Buenos Aires – Alejandro Fernandez Almendras’ third film To Kill a Man will be Chile’s bid for a Best Foreign Language Film nomination at the Oscars. The announcement was made by the Ministry of Culture Claudia Barattini at an official reception for the Chilean film delegation attending San Sebastian festival, according to a government statement. Barattini also confirmed the film will be submitted for the Best Ibero-American Film category at the Spanish Goya awards. An external jury comprised of film industry professionals carried out the selection. "Chilean filmmakers have proved their productions enjoy great international recognition, and we want
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- 9/9/2014
- by Agustin Mango
- The Hollywood Reporter - Movie News
Fantastic Fest 2015 will include the second edition of the international co-production market Fantastic Market | Mercado Fantastico, and this year 15 projects have been selected. Read on for the full list!
The Fantastic Market | Mercado Fantastico runs September 18-20 in Austin, Texas. Fantastic Fest lead programmer Rodney Perkins and festival director Kristen Bell are heading up the effort. For more info on all of the below projects, visit FantasticFest.com/Projects.
Canana - the Mexican production outlet helmed by Gael Garcia Bernal, Diego Luna, and Pablo Cruz - is co-producing the market alongside filmmaker Robert Rodriguez's El Rey Network. Cristina Garza, Vice President of Mundial, Canana's sales joint venture with Im Global, is sourcing projects from the region.
"The public response to this year's call for submissions was astounding," says market director Perkins. "The 15 selected projects represent a diverse mix of talent from the United States and abroad. We are extremely...
The Fantastic Market | Mercado Fantastico runs September 18-20 in Austin, Texas. Fantastic Fest lead programmer Rodney Perkins and festival director Kristen Bell are heading up the effort. For more info on all of the below projects, visit FantasticFest.com/Projects.
Canana - the Mexican production outlet helmed by Gael Garcia Bernal, Diego Luna, and Pablo Cruz - is co-producing the market alongside filmmaker Robert Rodriguez's El Rey Network. Cristina Garza, Vice President of Mundial, Canana's sales joint venture with Im Global, is sourcing projects from the region.
"The public response to this year's call for submissions was astounding," says market director Perkins. "The 15 selected projects represent a diverse mix of talent from the United States and abroad. We are extremely...
- 8/9/2014
- by Debi Moore
- DreadCentral.com
Fantastic Fest has announced the 15 projects in the second edition of its international co-production market: Fantastic Market | Mercado Fantastico.
Fantastic Fest lead programmer Rodney Perkins and festival director Kristen Bell run the market, set to take place from September 18-20 in Austin, Texas.
Gael Garcia Bernal, Diego Luna and Pablo Cruz’s Mexican company Canana co-produces the event with Robert Rodriguez’s El Rey network.
Mundial vp Cristina Garza (pictured) is sourcing projects from the region.
“The public response to this year’s call for submissions was astounding,” said market director Perkins. “The 15 selected projects represent a diverse mix of talent from the United States and abroad. We are extremely pleased to present these filmmakers to the world.”
The projects are:
Invunche (Chile), Rodrigo Susarte;
The Gray Beyond (Chile-Japan), Alejandro Fernandez Almendreas;
Offspring (Colombia), Federico Durán;
Havana: Vampire Territory (Cuba), Carlos;
Lunik 3 (Mexico), Antonio Zavala Kugler;
The Shore (Mexico), Juan Felipe Orozco;
Rogue (Reo) (Brazil-Argentina), Emiliano Romero;
Eat...
Fantastic Fest lead programmer Rodney Perkins and festival director Kristen Bell run the market, set to take place from September 18-20 in Austin, Texas.
Gael Garcia Bernal, Diego Luna and Pablo Cruz’s Mexican company Canana co-produces the event with Robert Rodriguez’s El Rey network.
Mundial vp Cristina Garza (pictured) is sourcing projects from the region.
“The public response to this year’s call for submissions was astounding,” said market director Perkins. “The 15 selected projects represent a diverse mix of talent from the United States and abroad. We are extremely pleased to present these filmmakers to the world.”
The projects are:
Invunche (Chile), Rodrigo Susarte;
The Gray Beyond (Chile-Japan), Alejandro Fernandez Almendreas;
Offspring (Colombia), Federico Durán;
Havana: Vampire Territory (Cuba), Carlos;
Lunik 3 (Mexico), Antonio Zavala Kugler;
The Shore (Mexico), Juan Felipe Orozco;
Rogue (Reo) (Brazil-Argentina), Emiliano Romero;
Eat...
- 8/7/2014
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
It's one of the biggest nights in music and the 2014 Billboard Music Awards went off without a hitch on Sunday night (May 18).
Featuring performances by Miley Cyrus, Katy Perry, Shakira and a hologram version of Michael Jackson, the MGM Grand in Las Vegas was definitely filled with plenty of energy.
Ludacris hosted the star-studded event and celebrated with winners including Lorde who took home Top New Artist and Top Rock Artist.
Meanwhile, the Top Artist prize went home to Justin Timberlake, who scored the win with singles including "Mirrors" and "Suit and Tie."
Check out the full list of Billboard Music Awards winners below:
Top artist:
Miley Cyrus
Imagine Dragons
Bruno Mars
Katy Perry
Winner Justin Timberlake
Top new artist:
Bastille
Capital Cities
Ariana Grande
Winner Lorde
Passenger
Top male artist:
Luke Bryan
Drake
Eminem
Bruno Mars
Winner Justin Timberlake
Top female artist:
Beyonce
Miley Cyrus
Lorde
Winner Katy Perry...
Featuring performances by Miley Cyrus, Katy Perry, Shakira and a hologram version of Michael Jackson, the MGM Grand in Las Vegas was definitely filled with plenty of energy.
Ludacris hosted the star-studded event and celebrated with winners including Lorde who took home Top New Artist and Top Rock Artist.
Meanwhile, the Top Artist prize went home to Justin Timberlake, who scored the win with singles including "Mirrors" and "Suit and Tie."
Check out the full list of Billboard Music Awards winners below:
Top artist:
Miley Cyrus
Imagine Dragons
Bruno Mars
Katy Perry
Winner Justin Timberlake
Top new artist:
Bastille
Capital Cities
Ariana Grande
Winner Lorde
Passenger
Top male artist:
Luke Bryan
Drake
Eminem
Bruno Mars
Winner Justin Timberlake
Top female artist:
Beyonce
Miley Cyrus
Lorde
Winner Katy Perry...
- 5/19/2014
- GossipCenter
Complete list of winners and nominees for the 2014 Billboard Music Awards, held in Las Vegas at the MGM Grand Garden & Arena May 18. Winners will be updated as they are announced. Top Artist: Miley Cyrus Imagine Dragons Bruno Mars Katy Perry Winner: Justin Timberlake Milestone Award presented by Chevrolet: Ellie Goulding OneRepublic Winner: Carrie Underwood Top Country Song: Luke Bryan “Crash My Party” Luke Bryan “That’s My Kind Of Night” Winner: Florida Georgia Line Featuring Nelly “Cruise” Darius Rucker “Wagon Wheel” Blake Shelton Featuring Pistol Annies & Friends “Boys ‘Round Here” Top Streaming Artist: Winner: Miley Cyrus Imagine Dragons Macklemore & Ryan Lewis Katy Perry Psy Top R&B Song: Beyoncé Feat. Jay Z “Drunk In Love” Drake Featuring Majid Jordan “Hold On, We’re Going Home” Pharrell Williams “Happy” Winner: Robin Thicke Featuring T.I. & Pharrell Williams “Blurred Lines” Justin Timberlake Feat. Jay Z “Suit & Tie” Top Hot 100 Song: Miley Cyrus...
- 5/19/2014
- by Melinda Newman
- Hitfix
The Billboard Music Awards celebrated and recognized the most successful artists in the music industry and provided a number of memorable performances Sunday night.
Billboard Music Awards Recap
Imagine Dragons' Night Visions beat out Lana Del Rey’s Born to Die; Fall Out Boy’s Save Rock and Roll, Lorde’s album Pure Heroine; and, Mumford and Sons’ Babel, for the Billboard Music Awards Album of the Year.
The Top Billboard 200 Album Award went to Justin Timberlake’s The 20/20 Experience, which was up against Beyonce’s album, Beyonce; Luke Bryan’s album, Crash My Party; Nothing Was The Same by Drake; and, Eminem’s MMLP2. Timberlake also won the Billboard Music Awards Top Artist Award.
Check Out The Billboard Music Awards Slideshow Here
Lorde won the Billboard Music Awards Top New Artist Award, as well as for the Billboard Music Awards top Rock Song Award for “Royals.” Lorde lost...
Billboard Music Awards Recap
Imagine Dragons' Night Visions beat out Lana Del Rey’s Born to Die; Fall Out Boy’s Save Rock and Roll, Lorde’s album Pure Heroine; and, Mumford and Sons’ Babel, for the Billboard Music Awards Album of the Year.
The Top Billboard 200 Album Award went to Justin Timberlake’s The 20/20 Experience, which was up against Beyonce’s album, Beyonce; Luke Bryan’s album, Crash My Party; Nothing Was The Same by Drake; and, Eminem’s MMLP2. Timberlake also won the Billboard Music Awards Top Artist Award.
Check Out The Billboard Music Awards Slideshow Here
Lorde won the Billboard Music Awards Top New Artist Award, as well as for the Billboard Music Awards top Rock Song Award for “Royals.” Lorde lost...
- 5/19/2014
- Uinterview
The Billboard Music Awards celebrated and recognized the most successful artists in the music industry and provided a number of memorable performances Sunday night.
Billboard Music Awards Recap
Imagine Dragons' Night Visions beat out Lana Del Rey’s Born to Die; Fall Out Boy’s Save Rock and Roll, Lorde’s album Pure Heroine; and, Mumford and Sons’ Babel, for the Billboard Music Awards Album of the Year.
The Top Billboard 200 Album Award went to Justin Timberlake’s The 20/20 Experience, which was up against Beyonce’s album, Beyonce; Luke Bryan’s album, Crash My Party; Nothing Was The Same by Drake; and, Eminem’s MMLP2. Timberlake also won the Billboard Music Awards Top Artist Award.
Check Out The Billboard Music Awards Slideshow Here
Lorde won the Billboard Music Awards Top New Artist Award, as well as for the Billboard Music Awards top Rock Song Award for “Royals.” Lorde lost...
Billboard Music Awards Recap
Imagine Dragons' Night Visions beat out Lana Del Rey’s Born to Die; Fall Out Boy’s Save Rock and Roll, Lorde’s album Pure Heroine; and, Mumford and Sons’ Babel, for the Billboard Music Awards Album of the Year.
The Top Billboard 200 Album Award went to Justin Timberlake’s The 20/20 Experience, which was up against Beyonce’s album, Beyonce; Luke Bryan’s album, Crash My Party; Nothing Was The Same by Drake; and, Eminem’s MMLP2. Timberlake also won the Billboard Music Awards Top Artist Award.
Check Out The Billboard Music Awards Slideshow Here
Lorde won the Billboard Music Awards Top New Artist Award, as well as for the Billboard Music Awards top Rock Song Award for “Royals.” Lorde lost...
- 5/19/2014
- Uinterview
This Friday April 25th The Filadelfia celebrates its third annual edition with an impressive line up of the best of Latino film from Mexico to Chile to Colombia, The Us and even a film made with the youth of Philly. Opening night film will be the super 1943 classic ‘Maria Candelaria’ starring Dolores Del Rio. For those near the city of brotherly amor we’ve done ya homework and listed their films below!
