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Film Review: ‘Intent to Destroy: Death, Denial & Depiction’

Film Review: ‘Intent to Destroy: Death, Denial & Depiction’
Perhaps the surest proof of Winston Churchill’s theorem that “history is written by the victors” comes from none other than Adolf Hitler: “Who, after all, speaks today of the annihilation of the Armenians?” the German Fuhrer said by way of a chilling corollary, effectively paving the way for the most insidious ethnic cleansing of the modern era. Between 1915 and 1918, an estimated 1.5 million Armenians living in Ottoman Turkey had been rounded up and either marched to their deaths or murdered outright.

But “history” — as in the public study of past events, and the way they are positioned and discussed by society at large — has been ambiguous about the Armenian Genocide. Even that label is a point of contention among contemporary Turks, who resist the “G word” (coined in 1944 by Polish lawyer Raphael Lemkin to describe Germany’s systematic murder of Jewish citizens) as a legal definition that, they say, should not retroactively
See full article at Variety - Film News »

Lucrecia Martel on Adapting a Soliloquy, ‘Zama’

Lucrecia Martel on Adapting a Soliloquy, ‘Zama’
Morelia, Mexico – “Zama,” Argentina’s official entry to the foreign language Oscar race, screens at this week’s 15th Morelia Film Festival as part of its passage through the festival circuit. It’s had an auspicious start on the international stage with The Match Factory handling international sales, a world premiere at the Venice Film Fest, and North American distribution via Strand Releasing.

Martel’s adaptation of Antonio di Benedetto’s 1956 epic novel marks a couple of new experiences for Martel: This is her first period film, and her first with a male protagonist. Played by Spanish-Mexican actor Daniel Giménez Cacho, whose long-ranging credits include Guillermo del Toro’s 1993 career-launching “Cronos” to Santiago Mitre’s 2017 political drama-thriller, “The Summit,” “Zama” turns on late 18th century Spanish officer Don Diego de Zama who anxiously waits for his transfer to Buenos Aires from his tedious outpost in Asuncion, Paraguay.

According to lead producer Benjamin Domenech of Argentina’s Rei Cine
See full article at Variety - Film News »

The Man With No Hands: Lucrecia Martel and "Zama"

  • MUBI
Lucrecia Martel. Photo by Darren Hughes.Don Diego de Zama (Daniel Giménez Cacho) is a man out of time. Trapped in Argentina, the land of his birth, and serving at the whims of a foreign crown, he embodies the role of colonizer as a middle-aged, corporate functionary—bored, horny, witless, and incompetent. He waits and waits for a promised transfer to reunite with his wife and child, and then waits some more. When he finally does take action, volunteering to join an expedition to find and kill the notorious bandit Vicuña Porto, this adventure too is folly that ends only in further humiliation.Lucrecia Martel’s Zama resolves few of the episodes she selected to adapt from Antonio Di Benedetto’s 1956 novel of the same name. Instead, she ensnares viewers in a similarly unnerving stasis. Characters enter Zama’s life—three lovely sisters, a visiting merchant called “The Oriental,” the
See full article at MUBI »

Tiff 2017. Correspondences #11

  • MUBI
Caro Danny,I share your admiration for First Reformed, certainly one of the best films I’ve seen at this year’s Tiff and Paul Schrader’s most concentrated work in ages. From the very first shot—an adagio dolly-in on a severely framed chapel—we’re in familiar territory for the veteran filmmaker, yet in the presence of a fierce new lucidity. “Even a pastor needs pastoring,” someone tells the ecclesiastical protagonist (Ethan Hawke, harrowed like one of Beckett’s aged photographs), but his midnight-of-the-soul juncture is something he must sort through alone. Contemplating the paltry church attendance from the pulpit, grimacing at other people’s earthy jokes, and growing agitated at the planet’s ecological ruination, he struggles with a cancerous body and a nauseous soul. Still, the feeling is not one of hopelessness, due to the priest’s stirrings of resolve and desire and also to Schrader’s stylistic vehemence,
See full article at MUBI »

Venice Review: ‘Zama’ is an Elusive, Visually Wondrous Return for Lucrecia Martel

You don’t make La Ciénaga, The Holy Girl, and The Headless Woman in a row without winning accolades and a passionate following the world over. As such, the anticipation level for Argentinian director Lucrecia Martel’s fourth feature and first in nearly a decade is understandably high. When Zama was denied a Cannes slot back in May, people assumed it was a blameless case of conflict of interest, as competition jury president Pedro Almodóvar is also a producer of the film. When the Venice Film Festival subsequently selected the long-awaited picture but put it in the less prestigious out-of-competition section, however, eyebrows were raised with palpable outrage – especially considering the fact that among the 21-title strong competition line-up, only one film comes from a female filmmaker.

