Silent Light (2007) - News Poster



‘Not Directed by Terrence Malick’ Shows the Master Filmmaker’s Huge Influence — Watch

  • Indiewire
‘Not Directed by Terrence Malick’ Shows the Master Filmmaker’s Huge Influence — Watch
Terrence Malick is one of the most influential filmmakers alive, with everyone from Christopher Nolan and David Gordon Green to John Hillcoat and Andrew Dominik citing him as an inspiration. To show the extent to which the “Badlands,” “The Thin Red Line,” and “The Tree of Life” director has left his mark on a generation of directors, Vimeo user Jacob T. Swinney made a video called “Not Directed by Terrence Malick” made up of shots from other filmmakers whose work bears a distinct resemblance to Malick’s. Watch below.

Read More:Terrence Malick-Produced ‘Awaken’ Trailer: Awe-Inspiring Doc Follows Humans’ Relationship With Technology — Watch

Borrowing the music that graced the trailer for “To the Wonder,” the strikingly made video cuts between Malickian footage from a range of films: “Ain’t Them Bodies Saints,” “George Washington,” even “Man of Steel” (whose first teaser had a heavy Malick influence that was sorely lacking from
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Oscars: Nine Films Advance in Foreign-Language Race

Oscars: Nine Films Advance in Foreign-Language Race
The Academy of Motion Picture Arts and Sciences has revealed the nine films advancing in this year’s Oscar race for best foreign language film.

Acclaimed films omitted from the list include Angelina Jolie’s “First They Killed My Father” from Cambodia and Robin Campillo’s “Bpm (Beats Per Minute)” from France. Campillo’s film is the most critically laureled film of the year so far, having picked up five prizes from critics groups, including both the New York Film Critics Circle and the Los Angeles Film Critics Assn.

The nine finalists for nominations in 2017 are:

Chile, “A Fantastic Woman,” Sebastián Lelio, director

Germany, “In the Fade,” Fatih Akin, director

Hungary, “On Body and Soul,” Ildikó Enyedi, director

Israel, “Foxtrot,” Samuel Maoz, director

Lebanon, “The Insult,” Ziad Doueiri, director

Russia, “Loveless,” Andrey Zvyagintsev, director

Senegal, “Félicité,” Alain Gomis, director

South Africa, “The Wound,” John Trengove, director

Sweden, “The Square,” Ruben Östlund, director

For the foreign competition,
See full article at Variety - Film News »

‘Florida Project,’ ‘Yesterday Wonder I Was,’ ’Dive,’ Top Los Cabos

‘Florida Project,’ ‘Yesterday Wonder I Was,’ ’Dive,’ Top Los Cabos
Los Cabos, Mexico — Sean Baker’s “The Florida Project,” Gabriel Mariño’s “Yesterday Wonder I Was” and David Pablos’ “Dive” proved big winners at the 6th Los Cabos Intl. Film Festival on Saturday night which, graced by Nicole Kidman and Paul Schrader and in its first year under Hugo Villa, proved a dazzling platform for a new generation of Mexican talent, as TV and digital, as much as film, came to the fore in many new project unveils.

Nicole Kidman accepted an Outstanding Cinema Award at the beginning of Los Cabos’ awards gala ceremony.

Shot with an eye for eye-popping color by ace Mexican cinematographer Alexis Zabe (“Silent Light”), Baker’s latest take on America’s margins – here a hooker mother and six-year-old scam-artist daughter struggling to get by at roadside motel flophouse in the shadow of Disney World – was always a frontrunner in main competition, eventually taking its best picture plaudit and Pesos300,000 ($15,700) as a cash
See full article at Variety - Film News »

‘The Florida Project’: Inside Sean Baker’s ‘Magic Castle’ Set on the Fringe of Disney World

‘The Florida Project’: Inside Sean Baker’s ‘Magic Castle’ Set on the Fringe of Disney World
With “The Florida Project,” director Sean Baker (“Tangerine”) and Mexican cinematographer Alexis Zabe (“Silent Light”) turned a unique coming-of-age movie about kids living on the fringe of Orlando’s Disney World into “blueberry ice cream with a sour twist.” The movie is a freewheeling “pop verité” of broken dreams built around a cast of mostly non-professionals, and set in a makeshift purple motel appropriately called “The Magic Castle.” But it’s the push-pull between rambunctious six-year-old newcomer Brooklynn Prince and tenderhearted hotel manager Willem Dafoe that propels the drama.

