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3 items from 2011

Five Films to See at Festivalissimo

9 May 2011 9:13 AM, PDT | SoundOnSight | See recent SoundOnSight news »

The 16th annual Festivalissimo, the Ibero-Latin-American film festival of Montreal, opens May 18th and runs until June 5 with a selection of thirty films culled from the international festival circuit. The competition for the El Sol prize for best feature film, best actor and actress will open with Matías Bize’s La Vida De Los Peces (The Life of Fish, and closes with Federico Vieroj’s La Vida Util (A Useful Life). In addition to the Official Selection films in competition, Festivalissimo also presents a series of films out of competition which represent Latin-American society of the past and present, and a selection of the most commercially successful films at the Latin American box office.

A few must-see films from this year’s lineup:

La Vida Util (A Useful Life) Federico Vieroj, Uruguay-Spain, 2010



After twenty-five years, Cinemateca Uruguaya’s most devoted employee, Jorge (real-life Uruguayan film critic Jorge Jellinek »

- Lindsay Peters

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Review | For the Love of Movies: Jorge Jellinek's "A Useful Life"

12 January 2011 9:21 AM, PST | Indiewire | See recent Indiewire news »

In "A Useful Life," director Federico Veiroj assembles a patient character study around the impact of curatorial work on individual experience. Shot in expressive black-and-white and using the Academy ratio, this is a movie about movies that could seem awkwardly familiar to some devout cinephiles. Uruguayan film critic Jorge Jellinek plays a middle-aged film buff whose world is defined by movies. The reclusive programmer of a struggling cinematheque, Jorge inhabits »

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The last show

9 January 2011 7:06 AM, PST | | See recent New York Post news »

Introducing Jorge, the film-obsessed hero of “A Useful Life” (2010), part of the “Global Lens 2011” series at the Museum of Modern Art. He’s 45 and still lives with his parents. For a quarter of a century he’s been a programmer — and devoted employee — at Cinemateca Uruguaya in Montevideo, the kind of theater I’d frequent. He also has a radio show devoted to movies. Clearly, his life is obsessed with cinema — the good stuff, not Hollywood junk. Then the unthinkable happens. The art house loses its sponsor and shuts down (in the middle of a Manoel de Oliveira retro, »


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