De jueves a domingo (2012) - News Poster


Chile’s Cinestación, Italy’s Stayblack Team for Manuela Martelli’s ‘1976’ (Exclusive)

Madrid — Aligning two like-minded up-and-coming companies making acclaimed auteur-driven cinema, Jonas Carpignano’s Italy-based Stayblack has boarded “1976,” the directorial feature debut of actress Manuela Martelli, set up at Santiago de Chile-based Cinestación, headed by director-producers Omar Zuñiga and Dominga Sotomayor.

Aline Kuppenheim, the protagonist’s glamorous, smothering, but purblind mother in “Machuca,” will play “1976’s” lead.

Stayblack’s credits include both of Carpignano’s own films, “Mediterraneo” and “A Ciambra,” the latter a Europa Cinemas Label Award winner for best European film at this year’s Cannes Directors’ Fortnight. It also marks the first fruit of the Emerging Film Fund, a joint initiative between Martin Scorsese and Sikelia producer partner Emma Koskoff and Rodrigo Teixeira’s Brazil-based Rt Features.

“1976” is also Stayblack’s first project with Latin America and Cinestación’s first co-production with Italy. Sotomayor, Zuñiga, and Stayblack’s Carpignano and Jon Coplon will produce.

A double Rotterdam Tiger winner with “Thursday Till Sunday,” her
See full article at Variety - Film News »

Cannes: Films From Rio’s ‘Butterflies,’ ‘Clamor,’ ‘Voices’ To Pitch at Cannes Producers Network

Cannes— Rita Toledo’s “The Man Who Talked to Butterflies,” Felipe Sholl’s “Voices” and “Manu De Martino’s “Clamour” are three out of a total of six projects presented on May 19 at a Cannes’ Producers Network industry breakfast.

Films from Rio represents a development and promotion drive by some of Brazil’s major cultural, industry and training agencies, with the program, now in its third edition, taking six projects and their producers to the most important film markets in the world.

“The Marché du Film in Cannes is their final stop, after producers attended and worked at the Rio Festival and then Buenos Aires’ Ventana Sur,” said Cannes Film Market’s head of Industry programs Julie Bergeron.

Produced by Carol Benjamin at Daza Film, which backed Leandra Leal’s SXSW Audience Award winner “Divine Divas,” ”Butterflies” is directed by Toledo, the screenwriter of Vinícius Reis’ “Noites de reis.”. It
See full article at Variety - Film News »

Cinestacion Greenlights ‘Los Fuertes,’ Sets Nine-Title Slate for 2017 (Exclusive)

Chile’s Cinestacion, a fast-emerging Latin American co-production force, has greenlit “Los Fuertes,” the debut feature of Omar Zuñiga whose “San Cristobal” won a Berlin Festival Teddy Award last year.

Scheduled to shoot late 2017, “Los Fuertes” slots into a 2017 slate which is by far the biggest ever from Cinestacion, founded in 2008 by director Dominga Sotomayor (“Thursday Till Sunday,” “The Island”), Zuñiga and post-production manager-editor Catalina Marin.

In the quality of creative talent involved and now scale of its slate, through both creative support and international co-production, majorly with Argentina and Brazil, Cinestacion has its pedal to the metal as it firms up its status as a arthouse platform for emerging voices from across Latin America.

In other banner news, Zuñiga confirmed to Variety at Ventana Sur that Cinestacion is moving into TV production, with “Alma,” a scripted drama from Sotomayor and writer-director Manuela Martelli. It will also produce its first documentary feature,
See full article at Variety - Film News »

‘Voices,’ ‘Luiza’s Desert,’ ‘Clamor’ Among Films From Rio 2016-17 Projects at Ventana Sur

Felipe Sholl’s “Voices,” Alan Minas’ “The Luiza’s Desert” and Malu de Martino’s “Clamor” feature among the six Brazilian titles that Films From Rio, the movie project incubator set up at the Rio de Janeiro Film Festival, is bringing this year to Ventana Sur, Latin America’s biggest film market.

Films From Rio will also present at the Buenos Aires mart, which runs Nov. 29-Dec. 3, Renato Martins’ real-events inspired drama “Sugarcane,” Rita Toledo’s Amazon forest-set story “The Man Who Talked to Butterflies,” and Ennio Torresan’s animation feature “Wrath of God.”

