Prime Video Mexico is firing up a new original series, “Mentiras,” based on the popular Mexican stage musical.
Singer-actor Belinda and Luis Gerardo Méndez lead a stellar cast that includes Mariana Treviño (“A Man Called Otto”), Diana Bovio (“Lecciones para canallas”) and Regina Blandón (“Maquíllame otra vez”).
Gabriel Ripstein, whose credits include series “An Unknown Enemy” (“Un extraño enemigo”) and Berlin best first feature winner “600 Miles,” created the series and will serve as director and showrunner.
“In this adaptation, we will pay tribute to a story and characters that the audience adores and expand their universe, thanks to a completely innovative visual narrative,” Ripstein said. “To bring this story to life, told with more than 30 of the most successful songs of the ’80s, we have assembled a spectacular cast and crew.”
The move comes despite system-wide cutbacks announced in January that have seen layoffs across Prime Video, Amazon MGM Studios and livestreaming platform Twitch.
Singer-actor Belinda and Luis Gerardo Méndez lead a stellar cast that includes Mariana Treviño (“A Man Called Otto”), Diana Bovio (“Lecciones para canallas”) and Regina Blandón (“Maquíllame otra vez”).
Gabriel Ripstein, whose credits include series “An Unknown Enemy” (“Un extraño enemigo”) and Berlin best first feature winner “600 Miles,” created the series and will serve as director and showrunner.
“In this adaptation, we will pay tribute to a story and characters that the audience adores and expand their universe, thanks to a completely innovative visual narrative,” Ripstein said. “To bring this story to life, told with more than 30 of the most successful songs of the ’80s, we have assembled a spectacular cast and crew.”
The move comes despite system-wide cutbacks announced in January that have seen layoffs across Prime Video, Amazon MGM Studios and livestreaming platform Twitch.
- 3/11/2024
- by Anna Marie de la Fuente
- Variety Film + TV
Ben Lobato, co-showrunner of Alice Braga-starrer “Queen of the South,” a top-three Nielsen ratings performer for USA Network, has boarded “Hot Sur,” a fast-moving thriller set up at Pablo and Juan de Dios Larraín’s Fabula and at Fremantle Mexico, the burgeoning Mexican production hub of the global production-distribution giant.
Lobato will showrun the TV series, which will be helmed by Gabriel Ripstein, writer-director of acclaimed Mexican Amazon Original “An Unknown Enemy.”
Shaping up as one of the biggest new projects being brought on the market at Content Americas, “Hot Sur” will be presented at Content Americas Copro Pitch on Tuesday, one of the TV market and forum’s industry centerpieces.
In it, Maria Paz, an undocumented Mexican immigrant looking after her bipolar sister, becomes a fugitive after being falsely accused of murder. Hunted by a determined U.S. Marshal – also Latinx – and María Paz’s vengeful former lover,...
Lobato will showrun the TV series, which will be helmed by Gabriel Ripstein, writer-director of acclaimed Mexican Amazon Original “An Unknown Enemy.”
Shaping up as one of the biggest new projects being brought on the market at Content Americas, “Hot Sur” will be presented at Content Americas Copro Pitch on Tuesday, one of the TV market and forum’s industry centerpieces.
In it, Maria Paz, an undocumented Mexican immigrant looking after her bipolar sister, becomes a fugitive after being falsely accused of murder. Hunted by a determined U.S. Marshal – also Latinx – and María Paz’s vengeful former lover,...
- 1/23/2024
- by John Hopewell
- Variety Film + TV
ƒmovieMexico’s Alfonso Herrera, best known for his role as the impetuous nephew looking to usurp his drug lord uncle in “Ozark” and as a former member of the wildly popular band Rbd and its TV series “Rebelde,” has joined the cast of “Tesis sobre una domesticación,” a movie adaptation of the multi-awarded novel of trans actress-scribe Camila Sosa Villada.
Now shooting in Argentina, “Tesis…” is a co-production between Argentina’s Laura Huberman, Ramiro Pavón and Gael Garcia Bernal and Diego Luna’s Mexico City-based La Corriente del Golfo.
“Tesis sobre una domesticación” (“Thesis on a Domestication”) relates the story of a successful trans actress (played by Sosa Villalda) and her gay lawyer husband who adopt a child, defying Argentina’s conservative society to form their own family unit. Their attempt at domestic bliss is disrupted when they visit the actress’s home town where her family resides.
Herrera expressed...
Now shooting in Argentina, “Tesis…” is a co-production between Argentina’s Laura Huberman, Ramiro Pavón and Gael Garcia Bernal and Diego Luna’s Mexico City-based La Corriente del Golfo.
“Tesis sobre una domesticación” (“Thesis on a Domestication”) relates the story of a successful trans actress (played by Sosa Villalda) and her gay lawyer husband who adopt a child, defying Argentina’s conservative society to form their own family unit. Their attempt at domestic bliss is disrupted when they visit the actress’s home town where her family resides.
Herrera expressed...
- 2/9/2023
- by Anna Marie de la Fuente
- Variety Film + TV
Exclusive: Lucía Méndez and Jorge Perugorría have been cast as series regulars in La Máquina, the Hulu limited series that follows an aging boxer (Gael García Bernal) whose crafty manager (Diego Luna) secures him one last shot at a title.
Karina Gidi, Raul Briones, and Luis Gnecco have also joined the project in heavily recurring roles. La Máquina is produced by Searchlight Television, 20th Television, and Bernal and Luna’s La Corriente del Golfo. It will stream on Disney’s Dtc platforms as a Hulu Original in the U.S. Marco Ramirez (Daredevil) serves as executive producer and showrunner, with Bernal, Luna, Gerardo Gatica, Leandro Halperín, Adam Fishbach, and Kyzza Terrazas onboard as executive producers. Gabriel Ripstein will direct.
Méndez will play Josefina, a woman from humble means but has pushed her way into upper class society. She smothers her son, Andy (Luna), constantly commenting on...
Karina Gidi, Raul Briones, and Luis Gnecco have also joined the project in heavily recurring roles. La Máquina is produced by Searchlight Television, 20th Television, and Bernal and Luna’s La Corriente del Golfo. It will stream on Disney’s Dtc platforms as a Hulu Original in the U.S. Marco Ramirez (Daredevil) serves as executive producer and showrunner, with Bernal, Luna, Gerardo Gatica, Leandro Halperín, Adam Fishbach, and Kyzza Terrazas onboard as executive producers. Gabriel Ripstein will direct.
Méndez will play Josefina, a woman from humble means but has pushed her way into upper class society. She smothers her son, Andy (Luna), constantly commenting on...
- 11/16/2022
- by Lynette Rice
- Deadline Film + TV
Exclusive: Andrés Delgado has landed a recurring guest star role in Hulu limited series La Máquina.
Delgado — whose credits include Gabriel Ripstein’s Prime Video series An Unknown Enemy directed by Gabriel Ripstein, HBO Max’s Sierra Madre and Netflix’s Pedal to the Metal — has been cast as Saul, an obedient right-hand man to Diego Luna’s Andy in the Searchlight TV boxing drama.
