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Carlos Reygadas More at IMDbPro »
2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2007 | 2006 | 2005 | 2002
1-20 of 37 items from 2013 « Prev | Next »
Ndm Takes Viggo Mortensen Starrer ‘Untitled’ (Exclusive)
16 May 2013 10:00 PM, PDT | Variety - Film News | See recent Variety - Film News news »
On the Croisette with Amat Escalante’s “Heli” in Cannes competition, Mexico’s Ndm (Nodream-Mantarraya) has acquired international rights to Lisandro Alonso’s “Untitled,” starring Viggo Mortensen.
Pickup continues the international expansion of Mexico’s Mantarraya Prods., a production-distribution-sales house.
Mostly shot in Denmark and Argentina, and ready for delivery next spring “Untitled” follows a Danish man (Mortensen) who moves to Argentina. Pic was produced by Alonso’s 4L in Buenos Aires.
Ndm was launched in 2012 by Carlos Reygadas’ Nodream Cinema and Jaime Romandia’s Mantarraya, which produced “Heli,” Ndm’s first pickup.
But Ndm always intended to spread the net further, Romandia said Wednesday in Cannes.
With its sales and acquisitions head Fiorella Moretti now relocating to Paris, while Ndm retains offices in Mexico City, shingle will sell four-to-six foreign and English-language movies a year from any part of the world, including third-party pickups not produced by Mantarraya, Romandia said. »
- Whitney Friedlander
Cannes 2013: Heli – review
16 May 2013 6:24 AM, PDT | The Guardian - Film News | See recent The Guardian - Film News news »
Amat Escalante's damning indictment of contemporary Mexico is tough to watch at times, but its horrors demand our attention
Man cannot subsist on glamour alone, and Cannes knows it. So, after the sugar rush of opening nighter The Great Gatsby, the programmers scheduled in some veg. It was served New Wave Mexican style: raw, gritty, and force fed by bandits who snap puppies' necks with one hand while recruiting underage sex slaves with the other. It tasted as superficially indigestible, if ultimately nutritious, as the prickly pears our hero hacks off the desert cacti in a frenzy of impotent rage.
Heli (Armando Espitia) is about 20, and lives with his wife, baby, father and 12-year-old sister Estela (Andrea Vergara). This we learn when a census officer pops by his breeze-block house – a half-cute, half-clumsy device – just before he hops on his boneshaker for the night shift at the local auto factory. »
- Catherine Shoard
Cannes Film Festival 2013: 'Heli' review
16 May 2013 2:20 AM, PDT | CineVue | See recent CineVue news »
★★★★☆ Heli (Armando Espitia), the protagonist of Amat Escalante's 2013 Palme d'Or contender of the same name, is a young Mexican who lives with his father, his son, his young wife (Linda Gonzalez) and 12-year-old sister, Estella (Andrea Vergara). He's prone to bad luck, keen on his naps and, when a census taker comes to the house, hesitates about how many people live there with him. However, when 17-year-old army cadet Beto (Juan Eduardo Palacios) falls in love with Estella and makes plans for the two of them to run away together, Heli's cataclysmic knee-jerk reaction will plunge the family into pitiless and brutal violence.
News of drug gangs, corruption and barbaric acts of horrendous violence are depressingly common and have formed the backdrop for several high profile Hollywood movies in recent years, including Oliver Stone's Savages (2012) and Mexico's own Miss Bala (2011). However, Escalante - the director of Sangre, »
- CineVue UK
Cannes Film Review: ‘Heli’
16 May 2013 1:39 AM, PDT | Variety - Film News | See recent Variety - Film News news »
“Open your eyes so you don’t miss the show,” instructs one character midway through “Heli,” shortly before a kidnapped man is beaten with an oversized paddle and stripped to the ankles, his genitals doused in alcohol and set merrily ablaze. Indeed, it’s no coincidence that the title (and title character) invokes a certain place of eternal damnation in this nihilistic third feature by Carlos Reygadas acolyte Amat Escalante, who plunges us deep into Mexico’s vicious cycle of drug-fueled violence, with no end — or much of a discernable point — in sight. Destined to traumatize buyers and audiences in roughly equal measure, this accomplished but singularly unpleasant pic lends this year’s Cannes competition its first authentic whiff of scandal.
