Entre nos (2009) - News Poster

(2009)

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Ventana Sur: Cinepolis Corners Soccer Comedy ‘Penalty’ for Mexico and Central America (Exclusive)

Ventana Sur: Cinepolis Corners Soccer Comedy ‘Penalty’ for Mexico and Central America (Exclusive)
Mexican exhibition giant Cinepolis’ fledgling distribution arm outbid other key players to seize Mexican and Central American theatrical distribution rights to Colombian hitmaker Dago Garcia’s Mexican remake of his 2001 soccer comedy blockbuster “La Pena Maxima” (“Penalty”).

“Penalty” will make its market debut at Ventana Sur on Nov. 30 with Elba McAllister and Diana Dudek’s Cineplex USA handling worldwide rights.

“It deals with a universal theme,” said Garcia who also pointed out that soccer fever is on the rise as expectation builds for the 2018 World Cup in Russia.

The Mexican version, a co-production with Cristina Palacio’s Bogota-based Alibi Films, stars one of Mexico’s biggest comedy stars, Adrian Uribe, and a nearly all-Mexican cast that includes Jose Sefami (“Amores Perros”), Tere Monroy (“Aqui Entre Nos”) and a Colombian cast led by Julieth Restrepo (“The Rose Seller”).

Netflix has pre-bought the worldwide Ott rights to the film. Talks are underway for its U.S. theatrical
See full article at Variety - Film News »

‘Valentina’: Talking Vagina Short Film Director On How Surrealism Reveals Deeper Truths

‘Valentina’: Talking Vagina Short Film Director On How Surrealism Reveals Deeper Truths
Hollywood’s favorite Latina maid is about to get a lesson in feminism — from the mouth of her vagina.

In “Valentina,” a short film currently raising money on Kickstarter, the title character is a cleaning lady obsessed with — what else? — being clean. Set in the near future, a heat wave and power outage shatter Valentina’s creature comforts, forcing her to confront her own filth. Especially one part of her body that is most susceptible to heat and sweat. According to filmmaker Mary Angélica Molina, the film explores “what happens when she’s confronted with this part of her body that she has either ignored or tried to keep under control.”

Read More: Mark Duplass’ Pet Project ‘Unlovable,’ from Web Star Charlene deGuzman, Launches Kickstarter Campaign

Molina, who spoke to IndieWire by phone, is a twice-recognized Sundance fellow (for screenwriting and creative producing) who cites Luis Buñuel as an influence.
See full article at Indiewire »

Film Review: ‘Zoom’

Film Review: ‘Zoom’
“Who’s zoomin’ who?” asked Aretha Franklin in her 1985 hit of the same name — and while the song doesn’t feature amid the film’s cooler musical selections, it summarizes the key dramatic question of “Zoom.” A spirited if spotty solo debut for Brazilian helmer Pedro Morelli, this breathless trifle triangulates the personal and creative crises of an insecure comic-book artist, a cocksure filmmaker and an aspiring novelist — with the considerable high-concept twist that each of the three is living a narrative created by one of the others. Morelli and tyro scribe Matt Hansen unpack this Charlie Kaufman-lite premise with more cleverness than wit, struggling particularly to find the right racy tone for various erotic interludes — but the part-toon pic’s neatly collapsing structure and pop-art flourishes ensure it’s never dull. The (literally) animated presence of Gael Garcia Bernal adds a sales hook, but “Zoom” will do its zippiest biz in VOD.
See full article at Variety - Film News »

Alison Pill combines comic books and sex in first clip from Zoom

A new clip from the upcoming comedy Zoom has arrived online, and you can view it in the player below…

Alison Pill (The Newsroom) stars in the film as Emma, a factory worker by day and comic book artist by night. She soon comes across an idea to try to make a career making sex dolls, despite the fact that she could get fired for such things. Her novelist friend Michelle (Mariana Ximenes) trys to find a way to help her.

“A cartoonist draws a comic book about a filmmaker, who shoots a film about a novelist, who writes a book about a cartoonist. In three interwoven stories, ‘Zoom’ dives into a world of art and sex that sustains both pursuits — along with a sense of unfettered id.”