Opening Night: Maria Candelaria (Mexico)
Starring Dolores del Rio and Pedro Armendáriz, Maria Candelaria was the first Mexican film to be screened at the Cannes International Film Festival, and the first Latin American film awarded the Gran Prix. Gabriel Figueroa, the film’s cinematographer, was nominated for an Academy Award for The Night of the Iguana, and is often referred to as “the Fourth Muralist” of Mexico.
A young journalist presses an old artist (Alberto Galán ) to show a portrait of a naked indigenous woman that he has in his study. The body of the movie is a flashback to Xochimilco, Mexico, in 1909. The film is set right before the Mexican Revolution, and Xochimilco is an area with beautiful landscapes inhabited mostly by indigenous people.
The woman in the painting is María Candelaria (Dolores del Rio), a young Indian woman who is constantly rejected by her own people for being the daughter of a prostitute. She and her lover, Lorenzo Rafael (Pedro Armendariz), face constant struggles throughout the film. They are honest and hardworking, yet nothing ever goes right for them. Don Damian (Miguel Inclán), a jealous Mestizo store owner who wants María for himself, prevents them from getting married. He kills a piglet that María and Lorenzo plan to sell for profit and he refuses to buy vegetables from them. When María falls ill with malaria, Don Damian refuses to give the couple the quinine medicine necessary to fight the disease. Lorenzo breaks into his shop to steal the medicine, and he also takes a wedding dress for María. Lorenzo goes to prison for stealing, and María agrees to model for the painter to pay for his release. The artist begins painting a portrait of María, but when he asks her to pose nude she refuses.
The artist finishes the painting with the nude body of another woman. When the people of Xochimilco see the painting, they assume it is María Candelaria and stone her to death.Finally, Lorenzo escapes from prison )to carry María's lifeless body through Xochimilco's canal of the dead.
Bad Hair/Pelo Malo (Venezuela)
The third film from the filmmaker and plastic artist Mariana Rondón, Pelo Malo stars Junior, a 9 year-old with "bad hair". He wants to have it straightened for his yearbook picture, like a fashionable pop singer. This puts him at odds with his mother Marta. The more Junior tries to look sharp and make his mother love him, the more she rejects him, until he is cornered, face to face with a painful decision.
To Kill A Man/Matar A Un Hombre (Chile)
Read the Review
Read the Interview with Dir. Alejandro Fernandez Almendras
A thriller about a hardworking family man Jorge who is just barely making ends meet. When he gets mugged by Kalule, a neighborhood delinquent, Jorge's son decides to confront Kalule, only to get himself shot in the process. Sentenced to a scant 2 years in prison for the offense, Kalule, released and now intent on revenge, goes on the warpath, terrorizing Jorge's family. With his wife, son and daughter at the mercy of a thug, Jorge has no choice but to take justice into his own hands, and live with the emotional and psychological consequences.
Lines of class and masculinity ignite friction in this rugged thriller, adeptly shot with a discerning eye. Director Alejandro Fernández Almendras elevates raw grit to a new level with a tone that is both elemental and prophetic. Rife with unnerving tension, To Kill a Man is ultimately a surprising exploration of the heavy burden of what it takes to do what the title suggests.
Anina (Colombia)
Read the Review
Anina Yatay Salas is a ten-year-old girl. All her names form palindromes, making her the butt of her classmates’ jokes, and especially of Yisel’s, who Anina sees as an “elephant.” One day, fed up with all the taunting, Anina starts a fight with Yisel during recess. The incident ends with the principal penalizing the girls and calling their parents.Anina receives her punishment inside a sealed black envelope, which she is told not to open until she meets with the principal again a week later.She is also forbidden to tell anyone about the envelope. Her classmates pressure her to find out what the punishment will be, while they imagine cruel physical torture.
Anina, in her anxiousness to find out what horrible punishment awaits her in the mysterious black envelope, will get mixed up in a series of troubles, involving secret loves, confessed hatreds, close friendships, dreadful enemies, some loving teachers, and also some evil teachers.Without her realizing it, Anina’s efforts to understand the content of the envelope turn into an attempt to understand the world and her place in it.
The Devil’S Music (USA)
When the new sound of jazz first spread across America in the early twentieth-century, it left delight – and controversy – in its wake.As jazz's popularity grew, so did campaigns to censor "the devil's music." This documentary classic has been hailed by the New York Times as a documentary that "addressing the complex interaction of race and class… engages viewers in a conversation as vigorous as the art it chronicles,” featuring timeless performances by artists such as Louis Armstrong and vocalist Rachelle Ferrelle, plus interviews with giants of social and musical criticism such as Albert Murray, Marian MacPartland, Studs Terkel, and Michael Eric Dyson. The Devil's Music is Written, Produced and Directed by Maria Agui Carter and Calvin A. Lindsay Jr., and Narrated by Dion Graham.
I, Undocumented/Yo, Indocumentada (Venezuela)
Yo Indocumentada (I, Undocumented) , exposes the struggles of transgender people in Venezuela. The film, Andrea Baranenko’s first feature-length production, tells the story of three Venezuelan women fighting for their right to have an identity.
Tamara Adrián, 58, is a lawyer; Desirée Pérez, 46, is a hairdresser; and Victoria González, 27, has been a visual arts student since 2009. These women share more than their nationality: they all carry identifications with masculine names that do not correspond to their actual identities. They are transgender women, who long ago assumed their gender and now defend it in a homophobic and transphobic society.
The House That Jack Built (USA )
Jack Maldonado is an ambitious Latino man who fueled by misguided nostalgia, buys a small apartment building in the Bronx and moves his family into the apartments to live rent-free. His parents, Carlos and Martha, sister Nadia, brother Richie and his wife Rosa, Grandmother/Abuela and cousins Hector and Manny, all under one roof. Tension builds quickly as Jack imposes his views on everyone around him, including his fiancée, Lily. All the while, he hides the fact that his corner store is a front for selling marijuana but soon has to deal with new unwanted competitive forces. It's only a matter of time before Jack's family and 'business' lives collide in tragic fashion.
Aqui Y Alla Crossing Borders (USA)
The “Aquí y Allá’ transnational public art project explored the impact of immigration in the lives of Mexican immigrant youth in Philadelphia in connection with youth in Chihuahua, Mexico. The documentary highlights the testimonials of the youth on both sides of the border working towards the creation of a collaborative mural in South Philadelphia.
Cesar’S Last Fast (USA)
Read the Review
In 1988, Cesar Chavez embarked on what would be his last act of protest in his remarkable life. Driven in part to pay penance for feeling he had not done enough, Chavez began his “Fast for Life,” a 36-day water-only hunger strike, to draw attention to the horrific effects of unfettered pesticide use on farm workers, their families, and their communities.
Using never-before-seen footage of Chavez during his fast and testimony from those closest to him, directors Richard Ray Perez and Lorena Parlee weave together the larger story of Chavez’s life, vision, and legacy. A deeply religious man, Chavez’s moral clarity in organizing and standing with farm workers at risk of his own life humbled his family, friends, and the world. Cesar’s Last Fast is a moving and definitive portrait of the leader of a people who became an American icon of struggle and freedom.
La Camioneta (Guantemala)
Every day dozens of decommissioned school buses leave the United States on a southward migration that carries them to Guatemala, where they are repaired, repainted, and resurrected as the brightly-colored camionetas that bring the vast majority of Guatemalans to work each day. La Camioneta follows one such bus on its transformative journey: a journey between North and South, between life and death, and through an unfolding collection of moments, people, and places that serve to quietly remind us of the interconnected worlds in which we live.
Forbidden Lovers Meant To Be (USA)
Working with talented high school students from North Philadelphia at Taller Puertorriqueño’s Youth Artist Program, filmmakers Joanna Siegel, Melissa Beatriz Skolnick, and Kate Zambon sought to capture the personal and artistic journeys of the youth through film. While facilitating collaborative film workshops with the students, themes of race/ethnicity, cultures, language, and identity emerged. Throughout this process of engaging in story development and visual representation, the students created a video of their own, while the filmmakers documented the process using metafilm techniques. The students' short film, Forbidden Lovers Meant to Be, highlights the talent and creativity of these youth. Forbidden Lovers Meant to Be was created by the spring 2012 Youth Artist Program participants: Amy Lee Flores, Ricardo Lopez, Michael Mendez, Zayris Rivera, Tashyra Suarez, Nestor Tamayo, Yoeni Torres, Karina Ureña Vargas, and Kara Williams. (Amy Lee Flores, Ricardo Lopez, Michael Mendez)
Tire Die (Argentina)
The first film of the first Latin American documentary film school (The Escuela Documental de Santa Fe), this documentary focuses on the children in the neighborhood known as Tire Dié in the city of Santa Fe, Argentina, who wait daily for the passing train to ask for money from the passengers, shouting “Tire dié!” (Toss me a dime!).
Dubbed as the father of the New Latin American Cinema, Fernando Birriwas one of the first filmmakers to document poverty and underdevelopment. Tire Dié was part of the exhibition, Latin American Visions, produced by International House, 1989-1991.
The Illiterates/Las Analfabetas (Chile)
Ximena, played by the incomparable Paulina García (Gloria) is an illiterate woman in her fifties, who has learned to live on her own to keep her illiteracy a secret. Jackeline, is a young unemployed elementary school teacher, who tries to convince Ximena to take reading classes. Persuading her proves to be an almost impossible task, till one day, Jackeline finds something Ximena has been keeping as her only treasure since she was a child: a letter Ximena’s father left when he abandoned her many years before. Thus, the two women embark on a learning journey where they discover that there are many ways of being illiterate, and that not knowing how to read is just one of them.
For the schedule please visit: http://flaff.org/
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...
Opening Night: Maria Candelaria (Mexico)
Starring Dolores del Rio and Pedro Armendáriz, Maria Candelaria was the first Mexican film to be screened at the Cannes International Film Festival, and the first Latin American film awarded the Gran Prix. Gabriel Figueroa, the film’s cinematographer, was nominated for an Academy Award for The Night of the Iguana, and is often referred to as “the Fourth Muralist” of Mexico.
A young journalist presses an old artist (Alberto Galán ) to show a portrait of a naked indigenous woman that he has in his study. The body of the movie is a flashback to Xochimilco, Mexico, in 1909. The film is set right before the Mexican Revolution, and Xochimilco is an area with beautiful landscapes inhabited mostly by indigenous people.
The woman in the painting is María Candelaria (Dolores del Rio), a young Indian woman who is constantly rejected by her own people for being the daughter of a prostitute. She and her lover, Lorenzo Rafael (Pedro Armendariz), face constant struggles throughout the film. They are honest and hardworking, yet nothing ever goes right for them. Don Damian (Miguel Inclán), a jealous Mestizo store owner who wants María for himself, prevents them from getting married. He kills a piglet that María and Lorenzo plan to sell for profit and he refuses to buy vegetables from them. When María falls ill with malaria, Don Damian refuses to give the couple the quinine medicine necessary to fight the disease. Lorenzo breaks into his shop to steal the medicine, and he also takes a wedding dress for María. Lorenzo goes to prison for stealing, and María agrees to model for the painter to pay for his release. The artist begins painting a portrait of María, but when he asks her to pose nude she refuses.
The artist finishes the painting with the nude body of another woman. When the people of Xochimilco see the painting, they assume it is María Candelaria and stone her to death.Finally, Lorenzo escapes from prison )to carry María's lifeless body through Xochimilco's canal of the dead.