Pop Goes the Verité

And 35mm anamorphic film was the perfect choice to evoke the soft, creamy, imperfect aesthetic Baker was after. “There are fewer and fewer opportunities to work on 35 and I really treasure it,” said Zabe, who shot with the Panavision Millennium xl2 and old E series lenses. “It changes the whole dynamic on set and it plays better
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First Reformed: Paul Schrader vs. Slow Cinema

In an interview in March, Paul Schrader questioned the ongoing usefulness of Slow Cinema. “It had a real interesting moment in the last 10 years, but now the novelty has worn off, and people are not as mesmerized as they were when the slowness was really being used as a new concept of film time,” he said. “It’s a dead end. […] There are still bits of transcendental style. It was a precursor to slow cinema, but it’s not really that slow. A terrific film like Silent Light is closer to transcendental style than slow cinema, but they lump it in […]
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‘Silent Light’: Carlos Reygadas’ Cosmic and Personal Drama of Austere Simplicity

Looking back on this still-young century makes clear that 2007 was a major time for cinematic happenings — and, on the basis of this retrospective, one we’re not quite through with ten years on. One’s mind might quickly flash to a few big titles that will be represented, but it is the plurality of both festival and theatrical premieres that truly surprises: late works from old masters, debuts from filmmakers who’ve since become some of our most-respected artists, and mid-career turning points that didn’t necessarily announce themselves as such at the time. Join us as an assembled team, many of whom were coming of age that year, takes on their favorites.

“Amen” is the first word uttered in Silent Light — an appropriate and reverent punctuation to follow the glory that director Carlos Reygadas unveils in the film’s opening minutes. Beginning in a milky, celestial darkness that then
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Tspdt’s 1,000 Greatest Films 2017 Edition Adds ‘The New World,’ ‘Amour,’ ‘Hunger,’ and More

It’s just a few weeks until this year’s Oscars, which means the Hollywood machine is running out of steam to provide “new angles” on various awards season campaigns and Oscar bloggers are trying to squeeze traffic out of last-minute prediction shifts. It’s fitting, then, that around this time every year we get a rather substantial update of one of the most comprehensive polls on the greatest films of all-time, not simply the November/December releases with the biggest marketing budget come Academy Awards time.

That’s right, They Shoot Pictures, Don’t They? has now published their 2017 edition of 1,000 Greatest Films, culled together from an exhaustive list of major publications and critics. Still topped by Citizen Kane, I often find the most interesting portion to be those films that have most moved around, for better or worse, especially those with newfound critical admiration. This year, Terrence Malick
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Cannes: The Match Factory Boards Carlos Reygadas’ ‘Where Life Is Born’ (Exclusive)

The Match Factory has come on board as co-producer and sales agent of “Where Life Is Born,” the new feature by Mexican director Carlos Reygadas. The Match Factory previously co-produced his film “Post Tenebras Lux,” which won the award for director in Cannes Competition in 2012.

Where Life Is Born” is produced by Jaime Romandia of Mexico-based Mantarraya Producciones, in co-production with No Dream Cinema, Le Pacte, Luxbox, Cinema du Monde, Zdf, Foprocine, Sorfond and Mer Film.

The Match Factory recently acquired the international rights for Amat Escalante’s new feature “Untamed,” also produced by Mantarraya, for which a promo will be released during Cannes.

“We have been partners of The Match Factory since Reygadas’ ‘Silent Light’ — a collaboration of more than 10 years with excellent results. We couldn’t be in better hands,” said Romandia, managing director of Mantarraya.

“Reygadas is one of the most important voices of Mexican cinema. This
See full article at Variety - Film News »

Mubi inks all rights deals for Cannes and Berlin titles

  • ScreenDaily
Mubi inks all rights deals for Cannes and Berlin titles
Exclusive: Svod service adds six titles, including Berlin Panorama opener I, Olga and Mathieu Amalric drama; theatrical, UK and Us deals among haul.

Ambitious Svod service Mubi has secured world digital rights to two titles and UK theatrical and digital rights on four more.

Mubi has secured all UK and Ireland rights for Berlinale Panorama opener I, Olga, Tomas Weinreb and Petr Kazda’s intense re-telling of the Czech murderess Olga Hepnarova, set in 1970s Prague.

Mubi will premiere the feature in cinemas and on the service in the coming months.