Zoom debuts at this year’s Toronto Film Festival on September 16th and is directed by Pedro Morelli (Entre Nos) with Gael Garcia Bernal
See full article at Flickeringmyth »

'Learning to Drive' – A Conversation with Director Isabel Coixet, and Actors Patricia Clarkson & Sarita Choudhury

I recently sat down with director Isabel Coixet, and actors Patricia Clarkson and Sarita Choudhury at the Crosby Hotel in New York City, to discuss their new film "Learning to Drive." The film, written by Sarah Kernochan, is based on the autobiographical New Yorker short story by Katha Pollit, a long-time political columnist for the Nation.

Wendy is a fiery Manhattan author whose husband has just left her for a younger woman; Darwan is a soft-spoken taxi driver from India on the verge of an arranged marriage. As Wendy sets out to reclaim her independence, she runs into a barrier common to many lifelong New Yorkers: she’s never learned to drive. When Wendy hires Darwan to teach her, her unraveling life and his calm restraint seem like an awkward fit. But as he shows her how to take control of the wheel, and she coaches him on how to impress a woman, their unlikely friendship awakens them to the joy, humor, and love in starting life anew.

My conversation began with Isabel Coixet and Sarita Choudhury

Isabel Coixet’s award-winning film credits include "Demaisiado viejo para morir joven," "Things I Never Told You,""My Life Without Me," "The Secret Life of Words," "Paris, je t’aime," "Elegy," "Map of the Sounds of Tokyo," "Yesterday Never Ends," "Another Me," "Nobody Wants the Night," as well as documentaries, including "Invisibles."

Currently, Sarita Choudhury can be seen on Showtime’s "Homeland." Her film credits include "Admission," "Gayby," "Midnight’s Children," "Generation Um…," "Entre Nos," "The Accidental Husband," "Lady in the Water," "The War Within," "Mississippi Masala," "Kama Sutra: A Tale of Love," "She Hate Me," "Just a Kiss," "Wild West," "High Art," "The House of the Spirits," "Gloria," and "A Perfect Murder."

Susan Kouguell: Tell me about the process of how "Learning to Drive" came about.

Isabel Coixet: We started talking about making this film with Patricia and Ben Kingsley when we were making "Elegy" (directed by Coixet, starring Clarkson and Kingsley) and we got along very well and we wanted to make another film together. Patricia discovered the short story by Katha Pollit, and she gave it to me and I thought it was wonderful. And then we got the screenwriter Sarah Kernocha involved. The film is a comedy but not a classical comedy. It was a very difficult film to pitch because you know financiers and producers want something they can put in one box and you can’t with this film. It was a long process. It took nine years.

Some Words Unspoken and the Intimacy of the Camera

Isabel Coixet: There is always this romantic feeling underneath [subtext], I think there is that possibility. You have to be true to your words. If they are true, you will have to stick to your words.

Sarita Choudhury: That’s what happens with people you meet. No you were my inspiration don’t make me your inspiration.

Isabel Coixet: I love Henry James. There is a possibility of romance in the air. My romantic side is always excited when I see something like this.

Sarita Choudhury: I had so few words in the film. In a way, I kept the words because I had to know not to say them. For us the script -- the situational was also in the script; the languidness. It was because Isabel holds the camera. There was a pace created to it. When you’re acting you can feel where the camera is, but when the camera is at the end of Isabel’s hand and she’s moving it, it almost creates an intimacy between you and the camera, and you and the actor. There’s a pace you normally don’t get in film. You didn’t know when she was on your face; you had to keep acting like acting in the theatre.

On The Lack of Women Directors

Isabel Coixet: There are so many articles about it. I’m always afraid to play the victim, to complain too much. I know there is an inequity with men and women directors. This is an issue in the world. I always say, (Coixet smiles) we have to ask for more salary to make up for all these years and maybe if we ask for more they’ll give us the same as a man.

I want to put my words where my mouth is by producing female directors; they are amazing talented people. I’m producing three short films and a feature documentary. That’s what I do.

Sarita Choudhury: I just did a young woman’s short film; there is something about her that’s brilliant. I’ve done two short films. I can’t change the caste system and I can’t do the voluntary work I need to be doing. Film is no different from the world, like Isabel said. That’s our work, to get every woman involved. And if a man is brilliant, let him in too.

