3 items from 2017
Television networks from across Latin America and Spain have again signed on to broadcast the 4th Annual Platino Ibero-American Film Awards. The premier Ibero-American entertainment awards show takes place in Madrid on July 22 and will be aired by TNT in Latin America along with nearly 20 other local networks including Mexico’s Televisa, Telefe in Argentina, Canal Brazil, Chile’s Ucv, Señal Colombia, Spain’s Rtve, Galavision in the U.S., and Venezuela’s Venevision. Broadcasting pact talks with other networks are still underway.
On May 31, Premios Platino ambassador Juan Carlos Arciniegas of CNN Espanol and thesps Angie Cepeda, Edward James Olmos, Kate del Castillo and Miguel Angel Silvestre unveiled the nominations for the awards at a press conference in Beverly Hills.
This edition has marked a new record with 847 qualifying films of which seven have participated in prominent A-list film festivals including Venice, Cannes, Mar del Plata and San Sebastian. »
- Anna Marie de la Fuente
Isa of the day is a continuing series of profiles of very special international sales agents. Shoreline Entertainment, one of the longest running independent film production companies and international sales agencies, has expanded its management arm to foster Latin American and women driven projects. You can see its Cannes lineup here.
The company was founded in 1992 by CEO and film producer Morris Ruskin whose production “Glengarry Glen Ross” launched him into the top level of indie producers. Shoreline’s Latin American Division for Management and Production is meeting with great success in repping over 25 directors, writers, actors, DPs and more.
Alex and Morris’s friendship dates back 20 years, and their professional relationship flourished with films “Marilyn Hotchkiss’ Ballroom Dancing & Charm School” starring Robert Carlyle, »
- Sydney Levine
The first thing we see in “Everything Else” is a look of emptiness. Doña Flor (Adriana Barraza), a middle-aged public servant who has spent 35 years engaged in an utterly boring routine, blankly stares at nothing in particular. Soon, we learn why: As a Mexico City clerk tasked with issuing government IDs, her days are spent assessing paperwork and mechanically processing new requests. Much of this quiet, slow-burn character study inhabits the dreary, remote quality of Doña’s existence, but with time, the movie pieces it together to reveal the emotional solitude lurking beneath that distant gaze.
Anyone familiar with Chantal Akerman’s “Jeanne Dielman” or Lucretia Martel’s “The Headless Woman” will find familiar patterns in writer-director Natalia Almada’s first narrative feature, though it may as well be an extension of her documentary work for the way it pulls viewers into the nuances of everyday rituals and their ability to mask psychological discord. »
- Eric Kohn
3 items from 2017
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