Like each of Lisandro Alonso‘s cinematic offerings that came before – La Libertad, Los Muertos, Fantasma and Liverpool – the Un Certain Regard debuted, Fipresci Prize winning Jauja regards the solitary man facing the exactings of life, nature and the human spirit. But something is quite different here. There seems to be some kind of scripted narrative, lavish costuming and even what many would call a proper movie star in the robustly mustachioed Viggo Mortensen. Yet by embracing these glacial shifts in the filmmaking process itself, Alonso has elevated his art from contemplatively ethnographic to something much more strange, exciting, illusive and illuminating.
For the first time in his career, Alonso parsed out something resembling a working feature length script in partnership with the Argentinian poet Fabián Casas whom he’d worked with previously on untitled Albert Serra addressed short and took on Mortensen as both his leading man producer on the project,...
For the first time in his career, Alonso parsed out something resembling a working feature length script in partnership with the Argentinian poet Fabián Casas whom he’d worked with previously on untitled Albert Serra addressed short and took on Mortensen as both his leading man producer on the project,...
- 8/25/2015
- by Jordan M. Smith
- IONCINEMA.com
Generally speaking, all a viewer needs to do while watching a Lisandro Alonso film is look and listen. Starting with La Libertad (2001), the Argentine director’s features -- the rest of which are Los Muertos (2004), Fantasma (2006), Liverpool (2008), and now Jauja -- have foregone anything resembling conventional, narrative-based filmmaking. Alonso’s recurring subject -- the relationship between people and the landscapes that surround them -- is disarmingly primal, showing non-actors conduct their daily business (La Libertad’s subject is a woodcutter, for instance) in something resembling real-time. Alonso is not interested in backstory or psychology, at least not in the ways these are usually broached and exploited in mainstre...
- 10/8/2014
- Village Voice
The Film Society of Lincoln Center and Jaeger-LeCoultre revealed award-winning Argentine filmmaker Lisandro Alonso as their 2014 Filmmaker in Residence. The announcement took place last night at a dinner in New York co-hosted by Charles Finch, Lesli Klainberg, Bennett Miller, Todd Solondz, and Lisa Cortes. Last year the role was held by director Andrea Arnold ("Fish Tank," "Wuthering Heights"), who utilized the post to develop her next film "American Honey" and work within the local community, speaking at New York Film Festival panels and nearby high schools. Read More: Here's Why This Was the Best Cannes Film Festival in Years Alonso's work had been described as minimalist comparable to Tarkovsky blending documentary and film. Alonso has directed five features, including "La Libertad" (2001), "Los Muertos" (2004), "Fantasma" (2006), and "Liverpool" (2008). This year he debuted his most recent,...
- 6/25/2014
- by Oliver MacMahon
- Indiewire
Exclusive: Leading art house sales outfit The Match Factory has revealed details of its packed Cannes slate.
Among the titles the Cologne-based company is presenting on the Croisette are three films in Official Selection.
Alice Rohrwacher ́s second feature, Le Meraviglie is screening in Competition.The film’s cast includes Monica Bellucci.
Rohrwacher, whose Corpo Celeste screened in the Directors’ Fortnight in 2011, worked on the new feature with her regular producer, Carlo Cresto-Dina (Tempesta) in co-production with Switzerland (Amka Films Productions) and Germany (Pola Pandora).
The Match Factory is also handling Snow in Paradise, the first feature film by renowned UK editor, Andrew Hulme. The film is screening in Un Certain Regard.
The film is based on the true story of Martin Askew who grew up in a crime-riddled east end of London in a culture of violence.
The sales outfit is also representing Cannes regular Kornél Mundruczó’s White God, which will play...
Among the titles the Cologne-based company is presenting on the Croisette are three films in Official Selection.
Alice Rohrwacher ́s second feature, Le Meraviglie is screening in Competition.The film’s cast includes Monica Bellucci.