Well, now that we’ve seen it, the festival programmers’ reservations seem easier to understand.

A synopsis of the film reads: Based on
See full article at The Film Stage »

Venice Film Review: ‘Zama’

Venice Film Review: ‘Zama’
For a film set expressly in the 18th century, the end of the world feels surprisingly nigh in “Zama” — but if we accept “colonial dystopia” as a viable atmosphere, it’s hard to image any filmmaker conjuring it better than Argentinian master Lucrecia Martel. Insect song swarms and summer colors practically rot on screen in this feverish adaptation of her compatriot Antonio Di Benedetto’s classic 1956 novel, as a Spanish crown officer’s exasperated wait for a royal transfer from his lowly South American posting spirals out into a full-blown tropical malady.

Perplexing and intoxicating in equal measure, “Zama” is undeniably challenging in its adherence to a mannered, densely narrated literary source: As storytelling, it makes Martel’s last feature, the brilliantly opaque “The Headless Woman,” look like Agatha Christie. But it honors Di Benedetto’s work by strictly cinematic means, and to formally mesmerizing effect: The frustrating nine-year wait for new material from Martel has done
See full article at Variety - Film News »

‘Zama’ Review: Lucretia Martel’s Long-Awaited Epic Is a Serious Achievement That Will Keep You Guessing

‘Zama’ Review: Lucretia Martel’s Long-Awaited Epic Is a Serious Achievement That Will Keep You Guessing
Credit where it’s due: Few films have done more to unite the international film community than “Zama.” The minutes-long opening titles list over 20 different production companies and regional supports. The nominally Argentinian film is a joint venture between nine other countries as well, and the end credits name figures as diverse as Danny Glover, Pedro Almodóvar, and Gael Garcia Bernal among the many other who jumped on to help this project through a troubled, many year production. Finally complete, Lucrecia Martel’s film promises to be significantly more divisive.

Technically an adaptation of Antonio Di Benedetto acclaimed modernist novel, “Zama” reads just as much like an open declaration of war against the line that separates form and content. The source text told the story of an 18th century magistrate driven to madness while waiting for his next post; the film forces the viewer to go mad right there with him.
See full article at Indiewire »

Nyff Announces 2017 Main Slate, Including ‘Call Me By Your Name,’ ‘The Florida Project,’ ‘Lady Bird,’ and More

Nyff Announces 2017 Main Slate, Including ‘Call Me By Your Name,’ ‘The Florida Project,’ ‘Lady Bird,’ and More
It’s beginning to look a lot like fall festival season. On the heels of announcements from Tiff and Venice, the 55th edition of the New York Film Festival has unveiled its Main Slate, including a number of returning faces, emerging talents, and some of the most anticipated films from the festival circuit this year.

This year’s Main Slate showcases a number of films honored at Cannes including Ruben Östlund’s Palme d’Or–winner “The Square,” Robin Campillo’s “Bpm,” and Agnès Varda & Jr’s “Faces Places.” Other Cannes standouts, including “The Rider” and “The Florida Project,” will also screen at Nyff.

Read MoreTIFF Reveals First Slate of 2017 Titles, Including ‘The Shape of Water,’ ‘Downsizing,’ and ‘Call Me By Your Name

Elsewhere, Aki Kaurismäki’s Silver Bear–winner “The Other Side of Hope” and Agnieszka Holland’s Alfred Bauer Prize–winner “Spoor” come to Nyff after Berlin bows.
See full article at Indiewire »

Ricardo Darín to be honoured with Silver Shell by Amber Wilkinson - 2017-06-24 17:31:12

Ricardo Darín in The Summit Argentinian star Ricardo Darín will receive a Donostia Award on September 26 at the 65th edition of the San Sebastian Festival, in the framework of presentation of his latest film The Summit (La cordillera). The award recognises the career of the 60-year-old star, who has worked with filmmakers including Adolfo Aristarain, Juan José Campanella, Fabián Bielinsky, Fernando Trueba, Pablo Trapero and Cesc Gay.

The Summit, written and directed by Santiago Mitre, is set at a Latin American presidential summit in Chile. Darín stars alongside Dolores Fonzi, Érica Rivas, Elena Anaya, Daniel Giménez Cacho, Alfredo Castro, Paulina García and Christian Slater. It had it's premiere in the Un Certain Regard section in Cannes.