Mubi has secured rights in Us, UK and Ireland for Rachel Lang’s feature length debut, Baden Baden, and also rights in the UK and Ireland for Eugène Green’s latest feature, Son Of Joseph. They will both premiere in cinemas and on the service later this year.

The company has inked global digital rights on Luis Lopez-Carrasco’s experimental 80s-set Locarno 2013 title El Futuro
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Exclusive: Alfonso Cuarón & Alejandro G. Iñárritu Endorse Emiliano Rocha Minter's 'We Are The Flesh'

The next generation of Mexican filmmakers, Julio Chavezmontes of Piano Films, and Moises Cosio of Detalle Films, executive producer of Atom Egoyan’s “Remember," Jodorowsky’s “The Dance of Reality,” and Apichatpong Weersethaku’s “Cemetery of Splendor,” are premiering "We Are The Flesh” ("Tenemos la carne") in Iff Rotterdam’s Bright Future Section.

The directorial debut by 25-year-old Emiliano Rocha Minter has the support of Academy Award-winning directors Alejandro González Iñárritu (“Amores Perros”) and Alfonso Cuarón (“Gravity), with Cannes-winning director Carlos Reygadas ("Silent Light", "Post Tenebras Lux”) involved as a co-producer. This makes "Tenemos la carne"/ "We are the Flesh" the first Mexican film, let alone a feature debut, to receive the endorsement of three of the most important directors working today. That is a film to see! It will also be on offer at the Berlinale’s Efm by its international sales agent, Reel Suspects.

In addition to Reygadas, Mexican director Sebastian Hofmann, of the Sundance New Frontier film "Halley," Yann Gonzalez, French director director of Cannes Critics’ Week Special Screening “You and the Night,” and Splendor Omnia’s Natalia Lopez, are co-producers of the film. Mexican associate producers are Simplemente’s Rune Hansen, Monica Reina and Celia Iturraga. "We Are The Flesh" was supported by the Mexican Film Institute's (Imcine) Foprocine fund.

"We Are the Flesh" takes place in a post-apocalyptic Mexico in which a brother and sister find their way into one of the last remaining buildings after years of wandering. Inside, they find a man who makes them a dangerous offer to survive in the outside world. You can view the trailer below:
See full article at Sydney's Buzz »

Prada, More Involved In Film, Hosts Milan Screenings, Launches Film School In Venice

Following initiatives in tandem with the Tribeca and Venice film festivals, Prada is stepping up its commitment to the movie world by launching a non-conventional film school in Venice.

The Italian fashion house announced its new film-related project during a high-profile screening series currently underway at the Prada Foundation in Milan titled “Flesh, Mind and Spirit,” co-curated by Alejandro Gonzalez Inarritu and U.S. critic and film scholar Elvis Mitchell (pictured at the opening).

Called “Belligerent Eyes,” the Prada film school will experiment with new ways of teaching and delving into film and related fields, according to a statement. It will run between May and September 2016 in the Prada Foundation’s Venetian venue at Ca’ Corner della Regina.

The program is recruiting international academics, professionals and a select group of students in various fields that besides film include architecture, journalism, and digital communication.

The purpose of the school is “to
See full article at Variety - Film News »

The Revenant | Review

Essential Killing: Inarritu’s Remarkable New Thanksgiving Film

After winning a trio of Academy Awards last year for Birdman (which took home Best Picture, Director, and Screenplay), Alejandro Gonzalez Inarritu returns in surprising succession with another English language masterpiece, The Revenant. Based loosely on a 2002 novel by Michael Punke, which documents a near mythical 1820’s cross country trek by fur trapper and frontiersman Hugh Glass, it’s perhaps most important to note Inarritu’s ‘looseness’ in adapting an already embellished ‘true account.’ Grueling, impressively detailed, and beautifully shot by Inarritu’s returning DoP Emmanuel Lubezki, it’s a ragged portrait of the American frontier, a period and time often glorified for the white, European perspective. Though the film sees a theatrical release during the high tide of awards season zenith, one wishes it had been ready in time to open on Thanksgiving weekend due to its barbed depiction of historical American gang wars,
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Past Oscar Nominees Size Up The Year In Animation

Past Oscar Nominees Size Up The Year In Animation
Animated films take years to complete. So animation directors can bask in acclaim one year and then seem to vanish from the scene, when, in fact, they are hard at work on their next picture. Variety caught up with three animation directors familiar to awards voters and asked them what they are working on and which of this year’s animated releases impressed them.

