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Mar del Plata: FiGa Rolls Out ‘The Apostate,’ Latin American Slate (Exclusive)

Mar Del Plata: FiGa Films, one of Latin America’s main arthouse sales drivers, has kicked off sales on Federico Veiroj’s Madrid-set comedic drama “The Apostate,” which won a Special Jury Mention playing main competition at September’s San Sebastian Festival.

World premiering at Toronto, now playing Argentina’s Mar del Plata Fest, “The Apostate,” a belated coming of age dramedy, has been acquired by Paname Distribution for France, still the world’s most resilient arthouse market.

Vieroj’s third feature rolls off strong word of mouth after winning March’s Miami Fest Encuentros, a pix in post competition curated by Toronto programmer Diana Sanchez. A new boutique distribution house launched by former MK2 distribution head Laurence Gachet, Paname buys a highly select number of films every year.

The tale of an eternal university student who battles the legacy of a conservative upbringing – hence his obdurate insistence on
See full article at Variety - Film News »

FiGa, Veiroj Reteam on ‘The Apostate’

FiGa, Veiroj Reteam on ‘The Apostate’
Madrid – L.A.-based FiGa Films is re-teaming with Federico Veiroj, the Uruguayan-Spanish director of “The Apostate,” a buzzed-up title which world premieres at Toronto, playing Contemporary World Cinema, before segueing to San Sebastian, selected for main competition.

Headed by Sandro Fiorin and Alex Garcia, sales-production house FiGa has acquired international sales rights to “The Apostate,” having represented Veiroj’s second feature, the delicious “A Useful Life,” a tribute to film as inspiration. Early “Apostate” sales are under negotiation, said Fiorin.

A comedic drama, “The Apostate” rolls off strong-word-of-mouth after winning March’s Miami Fest pix-in-post competish Encuentros, curated by Toronto programmer Diana Sanchez.

Following on Veiroj’s Directors’ Fortnight-selected “Acne,” then “Life,” “The Apostate” stars Alvaro Ogalla – also a co-scribe. Ogalla plays Gonzalo, an antihero who struggles with issues of faith, guilt and desires, attempting to escape his tempestuous past, not conform to his parents’ expectations and find his
See full article at Variety - Film News »

The Definitive Religious Films: 10-1

And here we are. The day after Easter and we’ve reached the top of the mountain. While compiling this list, it’s become evident that true religious films just aren’t made anymore (and if they are, they are widely panned). That being said, religious themes exist in more mainstream movies than ever, despite there being no deliberate attempts to dub the films “religious.” Faith, God, whatever you want to call it – it’s influenced the history of nations, of politics, of culture, and of film. And these are the most important films in that wheelhouse. There are only two American films in the top 10, and only one of them is in English.

courtesy of hilobrow.com

10. Andrei Rublev (1966)

Directed by Andrei Tarkovsky

A brutally expansive biopic about the Russian iconographer divided into nine chapters. Andrei Rublev (Anatoly Solonitsyn) is portrayed not as a silent monk, but a motivated artist working against social ruin,
See full article at SoundOnSight »

Blu-ray Review: Luis Buñuel’s ‘Tristana’ Gets Exemplary Restoration

Chicago – At the dark heart of Luis Buñuel’s Oscar-nominated 1970 classic, “Tristana,” is a character so spectacularly hypocritical and richly fascinating that he upstages everyone including the titular heroine. As played by the great Fernando Rey, ignoble nobleman Don Lope is a self-professed libertine bound by traditional values. He passionately believes in the virtues of freedom, but only on his terms.

Lope may insist that his beloved Tristana (Catherine Deneuve, never lovelier nor icier) is free to leave his murky mansion whenever she pleases, but she knows all too well that’s not the case. After taking on the role of the parentless 19-year-old’s guardian, Lope quickly falls for the wide-eyed woman, alternately treating her as his daughter and wife. Rey is both comically ludicrous and deeply pitiful as he attempts to claim the heart of a woman who can’t stand the sight of him.

Blu-ray Rating: 4.5/5.0

Taken out of its historical context,
See full article at HollywoodChicago.com »

Blu-ray, DVD Release: Tristana

Blu-ray & DVD Release Date: March 12, 2013

Price: DVD $19.98, Blu-ray $24.98

Studio: Cohen Media/Entertainment One

Catherine Deneuve is Tristana.

The 1970 film drama Tristana is a late masterpiece by one of world cinema’s most provocative and iconoclastic directors, Luis Buñuel (Belle de Jour).

After the death of her mother, beautiful young Tristana (Catherine Deneuve, of Belle de Jour and Potiche) goes to live with her new guardian, Don Lope Garrido (Fernando Rey of Buñuel’s That Obscure Object of Desire), who has an unhealthy lust for his young ward. He quickly makes Tristana his lover, but as she grows older, she starts finding her own voice and demands to study music and art. Tristana later falls in love with a young artist (Franco Nero, Bathory; Countess of Blood), and leaves Don Lope to live with him, but later falls seriously ill and returns to her guardian, who is now rich from an inheritance.
See full article at Disc Dish »

Luis Buñuel’s Viridiana Screening

Viridiana, Luis Buñuel’s provocative 1961 Palme d’Or-winning classic proving that life is a bitch and then you play cards, will run at New York City’s Film Forum from Friday, April 24, through Thursday, April 30. Inspired by a painting of Saint Viridiana kneeling on the floor before a crucifix and crown of thorns (and by Benito Pérez Galdós‘ novel Halma), co-written by Buñuel and Julio Alejandro, and financed by the lead actress’ rich husband, Viridiana stars Silvia Pinal (recently honored with a Lifetime Achievement Ariel Award), as a pious young nun who, before entering a cloister, goes visit her strange and reclusive uncle (Fernando Rey). There, while trying to do Good, she befriends the uncle’s illegitimate son (Francisco Rabal), who enjoys having the company of his pretty cousin. In Viridiana, Buñuel’s humor is, as usual, subtly (sometimes not that subtly) mordant, though the film isn’t exactly the
See full article at Alt Film Guide »

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