Surely the most explicit, realistically violent film to premiere on Cannes’ main stage since Brillante Mendoza’s controversial “Kinatay” (which ended up winning the fest’s directing prize in »
- Scott Foundas
Cannes 2013 Derby: Paolo Sorrentino’s La Grande Bellezza Tops Eric’s Palme d’Or Predictions
14 May 2013 11:00 AM, PDT | ioncinema | See recent ioncinema news »
Before I even begin considering the offerings in the field of eighteen Main Competition items, it’s the composition of the jury members (team of nine lead by Steven Spielberg) where my dissection begins. While I’d be tempted to brand/make the bogus remark that cine-folk Spielberg, Daniel Auteuil and Ang Lee votes would go towards the formulaic and/or conventional, I’m more inclined to say that it’s slightly more obvious to gauge how provocateurs such as Lynne Ramsay, Cristian Mungiu and Naomi Kawase might direct their vote intentions: towards the aesthetically daring, narratively challenging material. I’m including bold actress Nicole Kidman in this group – as her best perfs are found in the audacious, darker micro films that garner little coin, but plenty of critical praise. Last year we had what was probably a unanimous consensus choice with Amour winning the Palme, though I would bet »
- Eric Lavallee
From Antonioni to Lynch, BAMcinematek Takes a Second Look at Films 'Booed at Cannes'
8 May 2013 10:09 AM, PDT | Thompson on Hollywood | See recent Thompson on Hollywood news »
Why is it that a festival as reputable as Cannes, teeming with astute moviegoers whose tastes are perennially primed to welcome the most minimalist of dirges and the artiest of art films, stirs so many jeers, boos and walkouts year after year?Last year, it was Carlos Reygadas' luminous and odd "Post Tenebras Lux" that caused one audience member to shout "Viva Bunuel!" from the ramparts. In another 2012 screening on the Croisette, Lee Daniels' swampy pulp piece "The Paperboy" elicited many a chair-slapping walkout when Nicole Kidman took a piss on Zac Efron's dewy beach body. Beginning May 8 at BAMcinematek in New York, such decried films will get a second chance in a new environment where cinephiles are expected to bring no long-harbored grudges. "Booed at Cannes" showcases 15 films from some of cinema's most beloved auteurs -- Fellini, Bresson, Antonioni, Scorsese, Lynch and Weerasethakul, to name a few. »
- Ryan Lattanzio
‘Post Tenebras Lux’ confuses and delights from one scene to the next
3 May 2013 10:02 AM, PDT | SoundOnSight | See recent SoundOnSight news »
Directed by Carlos Reygadas
Written by Carlos Reygadas
Mexico/France, 2012
Carlos Reygadas is not the sort of filmmaker who earns consensus among critics and film aficionados. A few years ago he came out with Silent Light, which was an exquisitely shot, extremely intimate story about a secluded community deep within the Mexican countryside which this movie fan enjoyed a great deal. Not everyone did however, with some deriding it for being slow, empty and pretentious. It would seem the director is up to some of his old tricks in 2012 with Post Tenebras Lux, his new film which earned him a Mise en Scène award at the most recent Cannes Film Festival. While this may be reason to celebrate Reygadas’ film finally arriving at the Fnc, it feels safe to say that the new film will easily rustle a few feathers as well.