Part of Films From Rio 2016-17 edition, the six projects and their producers will arrive at Ventana Sur for a round of meetings and pitches to potential international co-producers and partners.

Produced by Daniel Van Hoogstraten at Syndrome Films, multi-plot drama “Voices” offers a mosaic formed by six characters -including a wannabe drug dealer and a
See full article at Variety - Film News »

10 Things You Should Know About Ventana Sur

10 Things You Should Know About Ventana Sur
Ventana Sur opens Nov. 28, unspools through Dec. 3. Here are 10 Things to Know About Latin America’s biggest mart-meet:

1. Cannes Festival Film Week

Cannes Festival chief Thierry Fremaux will host a 3rd Cannes Festival Film Week, highlighting standouts, and very often winners, of this year’s edition, accompanied by on-stage Q&As with their stars or star directors. A highly popular “live show” combo. “We must use the trademark of Cannes to touch people, and to check how the films selected are performing after Cannes,” Fremaux has said.

2. Ricardo Darin Fest

Come sun (“Xxy”), come rain (“El mismo amor, la misma lluvia”), come snow, there is only one Ricardo Darin, Latin America’s most bankable actor. And Ventana Sur will be screening his latest movie. “Black Snow,” a Patagonia-set thriller starring Darin (“The Secret of Their Eyes,” “Wild Tales”), receives an invitation-only screening courtesy of sales agent FilmSharks Intl. Disney releases Jan.
See full article at Variety - Film News »

San Sebastian: Chile’s Jirafa, Italy’s Alba Team for Francisca Alegria’s Debut ‘The Cow That Sang Its Song’ (Exclusive)

San Sebastian — Building Chile’s growing pantheon of eye-catching young women directors, already one of the strongest of any national cinema in Latin America, Chile’s Jirafa Films (“The Blind Christ”) has closed a deal with Rosanna Seregni at Italy’s Alba Produzioni for Alba to co-produce the feature debut of Chile’s Francisca Alegria, a prize-winning Columbia U. alum.

Jirafa’s Augusto Matte announced the deal at the San Sebastian Festival. The co-production pact will now allow the partners to apply to a newly-created Chile-Italy bilateral co-production fund, he added.

A family drama, “The Cow That Sang Its Song About the Future” expands on the magical realist universe, poetic symbolism and shooting style – fluid dolly shots, a realist treatment of supernatural elements – of her Columbia U. School of the Arts Mfa degree short “And the Whole Sky Fit in the Dead Cow’s Eye” (pictured). This world premiered at Telluride,
See full article at Variety - Film News »

Cannes: Rt Features Boards Sotomayor’s ‘Too Late’

Cannes — Rodrigo Teixeira’s Rt Features, an “Indignation” and “Little Men” producer and Martin Scorsese co-producer on Josh and Benny Sadie’s “Uncut Gems,” has boarded “Late To Die Young,” from Dominga Sotomayor, a double Rotterdam Tiger winner with “Thursday Till Sunday,” her debut, and “The Island,” which she co-directed.

Deal came at Cannes as Paul Hudson’s Outsider Pictures inked North America on another Chilean movie, Fernando Lavanderos’ “No North.”

Produced by Sotomayor’s Santiago de Chile-based Cinestacion and Rt Features, and set for a first-half 2017 shoot, the Sundance and Rotterdam Hubert Bals Fund-backed “Too Late” is a coming of age tale about three adolescents, set in an isolated rural community in the context of Chile’s return to democracy, Sotomayor told Variety.

She added:“The alliance allows us to shoot soon; also, I admire the films Rt Features is producing, its involvement, for example, in the next Kiarostami.
See full article at Variety - Film News »

For Chile’s Arthouse Auteurs, the Foreign Market Reigns Supreme

For Chile’s Arthouse Auteurs, the Foreign Market Reigns Supreme
Bursting onto the scene at 2005’s Valdivia Festival, a remarkable generation of young Chilean directors is building that splashy debut into more glory.

Pablo Larrain’s “No” took Cannes’ Directors’ Fortnight award in 2012 and then snagged a foreign-language film Oscar nom; vengeance thriller “To Kill a Man,” from Alejandro Fernandez Almendras, won Sundance’s 2014 World Cinema Grand Jury Prize. This February, “Bear Story” snagged the animated short Oscar. Picturing Nobel Prize-winning poet Pablo Neruda on the run from the police in 1946-48, Larrain’s “Neruda” is already one the 2016 Directors’ Fortnight most anticipated titles.