Henry Selick

Selick is no stranger to accolades. His feature directing bow was the iconic stop-motion film “The Nightmare Before Christmas” (1993), an annual staple that was nominated for an Academy Award (for visual effects) before there was even a category for animated feature, He also adapted and directed 2009’s “Coraline,” the first full-length film from stop-motion powerhouse Laika. “Coraline” received Oscar and Golden Globe nominations for animated feature.

Selick is excited about a of couple of new projects he’s been working on. One involves author Neil Gaiman,
See full article at Variety - Film News »

Mantarraya Preps Reygadas’ ‘Life,’ Shoots Escalante’s ‘Untamed’ (Exclusive)

Madrid – Backing two of Latin America’s most admired auteurs, Mexico’s Mantarraya, France’s Le Pacte and Germany’s The Match Factory are teaming to produce “Donde nace la vida” (“Where Life is Born”) the highly anticipated next film by Carlos Reygadas (“Japan,” “Battle in Heaven”), as they shoot “Untamed,” from Amat Escalante (“Heli”).

Released in 2002, Reygadas’ anti-conventional “Japan” brought down the flag on a new generation of Mexican filmmakers. Reygadas’ “Silent Light” shared a Cannes jury prize in 2007, his “Post Tenebras Lux” Cannes best director in 2012, Escalante’s Heli” taking the same award a year later.

Also co-producing a new animation film, “The Angel in the Clock,” “Maquinaria Panamericana,” and producing “Pacifico” Mantarraya currently has one of its fullest slates in its 17 years of existence.

“Where Life Begins” is “a simple but powerful story of love and loss of love, in open couple relationships, emotional phases on the
See full article at Variety - Film News »

15 Films That Could Become Mexico's Oscar Entry

Countries around the world have slowly begun announcing their official submissions for the Best Foreign Language Film Academy Award or shortlists of films that are being considered for the distinction. In the case of Mexico there is no clear candidate for the Mexican Academy to select this year, which leaves an open field of diverse films from the art house and commercial realms.

Undoubtedly, the best Mexican film audiences around the world, and in Mexico itself, have had the chance to see in 2015 is Alonso Ruiz PalaciosGüeros,” and some have even speculated that the black-and-white love letter to Mexico City could become the country’s Oscar candidate and even be among the favorites. Unfortunately, the film doesn’t qualify because it was considered to become the official entry last year, when it lost the opportunity to represent Mexico to the financially successful biopic “Cantinflas.” Ruiz Palacios' film would go on to win five Ariel Awards (Mexican Academy Awards) including Best Film and Best Director. It’s in fact the best choice, yet it simply can’t be anymore.

Each year the Mexican Academy sends out a call for entries for filmmakers and producers to submit their films. The organization will only consider those films that are entered by their respective creators, which means that even if a film qualifies if it’s not submitted it won’t be considered. The submission period is over now and the Mexican Academy will announce a list of films competing to represent the nation at the Oscars and the Spanish Goya’s in the upcoming days. Even without a gem like “Güeros” there are still other likely choices and many others that don’t stand a chance against the world-class works that will be send from across the globe. Commercial successes like “A la Mala,” “Tiempos Felices” or “Visitantes” will have a hard time finding support, but I wouldn’t be surprised if they are entered to be in the running anyway.

After looking carefully at release dates, festivals, last year’s films in competition, and having seen several of them, here is a list of 15 films that look like reasonable choices to represent the Mexican film industry at Hollywood’s most prestigious award show. Let’s see how many of these are actually on the official list.

"600 Millas" (600 Miles)

Dir. Gabriel Ripstein

Winner of the Best First Feature at this year’s Berlinale and starring Tim Roth, Gabriel Ripstein’s gun trafficking drama is a gritty and powerful statement about one of the numerous complex issues afflicting both Mexico and the U.S. However, giving the duality it deals with, the film is partially in English, which could become a tricky problem when deciding if it can compete as a foreign language work or not. Furthermore, “600 Miles” hasn’t had a theatrical release in Mexico yet, something that AMPAS requires for a film to qualify. If selected a one-week qualifying run would be mandatory.