Bad Hair/Pelo Malo (Venezuela)
The third film from the filmmaker and plastic artist Mariana Rondón, Pelo Malo stars Junior, a 9 year-old with "bad hair". He wants to have it straightened for his yearbook picture, like a fashionable pop singer. This puts him at odds with his mother Marta. The more Junior tries to look sharp and make his mother love him, the more she rejects him, until he is cornered, face to face with a painful decision.
To Kill A Man/Matar A Un Hombre (Chile)
Read the Review
Read the Interview with Dir. Alejandro Fernandez Almendras
A thriller about a hardworking family man Jorge who is just barely making ends meet. When he gets mugged by Kalule, a neighborhood delinquent, Jorge's son decides to confront Kalule, only to get himself shot in the process. Sentenced to a scant 2 years in prison for the offense, Kalule, released and now intent on revenge, goes on the warpath, terrorizing Jorge's family. With his wife, son and daughter at the mercy of a thug, Jorge has no choice but to take justice into his own hands, and live with the emotional and psychological consequences.
Lines of class and masculinity ignite friction in this rugged thriller, adeptly shot with a discerning eye. Director Alejandro Fernández Almendras elevates raw grit to a new level with a tone that is both elemental and prophetic. Rife with unnerving tension, To Kill a Man is ultimately a surprising exploration of the heavy burden of what it takes to do what the title suggests.
Anina (Colombia)
Read the Review
Anina Yatay Salas is a ten-year-old girl. All her names form palindromes, making her the butt of her classmates’ jokes, and especially of Yisel’s, who Anina sees as an “elephant.” One day, fed up with all the taunting, Anina starts a fight with Yisel during recess. The incident ends with the principal penalizing the girls and calling their parents.Anina receives her punishment inside a sealed black envelope, which she is told not to open until she meets with the principal again a week later.She is also forbidden to tell anyone about the envelope. Her classmates pressure her to find out what the punishment will be, while they imagine cruel physical torture.
Anina, in her anxiousness to find out what horrible punishment awaits her in the mysterious black envelope, will get mixed up in a series of troubles, involving secret loves, confessed hatreds, close friendships, dreadful enemies, some loving teachers, and also some evil teachers.Without her realizing it, Anina’s efforts to understand the content of the envelope turn into an attempt to understand the world and her place in it.
The Devil’S Music (USA)
When the new sound of jazz first spread across America in the early twentieth-century, it left delight – and controversy – in its wake.As jazz's popularity grew, so did campaigns to censor "the devil's music." This documentary classic has been hailed by the New York Times as a documentary that "addressing the complex interaction of race and class… engages viewers in a conversation as vigorous as the art it chronicles,” featuring timeless performances by artists such as Louis Armstrong and vocalist Rachelle Ferrelle, plus interviews with giants of social and musical criticism such as Albert Murray, Marian MacPartland, Studs Terkel, and Michael Eric Dyson. The Devil's Music is Written, Produced and Directed by Maria Agui Carter and Calvin A. Lindsay Jr., and Narrated by Dion Graham.
I, Undocumented/Yo, Indocumentada (Venezuela)
Yo Indocumentada (I, Undocumented) , exposes the struggles of transgender people in Venezuela. The film, Andrea Baranenko’s first feature-length production, tells the story of three Venezuelan women fighting for their right to have an identity.
Tamara Adrián, 58, is a lawyer; Desirée Pérez, 46, is a hairdresser; and Victoria González, 27, has been a visual arts student since 2009. These women share more than their nationality: they all carry identifications with masculine names that do not correspond to their actual identities. They are transgender women, who long ago assumed their gender and now defend it in a homophobic and transphobic society.
The House That Jack Built (USA )
Jack Maldonado is an ambitious Latino man who fueled by misguided nostalgia, buys a small apartment building in the Bronx and moves his family into the apartments to live rent-free. His parents, Carlos and Martha, sister Nadia, brother Richie and his wife Rosa, Grandmother/Abuela and cousins Hector and Manny, all under one roof. Tension builds quickly as Jack imposes his views on everyone around him, including his fiancée, Lily. All the while, he hides the fact that his corner store is a front for selling marijuana but soon has to deal with new unwanted competitive forces. It's only a matter of time before Jack's family and 'business' lives collide in tragic fashion.
Aqui Y Alla Crossing Borders (USA)
The “Aquí y Allá’ transnational public art project explored the impact of immigration in the lives of Mexican immigrant youth in Philadelphia in connection with youth in Chihuahua, Mexico. The documentary highlights the testimonials of the youth on both sides of the border working towards the creation of a collaborative mural in South Philadelphia.
Cesar’S Last Fast (USA)
Read the Review
In 1988, Cesar Chavez embarked on what would be his last act of protest in his remarkable life. Driven in part to pay penance for feeling he had not done enough, Chavez began his “Fast for Life,” a 36-day water-only hunger strike, to draw attention to the horrific effects of unfettered pesticide use on farm workers, their families, and their communities.
Using never-before-seen footage of Chavez during his fast and testimony from those closest to him, directors Richard Ray Perez and Lorena Parlee weave together the larger story of Chavez’s life, vision, and legacy. A deeply religious man, Chavez’s moral clarity in organizing and standing with farm workers at risk of his own life humbled his family, friends, and the world. Cesar’s Last Fast is a moving and definitive portrait of the leader of a people who became an American icon of struggle and freedom.
La Camioneta (Guantemala)
Every day dozens of decommissioned school buses leave the United States on a southward migration that carries them to Guatemala, where they are repaired, repainted, and resurrected as the brightly-colored camionetas that bring the vast majority of Guatemalans to work each day. La Camioneta follows one such bus on its transformative journey: a journey between North and South, between life and death, and through an unfolding collection of moments, people, and places that serve to quietly remind us of the interconnected worlds in which we live.
Forbidden Lovers Meant To Be (USA)
Working with talented high school students from North Philadelphia at Taller Puertorriqueño’s Youth Artist Program, filmmakers Joanna Siegel, Melissa Beatriz Skolnick, and Kate Zambon sought to capture the personal and artistic journeys of the youth through film. While facilitating collaborative film workshops with the students, themes of race/ethnicity, cultures, language, and identity emerged. Throughout this process of engaging in story development and visual representation, the students created a video of their own, while the filmmakers documented the process using metafilm techniques. The students' short film, Forbidden Lovers Meant to Be, highlights the talent and creativity of these youth. Forbidden Lovers Meant to Be was created by the spring 2012 Youth Artist Program participants: Amy Lee Flores, Ricardo Lopez, Michael Mendez, Zayris Rivera, Tashyra Suarez, Nestor Tamayo, Yoeni Torres, Karina Ureña Vargas, and Kara Williams. (Amy Lee Flores, Ricardo Lopez, Michael Mendez)
Tire Die (Argentina)
The first film of the first Latin American documentary film school (The Escuela Documental de Santa Fe), this documentary focuses on the children in the neighborhood known as Tire Dié in the city of Santa Fe, Argentina, who wait daily for the passing train to ask for money from the passengers, shouting “Tire dié!” (Toss me a dime!).
Dubbed as the father of the New Latin American Cinema, Fernando Birriwas one of the first filmmakers to document poverty and underdevelopment. Tire Dié was part of the exhibition, Latin American Visions, produced by International House, 1989-1991.
The Illiterates/Las Analfabetas (Chile)
Ximena, played by the incomparable Paulina García (Gloria) is an illiterate woman in her fifties, who has learned to live on her own to keep her illiteracy a secret. Jackeline, is a young unemployed elementary school teacher, who tries to convince Ximena to take reading classes. Persuading her proves to be an almost impossible task, till one day, Jackeline finds something Ximena has been keeping as her only treasure since she was a child: a letter Ximena’s father left when he abandoned her many years before. Thus, the two women embark on a learning journey where they discover that there are many ways of being illiterate, and that not knowing how to read is just one of them.
For the schedule please visit: http://flaff.org/
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...
- 4/23/2014
- by Juan Caceres
- Sydney's Buzz
With a little over a month until the big night, the 2014 Billboard Music Awards just unveiled the illustrious list of hopefuls.
Relative newcomers Lorde and Imagine Dragons are each up for 12 trophies, trailed by Justin Timberlake (11), Katy Perry (10) and Macklemore & Ryan Lewis (8).
The 2014 Billboard Music Awards will air live on May 18th at 8pm from the MGM Grand Garden Arena in Las Vegas.
And the nominees are…
Top Artist:
Miley Cyrus
Imagine Dragons
Bruno Mars
Katy Perry
Justin Timberlake
Top New Artist:
Bastille
Capital Cities
Ariana Grande
Lorde
Passenger
Top Male Artist:
Luke Bryan
Drake
Eminem
Bruno Mars
Justin Timberlake
Top Female Artist:
Beyoncé
Miley Cyrus
Lorde
Katy Perry
Rihanna
Top Duo/Group:
Florida Georgia Line
Imagine Dragons
Macklemore & Ryan Lewis
One Direction
OneRepublic
Top Billboard 200 Artist:
Beyoncé
Luke Bryan
Eminem
One Direction
Justin Timberlake
Top Hot 100 Artist:
Miley Cyrus
Imagine Dragons
Lorde
Katy Perry
Justin Timberlake
Top Digital Songs...
Relative newcomers Lorde and Imagine Dragons are each up for 12 trophies, trailed by Justin Timberlake (11), Katy Perry (10) and Macklemore & Ryan Lewis (8).
The 2014 Billboard Music Awards will air live on May 18th at 8pm from the MGM Grand Garden Arena in Las Vegas.
And the nominees are…
Top Artist:
Miley Cyrus
Imagine Dragons
Bruno Mars
Katy Perry
Justin Timberlake
Top New Artist:
Bastille
Capital Cities
Ariana Grande
Lorde
Passenger
Top Male Artist:
Luke Bryan
Drake
Eminem
Bruno Mars
Justin Timberlake
Top Female Artist:
Beyoncé
Miley Cyrus
Lorde
Katy Perry
Rihanna
Top Duo/Group:
Florida Georgia Line
Imagine Dragons
Macklemore & Ryan Lewis
One Direction
OneRepublic
Top Billboard 200 Artist:
Beyoncé
Luke Bryan
Eminem
One Direction
Justin Timberlake
Top Hot 100 Artist:
Miley Cyrus
Imagine Dragons
Lorde
Katy Perry
Justin Timberlake
Top Digital Songs...
- 4/9/2014
- GossipCenter
Quietly disturbing and thoughtfully insightful about the evil mankind is capable of, Chilean auteur Alejandro Fernández Almendras’ To Kill a Man has stroke a chord with festival goers and jurors across the globe. The film, which deals with a man pushed to commit a crime by a vengeful crook, premiered at Sundance this past January where it was awarded the World Cinema Grand Jury Prize. Fernandez Almendras, whose previous films include Huacho and Seated by the Fire, seems to have finally reached a level of international exposure with a small film that carries important social commentary about masculinity, violence, and guilt. In this in-depth interview the director talked to us about the origin of the story, the complex themes behind the plot, and the uncomfortable emotions his film can create on the audience.
Read the review Here
To Kill a Man has received the following awards:
Sundance Film Festival 2014: World Cinema Grand Jury Prize- Dramatic
Rotterdam Film Festival 2014: Knf Award
Miami Film Festival 2014: Miami Future Cinema Critics Award
Cartagena International Film Festival: Fipresci Award for Best Film/ Official Competition Award for Best Director
Carlos Aguilar: The events that set in motion the plot of “To Kill a Man” can seem simple on the surface, but you embedded the film with many existential concepts. Where did these come from?
