmakers, festival directors and any hope for a post screening Q&A. Fault did not rest on the quality of the film in any case but rather with an audience that perhaps is not used to film festival etiquette - if there is such a thing - and instead were anxious to experience the after party. I can't complain about the beautiful idyllic beach surroundings of the screenings but I'm sure it didn't help. You are planting people in paradise and asking them for two hours of pure focus. Again, not a personal complaint, just an observation.
Important attention will have to be given in identifying who exactly is the festival audience as it seeks to further the benefits to the filmmakers in attendance.
Location wise, Rmff was spread over several towns covering approximate 80 miles which, as far as press goes, can be a logistical problem. It is not ideal when one film alone can consume a large amount of time just in travelling to get to it. This may be another area of Rmff to reconsider: How to consolidate in order to maximize press and audience attendance.
I was incredibly impressed with Rmff as an organization. They were efficient in getting people from location to location and screenings started on time for the most part. The staff was cordial and attentive to attendees, press and filmmakers even if they weren't considered "V.I.P". Judging by all who participated from the “V.I.Ps” down to the volunteers, I left with the feeling that this festival is a film lover’s festival. I'm convinced Rmff will find its own voice and separate itself from any comparisons and be competive with any other festival in Mexico because it has the talent and passion to do so. I think we will be hearing Rmff make even more noise next year. Rmff gave us some of the best Mexico has to offer - Wonderful cinema and wonderful people.
- 4/5/2012
- by Juan Caceres
- Sydney's Buzz
Guadalajara Wraps and a New Fest Begins
Ficg (pronounced FeeSeeg and standing for the Festival International de Cine in Guadalajara), displayed a new vibrancy. Besides some great films, great attendance and great organization, several Latin American countries are entering the international film business for the first time (Peru and Ecuador) with subsidies from their government pointing to an optimism for film production as an economic factor in their country's growth. I blogged about the Dominican Republic but not about the new Law 226 in Mexico which encourages businesses to invest up to 20 million pesos (U.S.$2 million) or 10% of the taxes they owed the previous year (whichever is higher) into Mexican film production, or Brazilian access to subsidies.
In addition, Guadalajara is becoming known as the Silicon Valley of Mexico as its economy is based especially on information technology with a large number of international firms having facilities there. It is also considered to be the home of Mariachi music. The city is named after the Spanish city of Guadalajara with the name originating from the Arabic word meaning "Valley of Stones". It is the highest ranking major Mexican city and has the second strongest economic potential of any major North American city. Only Chicago scores more highly for sheer economic potential (Per a 2007 report in fDi magazine, an English-language news and foreign direct investment publication owned by The Financial Times Ltd and edited in London). The same research calls Guadalajara the "city of the future" due to its youthful population, low unemployment and large number of recent foreign investment deals. It was also ranked the third most business friendly city in North America.
A new digital film studio is going up. The University is an important center of culture and learning.
And sadly, violence over drugs is not far away. This past Friday, Narco gangs appropriated 25 vehicles in 16 separate incidents – 11 of them in the Guadalajara metropolitan zone where they set fire to them in retaliation for action taken against them in a military action to capture two Mexican drug cartel members. At the Centro Magno festival venue, festival transport staff stopped filmgoers leaving a screening of Andres Wood's Violeta Went to Heaven as they sought to return to the festival's central Expo Center venue, acknowledging concerns for safety. A truck was set on fire not far (but not too close either: at Calzada Lázaro Cárdenas and Mezquite, at la Colonia de El Fresno) from the Expo where the festival was still being held, but there was no disruption of the festival.
Our friend, Hebe Tabachnik, Iberoamerican programmer for the Palm Springs Film Festival is on the jury and writes from there:
Dear friends, in spite of the disruptive and unfortunately deadly incidents in Guadalajara today, all the attendees to the Ficg Guadalajara are Ok. We are sorry this beautiful city and specially its amazing people have to experience this kind of criminal acts. The festival is going ahead with its schedule events, as it should be. Celebrating the arts and show no fear is the best way to manifest against the non sense violence. Viva Guadalajara. Viva Mexico!!!!