I then asked Patricia Clarkson about her involvement with "Learning to Drive."

Academy Award® nominee and Emmy Award-winning actress, Patricia Clarkson, has worked extensively in independent films. The National Board of Review and the National Society of Film Critics named her Best Supporting Actress of the Year for "Pieces of April" and "The Station Agent." Her many film credits include "The Maze Runner," "Last Weekend," "Friends With Benefits," "One Day," "Easy A," "Shutter Island," "Vicky Christina Barcelona," "Elegy," "No Reservations," "All the Kings’ Men," "Lars and the Real Girl, and "Good Night, and Good Luck."

Susan Kouguell: What attracted you to the project?

Patricia Clarkson: I loved the Katha Pollit story in The New Yorker; it serendipitously came to me. I love Wendy, I love this character. I was nine years younger at the time, but I still felt I knew her. I was relentless trying to get this film made with producer Dana Friedman. I found it an equal dose of funny and tragic. I liked the almost commedia dell'arte aspect; this absurd situation and finding the tragic comedy. A woman who is brilliant who lives a great life -- she has everything, but “forgets to look up,” and then meets a man who has experienced tragic loss. They have disparate worlds. I found it a quintessential New York story, but it’s also universal. It’s an independent film, but it’s not independently-minded.

Some Final Words

The disparate worlds about which Clarkson refers to in regard to her character, Wendy’s relationship with Darwan [Ben Kingsley] -- the life of a financially successful New Yorker compared to the immigrant’s struggle, was a thematic element that I further discussed with Coixet and Choudhury. As Choudhury said to me, Coixet’s visual choices of her character, such as the moment when she watches feet walk by her basement apartment window, feeling trapped, underscore the poignancy of this fish-out-of-water situation. Coixet captures these elements with a delicate balance of both drama and comedy.

It was an inspiring morning to speak with these three powerful and talented women, who are committed to sharing their knowledge with the next generation of female filmmakers.

Award-winning screenwriter and filmmaker, Susan Kouguell teaches screenwriting at Purchase College Suny, and presents international seminars on screenwriting and film. Author of Savvy Characters Sell Screenplays! and The Savvy Screenwriter, she is chairperson of Su-City Pictures East, LLC, a consulting company founded in 1990 where she works with writers, filmmakers, and executives worldwide. www.su-city-pictures.com, http://su-city-pictures.com/wpblog
See full article at Sydney's Buzz »

Cannes: Brazil’s Power Players Still Rolling in Spite of Challenges

Brazil’s economy is languishing, hit by plunging commodity prices. Since last year’s Cannes, the real has depreciated 36% against the dollar, hitting film imports hard. And thanks to preparations for 2016’s budget-busting Rio de Janeiro Olympics, Rio’s regional movie funding has dwindled.

So does 2015’s Cannes catch the Brazilian industry in retreat? Not at all.

Muscular state coin is still in place — last July, Brazilian president Dilma Rousseff announced a 1.2 billion real ($397 million) package of film-tv incentives. Total Brazilian box office, including U.S. movies, powered up 11.7% in 2014 to $744.7 million, according to Filme B.

Requiring cable channels to air 3.5 hours of primetime Brazilian content weekly, 2011’s Law 12,485 has galvanized indie TV production levels. Brazil’s pay TV homes grew 6% year-on-year to 27.3 million in 2014, per the Business Bureau.

In domestic, the major market trend is robust diversification. Once largely known abroad for arthouse movies, top outfits have initiated blockbuster franchise production (Gullane,
See full article at Variety - Film News »

‘Baby,’ ‘Matriarca,’ ‘Suria’ Join Brazilian Powerhouse 02 Filmes’ TV Slate (Exclusive)

Underscoring the rapid consolidation of top-echelon Brazilian producers as diversified multi-project film-tv production houses, Sao Paulo’s o2 Filmes, whose credits include Fernando Meirelles’ “City of God” and “The Constant Gardner” and Stephen Daldry’s “Trash,” has eight TV fiction dramas in development, including half hour comedy “The Friends of My Baby” and the corruption-themed “Matriarca.”