However, Chile wants more: To leverage fest laurels into substantial foreign market B.O. A pioneering study, “Global Audiences of Chilean Cinema,” to be presented at this year’s Cannes Festival, aims to further this. Focusing on Chilean cinema’s 2013 international box office, it encapsulates fundamental trends, opportunities and challenges now facing most foreign-language cinema worldwide
See full article at Variety - Film News »

Latin America: Up Next! Dominga Sotomayor

A name director right off her debut “Thursday Till Sunday,” Sotomayor is frequently mentioned as a member of Latin America’s burgeoning group of distaff directors. Now she’s discovering a parallel life as an energetic producer partner with Matias Hernandez and Berlin 2015 best short Teddy winner Omar Zuniga at Santiago’s Cinestacion. Chilean Sotomayor’s first production slate packs a real corker: Felipe Galvez’s 1905-Chilean Western “The Settlers,” a take in her Chile’s South was really won – wholesale massacre of its indigenous inhabitants – which in November took best project at Mar del Plata’s new LoboLab.

“This is the unknown history of Chile. It’s not in the history books. We’re really interested in showing violence, but going back before Pinochet’s dictatorship, showing the origins of Chile,” Sotomayor said at Mar del Plata.

Sotomayor is also producing the feature directorial debut of actress-turned director Manuela Martelli
See full article at Variety - Film News »

Mar del Plata: Sotomayor To Produce LoboLab Winner ’The Settlers’

Mar Del Plata – A name helmer, and part of Latin America’s build in distaff directors, Chile’s Dominga Sotomayor (“Thursday Till Sunday,” “Mar”) is set to produce Felipe Galvez’s historical drama“Los colonos” (“The Settlers”), one of the most ambitious film projects presented over the last three days at Mar del Plata’s inaugural LoboLab co-production forum and its eventual winner. Matias Hernandez will also produce for Cinestacion.

“The Settlers” won first prize in October at the Valdivia Fest’s 3rd Feature Development Competition.

Made under the strong influence of John Ford’s “The Searchers,” Galvez said at LoboLab, “The Settlers,” which is set in 1905, lifts the lid on the slaughter of Chile’s indigenous population by European emigrants of humble origin.

“This is the unknown history of Chile. It’s not in the history books. We’re really interested in showing violence, but going back before Pinochet’s dictatorship,
See full article at Variety - Film News »

Toronto: Forastero, Rizoma Link for Sandoval’s ‘Lots of Ex, Little Sex’

Chilean director Che Sandoval (“Much Better Than You”) will lend his keen sense of character and sharp ear for dialogue to “Lots of Ex, Little Sex,” from “The Maid” producer Forastero, and Rizoma, a driving force behind the New Argentine Cinema.

Now at a final draft screenplay, “Ex” is being moved at Toronto by Forastero partner Florencia Larrea and its new executive produce, Lucas Engel.

A dramatic comedy, per Sandoval, “Ex” will star Argentine Antonella Costa, who broke through as a Dirty War torture victim in Marco Bellis’ “Olympus Garage,” and starred in Eduardo Mignona’s “The Wind” and Alejandro Chomski’s “Today and Tomorrow.”

Costa plays Marcela, a 35-year-old Argentine singer who was a sex-fiend until 30, then falls in love and, when dumped, become frigid and loses her voice. Finally, she meets Chilean Carlos, who turns her on, and pursues him to Chile, thinking he’s her last chance with a man.
See full article at Variety - Film News »

Watch: How to Shoot a Road Movie

The road movie is a frequently tread subgenre, rife with comedic, episodic and dramatic potential. It can also pose a challenge for those seeking a varied mise-en-scene, and in this deconstruction of Dominga Sotomayor’s Thursday Till Sunday, Kevin B. Lee looks at the 83 ways in which the characters are framed in their rather contained environment. It’s a good primer on how to read a scene’s construction, and, from a directorial stand point, how to keep a static environment fresh.
See full article at Filmmaker Magazine »

Four for the Road: De Jueves A Domingo

The plot of Dominga Sotomayor Castillo’s debut feature, De jueves a domingo (Thursday Till Sunday, 2012), can be easily summarized: a couple in crisis, Ana (Paola Giannini) and her never-named husband (Francisco Pérez-Bannen), take their two kids, Lucía (Santi Ahumada) and Manuel (Emiliano Freifeld), for a family trip to the north of Chile during a long weekend. The film, however, manages to tell a greater story transcending this physical journey, while always remaining related to it. And it is through its mise en scène that it achieves this.>> - Cristina Alvarez Lopez
See full article at Keyframe »