Rohrwacher, whose Corpo Celeste screened in the Directors’ Fortnight in 2011, worked on the new feature with her regular producer, Carlo Cresto-Dina (Tempesta) in co-production with Switzerland (Amka Films Productions) and Germany (Pola Pandora).
The Match Factory is also handling Snow in Paradise, the first feature film by renowned UK editor, Andrew Hulme. The film is screening in Un Certain Regard.
The film is based on the true story of Martin Askew who grew up in a crime-riddled east end of London in a culture of violence.
The sales outfit is also representing Cannes regular Kornél Mundruczó’s White God, which will play...
- 5/8/2014
- by geoffrey@macnab.demon.co.uk (Geoffrey Macnab)
- ScreenDaily
Director: Lisandro Alonso
Writers: Lisandro Alonso, Fabian Casas
Producers: Ilse Hughan, Andy Kleinman, Viggo Mortensen, Helle Ulsteen
U.S. Distributor: Rights Available
Cast: Viggo Mortensen, Ghita Nørby
We’re used to our favorite auteur Argentinean filmmakers making us wait and this will have been the longest he has been between feature film projects. An expert in the vérité form, the untitled fifth feature following La libertad, Los muertos, Fantasma and Liverpool, Lisandro Alonso teamed with the linguistically versatile Viggo Mortensen for what should be one more distinctly art-house item.
Gist: A father and daughter journey from Denmark to an unknown desert that exists in a realm beyond the confines of civilization.
Release Date: He has been in the Directors’ Fortnight and Un Certain Regard sections at the Cannes Film Festival. Perhaps he’ll attain the “highest” section of them all with a Main Comp showing…
More Top 200 Most Anticipated Films...
Writers: Lisandro Alonso, Fabian Casas
Producers: Ilse Hughan, Andy Kleinman, Viggo Mortensen, Helle Ulsteen
U.S. Distributor: Rights Available
Cast: Viggo Mortensen, Ghita Nørby
We’re used to our favorite auteur Argentinean filmmakers making us wait and this will have been the longest he has been between feature film projects. An expert in the vérité form, the untitled fifth feature following La libertad, Los muertos, Fantasma and Liverpool, Lisandro Alonso teamed with the linguistically versatile Viggo Mortensen for what should be one more distinctly art-house item.
Gist: A father and daughter journey from Denmark to an unknown desert that exists in a realm beyond the confines of civilization.
Release Date: He has been in the Directors’ Fortnight and Un Certain Regard sections at the Cannes Film Festival. Perhaps he’ll attain the “highest” section of them all with a Main Comp showing…
More Top 200 Most Anticipated Films...
- 3/3/2014
- by Eric Lavallee
- IONCINEMA.com
The 16th annual Festivalissimo, the Ibero-Latin-American film festival of Montreal, opens May 18th and runs until June 5 with a selection of thirty films culled from the international festival circuit. The competition for the El Sol prize for best feature film, best actor and actress will open with Matías Bize’s La Vida De Los Peces (The Life of Fish, and closes with Federico Vieroj’s La Vida Util (A Useful Life). In addition to the Official Selection films in competition, Festivalissimo also presents a series of films out of competition which represent Latin-American society of the past and present, and a selection of the most commercially successful films at the Latin American box office.
A few must-see films from this year’s lineup:
La Vida Util (A Useful Life) Federico Vieroj, Uruguay-Spain, 2010
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Synopsis:
After twenty-five years, Cinemateca Uruguaya’s most devoted employee, Jorge (real-life Uruguayan film critic Jorge Jellinek...
A few must-see films from this year’s lineup:
La Vida Util (A Useful Life) Federico Vieroj, Uruguay-Spain, 2010
-
Synopsis:
After twenty-five years, Cinemateca Uruguaya’s most devoted employee, Jorge (real-life Uruguayan film critic Jorge Jellinek...