Meirelles began his career working in TV. But the size of O2 Filmes’ current development slate suggests that Brazil’s top companies are taking the opportunities for TV production based out of Brazil very seriously indeed.

In early development, “The Friends of My Baby” is a comedy about a single father and a baby. Gnt, Brazil’s most prominent femme-targeting cable TV channel and one of the jewels in the crown of Globosat, Globo’s giant pay TV operator, has acquired Brazilian rights.

“Matriarca” is a “dark humored” fiction drama about Brazil’s political classes and corruption,
See full article at Variety - TV News »

What Hollywood tells us about war and poverty

World Bank study recommends 51 films using development as a plot device - sometimes at expense of accuracy and complexity

International development is just about at the bottom of the list of things that the average westerner thinks about each day. News organisations are closing their foreign bureaus. One of the big Us television networks turned down more money for global health reporting after a series, entirely funded by grants, led to a dip in viewers. In other words ratings were so bad that the network turned down millions of dollars. It is that tough.

Aside from advocacy efforts like (the much-criticised) Kony 2012 and Oxfam advertisements, how do people learn about the world around them? The answer could be Hollywood. Reporting on Africa does not get much attention in the Us, but a film staring Leonardo DiCaprio about Sierra Leone does.

A film like Blood Diamond, setting aside its problems, brings
See full article at The Guardian - Film News »

Three Filmmakers Named to 2012 Tfpf Review Panel

We're excited at the Austin Film Society to annouce that filmmakers Matthew Akers (Marina Abramovic: The Artist Is Present), Paola Mendoza (Entre Nos) and Brent Hoff (Wholphin) will be coming to town in August to serve on our 2012 Texas Filmmakers' Product Fund review panel. All three will be part of the process of dividing up the $100,000 in cash and in-kind support that will go toward helping Texas filmmakers work on their film and video projects.

Tfpf, created in 1996, has given away around $1.2 million to assist Texas filmmakers in getting their projects made. Funding for the program comes from revenues from benefit film premieres as well as donations and the Texas Commission on the Arts. So far, over 348 projects have been the beneficiary of Tfpf grants. This year, we received over 168 applications seeking funding. Grants for the 2012 Tfpf will be announced on Monday, August 27.

"We're honored to have three highly accomplished
See full article at Slackerwood »

Filmaid Music Video: “A Heavy Abacus,” Directed By Paola Mendoza And Topaz Adizes

Filmmaker Paola Mendoza (Entre Nos, and one of our 25 New Faces) just forwarded this video she directed with filmmaker Topaz Adizes for FilmAid. It’s the organization’s first video, in support of World Refugee Day on June 20, and the music is The Joy Formidable’s “A Heavy Abacus.” While volunteering as Visiting Teaching Artists for FilmAid, Mendoza and Adizes shot this piece featuring Sudanese refugees in the Kakuma refugee camp in Northern Kenya. It was shot with a Canon 7D using two bounce boards and an iPhone as a monitor for the kids to lip sync to.

For more information on FilmAid, visit their site.

… Read the rest
See full article at Filmmaker Magazine »

Hola México Film Festival

  • Backstage
The theme of this year's festival, which runs May 24-30, is "Adios Clichés!" The films reflect the diversity of the country and what it means to be Mexican today. Features include "Días de Gracia (Days of Grace)," an official entry at Cannes that focuses on the drama swirling around soccer's World Cup; "Cristiada (For Greater Glory)," a historic epic starring Andy Garcia and Eva Longoria; and "Aqui Entre Nos (Between Us)," a comedy about a father and husband refusing to go to work. Montalban Theatre, 1615 N. Vine St., Hollywood. $10. (323) 871-2420 or www.holamexicoff.com.
See full article at Backstage »

LatinoBuzz: Update!!! Life Imitates Art. Interview with Lucy Mulloy - Una Noche

Since its publication, new developments are worth reporting. This film which deals with youth's alienation from the Revolution in Cuba shows life imitating art as its two young actors, planning to be present at Tribeca's premiere, have been reported missing since their landing in Miami. Read more here.