Alejandro Fernandez Almendras: Well, the real story on which I based my film was a very simple story. It was terrible for the family that lived it, but it was a very common story, at least in Chile. It was about a family in which the father was a diabetic, and there was a neighborhood criminal known by everybody who one day robes the father. Then when his son tries to recover his blood sugar meter, the thief, who ends up in prison for a brief period of time, shoots him. Once he is out after 1 or 2 years, the criminal starts threatening the family to seek revenge for the time he did in prison, which he thinks he didn’t deserve since the son was the one who went to his house.
The concept of being helpless in front of justice was very interesting to me to start working around it. What pushed me to make this film, and what caught my attention when I heard the story, was that all the events were described from the family’s point of view and the father’s point of view. After the final crime, which was a bit different to how it is portrayed in the film, they ask the father, now in prison himself, if he would do the same again given the circumstances. He answered he wouldn’t under no circumstances because now he knows how it feels to kill someone and he understands how terrible it is. The personal price he had to pay was that the moral guilt was too much for him. I found that very compelling and that’s why I decided to make the film.
Aguilar: The line between the killer and the victim is blurred in the film. The person who starts being victimized takes on the role of the punisher. Although it is a terrifying idea, would you say that anyone is capable of killing given the right circumstances?
Fernandez Almendras: I think so given the context. I believe that the character of Jorge was pushed to commit the crime rather than being something that existed in him naturally. The dangerous thing about crime is that it is sometimes justified when it is seen as the only possible solution. Those are the types of crimes that are hard to explain legally. They are complicated cases, it is not as simple as to say that the guy did it out evilness, but he did it almost justifiably, yet, what he did was worse than what the actual career criminal Kalule was doing or threatening to do. He doesn’t rape his daughter or hurt them physically, it is more about the fear that he imposed on them than anything he actually did. On the other hand, Jorge ends up being crueler and much more violent than what he looked like. The film aims to place the viewer in a situation that is morally uncomfortable. If one defends the protagonist, Jorge, which is what the film does in the first half, you end up justifying a terrible crime in the second half.
Aguilar: Another aspect that is prominent is the questioning of Jorge’s masculinity. It seems as if he feels he has to prove it by defending his family and standing up to this bully, even if this means taking drastic measure. Was that part of your process while creating the character?
Fernandez Almendras: Sure. There is this image in film and the media of a rugged macho man who protects his family. In the film his son, his wife and his daughter they point out that he is not fulfilling that role as a man. He feels forced to be that man. What the film also deals with is the fact that many decisions like this have to do with what is perceived as being the right thing to do, even if it means committing a crime. Morally, many people justify it. They think, “What else is there to do? He has no other choice” However, by saying that you are justifying a crime. It is interesting to explore that and to make the audience face both sides of the same coin.
Aguilar: The family seeks help from the authorities, but it feels like in the midst of al the bureaucracy they are left helpless. Is there are a flaw in the judicial system, not only in Chile, but everywhere, to deal with situations like the one on the film?
Fernandez Almendras: I believe that in terms of the film, the system functions very efficiently given the lack of resources and the circumstances I feel the family gets treated well. It was my intention to not highlight the bureaucracy, but despite my efforts it is still noticeable because there is an institutional inability to deal with a situations like these. There are also issues like these with those situations that involve domestic violence. The husband could threaten the wife in many occasions, but they can’t ask for a restraining order, or to fine him, or even to hold him for some days because you can’t punish a crime before it is committed. One can’t punish a dead threat as if it was a murder. Otherwise we would live in a completely schizophrenic society, one in which thinking of something would be enough to be arrested, and that’s even worse.
The law can reach a certain point, and after that point instead of being left vulnerable by the law, the law leaves it to your own judgment. That’s the interesting part, when there is no judicial, protection, not because the institution doesn’t want to provide it but because it can’t reach that gray area. The family is forced to make very difficult decisions, but perhaps other choices would have been better in the long run. They could have moved apartments, or moved to another city, start again, and maybe admit that they lost to this evil character. But it would be looked down upon by others “Why do they have to leave if they didn’t do anything?” Well sometimes you cross paths with a person like this and you can’t do anything. Justifying a family that doesn’t want to leave the neighborhood because someone is threatening them is the same argument that one could use to ask why a woman doesn’t leave the house when the husband threatens her. In the case of a mistreated woman we assume that against such violence there is nothing to do but to leave. In this case, many people keep on defending the idea that one has to stand his ground, and it has to do with the fact that he is a man.
People think that if you let yourself be undermined by another man you are not man enough. I’m absolutely convinced that domestic violence in which a woman is the abuser towards the man is much more prominent than what we think or find in surveys. Because from the get-go, to say that your woman mistreats you is like admitting that you are not a man, especially in Latin American societies. Certainly these are perennially male-chauvinist societies, but a woman can still inflict great psychological violence on a man. In my film I feel like the female character is to an extent very violent towards the protagonist. She pushes him to the edge, she tells him he is not good enough, then she divorces him, I believe this is also very real.
Aguilar: Being a Latin American director, how has your experience at international festivals been? Your film has been so well received, and you have won several awards in a short time.
Fernandez Almendras: First, the decision to go to Sundance was taken because we felt that it is a film that can work in the American market, in fact we got distribution at Sundance. The film will be released by Film Movement in the U.S. and Canada in the Fall. It’s a film that has certain genre elements, and there is great tension, which are qualities that I think help the film. Showing it to American audiences will be very helpful for the film, and for myself in the future steps I want to take as a filmmaker.
Aguilar: Would you ever considered making a film in Hollywood? Or perhaps make a film with a greater budget and more exposure?
Fernandez Almendras: I would like to work with perhaps a bigger budget but never at the level of a blockbuster, which is something very “Hollywood”. The obstacles would be too many, and I don’t think Hollywood is interested is something so strange as what I do. Even being something like “To Kill a Man” that connects with audiences, in formal terms, it is not a common film. Hollywood budgets come with many artistic compromises. In Hollywood no one can stand 20 minutes without dialogue. [Laughs)
Aguilar: Are there any American filmmakers that have influenced your work?
Fernandez Almendras: I watched a lot of American films when I started liking cinema, around the 90s. It was mostly American cinema from the 60s and 70s when there was like a re-founding of classic American cinema and the emergence of filmmaker like Scorsese, Brian De Palma, Coppola, or the psychological thrillers of Alan Pakula , those were very important influences at the time.
Aguilar: Why do you think your film has connected with the diverse jurors throughout the film’s festival run?
Fernandez Almendras: Just like with my two previous films, I’ve always thought my films are not cryptic. They are films that the audience won’t understand or that they are going to have a hard time connecting to them. They are films that demand a certain attention. Especially the other two, this one I feel is a bit more open. I think people respond to “To Kill a Man” because in its own way, it’s a film that works. When it needs to create tension there is tension, when it needs to create suspense there is suspense, when it needs a particular emotion it is there. It is a visceral film that works, although the way in which it reaches those emotions is different from what many viewers might be used to.
Aguilar: What are your future projects? What will follow the success of “To Kill a Man”?
Fernandez Almendras: I’m looking into several possibilities. I have two finished scripts, one of them is much more lighthearted, sort of a comedy with a lot of music which I’d like to make in the south of Chile. The other is a tad bigger; it is a political thriller that deals with the crash between the mining industry and environmentalist groups. Both of these are well on their way, I need to find financing this year and see which one of them happens first.
Read the review Here
To Kill a Man has received the following awards:
Sundance Film Festival 2014: World Cinema Grand Jury Prize- Dramatic
Rotterdam Film Festival 2014: Knf Award
Miami Film Festival 2014: Miami Future Cinema Critics Award
Cartagena International Film Festival: Fipresci Award for Best Film/ Official Competition Award for Best Director
Carlos Aguilar: The events that set in motion the plot of “To Kill a Man” can seem simple on the surface, but you embedded the film with many existential concepts. Where did these come from?
Alejandro Fernandez Almendras: Well, the real story on which I based my film was a very simple story. It was terrible for the family that lived it, but it was a very common story, at least in Chile. It was about a family in which the father was a diabetic, and there was a neighborhood criminal known by everybody who one day robes the father. Then when his son tries to recover his blood sugar meter, the thief, who ends up in prison for a brief period of time, shoots him. Once he is out after 1 or 2 years, the criminal starts threatening the family to seek revenge for the time he did in prison, which he thinks he didn’t deserve since the son was the one who went to his house.
The concept of being helpless in front of justice was very interesting to me to start working around it. What pushed me to make this film, and what caught my attention when I heard the story, was that all the events were described from the family’s point of view and the father’s point of view. After the final crime, which was a bit different to how it is portrayed in the film, they ask the father, now in prison himself, if he would do the same again given the circumstances. He answered he wouldn’t under no circumstances because now he knows how it feels to kill someone and he understands how terrible it is. The personal price he had to pay was that the moral guilt was too much for him. I found that very compelling and that’s why I decided to make the film.
Aguilar: The line between the killer and the victim is blurred in the film. The person who starts being victimized takes on the role of the punisher. Although it is a terrifying idea, would you say that anyone is capable of killing given the right circumstances?
Fernandez Almendras: I think so given the context. I believe that the character of Jorge was pushed to commit the crime rather than being something that existed in him naturally. The dangerous thing about crime is that it is sometimes justified when it is seen as the only possible solution. Those are the types of crimes that are hard to explain legally. They are complicated cases, it is not as simple as to say that the guy did it out evilness, but he did it almost justifiably, yet, what he did was worse than what the actual career criminal Kalule was doing or threatening to do. He doesn’t rape his daughter or hurt them physically, it is more about the fear that he imposed on them than anything he actually did. On the other hand, Jorge ends up being crueler and much more violent than what he looked like. The film aims to place the viewer in a situation that is morally uncomfortable. If one defends the protagonist, Jorge, which is what the film does in the first half, you end up justifying a terrible crime in the second half.
Aguilar: Another aspect that is prominent is the questioning of Jorge’s masculinity. It seems as if he feels he has to prove it by defending his family and standing up to this bully, even if this means taking drastic measure. Was that part of your process while creating the character?
Fernandez Almendras: Sure. There is this image in film and the media of a rugged macho man who protects his family. In the film his son, his wife and his daughter they point out that he is not fulfilling that role as a man. He feels forced to be that man. What the film also deals with is the fact that many decisions like this have to do with what is perceived as being the right thing to do, even if it means committing a crime. Morally, many people justify it. They think, “What else is there to do? He has no other choice” However, by saying that you are justifying a crime. It is interesting to explore that and to make the audience face both sides of the same coin.
Aguilar: The family seeks help from the authorities, but it feels like in the midst of al the bureaucracy they are left helpless. Is there are a flaw in the judicial system, not only in Chile, but everywhere, to deal with situations like the one on the film?
Fernandez Almendras: I believe that in terms of the film, the system functions very efficiently given the lack of resources and the circumstances I feel the family gets treated well. It was my intention to not highlight the bureaucracy, but despite my efforts it is still noticeable because there is an institutional inability to deal with a situations like these. There are also issues like these with those situations that involve domestic violence. The husband could threaten the wife in many occasions, but they can’t ask for a restraining order, or to fine him, or even to hold him for some days because you can’t punish a crime before it is committed. One can’t punish a dead threat as if it was a murder. Otherwise we would live in a completely schizophrenic society, one in which thinking of something would be enough to be arrested, and that’s even worse.