The character’s described as too sweet for the cut-throat world of professional sports but with sincere affection for Andy and Esteban (Gael García Bernal).
La Máquina follows aging boxer Esteban, whose crafty manager Andy secures him one last shot at a title only to find they have to first deal with a mysterious underworld force to make fight night.
Delgado’s other roles include starring in Angelina Jolie’s Without Blood opposite Salma Hayek and Demián Bichir and No Man’s Land, in which he’s starring opposite Andie MacDowell,...
Delgado — whose credits include Gabriel Ripstein’s Prime Video series An Unknown Enemy directed by Gabriel Ripstein, HBO Max’s Sierra Madre and Netflix’s Pedal to the Metal — has been cast as Saul, an obedient right-hand man to Diego Luna’s Andy in the Searchlight TV boxing drama.
The character’s described as too sweet for the cut-throat world of professional sports but with sincere affection for Andy and Esteban (Gael García Bernal).
La Máquina follows aging boxer Esteban, whose crafty manager Andy secures him one last shot at a title only to find they have to first deal with a mysterious underworld force to make fight night.
Delgado’s other roles include starring in Angelina Jolie’s Without Blood opposite Salma Hayek and Demián Bichir and No Man’s Land, in which he’s starring opposite Andie MacDowell,...
- 10/13/2022
- by Jesse Whittock
- Deadline Film + TV
Eiza González is getting ready to put up her dukes as she prepares to join the cast of La Máquina, Hulu‘s limited series that takes place inside the squared circle. González joins Diego Luna and Gael García Bernal, who already star in the Spanish-speaking series. According to La Máquina’s official synopsis, the story follows an aging boxer (García Bernal) whose crafty manager (Luna) secures him one last shot at a title. But to make it to fight night, they must navigate a mysterious underworld force.
According to her character’s description, González will play Irasema, an aspiring sports journalist who approaches boxing as more of an art form. She’s the ex-wife of Esteban (García Bernal), who she still deeply cares for, and mother to their two children. She’s known Esteban and Andy (Luna) since they were teenagers.
González stars in various fan-favorite films, including Edgar Wright...
According to her character’s description, González will play Irasema, an aspiring sports journalist who approaches boxing as more of an art form. She’s the ex-wife of Esteban (García Bernal), who she still deeply cares for, and mother to their two children. She’s known Esteban and Andy (Luna) since they were teenagers.
González stars in various fan-favorite films, including Edgar Wright...
- 9/2/2022
- by Steve Seigh
- JoBlo.com
Eiza González (Ambulance) has been cast in the role of Irasema opposite Diego Luna and Gael García Bernal in the Hulu Originals limited series La Máquina.
Irasema is an aspiring sports journalist who approaches boxing as more of an art form. She’s the ex-wife of Esteban (Gael García Bernal), who she still deeply cares for, and mother to their two children. She’s known Esteban and Andy (Diego Luna) since they were teenagers.
La Máquina follows an aging boxer (Bernal) whose crafty manager (Luna) secures him one last shot at a title. But to make it to fight night, they must navigate a mysterious underworld force.
González most recently wrapped filming The Three-Body Problem for Netflix, and Apple TV+’s anthology series Extrapolations with Meryl Streep, Forest Whitaker, and Marion Cotillard. González can also be seen in Michael Bay’s Ambulance opposite Jake Gyllenhaal and Yahya Abdul-Mateen.
She is...
Irasema is an aspiring sports journalist who approaches boxing as more of an art form. She’s the ex-wife of Esteban (Gael García Bernal), who she still deeply cares for, and mother to their two children. She’s known Esteban and Andy (Diego Luna) since they were teenagers.
La Máquina follows an aging boxer (Bernal) whose crafty manager (Luna) secures him one last shot at a title. But to make it to fight night, they must navigate a mysterious underworld force.
González most recently wrapped filming The Three-Body Problem for Netflix, and Apple TV+’s anthology series Extrapolations with Meryl Streep, Forest Whitaker, and Marion Cotillard. González can also be seen in Michael Bay’s Ambulance opposite Jake Gyllenhaal and Yahya Abdul-Mateen.
She is...
- 9/2/2022
- by Lynette Rice
- Deadline Film + TV
Eiza González will be joining Diego Luna and Gael García Bernal in the Hulu Original “La Máquina,” a limited series that follows an aging boxer, Esteban, played by Bernal.
González will portray Irasema, an aspiring sports journalist whose approach to boxing is more as “an art form,” per her character description. She’s Esteban’s ex-wife who still deeply cares for him, and mother to their two children. She’s known Esteban and his manager, Andy (Luna), since they were teenagers.
“La Máquina” follows Esteban as he attempts to secure one last shot at a title at Andy’s behest. But to make it to fight night, the duo are forced to navigate a mysterious underworld force.
Also Read:
Gael García Bernal, Diego Luna Reteam for Hulu, Searchlight TV Limited Series ‘La Máquina’
González most recently wrapped filming “The Three-Body Problem” for Netflix, and Apple TV+’s anthology series “Extrapolations,...
González will portray Irasema, an aspiring sports journalist whose approach to boxing is more as “an art form,” per her character description. She’s Esteban’s ex-wife who still deeply cares for him, and mother to their two children. She’s known Esteban and his manager, Andy (Luna), since they were teenagers.
“La Máquina” follows Esteban as he attempts to secure one last shot at a title at Andy’s behest. But to make it to fight night, the duo are forced to navigate a mysterious underworld force.
Also Read:
Gael García Bernal, Diego Luna Reteam for Hulu, Searchlight TV Limited Series ‘La Máquina’
González most recently wrapped filming “The Three-Body Problem” for Netflix, and Apple TV+’s anthology series “Extrapolations,...
- 9/2/2022
- by Natalie Oganesyan
- The Wrap
Eiza González has joined Diego Luna and Gael García Bernal in the Hulu limited series “La Máquina.”
The Spanish-language series was picked up at Hulu in July. Per the official logline, “‘La Máquina’ follows an aging boxer (García Bernal) whose crafty manager (Luna) secures him one last shot at a title. But to make it to fight night, they must navigate a mysterious underworld force.”
González will star as Irasema. Her character descriptions says she is “an aspiring sports journalist who approaches boxing as more of an art form. She’s the ex-wife of Esteban (García Bernal), who she still deeply cares for, and mother to their two children. She’s known Esteban and Andy (Luna) since they were teenagers.”
González is best known for her breakout role in the Edgar Wright film “Baby Driver,” in which she played Darling. She recently wrapped filming on the Netflix series adaptation of “The Three-Body Problem.
The Spanish-language series was picked up at Hulu in July. Per the official logline, “‘La Máquina’ follows an aging boxer (García Bernal) whose crafty manager (Luna) secures him one last shot at a title. But to make it to fight night, they must navigate a mysterious underworld force.”
González will star as Irasema. Her character descriptions says she is “an aspiring sports journalist who approaches boxing as more of an art form. She’s the ex-wife of Esteban (García Bernal), who she still deeply cares for, and mother to their two children. She’s known Esteban and Andy (Luna) since they were teenagers.”