The activities of the industry, with meetings about Iberoamerican coproductions with its well presented professional projects, the film market itself with films available to watch up to 2 weeks after the closing, the Cannes Marche Producers Network, Works in Progress, Berlinale's Talent Campus and Doculab, and of course, the festival itself with galas every night, a Focus on U.K. and Mike Leigh, Homages, Mexican and Iberoamerican Competition, Sounds of Cinema, Children's Cinema, Lgbt prizes, Open Air Screenings - all defy easy decision making on how best to spend one's time there.
The prize winners:
PalmarÉS FICG27
Premio Maguey
Mención Especial
“Todo el mundo tiene alguien menos yo” (México) Dir. Raúl Fuentes
Premio Maguey
“Mía“ (Argentina) Dir. Javier van de Couter
Premio del Público Milenio
“Espacio Interior“ (México) Dir. Kai Parlange
Premio Mezcal
“Un mundo secreto“ (México) Dir. Gabriel Mariño
Premio Cinecolor
“Un mundo secreto“ (México) Dir. Gabriel Mariño
Mejor Cortometraje de Animación - Premio Rigo Mora
“Un ojo” (México) Dir. Lorenza Manrique
Mejor Cortometraje Iberoamericano
“Minuto 200” (Colombia) Dir. Frank Benítez
Mejor Cortometraje Mexicano
“Lucy vs. los límites de la voz” (México) Dir. Mónica Herrera
Largometraje Iberoamericano Documental
Mención Especial
“El salvavidas“ (Chile) Dir. Maite Alberdi
Mejor Documental Iberoamericano
“ ¡Vivan las antípodas! “(Argentina - Chile - Alemania - Holanda) Dir. Víctor Kossakovsky
Largometraje Mexicano Documental
Mención Especial
“Carrière, 250 metros” Dir. Juan Carlos Rulfo y Natalia Gil
Mención Especial
“El paciente interno” Dir. Alejandro Solar
Mejor Documental Mexicano
“Cuates de Australia” Everardo González
Largometraje de Ficción Iberoamericana
Mejor Guion
Jaime Osorio por “El páramo” (Colombia)
Mejor Fotografía
Mauro Pinheiro Jr. por “Sudoeste” (Brasil)
Mejor Actriz
Francisca Gavilán por “Violeta se fue a los cielos” (Chile)
Mejor Actor
Andrés Crespo por “Pescador” (Ecuador)
Premio Especial del Jurado
“Los pasos dobles” (España - Suiza) Dir. Isaki Lacuesta
Mejor Opera Prima
“Transeunte” (Brasil) Dir. Eryk Rocha
Mejor Director
Sebastián Cordero por “Pescador” (Ecuador)
Mejor Película Iberoamericana
"Abrir puertas y ventanas" (Argentina) "Dir. Milagros Mumenthaler
Largometraje de Ficción Mexicana
Mención Especial
Música Original de "Días de gracia"
Mejor Guion
Miguel Bonilla por “Diente por diente”
Mejor Fotografía
Jerónimo Rodríguez por “Todo el mundo tiene a alguien menos yo”
Mejor Actriz
Martha Higareda por “Mariachi Gringo”
Mejor Actor
Kuno Becker por “Espacio Interior”
Mejor Opera Prima
"El fantástico mundo de Juan Orol" Dir. Sebastián del Amo
Mejor Director
Everardo Gout por “Días de gracia”.
