Yesterday we tossed filmmaker names like Ala Eddine Slim, Alexandre Koberidze, Marco Dutra and the tandem of Fabio Grassadonia & Antonio Piazza into the prognostication Un Certain Regard mix. Today we present another ten options and make sure to tune in on Monday for 25 firm Palme d’Or competition guesses. The official line-up will be revealed on April 11th.
Maria –...
Maria –...
- 3/29/2024
- by Eric Lavallée
- IONCINEMA.com
Italy’s The Open Reel has taken on international sales for Juliana Rojas’ Berlinale Encounters title Cidade; Campo.
Cidade; Campo tells two stories of migration between city and countryside. In the first part, after a dam disaster floods her hometown, rural worker Joana moves to São Paulo but struggles to thrive in the city. In the second part, after the death of her estranged father, Flavia moves to his farm with her wife Mara. In both stories, nature forces the two women to face frustrations and cope with old memories and ghosts.
A Brazilian, German and French co-production, Cidade; Campo...
Cidade; Campo tells two stories of migration between city and countryside. In the first part, after a dam disaster floods her hometown, rural worker Joana moves to São Paulo but struggles to thrive in the city. In the second part, after the death of her estranged father, Flavia moves to his farm with her wife Mara. In both stories, nature forces the two women to face frustrations and cope with old memories and ghosts.
A Brazilian, German and French co-production, Cidade; Campo...
- 2/12/2024
- ScreenDaily
Enterre Seus Mortos
We’ve been big fans of the filmmaker since he broke out with Locarno preemed Hard Labor (2011) and Un Certain Regard selected Good Manners (2017) – both co-directed with Juliana Rojas. He hit Berlinale with 2020’s All the Dead Ones (read review) and could return to the Golden Bear comp with his latest work – the book to film adaptation of Ana Paula Maia’s Enterre Seus Mortos. Marco Dutra moved into production back in February of last year in Rio de Janerio with players Selton Mello, Marjorie Estiano and Betty Faria grabbing top billing. Dutra reteamed with his Good Manners cinematographer Rui Poças.…...
We’ve been big fans of the filmmaker since he broke out with Locarno preemed Hard Labor (2011) and Un Certain Regard selected Good Manners (2017) – both co-directed with Juliana Rojas. He hit Berlinale with 2020’s All the Dead Ones (read review) and could return to the Golden Bear comp with his latest work – the book to film adaptation of Ana Paula Maia’s Enterre Seus Mortos. Marco Dutra moved into production back in February of last year in Rio de Janerio with players Selton Mello, Marjorie Estiano and Betty Faria grabbing top billing. Dutra reteamed with his Good Manners cinematographer Rui Poças.…...
- 1/17/2023
- by Eric Lavallée
- IONCINEMA.com
One of Brazil’s biggest film-tv stars, Marjorie Estiano – an International Emmy nominee for her performance in Globo’s “Under Pressure” and star of Marco Dutra and Juliana Rojas’ Locarno winner “Good Manners” – is attached to take the lead in one of the most awaited Latin American genre films of 2023, Brazilian horror feature “A Mother’s Embrace.”
The sophomore feature from Argentina’s Cristian Ponce, director of Argentine genre breakout “History of the Occult,” the highest-rated horror title on Letterboxd’s 2021 Year in Review.
“A Mother’s Embrace” is scheduled to go into production next March.
It is written by Ponce and pic’s producer André Pereira, who has Carrión at Ventana Sur’s Blood Window and whose company, Lupa Filmes, produced “The Trace We Leave Behind,” which broke 30-year-old box-office records for a Brazilian horror movie.
“A Mother¡s Embrace” proved a highlight a the Sanfic Morbido Lab 2022, where it won the pitching prize.
The sophomore feature from Argentina’s Cristian Ponce, director of Argentine genre breakout “History of the Occult,” the highest-rated horror title on Letterboxd’s 2021 Year in Review.
“A Mother’s Embrace” is scheduled to go into production next March.
It is written by Ponce and pic’s producer André Pereira, who has Carrión at Ventana Sur’s Blood Window and whose company, Lupa Filmes, produced “The Trace We Leave Behind,” which broke 30-year-old box-office records for a Brazilian horror movie.
“A Mother¡s Embrace” proved a highlight a the Sanfic Morbido Lab 2022, where it won the pitching prize.
- 11/28/2022
- by John Hopewell
- Variety Film + TV
Paris-based Urban Sales has swooped on international sales rights to Brazilian writer-director Carolina Markowicz’s awaited debut feature film “Charcoal” (“Carvão”), which is set for its world premiere at at Toronto’s prestigious Platform showcase before heading to San Sebastian for a Europe bow as part of its just-revealed Horizontes Latinos lineup.
Urban Sales has also shared with Variety a first look still from the film.
Distribution in Brazil is handled by Pandora Filmes, founded by André Sturm, which launched the country’s first classic film streaming platform Belas Artes in 2019, bringing big-name, cult, and regional classics to audiences nationwide.
Markowicz has written and directed six short films that have been selected by 400 festivals including Locarno, SXSW, Toronto and AFI. Her short film,“The Orphan,” a gritty tale about a young queer boy who tries to navigate his most recent adoption after being placed with a well-off conservative family, premiered...
Urban Sales has also shared with Variety a first look still from the film.
Distribution in Brazil is handled by Pandora Filmes, founded by André Sturm, which launched the country’s first classic film streaming platform Belas Artes in 2019, bringing big-name, cult, and regional classics to audiences nationwide.
Markowicz has written and directed six short films that have been selected by 400 festivals including Locarno, SXSW, Toronto and AFI. Her short film,“The Orphan,” a gritty tale about a young queer boy who tries to navigate his most recent adoption after being placed with a well-off conservative family, premiered...
- 8/11/2022
- by Holly Jones
- Variety Film + TV
Tinnitus Trailer — Gregorio Graziosi‘s Tinnitus (2022) movie trailer has been released by Screen International. The Tinnitus trailer stars Joana de Verona, Indira Nascimento, Alli Willow, and Antonio Pitanga. Crew The screenplay is written by Gregorio Graziosi, Marco Dutra, and Andres Julian Vera. Plot Synopsis Tinnitus‘s plot synopsis: “A sports drama and fanciful ‘body thriller’ in one, the [...]
Continue reading: Tinnitus (2022) Movie Trailer: A Former Synchronized Swimmer is Tormented by Amplified Senses in Gregorio Graziosi’s Film...
Continue reading: Tinnitus (2022) Movie Trailer: A Former Synchronized Swimmer is Tormented by Amplified Senses in Gregorio Graziosi’s Film...
- 7/9/2022
- by Rollo Tomasi
- Film-Book
The film will debut in the new Karlovy Vary Proxima section.
Paris-based sales firm Loco Films has boarded world sales rights on Gregorio Graziosi’s Tinnitus, a Brazilian thriller which has its world premiere in Karlovy Vary’s new Proxima strand this afternoon (July 7).
Screen can reveal a first trailer for the film, above.
Tinnitus follows a former diver suffering from the eponymous hearing condition, typically a ringing or buzzing coming from within the ears. After an accident in the last Olympics, she puts her life at risk by returning to competition.
It is a second feature from Brazilian filmmaker Graziosi,...
Paris-based sales firm Loco Films has boarded world sales rights on Gregorio Graziosi’s Tinnitus, a Brazilian thriller which has its world premiere in Karlovy Vary’s new Proxima strand this afternoon (July 7).
Screen can reveal a first trailer for the film, above.
Tinnitus follows a former diver suffering from the eponymous hearing condition, typically a ringing or buzzing coming from within the ears. After an accident in the last Olympics, she puts her life at risk by returning to competition.
It is a second feature from Brazilian filmmaker Graziosi,...