It's safe to say that Lucy Mulloy was born to make films. Her awards cabinet will tell you the exact same thing. As an Nyu student, the native Brit was nominated for a Student Academy Award and has gone on to win numerous accolades including the Emerging Narrative Talent Award in 2010 at The Tribeca Film Festival where she is making her U.S. feature film debut with Una Noche this week. Una Noche is a labor of love that has been years in the making. It stemmed from a short film idea Mulloy had upon visiting Cuba and listening to the people's stories. And it lovingly shows on screen. Cast with non-actors Una Noche is a non judgemental look at Cuba through the eyes of people whose nostalgia for the Revolution fades every year along with their dreams. In Una Noche, Lucy captures the pulse of Cuba and with her portrayal of youth and its beautiful juxtaposition to the decaying architecture of Havana. Here are 10 questions with Writer/ Director Lucy Mulloy... (Actually, it's only 9 - Lucy dodged my question about the controversial decision to cast non-Latinos in the film The Perez Family by Director Mira Nair. She pleaded the fifth citing not having seen the film).

LatinoBuzz: Who put the camera in your hand?

Lucy Mulloy: Nyu did. Sandi Sissel, our cinematography professor, told us to sleep with the camera. She is fantastic and was really encouraging. In your first days at Nyu grad film they throw you a 16mm camera, a roll of black and white film and say come back with a short movie in a couple of days. It was very liberating and took away the stigma attached with shooting being too complicated. We were given the chance to mess up and to get comfortable with the camera. It was a great time to experiment. It's exhilarating to hear the flutter of film and see the flicker of celluloid passing though the lens as you shoot.

LatinoBuzz: You are having daiquiris with Hemingway, his drink of choice, at the famed Floridita bar that he used to frequent in Havana, he's drunk and being good old Ernest in fine form, what would you ask him?

Lucy Mulloy: I’d ask him to take me fishing.

LatinoBuzz: You studied politics at Oxford - how much politics went into the writing of the film and what evolved during your time in Cuba?

Lucy Mulloy: I went to Cuba in the first place because I was curious about the system. That was before I ever thought about making a movie there. I was not out to make a political movie. I wanted to tell a story that felt real about people and emotions, things that are familiar to me. The film is about three people who come together and change one another. Their circumstances and their perspectives within the context of their society are all very different. I am not interested in telling people what to think about Cuba, but more in exploring the characters’ journeys.

LatinoBuzz: If you could sing a love song to Cuba -- which is it?

Lucy Mulloy: There are a few songs that come into my head, but the one that takes me to a warm Havana evening is Francisco Cespedes, Remolino. We used to play it over and over. Maite and Yanelis would sing along when we were going crazy in pre-production late nights. Hearing it takes me back to Cuba and the lyrics are about being taken away, about a love that is overwhelming... it's about sacrifice and distance. When I am in Cuba I miss my family and friends outside and when I am not there I miss Havana. As soon as you land in Cuba, there’s a feeling that comes over you in the heat; it's in the air, it’s something I have not felt in any other place. I miss that.

LatinoBuzz: With wonderful indies such as 'Pariah', 'Mosquita Y Mari', 'Entre Nos', 'Yelling to The Sky', 'Circumstance', 'Una Noche' etc. we are seeing emerging female talent behind the camera - are you hopeful? And what does being a female in the film industry mean to you?

Lucy Mulloy: There are a lot of women making great films. They are making independent movies, forging their own ways, selecting their own teams. None of the films cited are industry films. There is no question about whether women can make great movies. Clearly they can, but the question is whether they are being invited into the studio system to make them. Progress needs to come from within the industry – they need to catch up and embrace more female directors.

LatinoBuzz: Any part of the journey of making this film you deplored?

Lucy Mulloy: No, some parts were hard, but I learnt so much making this film. I am much more equipped now for the next movie. I have been very much involved with the production side of Una Noche and this has taught me a lot. It’s a huge privilege that I was able to bring the script into fruition.

LatinoBuzz: I wondered when I saw your film if the cinema of Humberto Solás and Tomás Gutiérrez Alea influenced it at all?

Lucy Mulloy: I loved the movie Soy Cuba (Mikail Kalatozov). I saw it after I came back from Cuba the first time and it blew me away. It is so masterfully made, pushing boundaries cinematographically. It inspired me for sure.