83 Ways to Look at a Road Movie

On its surface, Dominga Sotomayor Castillo's Thursday Till Sunday (De jueves a domingo) is a placid, sun-drenched chronicle of a family road trip through the Chilean countryside. The trek is seen largely from the backseat vantage of an adolescent girl slowly awakening to the mysterious tensions emanating from her parents in the front. This slowly unfolding perspective plays out largely in and around the family's station wagon: scenes in the car take up fifty-eight percent of the film's runtime, making it a true road movie. The standard risk that road movies run is to have so much of their proceedings take place in the limited confines of an automobile. Sotomayor tackles this dilemma with coverage, employing an extensive repertoire of shots from both within and around the vehicle, eighty-three shots total, and very few of them identical. The following video essay compiles all of these shots, resulting in a
See full article at Keyframe »

Berlin Film Review: ‘Mar’

Does the world need a more static, Latin American Josephine Decker? For those answering in the affirmative, Dominga Sotomayor’s shift into Joe Swanberg territory, following her emotionally and stylistically richer debut, “Thursday Till Sunday,” will generate kudos. The rest will be underwhelmed by her improvisational sophomore feature, “Mar,” a slight (in all senses) work about a lackluster couple on a seaside holiday and the disruption that follows when the guy’s mother arrives. Developed on the fly and shot in a distancing, perversely framed style, the pic will do significantly less biz than Sotomayor’s first movie.

Martin (Lisandro Rodriguez) and Eli (Vanina Montes) drive to the Argentinean beach town of Villa Gesell in his mother’s car, realizing too late that the car’s papers were left back home. The couple have no enthusiasm for the holiday or each other, and Eli’s prepared to go home early,
See full article at Variety - Film News »

Berlinale 2015 Review: Mar Fails To Capitalize On Its Great Actors And Their Improvisational Skills

Chilean cinema, more than in any other year in the history of the Berlin Film Festival, is present and with the greatest odds to win one or two awards once the fest comes to an end. There are new films by established masters like Patricio Guzmán (The Battle of Chile) and the festival favorite Pablo Larraín (No, Post Mortem, Tony Manero). But besides those two big events, there's the return of a lauded new filmmaker, Dominga Sotomayor, who after From Thursday Till Sunday has now returned with her second feature, Mar, which could be translated from Spanish as "Sea" but is actually the name of the protagonist, who is named Martin, but nicknamed "Mar."As inane as the fact about what the movie is named after is the...

[Read the whole post on]
See full article at Screen Anarchy »

Efm: New Europe Film Sales picks up Crumbs, Mar

  • ScreenDaily
Efm: New Europe Film Sales picks up Crumbs, Mar
Sales outfit secures sci-fi feature and a Berlinale Forum film ahead of next week’s Efm.

Jan Naszewski’s Warsaw-based sales outlet New Europe Film Sales has picked up Miguel Llansó’s post-apocalyptic sci-fi film Crumbs.

Produced by a Spanish-Ethiopian team Sergio Uguet de Resayre, Meseret Argaw, Daniel Taye Workou and Miguel Llansó, the film received its world premiere on Tuesday (Jan 27) at the International Film Festival Rotterdam (Iffr) and will have its market premiere at the European Film Market (Efm) in Berlin next week.

Crumbs is the story of Candy, a strange-looking scrap collector, who embarks on a surreal epic journey through the post-apocalyptic Ethiopian landscape.

Llansó’s 2013 short film Chigger Ale about “Hitler´s Ethiopian clone”, also starring Daniel Tadesse Gagano, premiered at Locarno Film Festival and has been screened at Bafici, Tampere, Hamburg among others. Crumbs is his debut feature.

Naszewski described Llansó as having “a very distinctive voice… and we want
See full article at ScreenDaily »

Talent, Biz Making Waves in Chilean Biz

Maite Alberdi, Director

Resonant docu-feature “Tea Time,” now in post-production, about old dears who’ve had a cuppa together for decades, stood out at pix-in-post showcase Bal Goes to Cannes. Now shooting “Children,” about a group of youngsters with Down’s Syndrome. A young rep of Chile’s vibrant docu-pic production sector.