Mejor Película
“Mariachi Gringo” Dir. Tom Gustafson
alt=premios-paralelos>
Premio de los Niños
“El secreto del medallón de jade” (México) Dir. Rodolfo Guzmán y Leopoldo Aguilar
Premio Feisal
Mención Especial
“No hay lugar lejano” (México) Dir. Michelle Ibaven
Mención Especial
“Oro Colombiano: 400 años de música del alma” (Colombia) Dir. Sanjay Agarwal e Iván Higa
Premio Feisal
“75 habitantes, 20 casas, 300 vacas” (Argentina) Dir. Fernando Domínguez
Premio Fipresci
“Violeta se fue a los cielos” (Chile) Dir. Andrés Wood
Guerrero de la Prensa
Mejor largometraje de ficción “Días de gracia” (México) Dir. Everardo Gout Mejor largometraje documental “El paciente interno” (México) Dir. Alejandro Solar
Academia Jalisciense de Cinematografía
Mejor cortometraje jalisciense “La noria” Dir. Karla Castañeda Mejor largometraje jalisciense “Fecha de caducidad” Dir. Kenya Márquez
No sooner does this festival and market wrap when a new Mexican festival, the Riviera Maya Film Festival, begins March 20 - 25 which will play in Cancun, Playa del Carmen, Tulum, Cozumel and Holbox. The industry component Rivieralab, a coproduction event will take place in Quintana Roo March 22-25 and will host 158 projects from Latin America and Europe. 10 projects will be showcased to financiers, fund representatives, producers and sales agents, 3 will receive 200,000 pesos or approximately Us$15,500. 8 international works in progress at post-production stage from a pool of 40 will be selected to receive support.
Ficg (pronounced FeeSeeg and standing for the Festival International de Cine in Guadalajara), displayed a new vibrancy. Besides some great films, great attendance and great organization, several Latin American countries are entering the international film business for the first time (Peru and Ecuador) with subsidies from their government pointing to an optimism for film production as an economic factor in their country's growth. I blogged about the Dominican Republic but not about the new Law 226 in Mexico which encourages businesses to invest up to 20 million pesos (U.S.$2 million) or 10% of the taxes they owed the previous year (whichever is higher) into Mexican film production, or Brazilian access to subsidies.
In addition, Guadalajara is becoming known as the Silicon Valley of Mexico as its economy is based especially on information technology with a large number of international firms having facilities there. It is also considered to be the home of Mariachi music. The city is named after the Spanish city of Guadalajara with the name originating from the Arabic word meaning "Valley of Stones". It is the highest ranking major Mexican city and has the second strongest economic potential of any major North American city. Only Chicago scores more highly for sheer economic potential (Per a 2007 report in fDi magazine, an English-language news and foreign direct investment publication owned by The Financial Times Ltd and edited in London). The same research calls Guadalajara the "city of the future" due to its youthful population, low unemployment and large number of recent foreign investment deals. It was also ranked the third most business friendly city in North America.
A new digital film studio is going up. The University is an important center of culture and learning.
And sadly, violence over drugs is not far away. This past Friday, Narco gangs appropriated 25 vehicles in 16 separate incidents – 11 of them in the Guadalajara metropolitan zone where they set fire to them in retaliation for action taken against them in a military action to capture two Mexican drug cartel members. At the Centro Magno festival venue, festival transport staff stopped filmgoers leaving a screening of Andres Wood's Violeta Went to Heaven as they sought to return to the festival's central Expo Center venue, acknowledging concerns for safety. A truck was set on fire not far (but not too close either: at Calzada Lázaro Cárdenas and Mezquite, at la Colonia de El Fresno) from the Expo where the festival was still being held, but there was no disruption of the festival.
Our friend, Hebe Tabachnik, Iberoamerican programmer for the Palm Springs Film Festival is on the jury and writes from there:
Dear friends, in spite of the disruptive and unfortunately deadly incidents in Guadalajara today, all the attendees to the Ficg Guadalajara are Ok. We are sorry this beautiful city and specially its amazing people have to experience this kind of criminal acts. The festival is going ahead with its schedule events, as it should be. Celebrating the arts and show no fear is the best way to manifest against the non sense violence. Viva Guadalajara. Viva Mexico!!!!
The activities of the industry, with meetings about Iberoamerican coproductions with its well presented professional projects, the film market itself with films available to watch up to 2 weeks after the closing, the Cannes Marche Producers Network, Works in Progress, Berlinale's Talent Campus and Doculab, and of course, the festival itself with galas every night, a Focus on U.K. and Mike Leigh, Homages, Mexican and Iberoamerican Competition, Sounds of Cinema, Children's Cinema, Lgbt prizes, Open Air Screenings - all defy easy decision making on how best to spend one's time there.