- 7/7/2022
- by Ben Dalton
- ScreenDaily
Brazilian Gregorio Graziosi’s “Tinnitus” is co-written by Andrés Julian Vera and Marco Dutra, a Locarno best director winner for “Good Manners”; its Dp is Rui Poças, whose credits include Lucrecia Martel’s “Zama” and upcoming “Tabu.”
Its score is from David Boulter, who played keyboard on Claire Denis’ “Bastards,” collaborated on the score of her “High Life.”
Such credentials will make, almost inevitably, for one of the most polished of entries at Copia Final, Ventana Sur’s pix-in-post competition, where it screens on-site at the Cinemark Puerto Madero on Wednesday.
Developed at the Cannes Festival’s Résidence, “Tinnitus” looks set to weigh in as high art in the service of what on paper may seem a classic sports comeback narrative involving Marina, a high-board synchronized diver, who suffers a serious diving accident caused by tinnitus. She is encouraged by her substitute Teresa, she stages a comeback, though still terrorized...
Its score is from David Boulter, who played keyboard on Claire Denis’ “Bastards,” collaborated on the score of her “High Life.”
Such credentials will make, almost inevitably, for one of the most polished of entries at Copia Final, Ventana Sur’s pix-in-post competition, where it screens on-site at the Cinemark Puerto Madero on Wednesday.
Developed at the Cannes Festival’s Résidence, “Tinnitus” looks set to weigh in as high art in the service of what on paper may seem a classic sports comeback narrative involving Marina, a high-board synchronized diver, who suffers a serious diving accident caused by tinnitus. She is encouraged by her substitute Teresa, she stages a comeback, though still terrorized...
- 12/1/2021
- by John Hopewell
- Variety Film + TV
New films from Oscar laureate Vanessa Ragone (“The Secret in Their Eyes”) and Camera d’Or winners Edher Campos (“Leap Year”) and Juan Pablo Miller (“Las Acacias”) are among attractions at this year’s Ventana Sur’s Primer Corte and Copia Final, the pix-in-post industry centerpieces at Latin America’s biggest film-tv market.
Ragone co-produces “The Face of the Jellyfish,” from Argentina’s Rotterdam-prized Melisa Liebenthal. Campos unveils “Journey to the Land of the Tarahumara,” Mexican Federico Cecchetti’s follow-up to the multi-prized “Mara’akame’s Dream.”
Miller introduces “Sublime,” one of the section’s buzz titles, along with “Diogenes,” from Peru’s Leonardo Barbuy, and two titles from Brazil: Gregorio Graziosi’s “Tinnitus” and Gabriel Martin’s “Mars One,” winner of Ventana Sur’s prestigious Paradiso Wip Award.
Titles brim with talent, observes Eva Morsch-Kihn, curator of Primer Corte and Copia Final along with Mercedes Abarca and Maria Nuñez.
Ragone co-produces “The Face of the Jellyfish,” from Argentina’s Rotterdam-prized Melisa Liebenthal. Campos unveils “Journey to the Land of the Tarahumara,” Mexican Federico Cecchetti’s follow-up to the multi-prized “Mara’akame’s Dream.”
Miller introduces “Sublime,” one of the section’s buzz titles, along with “Diogenes,” from Peru’s Leonardo Barbuy, and two titles from Brazil: Gregorio Graziosi’s “Tinnitus” and Gabriel Martin’s “Mars One,” winner of Ventana Sur’s prestigious Paradiso Wip Award.
Titles brim with talent, observes Eva Morsch-Kihn, curator of Primer Corte and Copia Final along with Mercedes Abarca and Maria Nuñez.
- 11/2/2021
- by John Hopewell
- Variety Film + TV
Uruguay-based Cimarrón is in development on Argentine Paula Hernandez’s new feature “El Viento Que Arrasa” and Brazilian Marco Dutra’s series “Las Moscas,” as it aims to become an Ott-age South American powerhouse.
The new productions come on top of Cimarron’s thriving business as a service company. It services more than 10 series from global platforms a year. This allows it to develop an adventurous line in feature film production while creating premium series with movie auteurs such as Dutra.
“El Viento Que Arrasa” is produced by Cimarrón and Argentina’s Rizoma and Tarea Fina (“Incident Light”).
Based on the novella by young Argentine writer Selva Almada, it turns on Reverend Pearson, who travels across the desert of north Argentina with reluctant adolescent daughter Leni in tow. When Pearson’s car breaks down, he seeks a repair at a remote car workshop and sets out to save its owner...
The new productions come on top of Cimarron’s thriving business as a service company. It services more than 10 series from global platforms a year. This allows it to develop an adventurous line in feature film production while creating premium series with movie auteurs such as Dutra.
“El Viento Que Arrasa” is produced by Cimarrón and Argentina’s Rizoma and Tarea Fina (“Incident Light”).
Based on the novella by young Argentine writer Selva Almada, it turns on Reverend Pearson, who travels across the desert of north Argentina with reluctant adolescent daughter Leni in tow. When Pearson’s car breaks down, he seeks a repair at a remote car workshop and sets out to save its owner...
- 7/9/2021
- by John Hopewell and Jamie Lang
- Variety Film + TV
With a seemingly endless amount of streaming options—not only the titles at our disposal, but services themselves–each week we highlight the noteworthy titles that have recently hit platforms. Check out this week’s selections below and past round-ups here.
About Endlessness (Roy Andersson)
Watch an exclusive clip for the film, which is also now in theaters.
“What should I do now that I have lost my faith?” is the question that animates About Endlessness; this being the new film by Roy Andersson, it is delivered in a doctor’s waiting room, over and over again, in a creaky voice, by a dumpy man in late middle age who continues his plaint even after the doctor and his receptionist gruntingly force him outside into the hallway, from whence they can hear him scratching at the door like a zombie. About Endlessness is Roy Andersson’s fourth film of this...
About Endlessness (Roy Andersson)
Watch an exclusive clip for the film, which is also now in theaters.
“What should I do now that I have lost my faith?” is the question that animates About Endlessness; this being the new film by Roy Andersson, it is delivered in a doctor’s waiting room, over and over again, in a creaky voice, by a dumpy man in late middle age who continues his plaint even after the doctor and his receptionist gruntingly force him outside into the hallway, from whence they can hear him scratching at the door like a zombie. About Endlessness is Roy Andersson’s fourth film of this...
- 4/30/2021
- by Jordan Raup
- The Film Stage
Cidade;Campo
Juliana Rojas embarks on her second solo feature as director with Cidade;Campo, a project initially scheduled to go into production last May but halted by the pandemic. Produced by Sara Silveira of Dezenove Som e Imagens, who has financed several of Rojas’ projects. Rojas is perhaps best known for a series of projects she co-directed with Marco Dutra. She shared the Cannes Discovery award with Dutra for their 2007 short “A Stem,” an award she’d also receive for her 2012 short “Doppelganger.” Their 2011 feature Hard Labor was selected for Un Certain Regard at Cannes, and their 2017 feature Good Manners won the Special Jury Prize at the 2017 Locarno Film Festival.…...
Juliana Rojas embarks on her second solo feature as director with Cidade;Campo, a project initially scheduled to go into production last May but halted by the pandemic. Produced by Sara Silveira of Dezenove Som e Imagens, who has financed several of Rojas’ projects. Rojas is perhaps best known for a series of projects she co-directed with Marco Dutra. She shared the Cannes Discovery award with Dutra for their 2007 short “A Stem,” an award she’d also receive for her 2012 short “Doppelganger.” Their 2011 feature Hard Labor was selected for Un Certain Regard at Cannes, and their 2017 feature Good Manners won the Special Jury Prize at the 2017 Locarno Film Festival.…...