Guillermo Amoedo, Writer-director

A co-scribe on Eli Roth’s “The Green Inferno” and “Knock, Knock,” plus Nicolas Lopez’s “Aftershock,” Amoedo is helming first feature: “The Foreigner,” an English-language mystery thriller that is more grounded than most vampire films, Amoedo says. Set in Canada’s Northwest, it is produced by Lopez and presented by Roth.

Alvaro Ceppi, Writer-director-producer

Broke through with Cartoon Network Latin America series “Zumbastico Fantastico,” and developing two animation projects: “The Mango Brothers,” about aliens wanting to conquer a planet occupied by fruit and vegetables, and “Tony and His Odd Manual to Repair People.”

Rebeca Gutierrez,
See full article at Variety - Film News »

LatinoBuzz Asks Film Programmers: What Are Your Top 5 Latino Films of 2013?

Now that a new year is upon us let's reflect back on 2013. Something like a year in Latino film. Latin American filmmakers continued to kill it on the international film festival circuit. Chile, in particular, has been conquering the world one film festival award at a time.

Sadly, American Latino filmmakers were mostly absent from big name festivals like Sundance, Toronto, Berlin, and Cannes. Normally, the major Latino film festivals in New York, Los Angeles, Chicago, and San Diego offer a home to these overlooked films. The surprising collapse of the New York International Latino Film Festival this past summer and with the Los Angeles Latino International Film Festival barely recovering from financial difficulties, the exhibition of American Latino indies remains in a precarious position.

Still, there is much to celebrate. Starting in the early part of the year, at Sundance, Chilean director Sebastian Silva joined a very elite club of filmmakers -- those who have premiered two films at the same festival. His mescaline-fueled odyssey Crystal Fairy won the World Cinema Dramatic Directing Award and the psychological thriller Magic, Magic starring Michael Cera went on to play Director's Fortnight in Cannes.

The Berlinale, in February, brought the much anticipated world premiere of Sebastian Lelio's fourth film Gloria and the charming Uruguayan family comedy Tanta Agua. Cementing 2013 as the year of Chile, actress Paulina Garcia won the Silver Bear for her dazzling and dynamic performance as a middle-aged divorcee in Gloria.

Mid-year, Mexican filmmakers took Cannes by storm again, winning the Best Director prize for the second year in a row. In 2013, the victor was Amat Escalante for his feature film Heli. The year prior Carlos Reygadas took home the prize for Post Tenebras Lux.

In the fall, Toronto spoiled us with Latin American riches. The gargantuan fest showcased more than 300 films from 70 different countries including the Mexican documentary El Alcalde, Venezuela's Pelo Malo (Bad Hair), Peruvian black comedy El Mudo (The Mute), the Brazilian drama O lobo atras da porta (A Wolf at the Door), and the world premiere of Fernando Eimbcke's Club Sandwich. Costa Rica made a first-time appearance at the Toronto Film Festival with Por las plumas (All About the Feathers) and the Dominican Republic showcased Cristo Rey.

Over Labor Day weekend, Eugenio Derbez, a Mexican actor most Americans had never heard of released his sleeper hit Instructions Not Included. Totally ignored by mainstream film critics, the Spanish-language family comedy went on to shatter box office records. It beat out Woody Allen's Blue Jasmine and critical darling 12 Years a Slave making it the top grossing indie film of the year. It also became the highest grossing Spanish-language film ever in the United States. A few weeks later, when Instructions opened in Derbez's home country, it became the most-watched Mexican film of all time.

Despite being snubbed by the Academy Awards (no Latin American productions made the shortlist for Best Foreign Language Film), Latino films ended the year on a high note. The triumph of our films abroad coupled with a Spanish-language box office hit at home bodes well for the Latino films of 2014.

In case you were living under a rock this past year and missed it all, we've got you covered. Thankfully, there are professionals who get paid to keep track of what Latino movies are receiving accolades, have the most buzz, and got picked up for distribution. LatinoBuzz went straight to the experts, film programmers, to ask, "What are your top 5 Latino films of 2013?"

Christine Davila, Director of Ambulante California

There is no shortage of original and compelling Us Latino writer/directors working across different genres out there, and this list proves it. These confident artists have captured fresh and mighty perspectives far too underrepresented, and they are storming through the cluster neck of homogeneity that continues to reign in film content.