"Alicia en el País de Maria" (Alice in Marialand)

Dir. Jesús Magaña Vázquez

Starring Stephanie Sigman ("Spectre") and Uruguayan-born actress Barbara Mori, this highly stylized romantic fantasy follows a love triangle between reality and a strange dreamland. This is Magaña Vázquez highest profile film to date and premiered at the Guadalajara International Film Festival earlier this year. It’s non-linear narrative and the fact that it hasn’t screen much outside its homeland might play against it, but it’s still appears to be an interesting choice. The film opens August 28 in Mexico.

"Carmín Tropical"

Dir. Rigoberto Pérezcano

A personal favorite from what I’ve seen and one of the strongest candidates on this list, “Carmin Tropical” tells the story of Mabel, a “muxe” or physical male who lives as a woman, who returns to her hometown to investigate the death of her estranged best friend, also a "muxe." After winning the highest award at the Morelia International Film Festival, the film has gone to screen in festivals around the world including Outfest Los Angeles and the Sarajevo Film Festival. Added to this, Pérezcano’s work earned him the Ariel Award for Best Original Screenplay at this year’s ceremony. Its relevant ideas regarding gender identity and hate crimes could give it some traction.

"Club Sandwich"

Dir. Fernando Eimbcke

While Fernando Eimbcke’s most recent indie has been around since 2013 in the festival circuit, the film was not considered last year to become the country’s entry as it only open theatrically in Mexico last November. Given these facts this delightful comedy technically qualifies, though it’s hard to say if the filmmaker will pursue the candidacy. “Club Sandwich” uses deadpan charm to explore the relationship between a teenage boy and his mother while on vacation yo a beachside town. The film screened during last year’s Los Angeles Film Festival.

"Las Elegidas" (The Chosen Ones)

Dir. David Pablos

This is the obvious heavyweight at least on paper. In recent years Mexican films that were selected to participate in the Cannes Film Festival have become ideal selections for Oscar consideration. Carlos ReygadasSilent Light,” Gerardo Naranjo’s “Miss Bala,” Michel Franco’s “After Lucia,” and Amat Escalante’s “Heli,” represented the country in their respective years. Despite being highly regarded internationally, these type of hyperrealist art house films have failed to garner a nomination from AMPAS, which could mean the Mexican Academy might want to look towards more commercial projects like they did last year. Pablos' film is similar to some of the aforementioned titles in terms of the crude realities they depict. Reviews were mostly positive and the film could definitely continue with the Cannes-to-Oscar pattern, but might prove another hard sale for Academy voters. “Las Elegidas” still hasn’t open theatrically in Mexico.

"Elvira, Te Dariá Mi Vida Pero La Estoy Usando" (Elvira, I'd Give You My Life But I'm Using It)

Dir. Manolo Caro

A sophisticated romantic dramedy starring two of Mexico’s most prolific actors Cecilia Suarez and Luis Gerardo Mendez (Netflix’ “Club de Cuervos”), the film represents a departure for filmmaker Manolo Caro from the more conventional romantic comedies he’s done in the past. When Elvira’s husband goes missing she embarks on a search to find him, even if the outcome of her quest is not what she expects her devotion is unwavering. The film had its U.S. premiere at the Los Angeles Film Festival in June and it’s opening in Mexico this weekend.

"Estrellas Solitarias" (Lonely Stars)

Dir. Fernando Urdapilleta

By far the most unconventional choice, this irreverent comedy about dreams of stardom focuses on a pair of transvestites hoping to get their big break while working in a dingy and unglamorous bar. Music plays a big role in Fernando Urdapilleta’s sophomore feature, which shines a light on characters rarely seen in Mexican cinema. Produced by the Centro de Capacitación Cinematográfica the film has screened around the country and competed for the Maguey Award to Lgbt films at the 30th edition of Guadalajara International Film Festival (Ficg).


Dir. Christian Keller

Working from a screenplay by Sabina Berman, Swiss filmmaker Christian Keller crafted a searing biopic about one of Mexico’s most iconic pop stars, Gloria Trevi, and her tumultuous career. The film took audiences and critics by surprise mainly because of the authenticity brought to it by the young actress Sofia Espinosa, who truly embodied Trevi’s outrageous personality and commanding stage presence. “Gloria” opened in Mexico back in February and it screened at SXSW in Austin last March. It’s also the only film in the list that has already had a U.S. theatrical release, which has handled by Picturehouse. This would definitely be a divisive selection given that Gloria is not widely known in the English-speaking world.