González is best known for her breakout role in the Edgar Wright film “Baby Driver,” in which she played Darling. She recently wrapped filming on the Netflix series adaptation of “The Three-Body Problem.
- 9/2/2022
- by Joe Otterson
- Variety Film + TV
Diego Luna and Gael García Bernal are teaming to star in a Spanish-language limited series at Hulu produced by Searchlight Television.
The pair will star in the drama series “La Maquina,” which hails from writer Marco Ramirez. It follows an aging boxer (García Bernal), whose crafty manager (Luna) secures him one last shot at a title. But to make it to fight night, they must navigate a mysterious underworld force.
Both Luna and García Bernal will produce under their La Corriente del Golfo banner. Ramirez will serve as executive producer and showrunner in addition to writing. Gabriel Ripstein will direct the entire series. Gerardo Gatica, Leandro Halperin, and Adam Fishbach will serve as producers. Searchlight TV is the studio. Searchlight recently co-produced the critically-acclaimed Hulu limited series “The Dropout” as well as the upcoming Hulu comedy series “History of the World Part II.”
“We are proud to partner again with...
The pair will star in the drama series “La Maquina,” which hails from writer Marco Ramirez. It follows an aging boxer (García Bernal), whose crafty manager (Luna) secures him one last shot at a title. But to make it to fight night, they must navigate a mysterious underworld force.
Both Luna and García Bernal will produce under their La Corriente del Golfo banner. Ramirez will serve as executive producer and showrunner in addition to writing. Gabriel Ripstein will direct the entire series. Gerardo Gatica, Leandro Halperin, and Adam Fishbach will serve as producers. Searchlight TV is the studio. Searchlight recently co-produced the critically-acclaimed Hulu limited series “The Dropout” as well as the upcoming Hulu comedy series “History of the World Part II.”
“We are proud to partner again with...
- 7/27/2022
- by Joe Otterson
- Variety Film + TV
Gael García Bernal and Diego Luna are teaming up for a Spanish-language boxing series for Hulu.
The pair, who first worked together on Y Tu Mamá También, will star and produce La Máquina for the streamer.
The series is produced by Searchlight TV, the Disney-owned television arm of Searchlight Pictures and marks its third series for the streamer following The Dropout and History of the World, Part II.
Daredevil’s Marco Ramirez will serve as showrunner and 600 Miles’ Gabriel Ripstein will direct. García Bernal and Luna will produce under their La Corriente del Golfo banner along with Gerardo Gatica, Leandro Halperin and Adam Fishbach.
La Máquina follows an aging boxer, played by García Bernal, whose crafty manager, played by Luna, secures him one last shot at a title. But to make it to fight night, they must navigate a mysterious underworld force.
“We are proud to partner again with Searchlight Television...
The pair, who first worked together on Y Tu Mamá También, will star and produce La Máquina for the streamer.
The series is produced by Searchlight TV, the Disney-owned television arm of Searchlight Pictures and marks its third series for the streamer following The Dropout and History of the World, Part II.
Daredevil’s Marco Ramirez will serve as showrunner and 600 Miles’ Gabriel Ripstein will direct. García Bernal and Luna will produce under their La Corriente del Golfo banner along with Gerardo Gatica, Leandro Halperin and Adam Fishbach.
La Máquina follows an aging boxer, played by García Bernal, whose crafty manager, played by Luna, secures him one last shot at a title. But to make it to fight night, they must navigate a mysterious underworld force.
“We are proud to partner again with Searchlight Television...
- 7/27/2022
- by Peter White
- Deadline Film + TV
Gabriel Ripstein to direct eight-episode eries of boxing story.
Hulu has ordered Searchlight Television’s Spanish-language limited series La Máquina straight to series, reuniting Y Tu Mama Tambien stars Gael García Bernal and Diego Luna on screen.
Marco Ramirez (Daredevil) is the showrunner and Gabriel Ripstein (600 Miles) will direct all eight episodes of the story about an aging boxer (Bernal) whose crafty manager (Luna) secures him one last shot at a title. However in order to make it to fight night they must navigate a mysterious underworld force.
Gerardo Gatica, Leandro Halperin and Adam Fishbach are producing the series alongside...
Hulu has ordered Searchlight Television’s Spanish-language limited series La Máquina straight to series, reuniting Y Tu Mama Tambien stars Gael García Bernal and Diego Luna on screen.
Marco Ramirez (Daredevil) is the showrunner and Gabriel Ripstein (600 Miles) will direct all eight episodes of the story about an aging boxer (Bernal) whose crafty manager (Luna) secures him one last shot at a title. However in order to make it to fight night they must navigate a mysterious underworld force.
Gerardo Gatica, Leandro Halperin and Adam Fishbach are producing the series alongside...
- 7/27/2022
- by Jeremy Kay
- ScreenDaily
Mexico’s Michel Franco is back in Venice after his triumphant Silver Lion win last year for his dystopian thriller “New Order.” His new film “Sundown” is in competition at the Lido where it world premieres on Sunday. Variety spoke to the director and the film’s star Tim Roth.
While “New Order” used thousands of extras and was shot on a larger, more ambitious scale than any of Franco’s previous films, “Sundown” is a return to a more intimate, personal drama with Franco’s long-time collaborator and friend Roth leading the cast.
In it, Roth plays a wealthy man going through an existential crisis while vacationing in Acapulco with his family. Not much more can be said of the plot without revealing its twists.
This is the second time Roth stars in a Franco-directed film. Their relationship sparked nearly 10 years ago when Roth, as Cannes’ 2012 Un Certain Regard jury president,...
While “New Order” used thousands of extras and was shot on a larger, more ambitious scale than any of Franco’s previous films, “Sundown” is a return to a more intimate, personal drama with Franco’s long-time collaborator and friend Roth leading the cast.
In it, Roth plays a wealthy man going through an existential crisis while vacationing in Acapulco with his family. Not much more can be said of the plot without revealing its twists.
This is the second time Roth stars in a Franco-directed film. Their relationship sparked nearly 10 years ago when Roth, as Cannes’ 2012 Un Certain Regard jury president,...
- 9/4/2021
- by Anna Marie de la Fuente
- Variety Film + TV
Michel Franco’s “New Order,” a Venice Festival main competition premiere, looks set to mark a huge step-up in scale for Franco and indeed most Latin American movies at large.
It couldn’t be otherwise, Mexican writer-director-producer Franco said at a Sarajevo Film Festival masterclass, hosted Wednesday in the Variety Streaming Room.
Teasing through-lines in a career that has made him one of the most laureled of Latin American directors, Franco also used the masterclass to talk, often with refreshing candor, about the game-changing impact of Tim Roth on his career, directors’ necessity for reassurance, and his need to produce his own movies.
A recipient of a Heart of Sarajevo Award at this year festival, Franco has risen rapidly to prominence after releasing debut feature “Daniel & Ana” in 2009, making intimate and intense movies turning on the victims of trauma – high-school bullying in 2012’s “After Lucia,” the death of an...
It couldn’t be otherwise, Mexican writer-director-producer Franco said at a Sarajevo Film Festival masterclass, hosted Wednesday in the Variety Streaming Room.