Reygadas returns yet again to Mexico in Post Tenebras Lux, »
- Edgar Chaput
5 Reasons To Check Out The Wtf, Strange & Baffling ‘Post Tenebras Lux’
3 May 2013 9:45 AM, PDT | The Playlist | See recent The Playlist news »
The word "art" within the context of cinema can sometimes be embarrassing to use. Much of the "cinema," movies or film we consume is consumer-driven -- well-calibrated, committee-made popcorn to entertain the masses. And indie films made by auteurs -- cinema as recently defined by Steven Soderbergh (and arguably accepted by all) -- are often artfully made, but still doggedly linear and narratively conventional. That's Ok, all forms of movies have their place in the world, and as Danny Boyle recently intimated, they are symbiotic -- we need both forms, the blockbuster, the indie, the escapism and the esoteric. No arguments there, but "art," like the term "genius" should be, in this writer's opinion, sparingly used. Which brings us to Mexican filmmaker Carlos Reygadas' "Post Tenebras Lux," a baffling, impressionistic and striking Wtf whatsit about evil, sins and a psychological portrait of man in crisis (I think). Whether it »
- Rodrigo Perez
Weekend Preview: 'Iron Man 3' a Smart Superhero Flick; Critics Applaud 'What Maisie Knew' and 'Something in the Air,' Mixed on 'Post Tenebras Lux'
3 May 2013 9:32 AM, PDT | Thompson on Hollywood | See recent Thompson on Hollywood news »
This weekend, the latest installment of "Iron Man" soars through multiplexes after racking up more than $360 million overseas. Could it score a $150 million opening, or beat 2012's number one movie, "The Avengers"' $1.5 billion total worldwide gross? It is a Marvel sequel, after all. (A history of Marvel's success is here.) Here's our review and a sampling of critics' raves of the VFX effects as well as Robert Downey, Jr.'s charismatic performance. Some long-awaited indies hit theaters after traveling the festival circuit, including Scott McGehee and David Siegel's brilliant Henry James adaptation "What Maisie Knew," starring Julianne Moore. Carlos Reygadas' Bunuellian, psychosexual odyssey "Post Tenebras Lux," which premiered at Cannes last year to literal boos, continues to bewilder audiences and critics, though it does have its firm supporters, among them Manohla Dargis of The NY Times. Critics have been excited about Oliver Assayas' political coming-of-age film »
- Anne Thompson and Ryan Lattanzio
Post Tenebras Lux, A Worthy Follow-up to Reygadas's Silent Light
1 May 2013 9:00 PM, PDT | Village Voice | See recent Village Voice news »
An early scene in Carlos Reygadas's Post Tenebras Lux might serve as a metaphor for its audience's experience watching the film: A little girl (the director's daughter Rut) wades through a muddy field, desperately calling out her relatives' names. Confusion often reigns here, but the film offers a degree of lush beauty that makes sitting through it well worth the occasional frustrations. Its middle section depicts racial and class tensions between architect Juan (Adolfo Jiménez Castro), his wife, Nathalia (Nathalia Acevedo), and their darker-skinned, poorer neighbors. This culminates in a blast of violence, but even then the narrative feels like an assembly of disconnected scenes. In one of the weaker set pieces, Reygadas returns to the sexual provocation of Battle in »
Review: ‘Post Tenebras Lux’ Is Arthouse Fare With a Capital ‘A’
1 May 2013 7:00 AM, PDT | FilmSchoolRejects.com | See recent FilmSchoolRejects news »
You don’t get booed at Cannes for nothing. Mexican filmmaker Carlos Reygadas’ visual iconoclasm continues to advance the bounds of cinema as art, but some people prefer to cling to the old narrative forms. In Reygadas’ progression through what is commonly referred to as auteur cinema, it has become increasing clear that he’s taking it forward with him. His debut feature Japan (2002) showcased the loneliness of a man who seeks refuge in a remote mountain village. It was followed by Heaven (2005), which strove to uncover the moral blight of the urban landscape, but by moving away from the rural he lost his idyllic aesthetic. To correct this this, Reygadas returned to a bucolic setting in Silent Light (2007), following a Mennonite community where a father’s faith is tested when he falls in love with a new woman. In Reygadas’ new feature, Post Tenebras Lux, he allows us into the deep recesses of his dreams. It »
- Mark James
Review: Post Tenebras Lux Brings The Devil Home
1 May 2013 7:00 AM, PDT | Twitch | See recent Twitch news »
As I review more and more films out of festivals, I'm beginning to notice a pattern: I'm much more forgiving and enthusiastic about films that shoot for the moon and fall somewhere short than with serviceable movies trodding well-worn territory that leave little to criticize. Which brings me to Carlos Reygadas' Post Tenebras Lux, a film which is audacious, frustrating, beautiful, shocking, emotional, impossible, perhaps brilliant, or, just as likely, a misfire. At times it's exhilarating, at other times it felt like trying to put together a puzzle that not only has pieces missing, but also has some pieces from other puzzles mixed in. But enough overwrought description -- my point is that Post Tenebras Lux is not at all conducive to the type of...