- 1/5/2021
- by Nicholas Bell
- IONCINEMA.com
Whether a viewer in 1896 or 2020, cinema has always been a dynamic and variable experience. Cinema as an event—as a manifestation of a meeting point between the art of moving images and an audience, big or small—has never fit any one definition, and this last year, so severely disrupted by a global pandemic, has deeply underscored the versatility and resilience of our great love.Our viewing this year, like that of so many, has been strange: compromised, confrontational, escapist, euphoric, painful, revelatory—encompassing all of the reactions one can have to film. How we encountered our favorite movies and most meaningful cinematic experiences of the year was hardly new: A by-now-normal mix of festivals, theatres, various subscription and transactional streaming services, as well as private screener links and gems buried on over-stuffed hard drives. But for most of the year, the communal experience shrunk to living rooms and glowing screens.
- 12/23/2020
- MUBI
Ancient myths, religious otherworldliness, and culturally tailored re-imaginings of classic tropes or creatures populate the landscape of Latino horror. Although genre films have been present in Latin American cinema since the 1930s, over the last two decades — with the advent of digital filmmaking and increased government investment in the art form — they have exponentially flourished in the region.
Meanwhile, in the United States, Latinx audiences are known to be enthusiastic (and paying) fans of all things horror, even if Hollywood projects rarely include Latinos on screen. There are still few genre features by or about American Latinos out there, but up-and-coming storytellers are striving to change that. As streamers and studios vow to support emerging voices in entertainment, this is a space ripe for growth.
A thematically compelling quality in many of the most prominent Latino horror films is that genre often serves as a vehicle to create discourse around...
Meanwhile, in the United States, Latinx audiences are known to be enthusiastic (and paying) fans of all things horror, even if Hollywood projects rarely include Latinos on screen. There are still few genre features by or about American Latinos out there, but up-and-coming storytellers are striving to change that. As streamers and studios vow to support emerging voices in entertainment, this is a space ripe for growth.
A thematically compelling quality in many of the most prominent Latino horror films is that genre often serves as a vehicle to create discourse around...
- 10/24/2020
- by Carlos Aguilar
- Indiewire
Yulene Olaizola’s “Tragic Jungle,” Natalia Meta’s “The Intruder” and Clarisa Navas’ “One in a Thousand” will compete in the San Sebastian Film Festival’s Latinos Horizontes, a showcase of standout recent movies from Latin America that this year underscores the emergence or consolidation of a new generation of female filmmakers in Latin America.
In all, women direct or co-direct seven of the nine features in Horizontes Latinos, a section which also features two world premieres: “La Verónica,” from Chile’s Leonardo Medel; and “Unlimited Edition,” co-directed by Virginia Cosín, Edgardo Cozarinsky, Santiago Loza and Romina Paula.
Certainly, this year’s San Sebastian makes no claim via its selection to women having suddenly taken over the Latin American industry: Four of the five titles from the region in other sections, including main competition (Argentine Eduardo Crespo’s “Nosotros Nunca Moriremos”) and New Directors (Brazilian João Paulo Miranda’s “Memory House”) are made by men.
In all, women direct or co-direct seven of the nine features in Horizontes Latinos, a section which also features two world premieres: “La Verónica,” from Chile’s Leonardo Medel; and “Unlimited Edition,” co-directed by Virginia Cosín, Edgardo Cozarinsky, Santiago Loza and Romina Paula.
Certainly, this year’s San Sebastian makes no claim via its selection to women having suddenly taken over the Latin American industry: Four of the five titles from the region in other sections, including main competition (Argentine Eduardo Crespo’s “Nosotros Nunca Moriremos”) and New Directors (Brazilian João Paulo Miranda’s “Memory House”) are made by men.
- 8/21/2020
- by John Hopewell
- Variety Film + TV
With streaming dominating the industry — and suddenly becoming the “new normal” in a changing world — IndieWire is taking a closer look at the news cycle, breaking down what really matters to provide a clear picture of what companies are winning the streaming wars, and how they’re pulling ahead.
By looking at trends and the latest developments, Streaming Wars Report: Indie Edition offers a snapshot of what’s happening overall and day-to-day in streaming for the indie set. Check out the latest Streaming Wars Report for updates to the bigger players in the industry.
Despite an increasingly crowded marketplace, it’s not a bad time to be an independent or boutique streaming outfit. As more cinephiles and entertainment junkies have stayed close to home — rightly — for their movie-loving needs and the majority of traditional domestic theaters have remained closed, streamers of all sizes have reported a steady uptick in membership and views.
By looking at trends and the latest developments, Streaming Wars Report: Indie Edition offers a snapshot of what’s happening overall and day-to-day in streaming for the indie set. Check out the latest Streaming Wars Report for updates to the bigger players in the industry.
Despite an increasingly crowded marketplace, it’s not a bad time to be an independent or boutique streaming outfit. As more cinephiles and entertainment junkies have stayed close to home — rightly — for their movie-loving needs and the majority of traditional domestic theaters have remained closed, streamers of all sizes have reported a steady uptick in membership and views.
- 7/23/2020
- by Kate Erbland
- Indiewire
With a seemingly endless amount of streaming options—not only the titles at our disposal, but services themselves–each week we highlight the noteworthy titles that have recently hit platforms. Check out this week’s selections below and past round-ups here.
Clemency (Chinonye Chukwu)
From Escape from Alcatraz to Cool Hand Luke to The Shawshank Redemption, cinema is rich with not only prison films focused on the plight of the prisoner, but also depicting wardens in an evil light. Clemency, winner of the Dramatic Grand Jury Prize at Sundance Film Festival, flips the script in both ways, both turning the spotlight on a warden and painting her in an empathetic, complicated light. Led by Alfre Woodard, she gives a riveting, emotional performance as the Bernadine Williams, a woman who is stuck between the demands of her grueling job and a disintegrating marriage, and can’t give her all to both.
Clemency (Chinonye Chukwu)
From Escape from Alcatraz to Cool Hand Luke to The Shawshank Redemption, cinema is rich with not only prison films focused on the plight of the prisoner, but also depicting wardens in an evil light. Clemency, winner of the Dramatic Grand Jury Prize at Sundance Film Festival, flips the script in both ways, both turning the spotlight on a warden and painting her in an empathetic, complicated light. Led by Alfre Woodard, she gives a riveting, emotional performance as the Bernadine Williams, a woman who is stuck between the demands of her grueling job and a disintegrating marriage, and can’t give her all to both.
- 7/17/2020
- by Jordan Raup
- The Film Stage
Mubi's series New Brazilian Cinema is showing June - September, 2020.Above: LandlessAs I write about current Brazilian cinema, Brazilian Cinemateca, the preeminent institution for preservation of the country’s film history, is in danger of collapsing. Its employees haven’t been paid for months and the reels in its archives aren’t properly protected. The country's film industry launches strikes and petitions against the government’s plan to close the organization, which would damn the cultural heritage it shelters. How to consider the urgency of contemporary Brazilian film in this dire context? Perhaps by framing it as narratives of crises and resilience. No image inscribes itself as well into this allegory as one at the end of Landless, a documentary by Camila Freitas that premiered at Berlinale: Gusts of relentless wind punish arid earth, covering a settlement of scattered humble tents in a vicious swirl of red dust. This...
- 7/6/2020
- MUBI
The cult film VOD platform Spamflix has launched a new worldwide app, available now for mobile and smart TV compatible. Via the app users can browse, rent and stream from the full catalog, which includes a wide range of feature and short films from around the globe.
Visit spamflix.com/app.do for more information, or available directly on Google Play and the Apple Store.
Spamflix was founded in 2018 by Markus Duffner, a project manager at the Locarno Film Festival and Julia Duarte, former producer of São Paulo International Film Festival. Called ‘Netflix for Cult Film Fans’ by Geek Spin the bulk of Spamflix’s library consists of hard to find and lesser-seen genre titles, many of which garnered acclaim on the festival circuit only to land without significant distribution.