The law can reach a certain point, and after that point instead of being left vulnerable by the law, the law leaves it to your own judgment. That’s the interesting part, when there is no judicial, protection, not because the institution doesn’t want to provide it but because it can’t reach that gray area. The family is forced to make very difficult decisions, but perhaps other choices would have been better in the long run. They could have moved apartments, or moved to another city, start again, and maybe admit that they lost to this evil character. But it would be looked down upon by others “Why do they have to leave if they didn’t do anything?” Well sometimes you cross paths with a person like this and you can’t do anything. Justifying a family that doesn’t want to leave the neighborhood because someone is threatening them is the same argument that one could use to ask why a woman doesn’t leave the house when the husband threatens her. In the case of a mistreated woman we assume that against such violence there is nothing to do but to leave. In this case, many people keep on defending the idea that one has to stand his ground, and it has to do with the fact that he is a man.
People think that if you let yourself be undermined by another man you are not man enough. I’m absolutely convinced that domestic violence in which a woman is the abuser towards the man is much more prominent than what we think or find in surveys. Because from the get-go, to say that your woman mistreats you is like admitting that you are not a man, especially in Latin American societies. Certainly these are perennially male-chauvinist societies, but a woman can still inflict great psychological violence on a man. In my film I feel like the female character is to an extent very violent towards the protagonist. She pushes him to the edge, she tells him he is not good enough, then she divorces him, I believe this is also very real.
Aguilar: Being a Latin American director, how has your experience at international festivals been? Your film has been so well received, and you have won several awards in a short time.
Fernandez Almendras: First, the decision to go to Sundance was taken because we felt that it is a film that can work in the American market, in fact we got distribution at Sundance. The film will be released by Film Movement in the U.S. and Canada in the Fall. It’s a film that has certain genre elements, and there is great tension, which are qualities that I think help the film. Showing it to American audiences will be very helpful for the film, and for myself in the future steps I want to take as a filmmaker.
Aguilar: Would you ever considered making a film in Hollywood? Or perhaps make a film with a greater budget and more exposure?
Fernandez Almendras: I would like to work with perhaps a bigger budget but never at the level of a blockbuster, which is something very “Hollywood”. The obstacles would be too many, and I don’t think Hollywood is interested is something so strange as what I do. Even being something like “To Kill a Man” that connects with audiences, in formal terms, it is not a common film. Hollywood budgets come with many artistic compromises. In Hollywood no one can stand 20 minutes without dialogue. [Laughs)
Aguilar: Are there any American filmmakers that have influenced your work?
Fernandez Almendras: I watched a lot of American films when I started liking cinema, around the 90s. It was mostly American cinema from the 60s and 70s when there was like a re-founding of classic American cinema and the emergence of filmmaker like Scorsese, Brian De Palma, Coppola, or the psychological thrillers of Alan Pakula , those were very important influences at the time.
Aguilar: Why do you think your film has connected with the diverse jurors throughout the film’s festival run?
Fernandez Almendras: Just like with my two previous films, I’ve always thought my films are not cryptic. They are films that the audience won’t understand or that they are going to have a hard time connecting to them. They are films that demand a certain attention. Especially the other two, this one I feel is a bit more open. I think people respond to “To Kill a Man” because in its own way, it’s a film that works. When it needs to create tension there is tension, when it needs to create suspense there is suspense, when it needs a particular emotion it is there. It is a visceral film that works, although the way in which it reaches those emotions is different from what many viewers might be used to.
Aguilar: What are your future projects? What will follow the success of “To Kill a Man”?
Fernandez Almendras: I’m looking into several possibilities. I have two finished scripts, one of them is much more lighthearted, sort of a comedy with a lot of music which I’d like to make in the south of Chile. The other is a tad bigger; it is a political thriller that deals with the crash between the mining industry and environmentalist groups. Both of these are well on their way, I need to find financing this year and see which one of them happens first.
- 4/9/2014
- by Carlos Aguilar
- Sydney's Buzz
Cartagena – Colombian writer-director Ruben Mendoza’s rural drama Dust on the Tongue, an offbeat, intense piece about the younger generation’s revenge on a tyrannical, patriarchal grandfather, took the Best Film award in the form of an India Catalina statuette at the Cartagena de Indias Film Festival, which wrapped last Wednesday with a screening of John Turturro’s Fading Gigolo, starring Turturro alongside Woody Allen. A jury consisting of Polish filmmaker Pawel Pawlikowski and film writers Wendy Mitchell and Jose Maria Riba also awarded Best Director to Alejandro Fernandez Almendras for his stark family murder drama, the Chile/France coproduction To Kill a
read more...
read more...
- 3/20/2014
- by Jonathan Holland
- The Hollywood Reporter - Movie News
Protagonist Pictures, Wide, Gaumont and TF1 International have concluded fresh deals in Germany with features from this year’s European Film Market.
Protagonist sold Rebecca Miller’s next feature film, the romantic comedy of manners Maggie’s Plan, starring Berlinale jury member Greta Gerwig and Julianne Moore, to Christian Meinke’s Mfa+ FilmDistribution.
Mfa+ previously released Frances Ha, with Gerwig in the title role, and will open Korean film-maker Bong Joon-ho’s Snowpiercer, which screened in the Berlinale’s Forum section, in German cinemas on 3 April.
Deals by French sales agents
French sales company Wide signed a deal with Neue Visionen for Vinko Bresan’s top-grossing Croatian comedy The Priest’s Children, while its documentary sales arm Wide House sold Kenneth Elvebakk’s Norwegian documentary Ballet Boys to Cmv Laservision.
Munich-based distributor Prokino picked up Danish film-maker Jonas Alexander Arnby’s coming-of-age horror film When Animals Dream from Gaumont, and Pro-Fun acquired Chris Mason Johnson’s [link...
Protagonist sold Rebecca Miller’s next feature film, the romantic comedy of manners Maggie’s Plan, starring Berlinale jury member Greta Gerwig and Julianne Moore, to Christian Meinke’s Mfa+ FilmDistribution.
Mfa+ previously released Frances Ha, with Gerwig in the title role, and will open Korean film-maker Bong Joon-ho’s Snowpiercer, which screened in the Berlinale’s Forum section, in German cinemas on 3 April.
Deals by French sales agents
French sales company Wide signed a deal with Neue Visionen for Vinko Bresan’s top-grossing Croatian comedy The Priest’s Children, while its documentary sales arm Wide House sold Kenneth Elvebakk’s Norwegian documentary Ballet Boys to Cmv Laservision.
Munich-based distributor Prokino picked up Danish film-maker Jonas Alexander Arnby’s coming-of-age horror film When Animals Dream from Gaumont, and Pro-Fun acquired Chris Mason Johnson’s [link...
- 2/24/2014
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
Protagonist Pictures, Wide, Gaumont and TF1 International have concluded fresh deals in Germany with features from this year’s European Film Market.
Protagonist sold Rebecca Miller’s next feature film, the romantic comedy of manners Maggie’s Plan, starring Berlinale jury member Greta Gerwig and Julianne Moore, to Christian Meinke’s Mfa+ FilmDistribution.
Mfa+ previously released Frances Ha, with Gerwig in the title role, and will open Korean film-maker Bong Joon-ho’s Snowpiercer, which screened in the Berlinale’s Forum section, in German cinemas on 3 April.
Deals by French sales agents
French sales company Wide signed a deal with Neue Visionen for Vinko Bresan’s top-grossing Croatian comedy The Priest’s Children, while its documentary sales arm Wide House sold Kenneth Elvebakk’s Norwegian documentary Ballet Boys to Cmv Laservision.
Munich-based distributor Prokino picked up Danish film-maker Jonas Alexander Arnby’s coming-of-age horror film When Animals Dream from Gaumont, and Pro-Fun acquired Chris Mason Johnson’s [link...
Protagonist sold Rebecca Miller’s next feature film, the romantic comedy of manners Maggie’s Plan, starring Berlinale jury member Greta Gerwig and Julianne Moore, to Christian Meinke’s Mfa+ FilmDistribution.
Mfa+ previously released Frances Ha, with Gerwig in the title role, and will open Korean film-maker Bong Joon-ho’s Snowpiercer, which screened in the Berlinale’s Forum section, in German cinemas on 3 April.
Deals by French sales agents
French sales company Wide signed a deal with Neue Visionen for Vinko Bresan’s top-grossing Croatian comedy The Priest’s Children, while its documentary sales arm Wide House sold Kenneth Elvebakk’s Norwegian documentary Ballet Boys to Cmv Laservision.
Munich-based distributor Prokino picked up Danish film-maker Jonas Alexander Arnby’s coming-of-age horror film When Animals Dream from Gaumont, and Pro-Fun acquired Chris Mason Johnson’s [link...
- 2/24/2014
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
Video Services Corp (Vsc) and Magnolia Pictures have signed a two-year multi-platform Canadian distribution deal, under which Vsc will release up to 30 films a year exclusively for the Canadian market.
The deal kicked off in January with the release of the award-winning Israeli film Big Bad Wolves, followed in March by Alan Partridge starring Steve Coogan.
Other anticipated 2014 releases include horror anthology The ABCs Of Death 2 and Toronto International Film Festival selections Life’s A Breeze and The Sacrament.
Film Movement has picked up Us rights from Film Factory to Alejandro Fernandez Alembras’ Sundance world premiere To Kill A Man, currently screening at the Efm. The distributor plans an autumn theatrical release in the Us and Canada followed by VOD and DVD roll-out.Music Box Films has picked up North American rights from producer Hc Films to Hernán Guerschuny’s Argentine-Chilean co-production El Critico and plans a late 2014 theatrical release.
The deal kicked off in January with the release of the award-winning Israeli film Big Bad Wolves, followed in March by Alan Partridge starring Steve Coogan.
Other anticipated 2014 releases include horror anthology The ABCs Of Death 2 and Toronto International Film Festival selections Life’s A Breeze and The Sacrament.
Film Movement has picked up Us rights from Film Factory to Alejandro Fernandez Alembras’ Sundance world premiere To Kill A Man, currently screening at the Efm. The distributor plans an autumn theatrical release in the Us and Canada followed by VOD and DVD roll-out.Music Box Films has picked up North American rights from producer Hc Films to Hernán Guerschuny’s Argentine-Chilean co-production El Critico and plans a late 2014 theatrical release.
- 2/7/2014
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Sony Pictures Classics made the first major deal of the Berlinale, nabbing Us and Latin America rights to the competition title "Aloft." The film is the English-language debut of Peruvian filmmaker Claudia LLosa (Oscar-nominated "The Milk of Sorrow") and stars Jennifer Connelly, Cillian Murphy, Melanie Laurent and William Shimell. Connelly plays Nana, a mother working hard to become an artist and healer, while Laurent is a young journalist who tracks down Nana's son (Murphy), abandoned by his mother 20 years earlier. The story unfolds as the two begin to rebuild a relationship. Llosa has a strong history with Berlin, as "The Milk of Sorrow" also scored the festival's Golden Bear in 2009. Meanwhile, Film Movement has taken North American rights for "To Kill a Man," also screening in Berlin. The deal was struck in the final days of Sundance, and finalized at the Berlinale. Directed by Chilean Alejandro Fernandez Almendres, the buzzy...
- 2/7/2014
- by Beth Hanna
- Thompson on Hollywood
It's hard to tell what, if it gets a big response at Sundance, will actually translate to mainstream audiences (and, hopefully, Oscar gold). For every crossover sensation, like "Little Miss Sunshine," there are a dozen examples, like "Happy, Texas," of films that were rapturously received at the festival but left audiences befuddled. (Just look at "Fruitvale Station," which won the big prize last year but only did Ok box office last summer and failed to secure any major Oscar nominations.) Well, the winners for this year's festival have been announced. It remains to be seen how well they'll do, out in the wild.