Teasing through-lines in a career that has made him one of the most laureled of Latin American directors, Franco also used the masterclass to talk, often with refreshing candor, about the game-changing impact of Tim Roth on his career, directors’ necessity for reassurance, and his need to produce his own movies.
A recipient of a Heart of Sarajevo Award at this year festival, Franco has risen rapidly to prominence after releasing debut feature “Daniel & Ana” in 2009, making intimate and intense movies turning on the victims of trauma – high-school bullying in 2012’s “After Lucia,” the death of an...
- 8/20/2020
- by John Hopewell
- Variety Film + TV
Director Michel Hazanavicius and actress Bérénice Bejo, Oscar winner and Oscar nominee respectively for “The Artist,” will present individual Masterclasses at the 26th Sarajevo Film Festival this year. Also delivering Masterclasses are directors Michel Franco and Rithy Panh.
The Masterclasses, which like the rest of the festival are running online via ondemand.sff.ban, are organized in cooperation with Variety, and will be available worldwide via the Variety Streaming Room.
Hazanavicius shot his first feature-length film, “Mes Amis,” in 1999. In 2006, he directed his second feature, “Oss 117: Cairo, Nest of Spies,” and then, three years later, “Oss 17: Lost in Rio.”
In 2011, he made “The Artist,” the silent, black-and-white film starring Bejo and Jean Dujardin, which won five Academy Awards in 2012, including best film, director and actor for Dujardin, while Bejo was an Oscar nominee for supporting actress.
The film premiered at Cannes, as did Hazanavicius’ “The Players” and “Redoubtable.
The Masterclasses, which like the rest of the festival are running online via ondemand.sff.ban, are organized in cooperation with Variety, and will be available worldwide via the Variety Streaming Room.
Hazanavicius shot his first feature-length film, “Mes Amis,” in 1999. In 2006, he directed his second feature, “Oss 117: Cairo, Nest of Spies,” and then, three years later, “Oss 17: Lost in Rio.”
In 2011, he made “The Artist,” the silent, black-and-white film starring Bejo and Jean Dujardin, which won five Academy Awards in 2012, including best film, director and actor for Dujardin, while Bejo was an Oscar nominee for supporting actress.
The film premiered at Cannes, as did Hazanavicius’ “The Players” and “Redoubtable.
- 8/6/2020
- by Leo Barraclough
- Variety Film + TV
The Cairo Film Festival, which is the grand dame of the Arab world’s cinema shindigs, looks set for a watershed edition, its second headed by producer Mohamed Hefzy whose reboot effort is coming into full swing.
Besides the Middle East launch of Martin Scorsese’s “The Irishman,” which is Cairo’s opener, Hefzy and his team have secured roughly 25 international bows and several world premieres. They’ve lured top talents such as Oscar-winning U.S. writer/director Stephen Gaghan (“Syriana”) who is presiding over the main jury, as well as Terry Gilliam and Guillermo Arriaga.
Industry execs making the trek include Agc Studios topper Stuart Ford, AMC Networks’ VP of productions Kristin Jones, and Netflix director of international originals Ahmed Sharkawi, just as TV becomes an integral part of the fest’s market component.
Launched in 1976, amid the Egyptian film industry’s golden age, the Cairo fest soon soared...
Besides the Middle East launch of Martin Scorsese’s “The Irishman,” which is Cairo’s opener, Hefzy and his team have secured roughly 25 international bows and several world premieres. They’ve lured top talents such as Oscar-winning U.S. writer/director Stephen Gaghan (“Syriana”) who is presiding over the main jury, as well as Terry Gilliam and Guillermo Arriaga.
Industry execs making the trek include Agc Studios topper Stuart Ford, AMC Networks’ VP of productions Kristin Jones, and Netflix director of international originals Ahmed Sharkawi, just as TV becomes an integral part of the fest’s market component.
Launched in 1976, amid the Egyptian film industry’s golden age, the Cairo fest soon soared...
- 11/14/2019
- by Nick Vivarelli
- Variety Film + TV
Madrid — The kernel, quality and qualities of David Zonana’s debut feature “Workforce” were already detectable in his very first short, 2014’s “Princess,” which prompted Variety to announce him as a Mexican director to track.
Four years later, he’s come good on that promise with the Wild Bunch-sold “Workforce” (“Mano de obra”), his feature debut.
Produced by regular Cannes laureate Michel Franco, “Workforce” won both top prizes at Los Cabos Festival’s 2018 Work in Progress, was acquired for world sales by Wild Bunch and selected for Toronto’s Platform competition, focused on bold emerging voices, before segueing to play in competition at San Sebastián.
“Princess” turned on teen Natalia, who is raped – or so she says – mopes around recovering with her mother, does HIV tests, has sex with her caring boyfriend. She then goes to a bar, meets two middle-aged strangers, has sex with them in a lavatory.
“Workforce...
Four years later, he’s come good on that promise with the Wild Bunch-sold “Workforce” (“Mano de obra”), his feature debut.
Produced by regular Cannes laureate Michel Franco, “Workforce” won both top prizes at Los Cabos Festival’s 2018 Work in Progress, was acquired for world sales by Wild Bunch and selected for Toronto’s Platform competition, focused on bold emerging voices, before segueing to play in competition at San Sebastián.
“Princess” turned on teen Natalia, who is raped – or so she says – mopes around recovering with her mother, does HIV tests, has sex with her caring boyfriend. She then goes to a bar, meets two middle-aged strangers, has sex with them in a lavatory.
“Workforce...
- 9/17/2019
- by John Hopewell and Emiliano Granada
- Variety Film + TV
Labor (Mano de obra)
Mexican producer David Zonana steps into the director’s chair with his debut Labor (Mano de obra), produced through Michel Franco’s Mexico City based Lucia Films, with Dario Yazbeck also serving as producer. The cast consists of non-professional bricklayers who Zonana worked with for several months, which included filtering some of the cast through acting workshops. Zonana has long been affiliated with Lucia Films, serving as associate producer on Gabriel Ripstein’s debut 600 Miles (2015), co-producing Franco’s Chronic (2015) and executive producing his 2017 title April’s Daughter. Zonana previously completed three short films.…...
Mexican producer David Zonana steps into the director’s chair with his debut Labor (Mano de obra), produced through Michel Franco’s Mexico City based Lucia Films, with Dario Yazbeck also serving as producer. The cast consists of non-professional bricklayers who Zonana worked with for several months, which included filtering some of the cast through acting workshops. Zonana has long been affiliated with Lucia Films, serving as associate producer on Gabriel Ripstein’s debut 600 Miles (2015), co-producing Franco’s Chronic (2015) and executive producing his 2017 title April’s Daughter. Zonana previously completed three short films.…...
- 1/3/2019
- by Nicholas Bell
- IONCINEMA.com
Buenos Aires — Celebrating its 10th anniversary with a huge hike in attendance to over 4,000 accredited delegates, the 2018 Ventana Sur will go down in history on multiple counts: Sales and pick-ups on movies which combined social comment and entertainment value, increasingly the new foreign-language movie standard; new sections, led by a Proyecta co-production forum and in-house doc Incubadora; and a reinvigorated conference strand.