[Read the whole post on twitchfilm.com...]
»
Filmmakers You Should Know: 'Post Tenebras Lux' Director Carlos Reygadas, Mexico's Darkly Cinematic Dream-Maker
30 April 2013 8:46 AM, PDT | Indiewire | See recent Indiewire news »
Few Mexican filmmakers have achieved the global exposure of Carlos Reygadas, although he's not exactly a spokesperson for the country's allure. Reygadas' formally daring, visually inventive narratives present spectacular and frequently unsettling perspectives of Mexican life from the countryside to the big city, all of which he depicts with a mixture of haunting lyricism, curiosity and dread. Even in its more ominous moments, however, Reygadas' cinema maintains a transcendental sense of beauty. Inspired by the epic scope of Andrei Tarkovsky, Reygadas also pulls liberally from countless other art film tropes while conveying a poetic stillness that has, over the last decade, developed into his own imprint. Reygadas' films tend to surprise and frustrate viewers in equal measures, but the boldness of his vision tends to win out -- all four of his features have won prizes at the Cannes Film Festival and a fair amount of critical acclaim to counteract against their controversial. »
- Eric Kohn
Post Tenebras Lux | Review
30 April 2013 6:30 AM, PDT | SmellsLikeScreenSpirit | See recent SmellsLikeScreenSpirit news »
From the very moment that writer-director Carlos Reygadas decided to use a Latin title for his latest film, he destined Post Tenebras Lux to be labeled as pretentious in certain circles of critics. Those who find Latin titles to be pretentious might then discover further levels of pretension throughout Reygadas' high-minded approach to the cinematic form. For one, his choice to shoot Post Tenebras Lux in the Academy ratio of 1.375:1 with a fisheye lens; another is Reygadas' purposeful avoidance of a coherent meaning or logical structuring of the narrative. Post Tenebras Lux is certainly the most audacious film I have seen in a long time; I would not label it as pretentious, however, since that would imply that there is nothing to back up the densely shrouded mystery of the film's meaning. Though I have yet to connect all of the puzzle pieces, I believe that Post Tenebras Lux »
- Don Simpson
U.S. Trailer & Poster For Carlos Reygadas’ ‘Post Tenebras Lux’
19 April 2013 9:28 AM, PDT | The Film Stage | See recent The Film Stage news »
Following the domestic trailer for the Cannes 2012 drama The Hunt, another film that debuted at the festival is gearing up for a summer release and we’ve got a new look for the occasion. Carlos Reygadas‘ Mexican countryside drama Post Tenebras Lux was picked up by Strand Releasing, and after two teasers, they’ve debuted the official U.S. trailer [...] »
- Jack Cunliffe
Watch: Clip & U.S. Poster For Carlos Reygadas' ‘Post Tenebras Lux’
12 April 2013 1:40 PM, PDT | The Playlist | See recent The Playlist news »
Almost a year ago, we dubbed Carlos Reygadas’ “Post Tenebras Lux” one of the most anticipated films of the Cannes Film Festival and we were proven right when Reygadas won Best Director for the film at the festival. Although the picture did not please all, our critic at Cannes was not especially impressed. Such varying opinions only make the film more intriguing, especially given the Mexican filmmaker’s reputation for using non-professional actors and shooting very raw, explicit sex scenes.Anyway, if you're been waiting for it, the U.S. poster and a newly surfaced clip have arrived for the film. The poster is graphically stunning, being the work of Nashville-based graphic artist and musician Sam Smith, whose designs have included posters for Janus Films, IFC Films, Kino and Zeitgeist Films. The clip of two very small children at twilight is visually breathtaking, although not entirely indicative of a film that features. »