LatinoBuzz: You can pick any actor from history to direct. A leading lady for him from history? Set it anywhere in the world. Who are they and what's the plot? Go.

Lucy Mulloy: I would choose young Marlon Brando and a young Cathy Tyson. It would be set in Tunis in 2040 where she would be his drug counselor. As he comes off his addiction he would become more obsessed with her.

LatinoBuzz: You picked 3 wonderful non-traditional actors -- what is your hope for them after Una Noche has reached its destiny?

Lucy Mulloy: I would love to make another movie with them. I know that they all want to pursue careers in acting. I think people usually like what they are good at. They all have a natural talent. I really hope that they get to act more and do what makes them happy. I was very lucky to find them.

For screening times and tickets to see 'Una Noche' at The Tribeca Film Festival http://www.tribecafilm.com/filmguide/una_noche-film41550.html#.T44479WK7Kf. And 'Love' and 'Like' them at https://www.facebook.com/UnaNocheFilm
See full article at Sydney's Buzz »

Kickstarter: “Pariah” Producer Nekisa Cooper’S “Five Nights In Maine”

Though her Sundance hit Pariah opens through Focus in the winter, producer Nekisa Cooper hasn’t slowed down as she reached out to us about a project she’s currently getting off the ground through Kickstarter, Five Nights In Maine, directed by Bay Area filmmaker Maris Curran. They are currently trying to raise $40,000.

Here’s the synopsis:

Sherwin and Fiona are at a crossroads. As an interracial couple living in the south, they seem to have created an idyllic bubble for their love. But after a recent visit to her ailing and prickly mother, Fiona is changed. Suddenly, their relationship is contentious and with no explanation, she announces she does not want to have kids. And then, she is gone. After tragically losing Fiona to a car accident, Sherwin is overwhelmed with grief and guilt. When a call comes from his estranged mother-in-law, Lucinda, inviting him to visit her in Maine,
See full article at Filmmaker Magazine »

Patricia Martinez de Velasco's Debut Film Opens Laliff July 17

Laliff’s 15th Anniversary Opening Night Gala Celebration will take place on Sunday July 17 at the Egyptian Theater in Hollywood, California. Produaced by Beverly Hills and Mexico City based production company La Banda, this family comedy is the directing debut of Patricia Martinez de Velasco ♀ ♀ ♀ ! A true comedy about a family Aqui Entre Nos (Between Us) explores the twists and turns that family relationships experience over time. Jesus Ochoa’s performance as Rodolfo Guerra, the patriarch of the family, won him the Best Actor Award at the Guadalajara International Film Festival. Rodolfo feels that the family sees…
See full article at Sydney's Buzz »

[Now Streaming] Your ‘Cars 2,’ ‘Bad Teacher,’ ‘Conan O’Brien Can’t Stop’ & ‘A Better Life’ Alternatives

Each week within this column we strive to pair the latest in theatrical releases to the worthwhile titles currently available on Netflix Instant Watch.

This week Cars 2 gives sequels a bad name, and Bad Teacher attempts to cash in on the R-rated comedy wave, while limited release offers A Better Life and discovers Conan O’Brien Can’t Stop. Now, if these features can’t fulfill your need for animated tales of triumph, rotten role models, immigrant-centered drama and sidesplitting tour docs, don’t fret. We’ve got a line up that’s sure keep you on the edge of your seat as you kick back in your AC!

— — —

Cars 2

Larry the Cable Guy returns to voice the buck-toothed pick-up truck Mater, who falls into a world of international espionage as his buddy Lightning McQueen (Owen Wilson) spins his wheels abroad. Michael Caine, John Turturro and Eddie Izzard join the free-wheelin’ cast.
See full article at The Film Stage »

Off the Radar: M (Criterion Blu-ray), Max and Mary & Entre Nos

Hollywood has lots of explosions, big budgets and even bigger stars to bring attention to its offerings. But all the money in the world doesn’t guarantee a good film (*cough* *cough* Battlefield Earth), and a lack thereof doesn’t mean a film can’t capture the imaginations of its audience. There are plenty of great movies made on independent budgets, outside of Hollywood or even the United States, or that get straight-to-dvd releases. In this edition of "Off the Radar," we take check out the Criterion Blu-ray release of M (starring Peter Lorre), Max and Mary (starring Toni Collette and Philip Seymour Hoffman), and Entre Nos (starring Paola Mendoza, Sebastian Villada, Laura Montana, and Anthony Chisholm). Entre Nos DVD Entre Nos is a touching tale about a Columbian immigrant, Mariana (Paola Mendoza), who follows her husband with their two children to New York City on her husband’s whim,
See full article at BuzzFocus.com »