Water & Power (Richard Montoya, USA)

Los Wild Ones (Elise Salomon, USA)

Delusions of Grandeur (Iris Almaraz, Gustavo Ramos, USA)

Sleeping with the Fishes (Nicole Gomez Fisher, USA)

The House that Jack Built (Henry Barrial, USA)

Marcela Goglio, Programmer at the Film Society of Lincoln Center

No special criteria in these choices, just some of the many accomplished Latin American films that, in my opinion, create universes or make statements in beautiful, original and/or powerful ways.

Viola (Matias Pineiro, Argentina)

El alcalde (Emiliano Altuna/Carlos Rossini/Diego Osorno, Mexico)

La eterna noche de las doce lunas (Priscilla Padilla, Colombia)

El futuro (Alicia Scherson, Chile)

Gloria (Sebastian Lelio, Chile)

Carlos A. Gutierrez, Co-founder and Executive Director of Cinema Tropical

For practical purposes, my list features five Latin American films (my area of expertise) that I highly recommend, and that screened in the U.S. in 2013 (in alphabetical order):

El Alcalde / The Mayor (Carlos F. Rossini, Emiliano Altuna and Diego Osorno, Mexico)

El otro dia / The Other Day (Ignacio Aguero, Chile)

Los mejores temas / Greatest Hits (Nicolas Pereda, Mexico)

Tanta Agua / So Much Water (Ana Guevara and Leticia Jorge, Uruguay)

Viola (Matias Pineiro, Argentina)

Lucho Ramirez, Founder & Executive Director of Cine+Mas Sf, presenter of the Cm San Francisco Latino Film Festival

There are so many works by Latino and Latin American filmmakers that merit the public and the tastemaker's attention. Compiling a list of 5 is difficult for me as a festival director because each film that we program is beloved. In addition, there are the other films I see at other fests or at theaters, particularly the bigger ones replete with distribution, celebrity, and marketing budgets. It's hard for independent, quality films to break through and that's part of the reason I seek those out. I believe there is an audience for artisanal films with substance, creativity, and diversity.

I went on memory for this list. Included are films that I saw this year that really stuck with me long after watching them. What's important to me is seeing images of Latinos by Latinos on the screen. This doesn't mean sanitized. Bless Me, Ultima is an important literary work. It was a huge accomplishment to get this on the screen for all us non-readers. Sex, Love, & Salsa packs all the punch of a big romantic comedy in very local and Latino way; Tlatelolco is a historical drama that's really well done, revisiting a chaotic time in Mexico's history but interpreted in a narrow sliver of a relationship that can't be; Porcelain Horse mixes sex, drugs, and rich-kid problems and really does something different with a crime-drama; Delusions of Grandeuer is purely Latino hipster fun.

Bless Me, Ultima (Carl Franklin, USA)

Sex, Love, & Salsa (Adrian Manzano, USA)

Tlatelolco, Summer of 68 (Carlos Bolado, Mexico)

Porcelain Horse (Javier Andrade, Ecuador)

Delusions of Grandeur (Iris Almaraz, Gustavo Ramos, USA)

Glenn Heath Jr., Artistic Director of the San Diego Latino Film Festival

De Jueves a Domingo is a fascinating and subtext-heavy debut from director Dominga Sotomayor Castillo about a family road trip that could be the beginning of the end. In Viola Shakespeare is reinvented, it's art house cinema meets the off-note pacing of jazz. My Sister's Quinceañera is an honest and poignant look at the complexities of family and identity in small town America. Aqui y Alla is riveting in its acute understanding of how the mundane adds up to something grand. Fecha de Caducidad is dark comedy at its finest.

De Jueves a Domingo (Dominga Sotomayor Castillo, Chile)

Viola (Matias Pineiro, Argentina)

My Sister's Quinceanera (Aaron Douglas Johnston, USA)

Aqui y Alla (Antonio Mendez Esparza, Mexico)

Fecha de Caducidad (Kenya Marquez , Mexico)

Diana Vargas, Artistic Director at the Havana Film Festival New York

In Gloria Paulina Garcia's performance is unforgettable and the way the director talks about the middle life crisis of a woman that seems unremarkable until she finds out she can make her own choices and maybe to be single is not that bad, haha. La Sirga portrays the crude reality of the Colombian conflict without showing explicit violence, through impeccable cinematography. In a cinema verite style, La jaula de oro shows 3 Guatemalan adolescents experiencing the harshness of the journey of those who want to immigrate to U.S. 7 Cajas, the biggest Paraguayan box office hit, is as entertaining as well done. With an impeccable screenplay and Guarani dialogues, the film shows a country that usually don't have a strong representation in the festivals around the world. Sibila de Teresa Arredondo (Chile). Sibila Arguedas is the widow of one of the most iconic public figures in Peruvian literature. She's also Chilean and a political prisoner, accused of being a Sendero Luminoso collaborator. This documentary made by Sibila's niece brings to light one of the most fascinating, enimagtic and contradictory characters of the last century.