Darín is a regular attender of San Sebastian and has already been honoured by the festival, taking home the acting Silver Shell in 2015 for [filmid=28105]Truman/film], about a terminally ill man spending four days with a friend.
See full article at eyeforfilm.co.uk »

San Sebastian: Ricardo Darín To Be Honored at San Sebastian

San Sebastian: Ricardo Darín To Be Honored at San Sebastian
Barcelona – Argentina’s Ricardo Darín will receive the San Sebastian Film Festival’s Donostia Award for career achievement on Sept. 26. The prize is the highest distinction given by the highest-profile fest in the Spanish-speaking world.

The Donostia Award was launched in 1986 and began by recognizing stars from Hollywood classic era –Gregory Peck, Bette Davis, Glenn Ford– to later expand to eminent and far more recent U.S, and European figures such as Al Pacino, Michael Caine and Susan Sarandon.

Buenos Aires-born Darín will receive the award at a presentation of Santiago Mitre’s “The Summit.” Via its Donostia Award, the festival will honor one of most charismatic and well-known of contemporary Latin-American actors who has worked with many of the Spanish-speaking world’s most prestigious filmmakers including Juan José Campanella, Adolfo Aristarain, Pablo Trapero, Fabián Bielinsky, Fernando Trueba, Cesc Gay and Mitre.

Darín is the second Latin-American actor distinguished with the honor, after Benicio del Toro in 2014. Darín’s recognition is in line with San Sebastian aim of strengthening links with Latin America, seen in its thriving Latin-American Co-production Forum, launched by fest director José Luis Rebordinos in 2011.

A co-production between K&S Films and La Union de los Ríos (Argentina), Mod Producciones (Spain) and Maneki Films (France), “The Summit” was also penned by Mitre and offers two intertwining plots –one focused on the personal life of an Argentine president, played by Darin, and the other depicting the political intrigue at a Latin American summit. Alongside Darín, Dolores Fonzi, Érica Rivas, Elena Anaya, Daniel Giménez Cacho and Christian Slater figure in the cast. The feature world premiered in Cannes’ One Certain Regard and is sold by Spain’s Film Factory Entertainment. It will be released in U.S. on Aug. 18 via Warner Bros Pictures International.

Darin’s career dates back to when he was five and began acting in TV series. His international breakthrough came with Fabian Bielinsky’s “Nine Queens.” Some of his most noteworthy performances have been in movies of Juan José Campanella’s, led by “The Secret in Their Eyes” who won a best foreign-language Academy Award). Darin also starred in ”Son of the Bride,” nominated for an Academy Award, ”Moon of Avellaneda,” also from Campanella, Fernando Trueba’s “The Dancer and the Thief,” Sebastián Borenzstein’s “Kóblic,” Damián Szifron’s “Wild Tales” and Pablo Trapero’s “White Elephant.”

Though he can shown large range, if there’s a Darín touch, perhaps its the light and tender irony he gives to many of his characters.

Spanish director Manuel Gutiérrez Aragón said of Darín: “All the characters he plays seem to have been especially written for him and only for him to play them. Darín lends transparency to characters he embodies.”

On of Latin America’s most bankable actors, whose presence can help pre-sell a movie, Darin’s selectiveness with the films he stars in has made his involvement an important pointer to a movie’s quality.

“The Secret of Their Eyes,” earned $6.4 million for Sony Pictures Classics in 2010 and “Wild Tales,” another Sony Pictures Classics pickup accumulated $44 million worldwide, a standout figure for a Spanish-language feature.

Darín took the best actor Silver Shell Award in San Sebastian for Cesc Gay’s “Truman.”

Related storiesCannes Film Review: 'The Summit'Glocal in Progress Launches at 2017 San Sebastian FestivalToulouse 2017 Films in Progress Selects 'Los Perros,' 'Hunting Season,' 'The Desert Bride'
See full article at Variety - Film News »

‘The Summit’ Review: Christian Slater Is Enjoyably Smarmy In Santiago Mitre’s Political Drama — Cannes 2017

‘The Summit’ Review: Christian Slater Is Enjoyably Smarmy In Santiago Mitre’s Political Drama — Cannes 2017
“There’s nothing worse than a politician without ambition.” So says the newly inaugurated president of Argentina in Santiago Mitre’s “The Summit.” It’s the kind of boilerplate dialogue you could hear in any broody portrait of politics and power, but it sounds particularly egregious coming from this one. Despite its larger festival platform and starrier cast, “The Summit” remains a wan, frustrating, and narratively unambitious follow-up to Mitre’s Critics Week prizewinner, “Paulina.”

