9 items from 2016
By: Carson Blackwelder
The Oscars have been a source of contention for the last two years — but that is poised to change this year. At the source of the controversy is a lack of non-white performers among the 20 slots in the best actor, best actress, best supporting actor, and best supporting actress categories. Let’s see just how many minorities — of black, Asian, and hispanic descent — have been honored by the Academy since 2000.
#OscarsSoWhite is the term that has been used to describe the phenomenon of having non-white thespians completely shut out of the acting categories at the 2015 and 2016 ceremonies. Nearly all of Hollywood and the press have spoken out about this occurrence, though it looks like the 2017 ceremony could shape up to be one of the most diverse in history. Here is a breakdown of every nominee and winner post-2000:
For the 2000 ceremony, there was one minority for each acting category. »
- Carson Blackwelder
Morelia, Mexico – First-time filmmakers took home the top prizes this year at the 14th Morelia Int’l Film Fest, which held its awards ceremony Saturday, Oct. 29.
Diego Ros’ “El Vigilante” (“The Night Guard”) won the Ojo Stella Artois prize for Best Mexican Movie, while Federico Cecchetti snagged the Best First or Second Film Award for “El Sueno del Mara’akame.” (“Mara’akame’s Dream”). At the awards gala, Cecchetti thanked Mexico’s indigenous communities “who were the heart of this film.”
Meanwhile, Leonardo Alonso won Best Actor for his role in “El Vigilante,” where he plays a night guard at a construction site who sneaks off to deal with some urgent matter, but gets caught up in a series of odd situations. Prior to making his feature debut, Ros has worked as a TV editor and in post-production, collaborating on more than a dozen pics. Cecchetti helmed a series of shorts and a doc, »
- Anna Marie de la Fuente
Documentary-maker Natalia Almada turns her rigorously intellectual eye towards fiction with “Everything Else,” a detail-oriented study of an isolated, middle-aged female bureaucrat whose numbed existence ever-so-slowly awakens to the promise of human contact. Though the concept of the gendered gaze can be over-pushed in film theory circles, in this case there’s no mistaking Almada’s privileging of a woman’s perspective, with its sympathetic non-judgmental stance and sense of female solidarity. Just as with her documentaries (“El velador,” “El General”), the director uses a meticulously measured, observational catalogue of fixed shots which here fleshes out her protagonist’s rigidity and loneliness, well-played with blunted despair by Adriana Barraza (“Babel”). Festivals are already lining up, though the film’s austerity largely precludes wider play.
Doña Flor (Barraza) lives a no-frills life reflected in her choice of clothes: beige or brown. She frequently adjusts her hair, which, along with nail polish »
- Jay Weissberg
The life of a government bureaucrat is one of consistent routine, but rarely one of genuine human connection. In the new film “Everything Else,” Doña Flor (Adriana Barraza), a 63-year-old bureaucrat in Mexico City who worked in the same office her entire life. She meets people from all walks of life at her job, but the nature of her employment inhibits any sort of deeper connection. But after a tragedy strikes Doña Flor, she heads to the local pool in the hope that she will find solace. Watch a trailer for the film below and check out the poster as well a film still.
Read More: Fslc Announce Shorts Programs And New Section Explorations For 54th New York Film Festival
On the film’s observational approach, director Natalia Almada says, “In many ways all my films have straddled the line between fiction and documentary. It is precisely the tension on »
- Vikram Murthi
Manuel reporting from Nyff on an Adriana Barraza star vehicle.
Natalia Almada's Everything Else (Todo lo demás) is a portrait of a woman in the most literal sense. The movie, which runs 98 minutes, has very little plot and is focused instead on observing (keenly, empathetically, near-obsessively) the life of Doña Flor. A no nonsense government worker by day with very little life outside the desk she occupies daily and the apartment she shares with her cat, Doña Flor (played by Babel's Oscar nominated Adriana Barraza) is not lonely, per se. But she does seem disconnected from the life around her; in Barraza's face you can see the weariness of her life without the contempt stories about childless spinsters usually inspire. Almada gives Barraza no more than 50 lines in the entire film, plunging us for stretches at a time in a silence that rattles for the very comfort it depends on. »
- Manuel Betancourt
Rome — The Rome Film Festival has unveiled the lineup of it’s 11th edition which will feature a selection of hot Fall fest circuit titles sandwiched between its opening film, Barry Jenkins’ “Moonlight” and the closer, Garth Davis’ “Lion,” plus 24 world premieres.
World premieres include Benedict Cumberbatch-narrated documentary “Naples ’44” by Italian director Francesco Patierno, based on the eponymous diary by British travel writer Norman Lewis about his experience in Naples as a British intelligence officer; Iranian drama “Immortality” by Mehdi Fard Ghaderi; and Chinese 3D martial arts blockbuster “Sword Master,” directed by Derek Yee.
- Nick Vivarelli
The Film Society of Lincoln Center today announced the lineup for Explorations, a new section featuring bold selections from the vanguard of contemporary cinema, and Main Slate shorts for the 54th New York Film Festival.
Read More: Nyff Reveals Main Slate of 2016 Titles, Including ‘Manchester By the Sea,’ ‘Paterson’ and ‘Personal Shopper’
Explorations is devoted to work from around the world, from filmmakers across the spectrum of experience and artistic sensibility. It kicks off with six features, including Albert Serra’s latest, “The Death of Louis Xiv,” featuring a tour de force performance by French cinema legend Jean-Pierre Léaud; Douglas Gordon’s portrait of avant-garde icon Jonas Mekas, “I Had Nowhere to Go”; João Pedro Rodrigues’s “The Ornithologist”, which won him the Best Director prize at Locarno; as well as Natalia Almada’s “Everything Else”, Gastón Solnicki’s “Kékszakállú,” and Oliver Laxe’s “Mimosas.”
New York Film Festival Director »
- Vikram Murthi
Acosta will play the role of Mia, a “young and beautiful” hedonist and ad executive who is too busy realize her life is beginning to crumble. The film will also star Adriana Barraza (“Babel”) as Mia’s mother and Liz Torres (“Gilmore Girls”) as Mia’s grandmother.
The plot of the film follows Mia to Cuba after she loses her job to visit her grandmother (Torres). As she remains in Cuba, Mia reconnects with her culture and begins to reevaluate her life away from L.A.
“Lost & Found en Cuba” will mark Don’s first full length film. Don, who has received numerous accolades for her short film “Suits, “wrote the script with Jerry Rodman. The multi-generational film will be executive produced by Mark D. Cone, Joan H. Jones, »
- Arya Roshanian
Most filmmakers spend the duration of a career emphasizing one walk of life over the infinite others, but occasionally there is an artist who seeks the truth through universality: the common thread that unifies a Mexican intersection, a Moroccan village, or an American theatre into a snapshot of what it truly means to be alive. Director Alejandro González Iñárritu is one such artist, pursuing the crevices of the human soul for nearly twenty years, and doggedly striving to capture fear, hope, and mortality on the silver screen. Some label it pessimistic cinema, but in the words of Iñárritu idol Oscar Wilde, “A pessimist is nothing but a well informed optimist.”
Starting his own production company in the 1990s, the Mexico City native would spend much of the decade churning out advertisements and short films – many of which, including Detras del Dinero (1995) and El Timbre (1996), provided glimpses of the director’s penchant for humanized drama. »
- Danilo Castro
9 items from 2016
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