The big winner was "Whiplash," writer-director Damien Chazelle's drama that stars Miles Teller as a jazz drummer and J.K. Simmons as his hard-ass instructor. The film won both the grand jury prize and the audience award. As Variety points out, it's the second year in a...
The big winner was "Whiplash," writer-director Damien Chazelle's drama that stars Miles Teller as a jazz drummer and J.K. Simmons as his hard-ass instructor. The film won both the grand jury prize and the audience award. As Variety points out, it's the second year in a...
- 1/27/2014
- by Drew Taylor
- Moviefone
Miles Teller in Whiplash Photo: Daniel McFadden Damien Chazelle's jazz drumming drama Whiplash beat a path to the Grand Jury Prize at the Sundance Film Festival. The film, which is based on the short which won the top prize at Sundance last year, stars Miles Teller as a driven young musician who locks horns with a sadistic conductor (Jk Simmons).
The World Dramatic prize went to Alejandro Fernandez for To Kill A Man, with Andrew Droz Palermo and Tracy Droz Tragos taking home the Us Grand Jury Prize for documenatry for Rich Hill and the World Cinema Grand Jury Documentary prize going to Talal Derki for Return To Homs.
The full list of awards is below...
The World Cinema Jury Prize: Documentary Return to Homs, dir Talal Derki
The World Cinema Jury Prize: Dramatic To Kill A Man, Alejandro Fernandez
Grand Jury Prize: Documentary Rich Hill, Tracy Droz Tragos...
The World Dramatic prize went to Alejandro Fernandez for To Kill A Man, with Andrew Droz Palermo and Tracy Droz Tragos taking home the Us Grand Jury Prize for documenatry for Rich Hill and the World Cinema Grand Jury Documentary prize going to Talal Derki for Return To Homs.
The full list of awards is below...
The World Cinema Jury Prize: Documentary Return to Homs, dir Talal Derki
The World Cinema Jury Prize: Dramatic To Kill A Man, Alejandro Fernandez
Grand Jury Prize: Documentary Rich Hill, Tracy Droz Tragos...
- 1/26/2014
- by Amber Wilkinson
- eyeforfilm.co.uk
AMC/Sundance Channel Global has acquired six titles from the Sundance Film Festival for exclusive international premieres this spring.
Titles acquired for all international territories where the Sundance Channel is broadcast include Mina Djukic’s The Disobedient, Geetu Mohandas’ Liar’s Dice, Tim Sutton’s Memphis and Sterlin Harjo’s This May Be the Last Time.
Sydney Freeland’s Drunktown’s Finest has been acquired for Asia (excluding Malaysia), Benelux, Eastern Europe, France, Iberia and Latin America, while Alejandro Fernandez Almendras’ To Kill a Man has been picked up for Asia, Eastern Europe, the Middle East and North Africa.
The deals were negotiated by Gail Gendler, senior director of acquisitions, AMC/Sundance Channel Global.
Bruce Tuchman, president of AMC/Sundance Channel Global, announced the deals from Park City, Utah. Tuchman commented: “We’re excited to acquire a terrific selection of movies fresh from the 2014 Sundance Film Festival to debut exclusively on Sundance Channel this spring.
“The channel...
Titles acquired for all international territories where the Sundance Channel is broadcast include Mina Djukic’s The Disobedient, Geetu Mohandas’ Liar’s Dice, Tim Sutton’s Memphis and Sterlin Harjo’s This May Be the Last Time.
Sydney Freeland’s Drunktown’s Finest has been acquired for Asia (excluding Malaysia), Benelux, Eastern Europe, France, Iberia and Latin America, while Alejandro Fernandez Almendras’ To Kill a Man has been picked up for Asia, Eastern Europe, the Middle East and North Africa.
The deals were negotiated by Gail Gendler, senior director of acquisitions, AMC/Sundance Channel Global.
Bruce Tuchman, president of AMC/Sundance Channel Global, announced the deals from Park City, Utah. Tuchman commented: “We’re excited to acquire a terrific selection of movies fresh from the 2014 Sundance Film Festival to debut exclusively on Sundance Channel this spring.
“The channel...
- 1/23/2014
- by ian.sandwell@screendaily.com (Ian Sandwell)
- ScreenDaily
Opening with a deliberately unsettling static forest landscape and adorned with an equally intriguing score, Chilean director Alejandro Fernandez Almendras' third feature "To Kill a Man" is a quietly powerful character study that meditates on the ramifications of a family man's choice to defend his kind. Constantly harassed by the neighborhood's thugs without showing any visible intention to retaliate, Jorge (Daniel Candia) is a working class man whose sole priority is his family's well-being. This perennially expected duty from males in patriarchal societies doesn't quite fit his weakened spirit: His passive demeanor prevents him from protecting them, as does his debilitating diabetes. As emasculated as the character is presented, he works at a forest research facility doing heavy physical labor in the ruggedness of nature. On the night of his son Jorgito’s 18th birthday, Jorge is attacked by Kalule (Daniel Antivilo), the vicious leader of a ruthless local gang,...
- 1/19/2014
- by Carlos Aguilar
- Indiewire
The Sundance Film Festival has unveiled its 2014 Competition lineup, made up of several categories. The 30th edition of the event will take place between January 16th-26th in the new year.
U.S. Dramatic Competition
Camp X-Ray (Peter Sattler)
Cold in July (Jim Mickle)
Dear White People (Justin Simien)
Fishing Without Nets (Cutter Hodierne)
John's Pocket (John Slattery)
Happy Christmas (Joe Swanberg)
Hellion (Kat Candler)
Infinitely Polar Bear (Maya Forbes)
Jamie Marks is Dead (Carter Smith)
Kumiko, the Treasure Hunter (David Zellner)
Life After Beth (Jeff Baena)
Low Down (Joe Preiss)
The Skeleton Twins (Craig Johnson)
The Sleepwalker (Mona Fastvold)
Song One (Kate Barker-Froyland)
Whiplash (Damien Chazelle)
U.S. Documentary Competition
Alive Inside: A Story of Music & Memory (Michael Rossato-Bennett)
All the Beautiful Things (John Harkrider)
Captivated: The Trials of Pamela Smart (Jeremiah Zagar)
The Case Against 8 (Ben Cotner, Ryan White)
Cesar's Last Fast (Richard Ray Perez, Lorena Parlee...
U.S. Dramatic Competition
Camp X-Ray (Peter Sattler)
Cold in July (Jim Mickle)
Dear White People (Justin Simien)
Fishing Without Nets (Cutter Hodierne)
John's Pocket (John Slattery)
Happy Christmas (Joe Swanberg)
Hellion (Kat Candler)
Infinitely Polar Bear (Maya Forbes)
Jamie Marks is Dead (Carter Smith)
Kumiko, the Treasure Hunter (David Zellner)
Life After Beth (Jeff Baena)
Low Down (Joe Preiss)
The Skeleton Twins (Craig Johnson)
The Sleepwalker (Mona Fastvold)
Song One (Kate Barker-Froyland)
Whiplash (Damien Chazelle)
U.S. Documentary Competition
Alive Inside: A Story of Music & Memory (Michael Rossato-Bennett)
All the Beautiful Things (John Harkrider)
Captivated: The Trials of Pamela Smart (Jeremiah Zagar)
The Case Against 8 (Ben Cotner, Ryan White)
Cesar's Last Fast (Richard Ray Perez, Lorena Parlee...
- 12/6/2013
- by Notebook
- MUBI
It’s among the two sections that we usually don’t put much focus on (yes, we love subtitles, but we’re more concerned, naturally more inclined to cover the deluge of American Indie film offerings) but among the dozen film selections in the World Cinema Dramatic Comp section we find the latest from Argentinean director Natalia Smirnoff (she gave us the Berlin Film Fest winner The Puzzle) who returns with Lock Charmer, we find the highly anticipated film from Hong Khaou (Lilting) and a title which we start speculating on last year in Stuart Murdoch’s God Help the Girl which stars Emily Browning, Olly Alexander and Hannah Murray (see pic above). Also worth the mention is the directing debut from writer Eskil Vogt – who co-wrote Reprise and Oslo, August 31st for Joachim Trier. Here are the dozen selected.
“52 Tuesdays” (Australia) — Directed by Sophie Hyde, written by Matthew Cormack.
“52 Tuesdays” (Australia) — Directed by Sophie Hyde, written by Matthew Cormack.
- 12/4/2013
- by Eric Lavallee
- IONCINEMA.com
The son of Vicente Fernandez, one of Mexico’s most beloved music personalities, Alejandro Fernandez has become an icon on his own merits. His musical career crosses borders as well as genres, and has also taken him to try his luck as an actor, most notably in the biopic Zapata, where he starred as the legendary Mexican hero. Alejandro Fernandez’s career expands over twenty years, in which he has become the poster child for Regional Mexican Music and has popularized the genre not only in Mexico, but also across Latin America and Spain.
His new album ‘Confidencias’ is his most successful release yet debuting at #1 in 19 countries. The singer will go on a U.S Tour from now until the end of the year, to then embark into his most ambitious World Tour to date.Recently at the Grammy Museum in Los Angeles, Alejandro left his mark by making a donation to the museum, during the ceremony the Councilman for the City Los Angeles, Curren D. Price Jr., declared Septmeber 12th as Alejandro Fernandez Day.
Undoubtedly, Alejandro Fernandez is one of the most recognizable Mexican figures in the U.S, and is proof of the growing presence of Latino talent in the American market. Mr. Fernandez talked to LatinoBuzz about what it means for him to be Mexican, his favorite track in the album, and his latest tour.
Carlos Aguilar: As Mexican artist working in diverse mediums (music/film) how important is for you to be as equally successful in the U.S?
Alejandro Fernandez: It is important for me to be successful wherever my fans are. In the United States there are many Latinos, and non-Latinos, who like Mexican music.
Aguilar: Would you ever like to try your luck in acting again, we haven’t seen you in the big screen since the film Zapata, is that something you would consider?
Fernandez: Yes, it is something I would consider, but at the moment I’m focused on my musical career. I’m completely booked with my new album and tour.
Aguilar: The film Hecho en Mexico, of which you were a part of, tried to highlight the richness of Mexican culture through its music. How do you think your music fits into that spectrum?
Fernandez : I have always sung our Mexican music. I’m very proud of being Mexican and I love our music.
Aguilar: On that same note, what would you say, for you, is the greatest quality of Mexicans as a people? Is it special in any way for you to perform here in the U.S for Mexican Independence Day?
Fernandez: Mexico has many beautiful qualities that it is hard for me to choose. The culture, the music, the food, the landscape….To celebrate Mexican Independence Day in Las Vegas is a huge honor. I always keep in mind that I’m representing Mexico and Mexican culture, and it is something I take very seriously, and which makes me feel very proud. It is something I look forward to every year.
Aguilar:Your latest release “Confidencias”, what secrets or unheard things about love and romanticism does it have to tell the audience? Given that the title hints at things one only confides on a loved one.
Fernandez: The song “Me Olvide de Vivir” (I Forgot to Live) on this album is very meaningful to me. I relate a lot to the lyrics of the song, and I know my father does too. When we were recording it, it was something very emotional, because we both felt what the song says, which is that sometimes we are so busy or doing our own things and you forget about living and enjoying life’s moments. It is also very meaningful to me because it had been over 20 years, since my first album, that I had been in the recording studio with my father. It was a very fulfilling experience personally, artistically, and about family. I really enjoyed it in every aspect. The song turned out incredible.