"La Guerra de Manuela Jankovic" (Manuela Jankovic's War)

Dir. Diana Cardozo

Nominated for 3 Ariel Awards including Best Actress and Best Supporting Actress this year, this peculiar drama opened late last year and hasn’t travel much internationally. Set in the early 90s the film deals with Manuela, a middle-aged woman who must take care of her bitter Serbian grandmother who escaped to Mexico during World War II. Beautifully executed and acted the film is a sleeper that could actually be an ideal choice given its unique premise and approach. Stories about the Eastern European community in Mexico have rarely been explored in film.


Dir. Andres Clariond

Dealing with classicism within Mexican society, this Audience Award-winning film at the last Morelia Film Festival paints a disturbing picture about the divide between the elite and the working class. Starring Veronica Langer as Mrs. Le Marchand, a wealthy woman depressed due to her unfulfilled ambitions, the film is a psychological drama with darkly comedic undertones. When Hilda (Adriana Paz) a new housemaid is hired, Le Marchand’s obsessive behavior unravels. Andres Clariond’s debut feature is based on a French play by Marie Ndiaye, the filmmaker certainly found parallels between the playwright’s work and his homeland. “Hilda” will open in Mexico in early September.

"Las Horas Contigo" (The Hours With You)

Dir. Catalina Aguilar Mastretta

This endearing dram about a young woman coming to terms with her grandmother’s imminent death has been a quiet success since it’s premiere at the 2014 Ficg where it won the Best Director award for debutant Catalina Aguilar Mastretta. “Las Horas Contigo” was nominated for three Ariel Awards winning the Best Supporting Actress statuette for veteran thespian Isela Vega. The film’s U.S. premiere took place during the 4th edition of Ficg in La and was also part of the Latin Cinema section at the Palm Springs International Film Festival. It’s a well-made film that offers a handful of moving moments that could resonate with voters, though in my opinion it’s a bit slight.

"Manto Acuífero" ( The Well)

Dir. Michael Rowe

Australian filmmaker Michael Rowe, who has made a career working in Mexico, received great acclaim and accolades for his debut feature “Año Bisiesto,” including the Camera d’Or prize at the Cannes Film Festival. “Manto Acuífero,” his sophomore effort, premiered at the Rome Film Festival in 2013 and was produced by Gael Garcia Bernal and Diego Luna’s Canana. Centered on a young girl dealing with troubling situations at home, the film also screened at the Morelia Film Festival. Its theatrical release didn’t happen until November of last year, which based on AMPAS rules qualifies it for consideration. “Manto Acuífero” was not considered last year.

"El Más Buscasdo" (Mexican Gangster)

Dir. José Manuel Cravioto

By far the most commercial and most expensive-looking film on the list, this action tale revolves around a bank robber whose alter ego is a mysterious masked singer. Jose Manuel Cravioto’s narrative debut stars Tenoch Huerta (“Güeros”) as skillful criminal Alfredo Rios Galeana and as al El Charro Misterioso, the elusive and talented performer. Set in the 1980s “El Más Buscado” showcases costumes, production design, and music from that period in a Robin Hood-like story of a unique antihero. The film screened in L.A. as part of the Hola Mexico Film Festival back in May but other than that lacks noticeable international presence.

"Las Oscuras Primaveras" (The Obscure Spring)

Dir. Ernesto Contreras

Moody and darkly sensual, this intense drama from director Ernesto Contreras won the Knight Competition Grand Jury Prize as well as the Best Performance Grand Jury Prize and the Miami International Film Festival. Cecilia Suarez and Jose Maria Yazpik star as a childless married couple whose relationship is threaten when he starts having a steamy affair with a lonely single mother in need of companionship. “Las Oscuras Primaveras” also received three Ariel Awards at the most recent ceremony for Best Editing, Best Sound, and Best Original Score.

"La Tirisia" (Perpetual Sadness)

Dir. Jorge Pérez Solano

Last but definitely not least, the one film that, in this writer’s opinion, is the best opinion from the pack. Jose Perez Solano’s poetic feature follows two women in a remote community who have to choose between their children and their partner in a chauvinist society. The beauty and authenticity of “La Tirisia” have connected with audiences and juries from diverse backgrounds. Karlovy Vary, Palm Springs, Thessaloniki, Chicago, and Guadalajara were a few of the festivals that screened the film where it often was awarded prizes for its director and cast. Actress Adriana Paz (“Hilda”) won the Ariel Award for Best Actress for her work in the film, while Noé Hernandez took home the award for Best Supporting Actor. It’s art house roots and segmented narrative might work against it, but if voters at the Mexican Academy can look past that, this might be the one to bet on.
See full article at Sydney's Buzz »