- 5/9/2011
- by Lindsay Peters
- SoundOnSight
Uruguayan filmmaker Federico Veiroj was born in Montevideo in 1976. In 2000 he obtained a Degree in Social Communication at the Catholic University in Montevideo, coursing one semester at Vcu (Virginia Commonwealth University, USA). He has been directing and producing short-films since 1996. He has also worked as an actor in many Uruguayan short-films and as script supervisor in Juan Pablo Rebella and Pablo Stoll's features 25 Watts and Whisky. He has followed up his first feature film Acné with the cinephilic valentine A Useful Life (La vida útil, 2010).
A Useful Life was the first film at the 2010 Toronto International Film Festival I heard applauded at its press screening, confirming as Diana Sanchez had written in her program capsule that "for anyone who loves cinema in its purest form, this film will be a revelation." As Sanchez synopsized: "Federico Veiroj's thoughtful and delicate second feature contemplates the value of outmoded occupations with this evocative (and alarming!
A Useful Life was the first film at the 2010 Toronto International Film Festival I heard applauded at its press screening, confirming as Diana Sanchez had written in her program capsule that "for anyone who loves cinema in its purest form, this film will be a revelation." As Sanchez synopsized: "Federico Veiroj's thoughtful and delicate second feature contemplates the value of outmoded occupations with this evocative (and alarming!
- 10/1/2010
- MUBI
As Jay Kuehner assesses for Parallax View: "Fantasma, per its title, coyly and spectrally endeavors to bring together the principal 'non-actors' of his previous films to Buenos Aires, to the fabled Teatro San Martín, for--what else?--a retrospective of Alonso's films. The setup is an ingenious way to bring nature to the city, actors to their affect, and audiences to their subjective screens." The program capsule for the Harvard Film Archives notes the offbeat delight in watching Argentino Vargas wandering the labyrinthine corridors of the Teatro San Martín "in search of the film's premiere."
Fantasma was Alonso's way of saying thank you to the lead actors in his first two films: Misael Saavedra (La Libertad) and Argentino Vargas (Los Muertos). He wanted to thank them because they had both helped him change a certain portion of his life when he became his kind of filmmaker. Fantasma is an inbetween film in many respects.
Fantasma was Alonso's way of saying thank you to the lead actors in his first two films: Misael Saavedra (La Libertad) and Argentino Vargas (Los Muertos). He wanted to thank them because they had both helped him change a certain portion of his life when he became his kind of filmmaker. Fantasma is an inbetween film in many respects.
- 11/27/2009
- Screen Anarchy
Adam Sekular, Program Director for Seattle's Northwest Film Forum (Nwff), organized the retrospective "At the Edge of the World: the Cinema of Lisandro Alonso", which ran this past week November 11-19, 2009. All four of Alonso's films--La Libertad (2001), Los Muertos (2004), Fantasma (2006) and Liverpool (2008)--received their Seattle premieres and Alonso was present to introduce the films and conduct Q&As afterwards. He likewise led an intimate afternoon "master class."
In his write-up for The Stranger, Sean Axmaker emphasized: "In addition to putting together this Seattle series, Northwest Film Forum has taken up the mantle of distributor for Liverpool in the United States." At Parallax View, Axmaker elaborated: "Liverpool was heralded at both Cannes and Toronto from 2008, proclaimed 'one of the best undistributed films' by both indieWIRE and Film Comment, and 'Best Film of 2008' by Cinema Scope, yet no distribution was forthcoming. So Adam Sekular and Nwff stepped in to...
In his write-up for The Stranger, Sean Axmaker emphasized: "In addition to putting together this Seattle series, Northwest Film Forum has taken up the mantle of distributor for Liverpool in the United States." At Parallax View, Axmaker elaborated: "Liverpool was heralded at both Cannes and Toronto from 2008, proclaimed 'one of the best undistributed films' by both indieWIRE and Film Comment, and 'Best Film of 2008' by Cinema Scope, yet no distribution was forthcoming. So Adam Sekular and Nwff stepped in to...
- 11/26/2009
- Screen Anarchy
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