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In deals struck through Wednesday, Maywin has acquired rights to Russia and other Cis territories, Njutafilms has bought rights to Sweden, Ost for Paradis those to Denmark. Spectator has closed Poland and Pomi Taiwan.
Launched in 2012 by Reygadas’ Nodream Cinema and Jaime Romandia’s Mantarraya, which produced “Heli,” “Heli” sales agent Ndm (Nodream-Mantarraya) is negotiating further territories and will give “Heli” a final screening Thursday, said Ndm sales head Fiorella Moretti.
Meanwhile, Mexican film distributor Nd Mantarraya, another Reygadas-Mantarraya joint venture, has also acquired Mexican distribution rights to “Like Father, Like Son,” a family »
- John Hopewell
Strand Releasing has acquired all North American rights to Alain Guiraudie’s "Stranger By the Lake," which premiered at the Cannes Film Festival in Un Certain Regard. Written and directed by Guiraudie, this sexy, and explicit drama has been one of the festival's buzz titles. Set against the backdrop of a beach where men cruise for sex, young Franck (Pierre Deladonchamps) finds himself attracted to Michel (Christophe Paou), who may be a killer. Jon Gerrans from Strand negotitated the deal with Films du Losange’s head of sales, Agathe Valentin.“We’re thrilled to be able to work with Mr. Guiraudie’s acclaimed film, which has garnered a lot of positive reaction with audiences at the official screenings," said Gerrans. "It’s a true and original hyrbrid.” Strand Releasing is currently releasing the Ulrich Seidl "Paradise" Trilogy as well as last year’s Cannes entries, Sergei Loznitsa’s "In the Fog, »
- Dana Harris
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.
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
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
★★★★☆ 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
“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.
- Scott Foundas
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
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
Directed by Carlos Reygadas
Written by Carlos Reygadas
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
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
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
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 »
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
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...]
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
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
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
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
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
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
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