Blu-Ray Review: ‘The Secret of the Grain’ Frames Life in Close-Up

Chicago – Not to be confused with “The Secret in Their Eyes,” “The Secret of Kells,” or “The Secret,” this French family drama is saddled with a most unfortunate title for its American release. Though the picture’s original title, “The Grain and the Mullet,” may not sound like an upgrade, it offered an intriguing metaphor for the film’s unlikely union of two unforgettable characters.

The first is Slimane, played by Habib Boufares as an aging, exhausted man who can’t seem to catch up with the ever-changing world. His thirty-five years of laborious work at a shipyard job are brought to a screeching halt when his boss fires him for not working fast enough (thus illustrating that speed is valued above quality). As Slimane delivers fish to various members of his family, he’s greeted with hostility by his ex-wife (Bouraouïa Marzouk) and begrudging affection by one of his daughters,
See full article at HollywoodChicago.com »

[DVD Review] Entre Nos

Have you ever heard of David Riker’s 1998 film The City? This half-film, half-social experiment mixed actual immigrants (their legal status is anyone’s guess) with professional actors to put forward a semi-authentic experience cloaked by a conventional storyline. Watching Entre Nos, written and directed by Gloria Le Morte and Paola Mendoza, who also stars as the lead Mariana, I could not shake the feeling that I’ve seen it all before, better executed and more resonant. Entre Nos is an intimate character study that never rises above simply showcasing the day-in-day-out struggle of a newly immigrated mother and her two children.

Arguably, that may be enough and the film does not hesitate to tug on the heartstrings as Mariana treks from Colombia to New York City with her two children, Andrea (Laura Montana) and Gabriel (Sebastian Villada), in tow. They are six and ten, respectively and their mother is
See full article at JustPressPlay »

DVD Playhouse: July 2010

DVD Playhouse—July 2010

By

Allen Gardner

Two From Powell/Pressburger Criterion releases gorgeous new transfers of two of the greatest films to come out of post-war Britain, from that period’s greatest filmmaking team: Michael Powell and Emeric Pressburger. Black Narcissus was originally released in 1947 and caused a sensation with its explosive story about a nun (Deborah Kerr), cloistered in a remote convent in the Himalayas, who must battle elements both external (the punishing weather) and internal (temptations of the flesh over duty to the spirit). Also features stellar turns by England’s greatest actresses at the time: Flora Robson, Kathleen Byron and a young Jean Simmons. One of the most dazzling films ever made, bolstered by Oscar-winning cinematography from Jack Cardiff. Bonuses: New transfer, supervised by Cardiff, editor Thelma Schoonmaker Powell; Introduction by filmmaker Bernard Tavernier; Commentary by Powell and Martin Scorsese; Featurettes; Documentaries and interviews; Trailer. The Red Shoes,
See full article at The Hollywood Interview »

DVD Review: ‘Entre Nos’ Touchingly Pays Tribute to Motherhood

Chicago – Some art house films are political polemics disguised as personal stories. “Entre Nos” is not one of them. Though its DVD includes a PSA on immigration reform, and comes packaged with a label exclaiming, “One of Michael Moore’s 20 ‘Best Pictures of 2009,’” the film itself does not have a message to preach. It’s a tale of people rather than ideas, and is all the more effective because of it.

Entre Nos,” which translates to “Between Us,” marks an impressive feature debut from Paola Mendoza, who serves as co-director, writer and lead actress. The film is largely inspired by the true story of Mendoza’s own mother, a Colombian immigrant who brought up her two children in New York City, after her husband abandoned the family. It’s a simple premise, yet the emotional struggles of the characters are complex, and thankfully not spoon-fed to the audience. Though the
See full article at HollywoodChicago.com »
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