Thierry Fremaux’s Cannes Festival Cinema Week also sold out, some sessions in just two hours, a sign he said in his opening keynote to Ventana Sur of a resilient theatrical audience for films.
With three Netflix executives in attendance, plus Amazon’s Pablo Lacoviello, 2018’s Ventana Sur suggested how the function of major film events is expanding in an Ott age. The battle for Ott supremacy will be fought over talent.
Much of the real industry dealing at Ventana Sur was and will be in the future...
Thierry Fremaux’s Cannes Festival Cinema Week also sold out, some sessions in just two hours, a sign he said in his opening keynote to Ventana Sur of a resilient theatrical audience for films.
With three Netflix executives in attendance, plus Amazon’s Pablo Lacoviello, 2018’s Ventana Sur suggested how the function of major film events is expanding in an Ott age. The battle for Ott supremacy will be fought over talent.
Much of the real industry dealing at Ventana Sur was and will be in the future...
- 12/15/2018
- by John Hopewell and Jamie Lang
- Variety Film + TV
Buenos Aires — Kicking off with the Cannes Festival’s Palme d’Or winner, Hirokazu Kor-eda’s “Shoplifters,” and framing multiple Cannes winners, the 10th Cannes Festival Cinema Week will feature a masterclass by Tim Roth, before a projection of “Reservoir Dogs,” and a presentation by Gaspar Noé of his Directors’ Fortnight hit “Climax.”
Curated and M.C-ed by Thierry Frémaux, the Cinema Week will also underscore some of the hallmarks of Cannes as the world’s fall festivals, led by Venice, become ever more important platforms for Academy Award contenders.
The Cinema Week is sold out, some screenings in two hours, Frémaux told Variety on the eve of its opening. That is a reflection on the draw of Cannes, and its Cinema week, in Buenos Aires, where it is a big event. Attending the Cannes Festival Cinema Week in 2011, double Cannes Palme d’Or winners Jean-Pierre and Luc Dardenne were lionized like rock stars.
Curated and M.C-ed by Thierry Frémaux, the Cinema Week will also underscore some of the hallmarks of Cannes as the world’s fall festivals, led by Venice, become ever more important platforms for Academy Award contenders.
The Cinema Week is sold out, some screenings in two hours, Frémaux told Variety on the eve of its opening. That is a reflection on the draw of Cannes, and its Cinema week, in Buenos Aires, where it is a big event. Attending the Cannes Festival Cinema Week in 2011, double Cannes Palme d’Or winners Jean-Pierre and Luc Dardenne were lionized like rock stars.
- 12/10/2018
- by John Hopewell
- Variety Film + TV
Buenos Aires — Launching their new production house, La Corriente de Golfo, last April, Gael García Bernal and Diego Luna have tapped Mexican writer-director Kyzza Terrazas as the company’s head of development.
The appointment will certainly help build the company appointing an old-rounder capable of overseeing and implementing development, writing and directing, and a longtime friend of manny of the leading lights of a new creative generation of Mexican directors which has made its marks in cinema but is often now diversifying into TV.
It also builds on past relationships: a longtime friend and work colleague of both García Bernal and Luna, Terrazas co-wrote García Bernal’s feature debut “Deficit,” headed up development at Canana, the company Garcia Bernal and Luna created with Pablo Cruz from 2005. Terrazas ankled Canana in 2009 to make his feature debut, “Machete Language,” produced by Mexico City shingle Mr. Woo and exec-produced by García Bernal and Diego Luna.
The appointment will certainly help build the company appointing an old-rounder capable of overseeing and implementing development, writing and directing, and a longtime friend of manny of the leading lights of a new creative generation of Mexican directors which has made its marks in cinema but is often now diversifying into TV.
It also builds on past relationships: a longtime friend and work colleague of both García Bernal and Luna, Terrazas co-wrote García Bernal’s feature debut “Deficit,” headed up development at Canana, the company Garcia Bernal and Luna created with Pablo Cruz from 2005. Terrazas ankled Canana in 2009 to make his feature debut, “Machete Language,” produced by Mexico City shingle Mr. Woo and exec-produced by García Bernal and Diego Luna.
- 12/9/2018
- by John Hopewell
- Variety Film + TV
Cancun, Mexico — It’s boom time for drama series production in Mexico, Spain and Brazil, driven by pay TV and Ott players and their competitors alike. As a co-production forum, the 5th MipCancun moved up a gear. This year saw its biggest attendance, plus strategic alliances, hints at or presentations of multiple new series announcements of huge ambitions – Televisa’s 20-title remake extravaganza Fábrica de sueños; Secouya’s plan for a Madrid Content City. 14 takes on the new Spanish-language series gold rush:
1.Spanish-language Series Production Booms
MipCancun rocked. But it did so as a production forum, not a classic sales market. The production driver? The ever more fully-fledged Ott platform financing phenomenon. “It started focused much more on global content. But we’ve seen a second wave now of these same players – Netflix, Amazon, moving into more local content, in Latin America, India, Korea, even in the Middle East,” Creative Artists...
1.Spanish-language Series Production Booms
MipCancun rocked. But it did so as a production forum, not a classic sales market. The production driver? The ever more fully-fledged Ott platform financing phenomenon. “It started focused much more on global content. But we’ve seen a second wave now of these same players – Netflix, Amazon, moving into more local content, in Latin America, India, Korea, even in the Middle East,” Creative Artists...
- 11/20/2018
- by John Hopewell
- Variety Film + TV
Location shooting is underway in Mexico and Argentina for Season 2 of Fox Premium’s “Here on Earth”, the multi award- winning series created by Gael Garcia Bernal, Kyzza Terrazas and Jorge Dorantes.
Mexican actors Adriana Barraza, Kristyan Ferrer and Natasha Dupeyron join the Season 1 cast toplined by Bernal, Alfonso Dosal, Daniel Giménez Cacho –who will also helm an episode – along with Tenoch Huerta, Colombian actress Paulina Dávila and Spanish actress Ariadna Gil.
The political drama-thriller series of eight one-hour episodes has already picked up a clutch of awards including at Canneseries, the Zurich Film Festival, and most recently at the Fenix Film Awards held in Mexico City in its Outstanding Ensemble Cast category.
In this new season of “Here on Earth,” lead character Carlos Calles (Dosal), begins to perceive certainties about the death of his father while his stepfather, Governor Mario Rocha (Giménez Cacho), tries to keep the truth hidden...
Mexican actors Adriana Barraza, Kristyan Ferrer and Natasha Dupeyron join the Season 1 cast toplined by Bernal, Alfonso Dosal, Daniel Giménez Cacho –who will also helm an episode – along with Tenoch Huerta, Colombian actress Paulina Dávila and Spanish actress Ariadna Gil.
The political drama-thriller series of eight one-hour episodes has already picked up a clutch of awards including at Canneseries, the Zurich Film Festival, and most recently at the Fenix Film Awards held in Mexico City in its Outstanding Ensemble Cast category.
In this new season of “Here on Earth,” lead character Carlos Calles (Dosal), begins to perceive certainties about the death of his father while his stepfather, Governor Mario Rocha (Giménez Cacho), tries to keep the truth hidden...