The prize winners:
PalmarÉS FICG27
Premio Maguey
Mención Especial
“Todo el mundo tiene alguien menos yo” (México) Dir. Raúl Fuentes
Premio Maguey
“Mía“ (Argentina) Dir. Javier van de Couter
Premio del Público Milenio
“Espacio Interior“ (México) Dir. Kai Parlange
Premio Mezcal
“Un mundo secreto“ (México) Dir. Gabriel Mariño
Premio Cinecolor
“Un mundo secreto“ (México) Dir. Gabriel Mariño
Mejor Cortometraje de Animación - Premio Rigo Mora
“Un ojo” (México) Dir. Lorenza Manrique
Mejor Cortometraje Iberoamericano
“Minuto 200” (Colombia) Dir. Frank Benítez
Mejor Cortometraje Mexicano
“Lucy vs. los límites de la voz” (México) Dir. Mónica Herrera
Largometraje Iberoamericano Documental
Mención Especial
“El salvavidas“ (Chile) Dir. Maite Alberdi
Mejor Documental Iberoamericano
“ ¡Vivan las antípodas! “(Argentina - Chile - Alemania - Holanda) Dir. Víctor Kossakovsky
Largometraje Mexicano Documental
Mención Especial
“Carrière, 250 metros” Dir. Juan Carlos Rulfo y Natalia Gil
Mención Especial
“El paciente interno” Dir. Alejandro Solar
Mejor Documental Mexicano
“Cuates de Australia” Everardo González
Largometraje de Ficción Iberoamericana
Mejor Guion
Jaime Osorio por “El páramo” (Colombia)
Mejor Fotografía
Mauro Pinheiro Jr. por “Sudoeste” (Brasil)
Mejor Actriz
Francisca Gavilán por “Violeta se fue a los cielos” (Chile)
Mejor Actor
Andrés Crespo por “Pescador” (Ecuador)
Premio Especial del Jurado
“Los pasos dobles” (España - Suiza) Dir. Isaki Lacuesta
Mejor Opera Prima
“Transeunte” (Brasil) Dir. Eryk Rocha
Mejor Director
Sebastián Cordero por “Pescador” (Ecuador)
Mejor Película Iberoamericana
"Abrir puertas y ventanas" (Argentina) "Dir. Milagros Mumenthaler
Largometraje de Ficción Mexicana
Mención Especial
Música Original de "Días de gracia"
Mejor Guion
Miguel Bonilla por “Diente por diente”
Mejor Fotografía
Jerónimo Rodríguez por “Todo el mundo tiene a alguien menos yo”
Mejor Actriz
Martha Higareda por “Mariachi Gringo”
Mejor Actor
Kuno Becker por “Espacio Interior”
Mejor Opera Prima
"El fantástico mundo de Juan Orol" Dir. Sebastián del Amo
Mejor Director
Everardo Gout por “Días de gracia”.
Mejor Película
“Mariachi Gringo” Dir. Tom Gustafson
alt=premios-paralelos>
Premio de los Niños
“El secreto del medallón de jade” (México) Dir. Rodolfo Guzmán y Leopoldo Aguilar
Premio Feisal
Mención Especial
“No hay lugar lejano” (México) Dir. Michelle Ibaven
Mención Especial
“Oro Colombiano: 400 años de música del alma” (Colombia) Dir. Sanjay Agarwal e Iván Higa
Premio Feisal
“75 habitantes, 20 casas, 300 vacas” (Argentina) Dir. Fernando Domínguez
Premio Fipresci
“Violeta se fue a los cielos” (Chile) Dir. Andrés Wood
Guerrero de la Prensa
Mejor largometraje de ficción “Días de gracia” (México) Dir. Everardo Gout Mejor largometraje documental “El paciente interno” (México) Dir. Alejandro Solar
Academia Jalisciense de Cinematografía
Mejor cortometraje jalisciense “La noria” Dir. Karla Castañeda Mejor largometraje jalisciense “Fecha de caducidad” Dir. Kenya Márquez
No sooner does this festival and market wrap when a new Mexican festival, the Riviera Maya Film Festival, begins March 20 - 25 which will play in Cancun, Playa del Carmen, Tulum, Cozumel and Holbox. The industry component Rivieralab, a coproduction event will take place in Quintana Roo March 22-25 and will host 158 projects from Latin America and Europe. 10 projects will be showcased to financiers, fund representatives, producers and sales agents, 3 will receive 200,000 pesos or approximately Us$15,500. 8 international works in progress at post-production stage from a pool of 40 will be selected to receive support.