A treasure trove for cult film enthusiasts that has a specialty focus on black comedy and adult animation, the new...
Visit spamflix.com/app.do for more information, or available directly on Google Play and the Apple Store.
Spamflix was founded in 2018 by Markus Duffner, a project manager at the Locarno Film Festival and Julia Duarte, former producer of São Paulo International Film Festival. Called ‘Netflix for Cult Film Fans’ by Geek Spin the bulk of Spamflix’s library consists of hard to find and lesser-seen genre titles, many of which garnered acclaim on the festival circuit only to land without significant distribution.
A treasure trove for cult film enthusiasts that has a specialty focus on black comedy and adult animation, the new...
- 5/14/2020
- by Grace Han
- AsianMoviePulse
Portuguese event could be one of the first film festivals to take place physically in Europe as lockdowns ease.
Portuguese film festival IndieLisboa, which had to abandon its original April 30 to May 10 dates, is pushing on with plans to hold its 17th edition at the end of August, if an easing of the global Covid-19 health crisis allows.
The event took the usual step of unveiling most of its 2020 selection on April 30 to mark what would have been the opening day.
“We wanted to do something symbolic,” festival director Miguel Valverde told Screen. “In a normal year, we tie up...
Portuguese film festival IndieLisboa, which had to abandon its original April 30 to May 10 dates, is pushing on with plans to hold its 17th edition at the end of August, if an easing of the global Covid-19 health crisis allows.
The event took the usual step of unveiling most of its 2020 selection on April 30 to mark what would have been the opening day.
“We wanted to do something symbolic,” festival director Miguel Valverde told Screen. “In a normal year, we tie up...
- 5/5/2020
- by 1100388¦Melanie Goodfellow¦0¦
- ScreenDaily
If Brazil’s film industry faces unprecedented threats under far-right president Jair Bolsonaro, let’s hope this kind of adventurous filmmaking–which ruminates on the country’s unaddressed injustices that shaped the country of today–isn’t in the populist administration’s sights. All the Dead Ones is an accomplished film by directing duo Caetano Gotardo and Marco Dutra, rich in the nation’s poetry and music, daring in highlighting women’s voices while commenting on Brazil’s history of inequality of wealth, class, and race.
The film hinges on the white, middle-class Soares family in São Paulo at the turn of the twentieth century, a decade after Brazil banned slavery and when the nascent republic was lurching from coup to dictatorship. Before abolition, the Soares were wealthy coffee-plantation owners, but their diminished place in social strata has meant the women of the family shelter in relative obscurity in Brazil’s largest city.
The film hinges on the white, middle-class Soares family in São Paulo at the turn of the twentieth century, a decade after Brazil banned slavery and when the nascent republic was lurching from coup to dictatorship. Before abolition, the Soares were wealthy coffee-plantation owners, but their diminished place in social strata has meant the women of the family shelter in relative obscurity in Brazil’s largest city.
- 2/24/2020
- by Ed Frankl
- The Film Stage
Turn and Face the Strange: Caetano & Gotardo Navigate Displacement in Stellar Period Piece
The tagline for George Cukor’s 1939 classic The Women read “It’s all about men!” which is a potential (one of many) assertions one could make of Marco Dutra & Caetano Gotardo’s simmering, intelligent All the Dead Ones. Set in 1899 Sao Paolo, wherein Brazil’s national identity enters the twentieth century whilst still grappling with the seismic social changes which transpired a decade before with the abolishment of slavery (a snippet of dialogue sums it up best wherein a teacher tells her students the country has gone from an Empire to a Republic), the principal cast of characters are mostly women, each navigating a precarious future in a world where the recent social hierarchy has become abolished.…...
The tagline for George Cukor’s 1939 classic The Women read “It’s all about men!” which is a potential (one of many) assertions one could make of Marco Dutra & Caetano Gotardo’s simmering, intelligent All the Dead Ones. Set in 1899 Sao Paolo, wherein Brazil’s national identity enters the twentieth century whilst still grappling with the seismic social changes which transpired a decade before with the abolishment of slavery (a snippet of dialogue sums it up best wherein a teacher tells her students the country has gone from an Empire to a Republic), the principal cast of characters are mostly women, each navigating a precarious future in a world where the recent social hierarchy has become abolished.…...
- 2/24/2020
- by Nicholas Bell
- IONCINEMA.com
‘All The Dead Ones’ lands mid-pack.
Christian Petzold’s Undine took the lead on Screen’s Competition jury grid on day three of the Berlinale, recording three top score fours (excellent).
Those top marks came from Helena Lindblad of Dagens Nyheter, Paolo Bertolin of Segnocinema, and Wang Muyan of The Paper. It also took three scores of three (good), with only a one (poor) from The Morning Star’s Rita Di Santo pulling its average down to 3.1.
Berlinale regular Petzold’s film sees him reunite Transit stars Paula Beer and Franz Rogowski for a modern-day retelling of a myth relating to the titular water nymph.
Christian Petzold’s Undine took the lead on Screen’s Competition jury grid on day three of the Berlinale, recording three top score fours (excellent).
Those top marks came from Helena Lindblad of Dagens Nyheter, Paolo Bertolin of Segnocinema, and Wang Muyan of The Paper. It also took three scores of three (good), with only a one (poor) from The Morning Star’s Rita Di Santo pulling its average down to 3.1.
Berlinale regular Petzold’s film sees him reunite Transit stars Paula Beer and Franz Rogowski for a modern-day retelling of a myth relating to the titular water nymph.
- 2/24/2020
- by 1101321¦Ben Dalton¦26¦
- ScreenDaily
There are a host of important, even vital ideas behind “All the Dead Ones,” a hybrid period piece addressing Brazil’s unresolved legacy of slavery and the imprint it’s had on an all-too-often downplayed contemporary racism of malignant toxicity. Set largely in 1899, 11 years after the abolition of slavery but designed so modern São Paulo increasingly bleeds into the picture, : Having a character express her colonialist guilt by seeing the ghosts of dead slaves feels far too stale when presented with such Freudian hysteria. Caetano Gotardo and Marco Dutra, collaborating as directors for the first time, channel the artificiality of late Manoel de Oliveira but without the enticing mystery, hampered by an understandable earnestness that yearns for a more subtle approach. International prospects are uncertain at best.
It doesn’t help that the character one instantly bonds with dies after the first few minutes. Josefina (Alaíde Costa) is an...
It doesn’t help that the character one instantly bonds with dies after the first few minutes. Josefina (Alaíde Costa) is an...
- 2/23/2020
- by Jay Weissberg
- Variety Film + TV
Sometimes, as a critic, you really love the film that the filmmakers were trying to make — even though they failed, perhaps even spectacularly, to actually make it. Brazilian Berlinale competition title All the Dead Ones (Todos os mortos) is one such film.
Directors Caetano Gotardo and Marco Dutra — the latter a co-director on the fascinating genre hybrid Good Manners that premiered in Locarno in 2017 — spin a story set in 1899 and 1900, a decade after slavery was abolished in Brazil. They mainly follow the women of the Soares family, whose men used to run a ...
Directors Caetano Gotardo and Marco Dutra — the latter a co-director on the fascinating genre hybrid Good Manners that premiered in Locarno in 2017 — spin a story set in 1899 and 1900, a decade after slavery was abolished in Brazil. They mainly follow the women of the Soares family, whose men used to run a ...
- 2/23/2020
- The Hollywood Reporter - Film + TV
Sometimes, as a critic, you really love the film that the filmmakers were trying to make — even though they failed, perhaps even spectacularly, to actually make it. Brazilian Berlinale competition title All the Dead Ones (Todos os mortos) is one such film.
Directors Caetano Gotardo and Marco Dutra — the latter a co-director on the fascinating genre hybrid Good Manners that premiered in Locarno in 2017 — spin a story set in 1899 and 1900, a decade after slavery was abolished in Brazil. They mainly follow the women of the Soares family, whose men used to run a ...