- 11/16/2018
- by Anna Marie de la Fuente
- Variety Film + TV
Along with Germany and Spain, Latin America is fast emerging as one of the biggest growth regions for high-end fiction in international, Ott, premium pay TV and co-productions.
Ott is experiencing a second-phase expansion. Netflix released its first Latin American original, “Club of Crows,” in August 2015. Two years later, it had 50 new or returning productions in various stages of development. That number has risen yet again. On Sept. 20, for instance, Netflix announced its 11th original to date in Brazil, supernatural thriller “Spectros.”
There are now other new kids on the digital block. In May, Amazon Prime Video’s first original series “Diablo Guardian,” produced with Televisa production unit Tao, bowed to critical acclaim.
“We are open for business. We are not trying to hit a specific volume,” says Pablo Iacoviello, Amazon Prime Video content director for Latin America.
Other series announced include Gabriel Ripstein’s political thriller “Un Extraño Enemigo,...
Ott is experiencing a second-phase expansion. Netflix released its first Latin American original, “Club of Crows,” in August 2015. Two years later, it had 50 new or returning productions in various stages of development. That number has risen yet again. On Sept. 20, for instance, Netflix announced its 11th original to date in Brazil, supernatural thriller “Spectros.”
There are now other new kids on the digital block. In May, Amazon Prime Video’s first original series “Diablo Guardian,” produced with Televisa production unit Tao, bowed to critical acclaim.
“We are open for business. We are not trying to hit a specific volume,” says Pablo Iacoviello, Amazon Prime Video content director for Latin America.
Other series announced include Gabriel Ripstein’s political thriller “Un Extraño Enemigo,...
- 10/16/2018
- by John Hopewell
- Variety Film + TV
Isaac Lee, the former chief creative officer of Univision and Televisa, has formed an ambitious new company called Exile Content and he has acquired Mexican production services company Redrum.
Redrum founder Stacy Perskie will run Exile’s studio along with his team of partners, including Adrian Grunberg, who is currently directing “Rambo 5” and helmed Redrum’s first original in-house production, “Get the Gringo,” starring Mel Gibson. Exile Content will have offices in Mexico and Los Angeles.
Redrum has provided production services to some of the most prominent films to shoot in Mexico, including “Godzilla: King of Monsters,” “Blade Runner 2049, “Bel Canto,” “Spectre” and “Elysium.” On the TV side, it has worked on Netflix’s “Narcos: Mexico” and season two of Amazon Prime’s “Mozart in the Jungle,” among others.
“Exile is about premium content and no one in the region has more experience producing with the highest production values then Redrum,...
Redrum founder Stacy Perskie will run Exile’s studio along with his team of partners, including Adrian Grunberg, who is currently directing “Rambo 5” and helmed Redrum’s first original in-house production, “Get the Gringo,” starring Mel Gibson. Exile Content will have offices in Mexico and Los Angeles.
Redrum has provided production services to some of the most prominent films to shoot in Mexico, including “Godzilla: King of Monsters,” “Blade Runner 2049, “Bel Canto,” “Spectre” and “Elysium.” On the TV side, it has worked on Netflix’s “Narcos: Mexico” and season two of Amazon Prime’s “Mozart in the Jungle,” among others.
“Exile is about premium content and no one in the region has more experience producing with the highest production values then Redrum,...
- 10/10/2018
- by Anna Marie de la Fuente
- Variety Film + TV
Mexico’s Viento del Norte will produce “Adam’s Apple,” a new film from Katina Medina Mora (“You’ll Know What to Do With Me”). Timothy R. Boyce’s Film Rooster –based in New York– has come on board as co-producer.
The project was presented at this week’s Locarno’s Match-Me! co-production platform. The feature revolves around the memories of Laura, now in her fifties, who after an encounter with an old friend feels obliged to revisit her past and reconcile with herself. She will nosedive into memories of when she was living in Mexico, 25 years earlier, and was still called Victor.
The film will be shot 50/50 in English and Spanish. This proportionality works on different levels according to Mora, who explained to Variety: “Action will be set in two countries, and it’s a story about two genres in one body. This makes it very unique. We will...
The project was presented at this week’s Locarno’s Match-Me! co-production platform. The feature revolves around the memories of Laura, now in her fifties, who after an encounter with an old friend feels obliged to revisit her past and reconcile with herself. She will nosedive into memories of when she was living in Mexico, 25 years earlier, and was still called Victor.
The film will be shot 50/50 in English and Spanish. This proportionality works on different levels according to Mora, who explained to Variety: “Action will be set in two countries, and it’s a story about two genres in one body. This makes it very unique. We will...
- 8/8/2018
- by Emilio Mayorga
- Variety Film + TV
La Boda de Mi Mejor Amigo will be directed by Celso García in Sony Pictures International Productions’ latest local-language remake of a classic property. A co-production with Zamora Films and Alameda Films, the Spanish-language adaptation of the 1997 Julia Roberts/Dermot Mulroney/Cameron Diaz starrer My Best Friend’s Wedding is targeting a 2019 release.
Ana Serradilla, Miguel Ángel Silvestre, Carlos Ferro and Natasha Dupeyrón star in the update on the original that grossed nearly $300M at the worldwide box office.
Shooting in Guadalajara and Mexico City, the film is adapted by Gabriel Ripstein from Ronald Bass’ original screenplay. Serradilla will play Julia, a renowned food critic who is terrified of commitment. Despite that, she made a promise with her best friend Manuel (Ferro) that if both of them were still single at age 35, they would marry each other. When Julia receives a call from Manuel that he is marrying someone else,...
Ana Serradilla, Miguel Ángel Silvestre, Carlos Ferro and Natasha Dupeyrón star in the update on the original that grossed nearly $300M at the worldwide box office.
Shooting in Guadalajara and Mexico City, the film is adapted by Gabriel Ripstein from Ronald Bass’ original screenplay. Serradilla will play Julia, a renowned food critic who is terrified of commitment. Despite that, she made a promise with her best friend Manuel (Ferro) that if both of them were still single at age 35, they would marry each other. When Julia receives a call from Manuel that he is marrying someone else,...
- 4/12/2018
- by Nancy Tartaglione
- Deadline Film + TV
My Best Friend's Wedding, the 1997 hit date movie starring Julia Roberts, is getting a remake in Español.
Set in Mexico City and mariachi capital Guadalajara, Sony Pictures International Productions is co-producing La Boda de Mi Mejor Amigo with Mexico's Zamora Films and Alameda Films. Celso Garcia, whose feature film debut The Thin Yellow Line was produced by Guillermo del Toro, is directing the Spanish-language adaptation by Gabriel Ripstein (600 Miles).
Adapted from Ronald Bass' original screenplay, La Boda de Mi Mejor Amigo will star Ann Serradilla (Hidden Moon) as "Julia," a love-struck food critic played by Roberts in the...
Set in Mexico City and mariachi capital Guadalajara, Sony Pictures International Productions is co-producing La Boda de Mi Mejor Amigo with Mexico's Zamora Films and Alameda Films. Celso Garcia, whose feature film debut The Thin Yellow Line was produced by Guillermo del Toro, is directing the Spanish-language adaptation by Gabriel Ripstein (600 Miles).