Voices Through Time: The Documentaries of Roberto Minervini

“So one thing from another rises ever; and in fee-simple life is given to none, but unto all mere usufruct.” – Lucretius, On the Nature of Things, Book III

The above quote was once used by great Italian documentarian Franco Piavoli to open his masterful 1982 film, The Blue Planet. In that instance, it is deftly applied to the fragility of mother nature; her various granting and reclaiming of life, but can just as easily be applied to the figures followed by Roberto Minervini, an Italian based in the United States whose acclaimed Texas Trilogy – The Passage, Low Tide and Stop the Pounding Heart – was followed up at Cannes this year by The Other Side, which shifts the director’s gaze slightly eastward to the state of Louisiana. One must assume that Minervini, despite blazing his own trail that has led him through the Philippines and Spain en route to America’s Southern states,
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Variety Critics Debate the Best and Worst of Cannes 2015

Peter Debruge: Well, I didn’t see that coming. In what feels like a twist ending — one that leaves me feeling a bit like Tim Roth at the end of “Chronic” — the Cannes jury has awarded the Palme d’Or to “Dheepan,” a movie that lags among my least favorites in the competition, and the weakest in Jacques Audiard’s filmography.

People have been throwing the word “weak” around a lot this week, grousing that the official selection doesn’t measure up to that of previous years. I defer to you, Scott and Justin, since you’ve each been attending Cannes for longer than I have (this is only my fifth time on the Croisette), but if there’s one thing I’ve learned in my time here, it’s that Cannes critics always like to complain that the present year’s crop feels meager by comparison to past editions,
See full article at Variety - Film News »

Daily | Artforum, Hitchcock, Kiarostami

The new issue of Artforum features Hito Steyerl and Laura Poitras in conversation, J. Hoberman on Jack Smith and Amy Taubin on Crystal Moselle's The Wolfpack. Also in today's roundup: Glenn Kenny and Farran Smith Nehme discuss Alfred Hitchcock's The Paradine Case; Jonathan Rosenbaum on Abbas Kiarostami; Adrian Martin on horror; Alyssa Rosenberg on The Wire and Baltimore; Geoffrey O'Brien on Jean-Pierre Melville's Le silence de la mer; Thomas Vinterberg on taking Ingmar Bergman's advice; Ian Tan on Carlos Reygadas's Silent Light and Carl Theodor Dreyer's Ordet; Erich Kuersten on John Carpenter's Escape from New York, Mathieu Kassovitz's La Haine twenty years on—and more. » - David Hudson
See full article at Fandor: Keyframe »

Daily | Artforum, Hitchcock, Kiarostami

The new issue of Artforum features Hito Steyerl and Laura Poitras in conversation, J. Hoberman on Jack Smith and Amy Taubin on Crystal Moselle's The Wolfpack. Also in today's roundup: Glenn Kenny and Farran Smith Nehme discuss Alfred Hitchcock's The Paradine Case; Jonathan Rosenbaum on Abbas Kiarostami; Adrian Martin on horror; Alyssa Rosenberg on The Wire and Baltimore; Geoffrey O'Brien on Jean-Pierre Melville's Le silence de la mer; Thomas Vinterberg on taking Ingmar Bergman's advice; Ian Tan on Carlos Reygadas's Silent Light and Carl Theodor Dreyer's Ordet; Erich Kuersten on John Carpenter's Escape from New York, Mathieu Kassovitz's La Haine twenty years on—and more. » - David Hudson
See full article at Keyframe »

Nd/Nf 2015 Review: Preparing For Apocalypse In Parabellum

It's early morning. We begin with a lush landscape. The camera slowly pans to reveal more tranquil greenery. The opening of Parabellum reminds you of the opening scene of Carlos Reygada's Silent Light, except for an imposing beat of electro music. You know something's gonna go down. Then a firebomb strikes down from the sky and the earth shakes, setting up the mood for the rest of the film. In Lukas Valenta Rinner's Parabellum, the world is in turmoil - there are constant reminders of natural disasters, civil unrest on TV newscast and airwaves- "A tragic situation is developing in Argentina." We focus on an unnamed man preparing for a journey: he quits his white color office job, drops off his cat at the pet...

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