Gloria (Sebastian Lelio, Chile)

La Sirga (William Vega, Colombia).

La jaula de oro (Diego Quemada-Diez, Mexico)

7 Cajas (Tana Schembori, Juan Carlos Maneglia, Paraguay)

Sibila (Teresa Arredondo, Chile)

Juan Caceres, Director of Programming at the New York International Latino Film Festival

2013 was a great year for Latin American films. Ecuador, Panama, Guatemala and Paraguay, countries with no real infrastructure for filmmaking, all were present in festivals. Chile in particular showed no sign of slowing down their own presence on the festival circuit, taking home prizes at the major festivals. I think it's no coincidence that they share this wonderful genuine camaraderie where there is a support system that includes producing each others projects to simply rooting for one another when it comes to award nominations (you can go to all their Fb pages and occasionally they have each others films as their cover pics! It's uber dope). It's as real as it gets and I think it's something lacking here in the Us. So my list is the Chilean films you should not miss.

Gloria, (Sebastian Lelio, Chile)

No (Pablo Larrain, Chile)

Il Futuro / The Future (Alicia Scherson, Chile)

El verano de los peces voladores / The Summer of Flying Fish (Marcela Said, Chile)

Las cosas como son / Things The Way They Are (Fernando Lavanderos, Chile)

Marlene Dermer, Director/Programmer at the Los Angeles Latino International Film Festival

It has been really hard to narrow it to five I have to say. I find Latino cinema and its creators in a wonderful period. It’s alive and beats like a heart. There is so much talent in our communities and they are doing some of the most interesting work in world cinema. It's thought provoking or personal and universal. It's also tough to include U.S. works with Latin American work because there are many more countries and many with support. This year in our festival we had the largest showcase of U.S.A. films which was very exciting to see. As a programmer for 22 years I find it stimulating to discover all these new voices coming up in our community and truly sharing the screens at festivals and theaters around the world. There is a new generation in every country, that is very exciting and promising for the future of cinema, our community and the audio visual world.

Club Sandwich (Fernando Eimbcke, Mexico)

Pelo Malo (Mariana Rondón, Venezuela)

Gloria (Sebastian Lelio, Chile)

O lobo atras da porta (Fernando Coimbra, Brazil)

Tanta Agua / So Much Water (Ana Guevara and Leticia Jorge, Uruguay)

Written by Vanessa Erazo. LatinoBuzz is a weekly feature on SydneysBuzz that highlights Latino indie talent and upcoming trends in Latino film with the specific objective of presenting a broad range of Latino voices. Follow @LatinoBuzz on Twitter and Facebook.
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Dharamshala International Film Festival 2013 unveils line-up

Dharamshala International Film Festival 2013 unveils line-up
The line-up of the 2nd edition of the Dharamshala International Film festival has been announced. The festival will showcase feature films, documentaries and short films.

Organised by White Crane Arts & Media; the festival will be held from October 24 – 27, 2013 in McLeod Ganj, Dharamshala.

This year, a new section ‘Art and Film’ has been introduced at the festival in collaboration with Vienna-based Thyssen-Bornemisza Art Contemporary Foundation. The section will feature art films made by international artists Sean Snyder, Wael Shawky, Marine Hugonnier, Omer Fast, Walid Raad and Rabih Mroué.

The Best of recent Indian Shorts curated by filmmaker Umesh Kulkarni will also be showcased.

Besides, Jennifer Baichwal and Edward Burtynsky’s Watermark will make its world premiere at the festival.

Some of the film personalities who will attend the festival are: Jacek Borcuch (Lasting), Nishtha Jain (Gulabi Gang), Nitin Kakkar (Filmistaan), Avijit Mukul Kishore (To Let the World In), Nagraj Manjule (Fandry
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