Adapted from Ronald Bass' original screenplay, La Boda de Mi Mejor Amigo will star Ann Serradilla (Hidden Moon) as "Julia," a love-struck food critic played by Roberts in the...
- 4/12/2018
- by John Hecht
- The Hollywood Reporter - Movie News
Original grossed close to $300m worldwide.
Sony Pictures International Productions (Spip) is co-producing with Zamora Films and Alameda Films La Boda De Mi Mejor Amigo, a Spanish-language adaptation of the 1997 global hit My Best Friend’s Wedding.
Production on the rom-com takes place in Guadalajara and Mexico City. Celso García will direct from Gabriel Ripstein’s Spanish-language adaptation of the original screenplay by Ronald Bass.
Daniel Birman Ripstein and Gerardo Morán produce and Spip has targeted a 2019 release. The original stared Julia Roberts and Dermot Mulroney and grossed close to $300m worldwide through Sony in 1997.
Ana Serradilla plays Julia, a...
Sony Pictures International Productions (Spip) is co-producing with Zamora Films and Alameda Films La Boda De Mi Mejor Amigo, a Spanish-language adaptation of the 1997 global hit My Best Friend’s Wedding.
Production on the rom-com takes place in Guadalajara and Mexico City. Celso García will direct from Gabriel Ripstein’s Spanish-language adaptation of the original screenplay by Ronald Bass.
Daniel Birman Ripstein and Gerardo Morán produce and Spip has targeted a 2019 release. The original stared Julia Roberts and Dermot Mulroney and grossed close to $300m worldwide through Sony in 1997.
Ana Serradilla plays Julia, a...
- 4/12/2018
- by Jeremy Kay
- ScreenDaily
Tim Roth among executive producers on Un Certain Regard entry.
Protagonist Pictures and mk2 films will jointly handle worldwide sales on Michel Franco’s Spanish-language drama April’s Daughter (Las Hijas de Abril).
The Un Certain Regard selection marks Mexican auteur Franco’s fourth film in Cannes and centres on 17-year-old Valeria, who learns she is pregnant by her teenage boyfriend but has not informed her absent mother April.
When her sister Clara goes behind her back and calls their mother, she arrives full of concern, support and tenderness. But once the baby is born, it soon becomes clear why Valeria wanted to keep April as far away as possible.
The film stars Emma Suarez, Ana Valeria Becerril, Joanna Larequi, Enrique Arrizon, and Hernán Mendoza.
Protagonist Pictures and mk2 films will launch sales in Cannes and first partnered in Berlin on Cold War from director Pawel Pawlikowski.
“We think Michel’s new film is his best yet...
Protagonist Pictures and mk2 films will jointly handle worldwide sales on Michel Franco’s Spanish-language drama April’s Daughter (Las Hijas de Abril).
The Un Certain Regard selection marks Mexican auteur Franco’s fourth film in Cannes and centres on 17-year-old Valeria, who learns she is pregnant by her teenage boyfriend but has not informed her absent mother April.
When her sister Clara goes behind her back and calls their mother, she arrives full of concern, support and tenderness. But once the baby is born, it soon becomes clear why Valeria wanted to keep April as far away as possible.
The film stars Emma Suarez, Ana Valeria Becerril, Joanna Larequi, Enrique Arrizon, and Hernán Mendoza.
Protagonist Pictures and mk2 films will launch sales in Cannes and first partnered in Berlin on Cold War from director Pawel Pawlikowski.
“We think Michel’s new film is his best yet...
- 5/8/2017
- ScreenDaily
Best Feature (Award given to the producer. Executive Producers are not awarded.) American Honey – Producers: Thomas Benski, Jay Van Hoy, Lars Knudsen, Lucas Ochoa, Pouya Shahbazian, Alice Weinberg Chronic – Producers: Michel Franco,...
- 11/22/2016
- by Sasha Stone
- AwardsDaily.com
Exclusive: Priscila Miranda’s fledgling Brazilian distributor will launch the documentary-fiction hybrid to coincide with the Games in Rio that start next month.
Rodrigo Mac Niven’s crowd-funded Olympia 2016 examines corruption in Brazil, focusing on Rio and the Games.
Niven interviewed experts and academics such as economist and Smith College professor Andrew Zimbalist, Colombian philosopher Bernardo Toro, Brazilian professor and philosopher Vladimir Safatle and sports journalist Juca Kfouri.
The film has been backed by 534 supporters and will open in Brazil in August and in France via Miranda’s Tucuman Films in October.
Fênix Filmes’ 2016 slate includes Marco Bellocchio’s Blood Of My Blood, Amos Gitai’s Rabin, The Last Day and Gabriel Ripstein’s 600 Miles.
Rodrigo Mac Niven’s crowd-funded Olympia 2016 examines corruption in Brazil, focusing on Rio and the Games.
Niven interviewed experts and academics such as economist and Smith College professor Andrew Zimbalist, Colombian philosopher Bernardo Toro, Brazilian professor and philosopher Vladimir Safatle and sports journalist Juca Kfouri.
The film has been backed by 534 supporters and will open in Brazil in August and in France via Miranda’s Tucuman Films in October.
Fênix Filmes’ 2016 slate includes Marco Bellocchio’s Blood Of My Blood, Amos Gitai’s Rabin, The Last Day and Gabriel Ripstein’s 600 Miles.
- 7/26/2016
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
It's a well-known fact that Iberoamerican cinema, which includes Latin American, Spanish, and Portuguese productions, has had a prominent presence at the most important international film festivals for several years now and several films have been recognized at some of the most important film awards around the world. Colombia's "Embrace of the Serpent" earning the country's first-ever Oscar nomination in the Best Foreign Language Film category and Argentina's "Wild Tales" taking home the 2016 BAFTA Award for Best Film Not in English Language are juts two examples of recent victories.
Acknowledging the need for a unified industry in the region and a platform for the Iberoamerican industry to honor and support its own productions, the Premios Platino of Iberoamerican Cinema were born three years ago. Each year the organizing committee selects a diverse group of nominees and invites members of the industry across the American continent and the Iberian peninsula to vote in order to select the winners. The ceremony takes place in a different country every year as a way to include all of the varied industries in the process and execution of the event.
This morning, after considering more than 150 films from a pool of over 800 theatrically releases productions, the final nominees were announced by a group of talented actors, including legendary Mexican-American thespian Edward James Olmos, and filmmakers led by CNN en Español's journalist Juan Carlos Arciniegas. Guatemala's Berlin-winning gem "Ixcanul" received 8 nominations, just as Colombia's Oscar-nominated "Embrace of the Serpent" did. These two gorgeously executed works center on indigenous stories and highlight the rich cultural heritage of Latin America. It's a pleasant surprise to see these two fantastic films get the most love.
Chile's "The Club" and Argentina's "The Clan," films by the two most prolific Pablos working in South America, Pablo Larrain and Pablo Trapero, received 6 nominations each. Larrain's dark tale about Catholic priests with questionable pasts was also nominated this year for a Golden Globe in the Best Foreign Language Film category. Perhaps one of the most surprising, yet well-deserved nominations, was the inclusion of Alonso Ruizpalacios among the Best Director nominees for his brilliant debut "Güeros."