Aguilar: You have been successful in both the Regional Mexican Music and Pop genres, how do these affect or influence each other? Which one gives more satisfaction?
Fernandez: My roots and biggest influences come from Mexican music. Neither gives me more satisfaction, I enjoy both of them.
Aguilar: Lastly, what new places will this World Tour take you to? Are there any new countries you are visiting? How do you feel to be an iconic representation of Mexico around the world?
Fernandez: We are getting started in the U.S, and next year we will be in Central and South America, and Spain. I hope to visit many new cities and also reconnect with my audience.
His new album ‘Confidencias’ is his most successful release yet debuting at #1 in 19 countries. The singer will go on a U.S Tour from now until the end of the year, to then embark into his most ambitious World Tour to date.Recently at the Grammy Museum in Los Angeles, Alejandro left his mark by making a donation to the museum, during the ceremony the Councilman for the City Los Angeles, Curren D. Price Jr., declared Septmeber 12th as Alejandro Fernandez Day.
Undoubtedly, Alejandro Fernandez is one of the most recognizable Mexican figures in the U.S, and is proof of the growing presence of Latino talent in the American market. Mr. Fernandez talked to LatinoBuzz about what it means for him to be Mexican, his favorite track in the album, and his latest tour.
Carlos Aguilar: As Mexican artist working in diverse mediums (music/film) how important is for you to be as equally successful in the U.S?
Alejandro Fernandez: It is important for me to be successful wherever my fans are. In the United States there are many Latinos, and non-Latinos, who like Mexican music.
Aguilar: Would you ever like to try your luck in acting again, we haven’t seen you in the big screen since the film Zapata, is that something you would consider?
Fernandez: Yes, it is something I would consider, but at the moment I’m focused on my musical career. I’m completely booked with my new album and tour.
Aguilar: The film Hecho en Mexico, of which you were a part of, tried to highlight the richness of Mexican culture through its music. How do you think your music fits into that spectrum?
Fernandez : I have always sung our Mexican music. I’m very proud of being Mexican and I love our music.
Aguilar: On that same note, what would you say, for you, is the greatest quality of Mexicans as a people? Is it special in any way for you to perform here in the U.S for Mexican Independence Day?
Fernandez: Mexico has many beautiful qualities that it is hard for me to choose. The culture, the music, the food, the landscape….To celebrate Mexican Independence Day in Las Vegas is a huge honor. I always keep in mind that I’m representing Mexico and Mexican culture, and it is something I take very seriously, and which makes me feel very proud. It is something I look forward to every year.
Aguilar:Your latest release “Confidencias”, what secrets or unheard things about love and romanticism does it have to tell the audience? Given that the title hints at things one only confides on a loved one.
Fernandez: The song “Me Olvide de Vivir” (I Forgot to Live) on this album is very meaningful to me. I relate a lot to the lyrics of the song, and I know my father does too. When we were recording it, it was something very emotional, because we both felt what the song says, which is that sometimes we are so busy or doing our own things and you forget about living and enjoying life’s moments. It is also very meaningful to me because it had been over 20 years, since my first album, that I had been in the recording studio with my father. It was a very fulfilling experience personally, artistically, and about family. I really enjoyed it in every aspect. The song turned out incredible.
Aguilar: You have been successful in both the Regional Mexican Music and Pop genres, how do these affect or influence each other? Which one gives more satisfaction?
Fernandez: My roots and biggest influences come from Mexican music. Neither gives me more satisfaction, I enjoy both of them.
Aguilar: Lastly, what new places will this World Tour take you to? Are there any new countries you are visiting? How do you feel to be an iconic representation of Mexico around the world?
Fernandez: We are getting started in the U.S, and next year we will be in Central and South America, and Spain. I hope to visit many new cities and also reconnect with my audience.
- 9/25/2013
- by Carlos Aguilar
- Sydney's Buzz
Eddie “Piolin” Sotelo may now have his own radio channel and show on SiriusXM, but that’s not stopping the legal worries from accumulating.
On Monday, the Spanish-language radio star filed a civil extortion lawsuit against six former employees from his Univision morning show “Piolin Por La Mañana” according to a press release. Sotelo accuses his past colleagues of attempting to blackmail him out almost $5 million in exchange for not going public with “false and misleading allegations of sexual harassment and workplace humiliation.”
The lawsuit states the six defendants made their monetary demands last week via telephone and in writing, threatening to copy the sexual harassment allegations filed by former employee Alberto “Beto” Cortez the week after the famed Univision morning show was abruptly cancelled in July.
Sotelo’s attorney Jeffrey Spitz filed the lawsuit against Domingo Rodrigo Ochoa, Tomas Alejandro Fernandez, Samuel "Cusuco" Heredia, Sergio "Checo" Vera, Gerardo "Chiquirruco" Palencia,...
On Monday, the Spanish-language radio star filed a civil extortion lawsuit against six former employees from his Univision morning show “Piolin Por La Mañana” according to a press release. Sotelo accuses his past colleagues of attempting to blackmail him out almost $5 million in exchange for not going public with “false and misleading allegations of sexual harassment and workplace humiliation.”
The lawsuit states the six defendants made their monetary demands last week via telephone and in writing, threatening to copy the sexual harassment allegations filed by former employee Alberto “Beto” Cortez the week after the famed Univision morning show was abruptly cancelled in July.
Sotelo’s attorney Jeffrey Spitz filed the lawsuit against Domingo Rodrigo Ochoa, Tomas Alejandro Fernandez, Samuel "Cusuco" Heredia, Sergio "Checo" Vera, Gerardo "Chiquirruco" Palencia,...
- 8/26/2013
- by The Huffington Post
- Huffington Post
Film-makers from Georgia were the big winners at the Open Doors awards ceremony at the Locarno Film Festival.
The prizes were handed out at the end of the 11th edition of Locarno’s four-day co-production lab devoted to cinema from the South Caucasus, with a focus on Armenia, Azerbaijan and Georgia.
See You In Chechnya, a feature documentary about war correspondents, won the Open Doors Production Award worth $22,600 (20,000 Chf).
The film, directed by Georgia’s Alexander Kvatashidze, also won the Arte Open Doors Award worth $8,000 (€6,000). Set for release next year, it already has French, Dutch and Estonian partners on board.
Abysm, directed by Armenia’s Oksana Mirzoyan, picked up the Open Doors Development Award while Madona, by Georgian director Nino Gogua, won the Open Doors Post-Production Award. Both prizes are worth $16,000 (15,000 Chf).
Sleeping Lessons, the second feature from Georgia’s Rusudan Pirvelli, won the Cnc Award, worth $9,300 (€7,000).
The 12 projects that participated in the co-pro lab were selected...
The prizes were handed out at the end of the 11th edition of Locarno’s four-day co-production lab devoted to cinema from the South Caucasus, with a focus on Armenia, Azerbaijan and Georgia.
See You In Chechnya, a feature documentary about war correspondents, won the Open Doors Production Award worth $22,600 (20,000 Chf).
The film, directed by Georgia’s Alexander Kvatashidze, also won the Arte Open Doors Award worth $8,000 (€6,000). Set for release next year, it already has French, Dutch and Estonian partners on board.
Abysm, directed by Armenia’s Oksana Mirzoyan, picked up the Open Doors Development Award while Madona, by Georgian director Nino Gogua, won the Open Doors Post-Production Award. Both prizes are worth $16,000 (15,000 Chf).
Sleeping Lessons, the second feature from Georgia’s Rusudan Pirvelli, won the Cnc Award, worth $9,300 (€7,000).
The 12 projects that participated in the co-pro lab were selected...
- 8/13/2013
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
Now in its third year, Locarno’s Carte Blanche will shine the light on Chilean films in post production.
Locarno is to put the spotlight on films from Chile as part of its Carte Blanche initiative, now in its third year.
Seven Chilean films in post production will be screened to international sales agents and festival programmers who are participating in the festival’s Industry Days (Aug 10-12).
A jury will present the best film with $10,800 (10,000Chf) towards the completion of the project.
The initiative, which aims to showcase a number of films in post production from a particular country, kicked off in 2011 with Colombia and was followed by Mexico.
It is supported by the Swiss Agency for Development and Cooperation (Sdc) of the Federal Department of Foreign Affairs (Fdfa).
Carte Blanche takes place during the 66th edition of the Locarno Film Festival, which runs Aug 7-17.
The selected films are:
Raul by Matias Venables Brito, produced...
Locarno is to put the spotlight on films from Chile as part of its Carte Blanche initiative, now in its third year.
Seven Chilean films in post production will be screened to international sales agents and festival programmers who are participating in the festival’s Industry Days (Aug 10-12).
A jury will present the best film with $10,800 (10,000Chf) towards the completion of the project.
The initiative, which aims to showcase a number of films in post production from a particular country, kicked off in 2011 with Colombia and was followed by Mexico.
It is supported by the Swiss Agency for Development and Cooperation (Sdc) of the Federal Department of Foreign Affairs (Fdfa).
Carte Blanche takes place during the 66th edition of the Locarno Film Festival, which runs Aug 7-17.
The selected films are:
Raul by Matias Venables Brito, produced...
- 7/26/2013
- ScreenDaily
London, May 17: Christina Aguilera silenced the critics of her body by tweeting an image that shows off her new slimline figure.
The 32-year-old pop diva, who put on weight after giving birth to her son Max 5 years back, was seen hitting the gym in recent times.
The photograph, from the set of the music video for her single 'Hoy Tengo Ganas De Ti!' with Mexican singer Alejandro Fernandez, shows her wearing just a small black skirt and bra top, as she leans from a balcony window overlooking the sea, the Sun reported.
The 5ft 2in singer tweeted along with the image, "On set shooting music video with @Alexoficial for #HoyTengoGanasDeTi." (Ani)...
The 32-year-old pop diva, who put on weight after giving birth to her son Max 5 years back, was seen hitting the gym in recent times.
The photograph, from the set of the music video for her single 'Hoy Tengo Ganas De Ti!' with Mexican singer Alejandro Fernandez, shows her wearing just a small black skirt and bra top, as she leans from a balcony window overlooking the sea, the Sun reported.
The 5ft 2in singer tweeted along with the image, "On set shooting music video with @Alexoficial for #HoyTengoGanasDeTi." (Ani)...
- 5/17/2013
- by Smith Cox
- RealBollywood.com
She's ready for her close-up!
Christina Aguilera Tweeted a photo from the set of her new video on Tuesday, giving fans a clear look at her slim figure.
"On set shooting music video with @Alexoficial for #HoyTengoGanasDeTi," she writes.
In the image, The Voice judge, who will return as a mentor when season 5 picks up Sept. 23, shows off her curves by posing in a black bra and skin-tight skirt.
Shot on an opulent balcony overlooking the ocean, the photo also reflects the sultry romanticism of her duet with Mexican singer Alejandro Fernandez. The song is a cover of Miguel Gallardo...
Christina Aguilera Tweeted a photo from the set of her new video on Tuesday, giving fans a clear look at her slim figure.
"On set shooting music video with @Alexoficial for #HoyTengoGanasDeTi," she writes.
In the image, The Voice judge, who will return as a mentor when season 5 picks up Sept. 23, shows off her curves by posing in a black bra and skin-tight skirt.
Shot on an opulent balcony overlooking the ocean, the photo also reflects the sultry romanticism of her duet with Mexican singer Alejandro Fernandez. The song is a cover of Miguel Gallardo...