Directors Caetano Gotardo and Marco Dutra — the latter a co-director on the fascinating genre hybrid Good Manners that premiered in Locarno in 2017 — spin a story set in 1899 and 1900, a decade after slavery was abolished in Brazil. They mainly follow the women of the Soares family, whose men used to run a ...
- 2/23/2020
- The Hollywood Reporter - Movie News
Philippe Garrel’s ‘The Salt Of Tears’ split opinion amongst our critics.
Kelly Reichardt has hit the front in the early stages of Screen’s Berlin 2020 Competition jury grid with her latest film First Cow.
It received consistent scores from all seven critics, with nothing lower than a two (average) and this year’s first score of four (excellent) from Screen’s own critic, culminating in a 2.7 average.
The film, which premiered at Telluride last year, centres on a cook who signs on to serve a party of fur trappers in the Pacific Northwest, forming a friendship with a Chinese immigrant.
Kelly Reichardt has hit the front in the early stages of Screen’s Berlin 2020 Competition jury grid with her latest film First Cow.
It received consistent scores from all seven critics, with nothing lower than a two (average) and this year’s first score of four (excellent) from Screen’s own critic, culminating in a 2.7 average.
The film, which premiered at Telluride last year, centres on a cook who signs on to serve a party of fur trappers in the Pacific Northwest, forming a friendship with a Chinese immigrant.
- 2/23/2020
- by 1101321¦Ben Dalton¦26¦
- ScreenDaily
Directed by Caetano Gotardo and Marco Dutra, Brazilian Berlin competition entry “All the Dead Ones” kicks off in Belle Epoque 1899 São Paulo. Ana, the daughter of a plantation owner and her nun sister attempt persuade a reluctant Ina, a former slave, to perform an ancient African ritual to cure their mother. A time warp at the hour mark moves part of the drama to contemporary high-rise São Paulo, as Ana in 1899 becomes obsessed by ghosts of dead black slaves.
“‘All the Dead Ones’ talks about how Brazil is much richer than we maybe think. Although a period film, it talks in a very original way about something still happening today,” says Carlo Chatrian, Berlin artistic director. The directors talked to Variety about the film.
The film uses an arresting time warp to ask how much Brazil has really changed.
Gotardo: The way that Brazilian society was organized after the end...
“‘All the Dead Ones’ talks about how Brazil is much richer than we maybe think. Although a period film, it talks in a very original way about something still happening today,” says Carlo Chatrian, Berlin artistic director. The directors talked to Variety about the film.
The film uses an arresting time warp to ask how much Brazil has really changed.
Gotardo: The way that Brazilian society was organized after the end...
- 2/23/2020
- by John Hopewell
- Variety Film + TV
Competition
“All the Dead Ones”
Caetano Godardo, Marco Dutra
Following up on their Locarno-prized “Good Manners,” genre auteur Dutra and Gotardo deliver a lushly turned-out family drama that converts ghostliness into political metaphor, conflating 1899 Sao Paulo with its high-rise present, asking if the uneasy relationship between Brazil’s white elite and black majority has essentially changed.
Sales: Indie Sales
Encounters
“Los Conductos”
Camilo Restrepo
Pinky, on the run from a sect, takes to squatting, making T-shirts for a living, taking drugs and spinning images of the Apocalypse, damnation, revenge. A spectral, crazed allegory of Colombian post-civil conflict reinsertion that won Mar del Plata’s 2019 Works in Progress.
Sales: Best Friend Forever
Panorama
“A Common Crime”
Francisco Márquez
Set in class-riven Argentina and packing, reportedly, a great finale and commanding performance from lead Elisa Carricajo as an Argentine university teacher who fails to help her maid’s son, with literally haunting consequences.
“All the Dead Ones”
Caetano Godardo, Marco Dutra
Following up on their Locarno-prized “Good Manners,” genre auteur Dutra and Gotardo deliver a lushly turned-out family drama that converts ghostliness into political metaphor, conflating 1899 Sao Paulo with its high-rise present, asking if the uneasy relationship between Brazil’s white elite and black majority has essentially changed.
Sales: Indie Sales
Encounters
“Los Conductos”
Camilo Restrepo
Pinky, on the run from a sect, takes to squatting, making T-shirts for a living, taking drugs and spinning images of the Apocalypse, damnation, revenge. A spectral, crazed allegory of Colombian post-civil conflict reinsertion that won Mar del Plata’s 2019 Works in Progress.
Sales: Best Friend Forever
Panorama
“A Common Crime”
Francisco Márquez
Set in class-riven Argentina and packing, reportedly, a great finale and commanding performance from lead Elisa Carricajo as an Argentine university teacher who fails to help her maid’s son, with literally haunting consequences.
- 2/21/2020
- by John Hopewell and Jamie Lang
- Variety Film + TV
The French sales agent is pinning its hopes on the Berlin competition title by Brazil’s Caetano Gotardo and Marco Dutra as well as on the Panorama-screened documentary Days of Cannibalism. French international sales agent Indie Sales will be able to boast a jam-packed line-up of 12 titles at the European Film Market of the 70th Berlinale (20 February-1 March). Standing out in particular is a feature that will be vying for the Golden Bear: All the Dead Ones by Brazilian duo Caetano Gotardo and Marco Dutra (Special Jury Prize at Locarno in 2017 for Good Manners). The movie, which has been produced by Brazilian outfit Dezenove Som e Imagens together with France’s Good Fortune Films (Clément Duboin and Florence Cohen), will have its official world premiere on Sunday 23 February. The story, written by the pair of directors, kicks off in 1899, shortly after slavery has been abolished in Brazil....
The new co-heads of the Berlin Film Festival have had an eventful build up to their first edition, which gets underway in two weeks. The festival program has been greeted with cautious optimism but there have also been bumps in the road, including last week’s suspension of the Alfred Bauer Silver Bear Prize and some questions over the choice of Jeremy Irons as jury head in light of comments the actor once made about women and same sex marriage.
We spoke to artistic director Carlo Chatrian (formerly of Locarno) and executive director Mariette Rissenbeek (formerly of German Films) about this year’s lineup, the festival’s direction and some of the noise being made away from the films. The duo declined to answer additional questions about the Alfred Bauer situation but we have covered that here.
Deadline: How are you feeling about this year’s festival?
Carlo Chatrian: We both feel very excited.
We spoke to artistic director Carlo Chatrian (formerly of Locarno) and executive director Mariette Rissenbeek (formerly of German Films) about this year’s lineup, the festival’s direction and some of the noise being made away from the films. The duo declined to answer additional questions about the Alfred Bauer situation but we have covered that here.
Deadline: How are you feeling about this year’s festival?
Carlo Chatrian: We both feel very excited.
- 2/4/2020
- by Andreas Wiseman
- Deadline Film + TV
French outfit is handling a trio of Berlinale titles including Golden Bear contender All The Dead Ones.
Paris-based Indie Sales has acquired world sales rights to Teboho Edkins’ documentary Days Of Cannibalism ahead of its premiere in the Berlinale’s Panorama Dokumente section.
Shot in the southern African country of Lesotho, the work explores the impact of the arrival of a wave of Chinese entrepreneurs on its rural communities, which traditionally made their living from cattle farming.
Edkins, who describes the feature as a “contemporary documentary western”, captures the simmering tensions as forces of capitalism challenge the old order and traditions.
Paris-based Indie Sales has acquired world sales rights to Teboho Edkins’ documentary Days Of Cannibalism ahead of its premiere in the Berlinale’s Panorama Dokumente section.
Shot in the southern African country of Lesotho, the work explores the impact of the arrival of a wave of Chinese entrepreneurs on its rural communities, which traditionally made their living from cattle farming.