With big-name actors and top-level access, Mitre’s third feature is an impressively scaled-up production. “The Summit” opens in the halls of the Casa Rosada, the sprawling presidential palace in the heart of Buenos Aires, and Mitre shot in the actual palace. As the steadicam rigs sweep from the back entrance to the kitchen to the gilded corridors of power, it introduces us to the characters who make the country run. First among equals is
See full article at Indiewire »

‘The Summit’ Review: Christian Slater Is Enjoyably Smarmy In Santiago Mitre’s Political Drama — Cannes 2017

“There’s nothing worse than a politician without ambition.” So says the newly inaugurated president of Argentina in Santiago Mitre’s “The Summit.” It’s the kind of boilerplate dialogue you could hear in any broody portrait of politics and power, but it sounds particularly egregious coming from this one. Despite its larger festival platform and starrier cast, “The Summit” remains a wan, frustrating, and narratively unambitious follow-up to Mitre’s Critics Week prizewinner, “Paulina.”

With big-name actors and top-level access, Mitre’s third feature is an impressively scaled-up production. “The Summit” opens in the halls of the Casa Rosada, the sprawling presidential palace in the heart of Buenos Aires, and Mitre shot in the actual palace. As the steadicam rigs sweep from the back entrance to the kitchen to the gilded corridors of power, it introduces us to the characters who make the country run. First among equals is
See full article at Indiewire »

Co-Productions on the Rise in Brazil

Co-Productions on the Rise in Brazil
Better late than never. In February, the U.K. and Brazil ratified a film-tv co-production treaty first unveiled in 2012.

At the Rio Content Market in March, Brazilian and French film authorities signed a framework collaboration pact hailed as a first step toward their own bilateral co-production treaty. The main Brazil event at Cannes will be a U.K.-Brazilian co-production meet, organized by state-backed film promotional entity, Cinema do Brasil.

Brazil’s film industry has long been a force to reckon with on the international stage. But the thrust of its film policy abroad over the past decade has been into international co-production, particularly in Latin America. Spearheaded by state-backed film agency Ancine, this Portuguese-speaking nation has forged co-production treaties with a host of countries including Argentina, Uruguay, Canada, Chile, Italy, Germany, Spain, Portugal and Venezuela; and it is signatory to multilateral treaties such as the Ibero-American Film Integration and
See full article at Variety - Film News »

Movie Review – The Promise (2017)

The Promise, 2017.

Directed by Terry George.

Starring Oscar Isaac, Charlotte Le Bon, Christian Bale, Daniel Giménez-Cacho, Shohreh Aghdashloo, Numan Acar, Michael Stahl-David, Rade Šerbedžija, Abel Folk, Andrew Tarbet, Angela Sarafyan, Armin Amiri, Tom Hollander, Jean Reno, and James Cromwell.

Synopsis:

Set during the last days of the Ottoman Empire, The Promise follows a love triangle between Michael, a brilliant medical student, the beautiful and sophisticated Ana, and Chris – a renowned American journalist based in Paris.

The genocide of any race is a disturbing sight to behold, and to be fair, The Promise (directed by Terry George of Hotel Rwanda fame) does get around to a few (one especially notable) haunting images depicting senseless slaughter and death in all of its unholy glory. The pain of an entire people is felt, regardless of whether the camera is fixated on a supporting character or a faceless victim of the sickening suffering, which
See full article at Flickeringmyth »

The Promise Movie Review

  • ShockYa
The Promise Movie Review
The Promise Open Road Films Reviewed by: Harvey Karten, Showbiz Grade: B Director: Terry George Written by: Terry George, Robin Swicord Cast: Oscar Isaac, Charlotte Le Bon, Christian Bale, Daniel Giménez-Cacho, Shohreh Aghdashloo Screened at: Review 1, NYC, 4/13/17 Opens: April 21, 2017 If you go to Berlin, you will note some sights that would […]

The post The Promise Movie Review appeared first on Shockya.com.
See full article at ShockYa »

‘Zama’ Trailer: Lucrecia Martel’s Bloody Adaptation Brings Danger to a Desperate Man — Watch

‘Zama’ Trailer: Lucrecia Martel’s Bloody Adaptation Brings Danger to a Desperate Man — Watch
Director Lucrecia Martel has taken the helm of adapting Antonio di Benedetto’s existential masterpiece “Zama,” a novel largely considered to be one of the most iconic pieces of Argentine work. With a lot of expectations riding on bringing this modern classic to life, Martel is taking on this project with a vision in mind.

In the new “Zama” trailer, we meet Diego de Zama (Daniel Giménez Cacho), a minor colonial officer for Spain in 18th century Paraguay. Separated from his family and hungry for promotion, Zama struggles to find peace while waiting in this unfamiliar landscape.