- 3/12/2012
- by Sydney Levine
- Sydney's Buzz
Comes a Bright Day
"With another twelve world premieres and three international premieres, Generation’s feature-length film program is now complete," the Berlinale's announced today. "A total of 58 short and full-length films from 32 countries have been selected for the Generation Kplus and Generation 14plus competitions." Straight from the release, then, with descriptions from the festival:
Generation 14plus
Comes a Bright Day (Great Britain, by Simon Aboud) – Against the backdrop of an armed robbery at a London jewellers, much more is at stake than money. Where diamonds are involved, love is not far. Cast: Craig Roberts, Imogen Poots, Kevin McKidd, Timothy Spall and others. World Premiere. Site.
Lal Gece (Night of Silence, Turkey, by Reis Çelik) – When the groom lifts the bride’s veil, he is looking into the face of a 14-year-old girl. As tradition has it, a night in the bridal chamber seals the marriage. Cast: Ilyas Salman, Dilan Aksüt and others.
"With another twelve world premieres and three international premieres, Generation’s feature-length film program is now complete," the Berlinale's announced today. "A total of 58 short and full-length films from 32 countries have been selected for the Generation Kplus and Generation 14plus competitions." Straight from the release, then, with descriptions from the festival:
Generation 14plus
Comes a Bright Day (Great Britain, by Simon Aboud) – Against the backdrop of an armed robbery at a London jewellers, much more is at stake than money. Where diamonds are involved, love is not far. Cast: Craig Roberts, Imogen Poots, Kevin McKidd, Timothy Spall and others. World Premiere. Site.
Lal Gece (Night of Silence, Turkey, by Reis Çelik) – When the groom lifts the bride’s veil, he is looking into the face of a 14-year-old girl. As tradition has it, a night in the bridal chamber seals the marriage. Cast: Ilyas Salman, Dilan Aksüt and others.
- 1/12/2012
- MUBI
The Berlin International Film Festival's Generation program, featuring films selected for kids and young adults, turns 35 this year. Today, the Berlinale's announced the first round of 14 titles to screen in the two strands of the program. Straight from the release:
Generation Kplus:
Kauwboy (Netherlands, by Boudewijn Koole) – A young jackdaw falls out of its nest straight into Jojo’s hands. The 10-year-old feels great empathy for the baby bird, which has no mother and is looking for a loving father just as he is. World premiere
Die Kinder vom Napf (The Children from the Napf, Switzerland, by Alice Schmid; documentary) – They take an aerial cable car to school and when class is out they work in the fields. The cycle of the four seasons, a wolf in the woods and 50 mountain farm children in the “Wild West” of Lucerne Canton. International premiere
Lotte ja kuukivi saladus (Lotte and the Moonstone Secret,...
Generation Kplus:
Kauwboy (Netherlands, by Boudewijn Koole) – A young jackdaw falls out of its nest straight into Jojo’s hands. The 10-year-old feels great empathy for the baby bird, which has no mother and is looking for a loving father just as he is. World premiere
Die Kinder vom Napf (The Children from the Napf, Switzerland, by Alice Schmid; documentary) – They take an aerial cable car to school and when class is out they work in the fields. The cycle of the four seasons, a wolf in the woods and 50 mountain farm children in the “Wild West” of Lucerne Canton. International premiere
Lotte ja kuukivi saladus (Lotte and the Moonstone Secret,...
- 12/14/2011
- MUBI
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.