Edkins, who describes the feature as a “contemporary documentary western”, captures the simmering tensions as forces of capitalism challenge the old order and traditions.
- 1/30/2020
- by 1100388¦Melanie Goodfellow¦0¦
- ScreenDaily
DaysThe titles for the 70th Berlin International Film Festival are being announced in anticipation of the event running February 20 - March 2, 2020. We will update the program as new films are revealed.COMPETITIONBerlin Alexanderplatz (Burhan Qurbani): Francis has survived his escape from Africa. In Berlin he gets to know Hasenheide park, the city’s clubs and its streets. His pal Reinhold becomes an adversary. Mieze brings both happiness and tragedy. Dau. Natasha (Ilya Khrzhanovskiy and Jekaterina Oertel): Natasha works in the canteen of a secret Soviet research institute. She drinks a lot, likes to talk about love and embarks on an affair. State security intervenes. A tale of violence that is as radical as it is provocative.The Woman Who Ran (Hong Sangsoo): While her husband is on a business trip, Gamhee meets three of her friends on the outskirts of Seoul. They make friendly conversation, as always,...
- 1/29/2020
- MUBI
The Berlinale lineup already includes films from Jia Zhangke, Matías Piñeiro, and more, but now the competition slate has arrived and it’s an incredibly promising selection. Headed by Carlo Chatrian, it includes many of our most-anticipated films of the year with Christian Petzold’s Undine, Hong Sang-soo’s The Woman Who Ran, Tsai Ming-Liang’s Days, Philippe Garrel’s The Salt of Tears, Abel Ferrara’s Siberia, and Caetano Gotardo & Marco Dutra’s All the Dead Ones, plus recent festival favorites: Kelly Reichardt’s First Cow and Eliza Hittman’s Never Rarely Sometimes Always.
Check out the lineup below and return for our coverage.
Competition
Berlin Alexanderplatz
Germany / Netherlands
by Burhan Qurbani
with Welket Bungué, Jella Haase, Albrecht Schuch, Joachim Król, Annabelle Mandeng, Nils Verkooijen, Richard Fouofié Djimeli
World premiere
Dau. Natasha
Germany / Ukraine / United Kingdom / Russian Federation
by Ilya Khrzhanovskiy, Jekaterina Oertel
with Natalia Berezhnaya, Olga Shkabarnya, Vladimir Azhippo,...
Check out the lineup below and return for our coverage.
Competition
Berlin Alexanderplatz
Germany / Netherlands
by Burhan Qurbani
with Welket Bungué, Jella Haase, Albrecht Schuch, Joachim Król, Annabelle Mandeng, Nils Verkooijen, Richard Fouofié Djimeli
World premiere
Dau. Natasha
Germany / Ukraine / United Kingdom / Russian Federation
by Ilya Khrzhanovskiy, Jekaterina Oertel
with Natalia Berezhnaya, Olga Shkabarnya, Vladimir Azhippo,...
- 1/29/2020
- by Jordan Raup
- The Film Stage
The Berlin International Film Festival on Wednesday morning revealed the main competition lineup and gala selections for festival’s 70th edition.
The festival, which begins February 20, will screen 18 films in competition, including movies from Sally Potter, Kelly Reichardt, and Eliza Hittman. Six are from female directors.
Among the gala presentations is Pixar’s” Onward.” The Dan Scanlon-helmed urban fantasy includes the voices of Tom Holland, Chris Pratt, Julia-Louis Dreyfus, Octavia Spencer, Mel Rodriguez, Kyle Bornheimer, Lena Waithe, and Ali Wong.
Here is the complete list:
Competition
“Berlin Alexanderplatz” (Germany/Netherlands)
Director: Burhan Qurbani
Cast: Welket Bungué, Jella Haase, Albrecht Schuch, Joachim Król, Annabelle Mandeng, Nils Verkooijen, and Richard Fouofié Djimeli
“Dau. Natasha” (Germany/Ukraine/United Kingdom/Russia)
Directors: Ilya Khrzhanovskiy and Jekaterina Oertel
Cast: Natalia Berezhnaya, Olga Shkabarnya, Vladimir Azhippo, Alexei Blinov, and Luc Bigé
“Domangchin yeoja” (“The Woman Who Ran”) (South Korea)
Director: Hong Sangsoo
Cast: Kim Minhee,...
The festival, which begins February 20, will screen 18 films in competition, including movies from Sally Potter, Kelly Reichardt, and Eliza Hittman. Six are from female directors.
Among the gala presentations is Pixar’s” Onward.” The Dan Scanlon-helmed urban fantasy includes the voices of Tom Holland, Chris Pratt, Julia-Louis Dreyfus, Octavia Spencer, Mel Rodriguez, Kyle Bornheimer, Lena Waithe, and Ali Wong.
Here is the complete list:
Competition
“Berlin Alexanderplatz” (Germany/Netherlands)
Director: Burhan Qurbani
Cast: Welket Bungué, Jella Haase, Albrecht Schuch, Joachim Król, Annabelle Mandeng, Nils Verkooijen, and Richard Fouofié Djimeli
“Dau. Natasha” (Germany/Ukraine/United Kingdom/Russia)
Directors: Ilya Khrzhanovskiy and Jekaterina Oertel
Cast: Natalia Berezhnaya, Olga Shkabarnya, Vladimir Azhippo, Alexei Blinov, and Luc Bigé
“Domangchin yeoja” (“The Woman Who Ran”) (South Korea)
Director: Hong Sangsoo
Cast: Kim Minhee,...
- 1/29/2020
- by Chris Lindahl
- Indiewire
The Berlin International Film Festival has unveiled its 2020 line-up, with 18 films playing in competition from directors such as Abel Ferrara, Sally Potter, Christian Petzold, Hong Sangsoo, Kelly Reichardt and Eliza Hittman.
Abel Ferrara’s Willem Dafoe starrer “Siberia” is a world premiere in competition, as is Sally Potter’s “The Roads Not Taken.”
Among the U.S. films at the Berlinale, Reichardt’s “First Cow” is an international premiere, and so too is Hittman’s “Never Rarely Sometimes Always.”
Pixar’s latest animation, “Onward”, also has its international premiere out of competition in the Special Galas section.
Previous Berlin Silver Bear winner Christian Petzold’s latest, “Undine”, world premieres, while Iranian director Mohammed Rasoulof, who is not allowed to travel outside his home country, world premieres his latest, “There is No Evil.”
Six out of the 18 films in competition are helmed by female directors.
The 70th edition of the festival...
Abel Ferrara’s Willem Dafoe starrer “Siberia” is a world premiere in competition, as is Sally Potter’s “The Roads Not Taken.”
Among the U.S. films at the Berlinale, Reichardt’s “First Cow” is an international premiere, and so too is Hittman’s “Never Rarely Sometimes Always.”
Pixar’s latest animation, “Onward”, also has its international premiere out of competition in the Special Galas section.
Previous Berlin Silver Bear winner Christian Petzold’s latest, “Undine”, world premieres, while Iranian director Mohammed Rasoulof, who is not allowed to travel outside his home country, world premieres his latest, “There is No Evil.”
Six out of the 18 films in competition are helmed by female directors.
The 70th edition of the festival...
- 1/29/2020
- by Tim Dams
- Variety Film + TV
Julia Ducournau’s Titane has joined the ranks of Wild Bunch, Filippo Meneghetti’s Two Of Us smiles favourably on Doc & Film, Marco Dutra goes to Indie Sales and Pulsar Content takes flight. With just two days to go until the close of the 44th Toronto International Film Festival and its intense, informal market (which a great number of professionals travelled to straight after the 76th Venice Film Festival), French international sales agents are slowly returning to Paris for a brief interval, before the 67th San Sebastian Film Festival (running 20-28 September) kicks off, leaving time to take stock of the major announcements made during the past two weeks. For starters, Wild Bunch International (the new entity launched at the beginning of July by Vincent Maraval) announced the sensational arrival of Titane in its line-up, which will be young French filmmaker Julia Ducournau’s second feature film after Raw (the star attraction.