Read More: 10 Essential Films About Women In Crisis

Known for his collaboration with famous Hispanic filmmakers like Guillermo Del Toro and Alfonso Cuarón, Cacho brings a wide array of experience to the complex character of Zama. As Martel stated, Zama “uncannily lives the same conflicts that we are wrestling and contending with in our modern world.
See full article at Indiewire »

First teaser: Lucrecia Martel's 'Zama'

  • ScreenDaily
First teaser: Lucrecia Martel's 'Zama'
Exclusive: Drama is co-produced by Augustin and Pedro Almodóvar.

Screen can reveal the first teaser for Zama, the latest film from Argentinian director Lucrecia Martel.

Mobile users can click here to watch the teaser.

The film is a wide-ranging co-production between Argentina, Brazil, Spain, France, Mexico, USA, The Netherlands and Portugal.

Filmmaking brothers Augustin and Pedro Almodóvar were co-producers on the project.

Based on the 1956 novel by Antonio Di Benedetto, Zama is set in the seventeenth century, following a Spanish officer (played by Daniel Giménez Cacho) who awaits a transfer from Paraguay to Buenos Aires in Argentina.

Walt Disney will distribute in Argentina later in 2017 and The Match Factory is representing international territories.

Producers on the project were Rei Cine and Bananeira Filmes in co-production with El Deseo, Patagonik, Mpm Film, Canana, Lemming, Knm, O Som e a Fúria, Louverture Films, Schortcut Films, Telecine, Bertha Foundation, Perdomo Productions, Picnic Producciones.
See full article at ScreenDaily »

First trailer: Lucrecia Martel's 'Zama'

  • ScreenDaily
First trailer: Lucrecia Martel's 'Zama'
Exclusive: Drama is co-produced by Augustin and Pedro Almodóvar.

Screen can reveal the first trailer for Zama, the latest film from Argentinian director Lucrecia Martel.

Mobile users can click here to watch the trailer.

The film is a wide-ranging co-production between Argentina, Brazil, Spain, France, Mexico, USA, The Netherlands and Portugal.

Filmmaking brothers Augustin and Pedro Almodóvar were co-producers on the project.

Based on the 1956 novel by Antonio Di Benedetto, Zama is set in the seventeenth century, following a Spanish officer (played by Daniel Giménez Cacho) who awaits a transfer from Paraguay to Buenos Aires in Argentina.

Walt Disney will distribute in Argentina later in 2017 and The Match Factory is representing international territories.
See full article at ScreenDaily »

‘Club de Cuervos’ Season 2 Trailer: Spanish Language Netflix Hit Raises the Stakes

‘Club de Cuervos’ Season 2 Trailer: Spanish Language Netflix Hit Raises the Stakes
They said a woman couldn’t be president but now Isabel (Mariana Treviño) is taking over Los Cuervos de Nuevo Toledo in the second season of Netflix’s hit Spanish-language series “Club De Cuervos.”

At the end of the first season, her brother Salvador “Chava” Iglesias Jr., portrayed by Luis Gerardo Méndez, was voted out as president of the company after he put the team’s future and his late father’s legacy at risk with his limited knowledge of sports management and ruthless spending. Season 2 begins with Isabel trying to lead the team to victory.

“It’s one thing to want to be president, but it’s different if you try to screw me over,” Chava tells his sister in the trailer.

Read More: ‘Mozart in the Jungle’ Season 3 Trailer: Gael García Bernal and Lola Kirke Return To The Orchestra

The clip also shows how Isabel’s husband and ex-Cuervo,
See full article at Indiewire »

‘Club de Cuervos’ Season 2 Trailer: Spanish Language Netflix Hit Raises the Stakes

‘Club de Cuervos’ Season 2 Trailer: Spanish Language Netflix Hit Raises the Stakes
They said a woman couldn’t be president but now Isabel (Mariana Treviño) is taking over Los Cuervos de Nuevo Toledo in the second season of Netflix’s hit Spanish-language series “Club De Cuervos.”

At the end of the first season, her brother Salvador “Chava” Iglesias Jr., portrayed by Luis Gerardo Méndez, was voted out as president of the company after he put the team’s future and his late father’s legacy at risk with his limited knowledge of sports management and ruthless spending. Season 2 begins with Isabel trying to lead the team to victory.

“It’s one thing to want to be president, but it’s different if you try to screw me over,” Chava tells his sister in the trailer.

Read More: ‘Mozart in the Jungle’ Season 3 Trailer: Gael García Bernal and Lola Kirke Return To The Orchestra

The clip also shows how Isabel’s husband and ex-Cuervo,
See full article at Indiewire Television »
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