- Diana Drumm
Exclusive: The Gorgeous U.S. Poster For Carlos Reygadas' Cannes Award Winning 'Post Tenebras Lux'
12 April 2013 8:19 AM, PDT | Indiewire | See recent Indiewire news »
Almost a year after it won best director at the Cannes Film Festival, Strand Releasing is giving Carlos Reygadas' "Post Tenebras Lux" a Stateside release on May 1st (read Indiewire's review here). And -- thanks to Nashville-based graphic artist and musician Sam Smith -- they have a beautiful one sheet to accompany it. Smith has created numerous theatrical posters for companies including Janus Films, IFC Films, Kino and Zeitgeist Films, commemorative screenprints for the Belcourt Theatre and the Castro Theatre, and multiple package designs for The Criterion Collection. His work for "Lux" definitely can stand proudly alongside it: »
- Peter Knegt
You Heard It Here First: Film Forum's 2013 Summer Premieres Lineup
3 April 2013 9:32 AM, PDT | Indiewire | See recent Indiewire news »
While summer may not feel just around the corner, the summer blockbuster season is already upon us; with that comes a barrage of endless sequels and some rare surprise hits. Some of those innovative and small-scaled finds are slated to screen at New York's Film Forum over the next few months, as part of their summer lineup. Take an exclusive look below to read through the releases, including some films we've previously endorsed. (Synopses courtesy of Film Forum.) Film Forum Premieres May 1-14 “Post Tenebras Lux” Directed by Carlos Reygadas Mexico 2012 115 mins. In Spanish, English and French with English subtitles. Strand Releasing Winner of the Best »
- Cristina A. Gonzalez
Post Tenebras Lux – review
23 March 2013 5:04 PM, PDT | The Guardian - Film News | See recent The Guardian - Film News news »
Matteo Garrone's Reality got the Grand Prix at Cannes last May, and the festival's best director award went (controversially) to Post Tenebras Lux, the fourth movie by the Mexican international lawyer turned film-maker Carlos Reygadas. A semi-autobiographical film in the style of his idol Andrei Tarkovsky, it's a confusing work in which past, present and fantasy alternate as the fractured narrative moves between the troubled life of Reygadas's alter ego with his wife and small children outside Mexico City, an orgiastic Turkish bath house somewhere on the Continent, and a rugby-playing public school in England he once attended. (The title translates as "light after darkness" and might well be the school's motto.) The family home is visited by a large, red devil and is robbed by an alcoholic farmworker, but it's just one self-indulgence after (or before) another. By some way the best sequence is the opening 10 minutes in »
- Philip French
Jonathan Romney on Post Tenebras Lux: Visions of sex, the Devil – and rugby
23 March 2013 1:00 PM, PDT | The Independent | See recent The Independent news »
It's such a rare, refreshing thing when film directors turn up with a genuine vision that it can almost seem superfluous to ask exactly what they have a vision of. To be honest, I have only the vaguest sense of what's on Mexican director Carlos Reygadas's mind in Post Tenebras Lux – except that his film variously addresses family life, forestry, social divisions in contemporary Mexico, swinger sex, the Devil, and rugby union as played in the public schools of Derbyshire. »
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