Dutra whose credits include 2011 Un Certain Regard entry Hard Labor and Good Manners, which won the Locarno jury prize in 2017.
Paris-based Indie Sales has acquired world sales rights to Brazilian director Marco Dutra’s upcoming period drama All The Dead Ones, set against the backdrop of Sao Paolo in the late 19th century, shortly after the abolition of slavery.
The film revolves around three women from a formerly wealthy coffee plantation-owning family that has gone into financial decline amid the rapidly changing backdrop of Brazil at the turn of the century.
The death of their long-time maid, a former black slave from their farm,...
Paris-based Indie Sales has acquired world sales rights to Brazilian director Marco Dutra’s upcoming period drama All The Dead Ones, set against the backdrop of Sao Paolo in the late 19th century, shortly after the abolition of slavery.
The film revolves around three women from a formerly wealthy coffee plantation-owning family that has gone into financial decline amid the rapidly changing backdrop of Brazil at the turn of the century.
The death of their long-time maid, a former black slave from their farm,...
- 9/6/2019
- by Melanie Goodfellow
- ScreenDaily
Brazilian based producer Rodrigo Teixeira established Sao Paolo company Rt Features in 2005 and has become an increasingly notable major player in a broad array of international cinematic features. In less than fifteen years, Teixeira has worked with some of the most notable contemporary cinematic luminaries with a list consisting of works by Noah Baumbach, Ira Sachs, Marco Dutra, Luca Guadagnino, Jonas Carpignano, Kelly Reichardt, Gaspar Noe, Robert Eggers, James Schamus and Eduardo Williams with new projects in development from Mia Hansen-Love, Olivier Assayas, Brian DePalma and another Guadagnino collaboration. He’s also dipped into big-budget studio fare with James Gray’s Ad Astra.…...
- 4/29/2019
- by Nicholas Bell
- IONCINEMA.com
Premiering in competition at the 2017 Locarno Film Festival, Marco Dutra and Juliana Rojas’ superb second collaboration Good Manners was purchased by Distrib Films in the Us and re-leased in significantly limited theatrical release in late July of 2018 (across four screens it took in just over thirty-thousand at the box-office). One of the year’s most underrated and underseen theatrical offerings, it’s a deserved cult classic waiting to be discovered by art-house horror acolytes, which the Icarus Films DVD release might not exactly catalyze in the Us. Beyond its success at Locarno, Dutra and Rojas picked up a raft of film festival prizes throughout its extensive festival circuit run with one of the most notable titles from a burgeoning new wave of Brazilian auteurs.…...
- 11/13/2018
- by Nicholas Bell
- IONCINEMA.com
The Day I Became a WomanWomen and the home, their “rightful” place in it and alleged duty to it, is ever the topical subject, an all too common association thankfully rife with permutations that provoke inspired debate. The topic of women’s at-home labors is this year’s theme of BAMcinématek’s Women at Work series. Now in its third iteration, the series this year is subtitled The Domestic Is Not Free, and it reveals the many ways in which domesticity has been celebrated—or in this case, more often rebelled against—on screen, by drawing from obvious choices, but also including a few surprises and poignant pairings. Such a series could not be complete without Chantal Akerman’s Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles (1975), but also of equal note is Semiotics of the Kitchen (1975), Martha Rosler’s incisive performance piece that screens with it. Rosler stars in her short...
- 10/31/2018
- MUBI
Participating in San Sebastian’s Europe-Latin America Co-production Forum, Paula Kim’s debut feature “Butterfly Diaries” is pitched along the lines of controversial series “13 Reasons Why” and Marti Noxon’s anorexia drama “To the Bone,” both on Netflix.
“The film addresses a very important issue that afflicts many young girls, made by a director who is also a young woman,” said co-producer Sara Silveira, of Dezenove Som e Imagens, Brazil.
In “Butterfly Diaries,” a Brazilian exchange program student in London struggles not only with the onset of puberty but with a mental disorder.
“As an artist, I believe that sometimes, a person has to go through a very painful trial just to have a glimpse of what he or she truly holds within himself or herself,” said Kim, adding: “It is a film about existential crisis.”
Drama, penned by Kim, will be shot in Portuguese with some English in the U.
“The film addresses a very important issue that afflicts many young girls, made by a director who is also a young woman,” said co-producer Sara Silveira, of Dezenove Som e Imagens, Brazil.
In “Butterfly Diaries,” a Brazilian exchange program student in London struggles not only with the onset of puberty but with a mental disorder.
“As an artist, I believe that sometimes, a person has to go through a very painful trial just to have a glimpse of what he or she truly holds within himself or herself,” said Kim, adding: “It is a film about existential crisis.”
Drama, penned by Kim, will be shot in Portuguese with some English in the U.
- 9/23/2018
- by Anna Marie de la Fuente
- Variety Film + TV
Cinema do Brasil and Apex-Brasil have announced the 2018 winners of the Cinema do Brasil Distribution Support Awards. The seven chosen films will share $100,000 in funding, to be used towards international distribution. The stated goal of the joint program is to stimulate the circulation of Brazilian productions abroad.
The awarded financing is a mix of public and private funding, 80% being provided by Apex-Brasil and the other 20% from Brazil’s Ministry of Foreign Affairs, Itamaraty Cultural Department.
The distribution companies granted the award must invest an equal or greater sum into the P & A of the film in their markets. Once the film is released, the distributor sends Cinema do Brasil a report on audience and box office revenues for the film, copies of formal bills which demonstrate expenditures and invoices in P&A that prove to be at least twice the amount granted by the award.
A commission composed of representatives...
The awarded financing is a mix of public and private funding, 80% being provided by Apex-Brasil and the other 20% from Brazil’s Ministry of Foreign Affairs, Itamaraty Cultural Department.
The distribution companies granted the award must invest an equal or greater sum into the P & A of the film in their markets. Once the film is released, the distributor sends Cinema do Brasil a report on audience and box office revenues for the film, copies of formal bills which demonstrate expenditures and invoices in P&A that prove to be at least twice the amount granted by the award.
A commission composed of representatives...
- 8/1/2018
- by Jamie Lang
- Variety Film + TV
The programme will screen 17 titles from around the world.
Sarajevo Film Festival (August 10-18) has revealed the 17 titles that will play in its Kinoscope programme, with China, Brazil and the Us all represented.
The Kinoscope section is open to films from around the world, excluding the Southeastern European territories which comprise the festival’s competition strand.
On the list is a special screening of Hirokazu Kore-eda’s Shoplifters, which won the Palme d’Or at Cannes in May this year. Screen’s review described it as ‘a masterful ensemble piece about a ‘family’ living on its wits’.
Also appearing after...
Sarajevo Film Festival (August 10-18) has revealed the 17 titles that will play in its Kinoscope programme, with China, Brazil and the Us all represented.
The Kinoscope section is open to films from around the world, excluding the Southeastern European territories which comprise the festival’s competition strand.
On the list is a special screening of Hirokazu Kore-eda’s Shoplifters, which won the Palme d’Or at Cannes in May this year. Screen’s review described it as ‘a masterful ensemble piece about a ‘family’ living on its wits’.
Also appearing after...
- 7/25/2018
- by Ben Dalton
- ScreenDaily
If it wasn’t for a certain action blockbuster, the Brazilian lesbian werewolf horror melodrama Good Manners (which also throws in a musical element as well) would’ve topped our list of the must-see films of the month. One of the best movies I saw at New Directors/New Films earlier this year, Marco Dutra and Juliana Rojas’s fable will be arriving in just over a week, and now Distrib Films Us have debuted a new trailer, featuring one of our quotes.