- 5/16/2013
- by Mary Margaret
- People.com - TV Watch
She's ready for her close-up! Christina Aguilera Tweeted a photo from the set of her new video on Tuesday, giving fans a clear look at her slim figure. "On set shooting music video with @Alexoficial for #HoyTengoGanasDeTi," she writes.In the image, The Voice judge, who will return as a mentor when season 5 picks up Sept. 23, shows off her curves by posing in a black bra and skin-tight skirt. Shot on an opulent balcony overlooking the ocean, the photo also reflects the sultry romanticism of her duet with Mexican singer Alejandro Fernandez. The song is a cover of Miguel Gallardo...
- 5/16/2013
- by Mary Margaret
- PEOPLE.com
Christina looks amazing on the set for her upcoming music video for ‘Hoy Tengo Ganas De Ti’ with Alejandro Fernandez — her hard work is definitely paying off! Do you love her new slim body?
Christina Aguilera debuted her over 20 pound weight loss at The Voice‘s Season 4 premiere in March and she’s been sticking to her diet and exercise for sure, because in this brand new photo she tweeted on May 15, she looks amazing!
Christina Aguilera’s Weight Loss — Looks Sexy & Slim
Christina showed off her new body including her incredibly trim stomach wearing a black bra and a skin-tight mini skirt. She posed on a balcony overlooking the ocean — gorgeous! Her platinum blonde hair was blowing in the wind as she posed with her arms up. Her lashes looked long and gorgeous and she rocked a pretty red lip. Is this the best she’s ever looked?
Christina...
Christina Aguilera debuted her over 20 pound weight loss at The Voice‘s Season 4 premiere in March and she’s been sticking to her diet and exercise for sure, because in this brand new photo she tweeted on May 15, she looks amazing!
Christina Aguilera’s Weight Loss — Looks Sexy & Slim
Christina showed off her new body including her incredibly trim stomach wearing a black bra and a skin-tight mini skirt. She posed on a balcony overlooking the ocean — gorgeous! Her platinum blonde hair was blowing in the wind as she posed with her arms up. Her lashes looked long and gorgeous and she rocked a pretty red lip. Is this the best she’s ever looked?
Christina...
- 5/16/2013
- by Dory Larrabee
- HollywoodLife
Christina Aguilera is transforming her look -- and it's really working for her!After embracing her curvier figure for a few seasons of "The Voice," the singer has recently been on a major slim down. And, from the looks of it, she's really dropped some serious weight.The 32-year-old flaunted her slim new body in a Facebook photo on Wednesday, posting a photo of her in a black bra and matching skirt. And we're seeing some abs in there!The singer shared the photo while filming a music video with Alejandro Fernandez.Get ready to see a lot more X-tina in the recent future, as it was just announced she'll be coming back after a season away from "The Voice." Are you glad she's returning? Sound off below! Read more...
- 5/16/2013
- by tooFab Staff
- TooFab
Christina Aguilera showed off her slim figure in a bra and skirt on the set of an upcoming new music video on Wednesday.
Aguilera donned a black bra and bodycon mini-skirt, showing off the weight loss she first debuted back in March, on the set of her music video for "Hoy Tengo Ganas De Ti" -- a track she collaborated on with Alejandro Fernandez. With red lipstick and platinum curls, the 32-year-old resembled a pin-up beauty from yesteryear.
She tweeted a photo of her slimmer figure, against an ocean backdrop, for fans.
On set shooting music video with @alexoficial for #HoyTengoGanasDeTi twitter.com/xtina/status/3…
— Christina Aguilera (@xtina) May 15, 2013
The singer has previously had to defend her curvy figure from critics who lambasted her in the press for gaining weight. In October, Aguilera said she embraces her body and the changes that have happened over the years -- through motherhood,...
Aguilera donned a black bra and bodycon mini-skirt, showing off the weight loss she first debuted back in March, on the set of her music video for "Hoy Tengo Ganas De Ti" -- a track she collaborated on with Alejandro Fernandez. With red lipstick and platinum curls, the 32-year-old resembled a pin-up beauty from yesteryear.
She tweeted a photo of her slimmer figure, against an ocean backdrop, for fans.
On set shooting music video with @alexoficial for #HoyTengoGanasDeTi twitter.com/xtina/status/3…
— Christina Aguilera (@xtina) May 15, 2013
The singer has previously had to defend her curvy figure from critics who lambasted her in the press for gaining weight. In October, Aguilera said she embraces her body and the changes that have happened over the years -- through motherhood,...
- 5/16/2013
- by Cavan Sieczkowski
- Huffington Post
Damn, girl! Christina Aguilera looked like a knockout on the set of Alejandro Fernandez's "Hoy Tengo Ganas de Ti" music video on Wednesday, May 15. Showing off her slimmer shape in a midriff-baring bra top and black pencil skirt, the 32-year-old Grammy winner struck a serene pose while overlooking the ocean from her balcony. Aguilera shared the picture via her Twitter and Facebook accounts. Already No. 1 in more than 17 countries, "Hoy Tengo Ganas de Ti" serves as the theme song for the popular Spanish-language soap [...]...
- 5/16/2013
- Us Weekly
She’s always looking to broaden her horizons, and Christina Aguilera joined forces with Alejandro Fernandez on a brand new song.
The “Ain’t No Other Man” singer and her hunky duet partner sound amazing on “Hoy Tengo Ganas De Ti,” the new theme for “La Tempestad.”
In related news, Aguilera was named to Time Magazine’s 100 list recently, having been interviewed by living legend Celine Dion.
Christina tweeted, “I’m very honored to be part of the #TIME100 list and for the wonderful words from Celine Dion. Thank you!”...
The “Ain’t No Other Man” singer and her hunky duet partner sound amazing on “Hoy Tengo Ganas De Ti,” the new theme for “La Tempestad.”
In related news, Aguilera was named to Time Magazine’s 100 list recently, having been interviewed by living legend Celine Dion.
Christina tweeted, “I’m very honored to be part of the #TIME100 list and for the wonderful words from Celine Dion. Thank you!”...
- 5/9/2013
- GossipCenter
#61. Alejandro Fernandez Almendras’ Matar a un Hombre
Gist: Jorge is a hardworking family man, who lives with his wife and two of his three sons. He earns just enough to cover their basic necessities. One afternoon, while returning home from work, he is mugged by Kalule, a well-known delinquent from his neighborhood. Jorge escapes injury in the incident. But his older son decides to confront Kalule to recover the little that was taken from his father.
Prediction: Already a visitor on the Croisette for Huacho (2009 Critics’ Week), shooting on this France-Chili co-production began in August of last year, so this 2012 Atelier project has the potential of being the first of the dozen plus projects out of the gate and into a Cannes showing. Tonally this might be a better match for the Un Certain Regard slate.
prev next...
Gist: Jorge is a hardworking family man, who lives with his wife and two of his three sons. He earns just enough to cover their basic necessities. One afternoon, while returning home from work, he is mugged by Kalule, a well-known delinquent from his neighborhood. Jorge escapes injury in the incident. But his older son decides to confront Kalule to recover the little that was taken from his father.
Prediction: Already a visitor on the Croisette for Huacho (2009 Critics’ Week), shooting on this France-Chili co-production began in August of last year, so this 2012 Atelier project has the potential of being the first of the dozen plus projects out of the gate and into a Cannes showing. Tonally this might be a better match for the Un Certain Regard slate.
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- 4/3/2013
- by Eric Lavallee
- IONCINEMA.com
With all the negative publicity in the media about the drug cartels and violence, the documentary Hecho En Mexico is a welcome change that captures Mexico’s beautiful side with all its richness in culture and music.
Hecho En Mexico can best be described as a musical road trip through Mexico as the filmmakers explore the richness of Mexican music from the traditional to the modern mixture of the various genres with Mexico’s popular musical figures and local folk artists. From traditional music to pop rock, to rap, the Spanish experiment takes the viewer through a musical odyssey covering every possible form of expression through songs that tell a story. Watch Trailer
Kinky, Lila Downs, Natalia Lafourcade, Alejandro Fernandez, Los Tucanes de Tijuana are only a
Read more...
Hecho En Mexico can best be described as a musical road trip through Mexico as the filmmakers explore the richness of Mexican music from the traditional to the modern mixture of the various genres with Mexico’s popular musical figures and local folk artists. From traditional music to pop rock, to rap, the Spanish experiment takes the viewer through a musical odyssey covering every possible form of expression through songs that tell a story. Watch Trailer
Kinky, Lila Downs, Natalia Lafourcade, Alejandro Fernandez, Los Tucanes de Tijuana are only a
Read more...
- 11/30/2012
- CineMovie
Described as neither a documentary nor a work of fiction, Hecho En Mexico is a homage to all things Mexico. Actor Diego Luna, musical artists Alejandro Fernandez, Chavela Vargas, Julieta Venegas, and Natalia Lafourcade contribute interviews and music to the film. Watch the trailer.
Directed by Duncan Bridgeman, the film focuses on the positive influences out of Mexico given the negative press out of the country south of the border because of the drug war. Mexico's artist lend their voices to Hecho En Mexico through conversations and music about universal themes such as life and death, border issues, the Virgin de Guadalupe, and so much more. With striking visuals, the movie captures the rich diversity of Mexican geography, art, music, and culture. It is a rare look at the country's real identity, and an unparalleled celebration of what it truly means to be
Read more...
Directed by Duncan Bridgeman, the film focuses on the positive influences out of Mexico given the negative press out of the country south of the border because of the drug war. Mexico's artist lend their voices to Hecho En Mexico through conversations and music about universal themes such as life and death, border issues, the Virgin de Guadalupe, and so much more. With striking visuals, the movie captures the rich diversity of Mexican geography, art, music, and culture. It is a rare look at the country's real identity, and an unparalleled celebration of what it truly means to be
Read more...
- 10/26/2012
- CineMovie
Pantelion Films has released the official trailer for the music history documentary ‘Hecho en Mexico,’ which was written, directed and produced by Duncan Bridgeman. The trailer features several of the movie’s stars, including Alejandro Fernandez, Kinky, Carla Morrison and Chavela Vargas. ‘Hecho en Mexico,’ which is set to be theatrically released on November 30, features original songs, conversations, reflections, wisdom and humor from many of the greatest performers and minds from Mexico. The film showcases the richness of Mexican music, including traditional, pop rock and rap. The movie also features interviews with such known Mexican personalities as Diego Luna and Lila Downs. Watch the official trailer from ‘Hecho en Mexico’ [ Read More ]
The post Official Trailer for Duncan Bridgeman’s Hecho en Mexico Released appeared first on Shockya.com.
The post Official Trailer for Duncan Bridgeman’s Hecho en Mexico Released appeared first on Shockya.com.
- 10/21/2012
- by Karen Benardello
- ShockYa
This contest has wrapped up and our winners are: Joe Lipari, R.L. Scott, Ricky Celis, Joseph Falci, Jon Van Dyke, Jonathan Welch, Arvin Santiago, Alejandro Fernandez, Adi Ekowibowo, Etienne Wortham, Harrison Hamill, Derick Fortin, Hanajun Chung, George Zelayandia, and Chris Doody.Fret not if you entered and didn't win ... the Hollywood Arclight will kick off the public screenings with a Thursday midnight affair and tickets are available now online.--------------------------------------Live in La? Want to come to the premiere of The Raid? It just kicked the asses of SXSW audiences and will release in La, New York, San Francisco, Washington DC and Chicago on March 23rd - with more to follow - but before any of that happens The Raid will have an early, official premiere...
- 3/16/2012
- Screen Anarchy
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