The São Paulo-set film, gorgeously shot by Zama cinematographer Rui Poças, follows a nurse living outside the city who is hired to be the nanny for a wealthy woman who is about to give birth, and, of course, many secrets await. “Contrasts abound in Juliana Rojas and Marco Dutra’s terrifyingly captivating Good Manners, a horror-meets-children’s-movie that uses all the tropes at its disposal to conjure...
The São Paulo-set film, gorgeously shot by Zama cinematographer Rui Poças, follows a nurse living outside the city who is hired to be the nanny for a wealthy woman who is about to give birth, and, of course, many secrets await. “Contrasts abound in Juliana Rojas and Marco Dutra’s terrifyingly captivating Good Manners, a horror-meets-children’s-movie that uses all the tropes at its disposal to conjure...
- 7/18/2018
- by Jordan Raup
- The Film Stage
Not since the Polish cannibal horror mermaid musical The Lure has there been another genre melting pot as winning as the Brazilian lesbian werewolf horror melodrama Good Manners (which also throws in a musical element as well). One of the best films I saw at New Directors/New Films earlier this year, Marco Dutra and Juliana Rojas’s fable will get a U.S. release next month, and now Distrib Films Us have unveiled the U.S. trailer and poster.
The São Paulo-set film, gorgeously shot by Zama cinematographer Rui Poças, follows a nurse living outside the city who is hired to be the nanny for a wealthy woman who is about to give birth, and, of course, many secrets await. “Contrasts abound in Juliana Rojas and Marco Dutra’s terrifyingly captivating Good Manners, a horror-meets-children’s-movie that uses all the tropes at its disposal to conjure up a piercing discussion of class,...
The São Paulo-set film, gorgeously shot by Zama cinematographer Rui Poças, follows a nurse living outside the city who is hired to be the nanny for a wealthy woman who is about to give birth, and, of course, many secrets await. “Contrasts abound in Juliana Rojas and Marco Dutra’s terrifyingly captivating Good Manners, a horror-meets-children’s-movie that uses all the tropes at its disposal to conjure up a piercing discussion of class,...
- 6/25/2018
- by Jordan Raup
- The Film Stage
Distrib Films Us has acquired U.S. rights to Olivier Ayache-Vidal’s inspirational French social drama “The Teacher” (“Les grands esprits”) from Bac Films.
“The Teacher” stars acclaimed actor Denis Podalydes as a bourgeois professor at the prestigious Parisian school Henry IV who gets relocated to a high school in an underprivileged suburb. The professor, who was initially prejudiced, ends up forming an unexpected bond with a troubled student (Abdoulaye Diallo).
Sombrero Films and Atelier de Production produced “The Teacher,” while Bac Films handles international sales.
“This movie is a very subtle mix of social themes and comedy, tackling with intelligence the discrepancy that exists all around the world in education between private and public, [inner city] and suburban schools. Students need teachers that believe in them and adjust to their social realities,” said Francois Scippa-Kohn, Distrib Films Us’s managing director, who negotiated the deal with Gilles Sousa at Bac Films.
“The Teacher” stars acclaimed actor Denis Podalydes as a bourgeois professor at the prestigious Parisian school Henry IV who gets relocated to a high school in an underprivileged suburb. The professor, who was initially prejudiced, ends up forming an unexpected bond with a troubled student (Abdoulaye Diallo).
Sombrero Films and Atelier de Production produced “The Teacher,” while Bac Films handles international sales.
“This movie is a very subtle mix of social themes and comedy, tackling with intelligence the discrepancy that exists all around the world in education between private and public, [inner city] and suburban schools. Students need teachers that believe in them and adjust to their social realities,” said Francois Scippa-Kohn, Distrib Films Us’s managing director, who negotiated the deal with Gilles Sousa at Bac Films.
- 6/4/2018
- by Elsa Keslassy
- Variety Film + TV
Contrasts abound in Juliana Rojas and Marco Dutra’s terrifyingly captivating Good Manners, a horror-meets-children’s-movie that uses all the tropes at its disposal to conjure up a piercing discussion of class, race, and desire in present-day Brazil. Six years after their collaborative debut, Hard Labor (2011), the writer-directors return to the theme of social divisions, this time to tackle it through the unconventional lens of werewolf mythology in a fantasy-fueled melodrama that should inject a much-needed revitalizing serum into a stagnating genre.
An unemployed professional caretaker from one of São Paulo’s poorer suburbs, dark-skinned Clara (a remarkable Isabél Zuaa) lands a gig as a live-in nanny at a fancy high-rise apartment. Her employer, pregnant Ana (Marjorie Estiano), is an entitled, white 29-year-old from a rich plantation family: shunned from her relatives after she refused to abort, she now awaits the due date indulging in compulsive shopping and steak eating.
An unemployed professional caretaker from one of São Paulo’s poorer suburbs, dark-skinned Clara (a remarkable Isabél Zuaa) lands a gig as a live-in nanny at a fancy high-rise apartment. Her employer, pregnant Ana (Marjorie Estiano), is an entitled, white 29-year-old from a rich plantation family: shunned from her relatives after she refused to abort, she now awaits the due date indulging in compulsive shopping and steak eating.
- 4/10/2018
- by The Film Stage
- The Film Stage
MoMA and the Film Society of Lincoln Center are kicking off the 47th New Directors/New Films festival at the end of the month, and IndieWire is excited to premiere the exclusive trailer for this year’s edition. The annual festival spotlights the best films of the year made by first or second-time directors.
This year’s New Directors/New Films will open with Stephen Loveridge’s music documentary “Matangi/Maya/M.I.A.,” which premiered earlier this year at the Sundance Film Festival. RaMell Ross’ “Hale County This Morning, This Evening” is the closing night selection. New films by Khalik Allah, Gustav Möller, Helena Wittmann, and more are included in this year’s lineup.
New Directors/New Films 2018 runs March 28 – April 8. Watch the trailer and check out the full lineup below. Visit the festival’s official website to purchase tickets.
Opening Night
“Matangi/Maya/M.I.A.,” Stephen Loveridge...
This year’s New Directors/New Films will open with Stephen Loveridge’s music documentary “Matangi/Maya/M.I.A.,” which premiered earlier this year at the Sundance Film Festival. RaMell Ross’ “Hale County This Morning, This Evening” is the closing night selection. New films by Khalik Allah, Gustav Möller, Helena Wittmann, and more are included in this year’s lineup.
New Directors/New Films 2018 runs March 28 – April 8. Watch the trailer and check out the full lineup below. Visit the festival’s official website to purchase tickets.
Opening Night
“Matangi/Maya/M.I.A.,” Stephen Loveridge...
- 3/19/2018
- by Zack Sharf
- Indiewire
Every year, new films premiere at festivals around the world with the hopes of obtaining distribution so they can be seen by general audiences. Of course, not every film ends up with that fate: some don’t get accepted to festivals, others screen at smaller festivals with less publicity, and even the ones that do end up premiering at a major fest aren’t guaranteed a deal. This results in great films falling through the cracks, ignored and/or forgotten because of their perceived profitability rather than their quality.
Here are ten films from 2017 that (to the best of my knowledge) have yet to find a Us distributor, films that will hopefully get the chance to be viewed by general audiences sooner rather than later, if at all.
Angels Wear White (Vivian Qu)
Vivian Qu’s Angels Wear White is a film about women, or more specifically the way women...
Here are ten films from 2017 that (to the best of my knowledge) have yet to find a Us distributor, films that will hopefully get the chance to be viewed by general audiences sooner rather than later, if at all.
Angels Wear White (Vivian Qu)
Vivian Qu’s Angels Wear White is a film about women, or more specifically the way women...
- 12/31/2017
- by The Film Stage
- The Film Stage
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.