Two films distributed by Pantelion received nomations: "600 Miles" and "Un Gallo con Muchos Huevos." Oscilloscope earned 10 mentions with properties "Ma Ma" and "Embrace of the Serpent." Kino Lorber's "Ixcanul, ""Güeros," and "The Pearl Button" also earned the art house distributor 10 nominations.
Regarding the quality of the films being produced in Iberoamerica Egeda's Elvi Cano said, “This has been an exceptional year for Iberoamerican Cinema, with 826 qualifying releases. Iberoamerican Cinema is alive, growing and stronger then ever.” Renowned journalist and host Juan Carlos Arciniegas added," These awards are starting a revolution and it's my dream, as an ambassador for Premios Platino, that these magnificent films that got nominated today to be seen by all our Iberoamerican audiences. I can't be more proud of what our filmmakers are doing today and if the public don't get to enjoy them, we won't be doing our job"
The 3rd Annual Premios Platino of Iberoamerican Cinema will take place on July 24th in Punta del Este, Uruguay
Here is the full list of nominees:
Premio Platino for Best Iberoamerican Picture
-"Embrace of the Serpent" (El abrazo de la serpiente), by Ciro Guerra (Ciudad Lunar Producciones, Caracol Cine, Dago García Producciones, Nortesur Producciones S.A., Mc Producciones, Buffalo Films) (Colombia, Venezuela, Argentina).
-"The Clan" (El clan), by Pablo Trapero (Kramer & Sigman Films, Matanza Cine S.R.L., El Deseo, P.C., S.A.) (Argentina, Spain).
-"The Club" (El club), by Pablo Larraín (Fabula Producciones) (Chile).
-"Ixcanul," by Jayro Bustamante (La Casa de Producción, Tu vas voir Productions) (Guatemala).
-"Truman," by Cesc Gay (Imposible Films S.L., Truman Film A.I.E., Bd Cine S.R.L) (Spain, Argentina).
Premio Platino for Best Director
-Alonso Ruizpalacios, for "Güeros."
-Cesc Gay, for "Truman."
-Ciro Guerra, for "Embrace of the Serpent" (El abrazo de la serpiente).
Pablo Larraín, for "The Club" (El club).
Pablo Trapero, for "The Clan" (El clan).
Premio Platino for Best Actor
-Alfredo Castro, for "The Club" (El club).
-Damián Alcázar, for "Magallanes."
-Guillermo Francella, for "The Clan" (El clan).
-Javier Cámara, for "Truman."
-Ricardo Darín, for "Truman."
Premio Platino for Best Actress
-Antonia Zegers, for "The Club" (El club).
-Dolores Fonzi, for "Paulina."
-Elena Anaya, for "The Memory of Water" (La memoria del agua).
-Inma Cuesta, for "The Bride" (La novia).
-Penélope Cruz, for "Ma Ma."
Premio Platino for Best Original Score
-Alberto Iglesias, for "Ma Ma."
-Federico Jusid, for "Magallanes."
-Lucas Vidal, for "Nobody Wants the Night" (Nadie quiere la noche).
-Nascuy Linares, for "Embrace of the Serpent" (El abrazo de la serpiente).
-Pascual Reyes, for "Ixcanul."
Premio Platino for Best Animated Feature Film
-"Capture the Flag" (Atrapa la bandera), by Enrique Gato (Telecinco Cinema S.A., Los Rockets La Película A.I.E., Telefónica Studios S.L.U., 4 Cats Pictures S.L., Ikiru Films S.L., Lightbox Animation Studios S.L.) (Spain).
-"Top Cat Begins" (Don Gato 2: El inicio de la pandilla), by Andrés Couturier (Anima Estudios) (Mexico).
-"El Americano", by Ricardo Arnaiz, Mike Kunkel (Olmos Productions, Phil Roman Entertainment, Animex) (Mexico).
-"Amila's Secret" (El secreto de Amila), by Gorka Vázquez (Baleuko, S.L., Talape Animazioa, Draftoon Animation) (Spain, Argentina).
-"Huevos: Little Rooster's Egg-Cellent Adventure" (Un gallo con muchos huevos), by Gabriel Riva Palacio Alatriste, Rodolfo Riva Palacio Alatriste (Huevocartoon Producciones) (Mexico).
Premio Platino for Best Documentary Feature Film
-"Beyond My Grandfather Allende" (Allende mi abuelo Allende), by Marcia Tambutti Allende (Errante Producciones Ltda, Martfilms) (Chile, Mexico).
-"New Girls 24 Hours" (Chicas nuevas 24 horas), by Mabel Lozano (Mafalda Entertainment, S.L., Aleph Media S.A., Puatarará Films, Hangar Films, Arte Vital) (Spain, Argentina, Paraguay, Colombia, Peru).
-"The Pearl Button" (El botón de nácar), by Patricio Guzmán (Atacama Productions, Valdivia Film, France 3 Cinema, Mediaproduccion, S.L.) (Chile, Spain).
-"Tea Time" (La once), by Maite Alberdi (Micromundo Producciones) (Chile).
-"The Propaganda Game," by Álvaro Longoria (Morena Films S. L.) (Spain).
Premio Platino for Best Screenplay
-Cesc Gay, Tomás Aragay, for "Truman."
-Ciro Guerra, Jacques Toulemonde, for "Embrace of the Serpent" (El abrazo de la serpiente).
-Jayro Bustamante, for "Ixcanul."
-Pablo Larraín, Guillermo Calderón, Daniel Villalobos; for "The Club" (El club).
-Salvador del Solar, for "Magallanes."
Premio Platino for Best Iberoamerican Debut Feature Film
-"600 Miles" (600 Millas), by Gabriel Ripstein (Lucia Films) (Mexico).
- "Retribution" (El desconocido), by Dani de la Torre (Atresmedia Cine S. L., Vaca Films Studio, S.L.) (Spain).
-"The Boss, Anatomy of a Crime" (El patrón: radiografía de un crimen), by Sebastián Schindel (Magoya Films S.A., Estrella Films) (Argentina, Venezuela).
-"Ixcanul," by Jayro Bustamante (La Casa de Producción, Tu vas voir Productions) (Guatemala).
-"Magallanes," by Salvador del Solar (Péndulo Films, Tondero Producciones, Cepa Audiovisual S.R.L., Proyectil, Cinemara, Nephilim Producciones, S.L.) (Peru, Colombia, Argentina, Spain).
Premio Platino for Best Film Editing
-César Díaz, for "Ixcanul."
-Eric Williams, for "Magallanes."
-Etienne Boussac, Cristina Gallego, for "Embrace of the Serpent" (El abrazo de la serpiente).
-Jorge Coira, for "Retribution" (El desconocido).
-Pablo Trapero, Alejandro Carrillo Penovi, for "The Clan" (El clan).
Premio Platino for Best Art Direction
-Angélica Perea, for "Embrace of the Serpent" (El abrazo de la serpiente).
-Bruno Duarte, Artur Pinheiro, for "Arabian Nights: Vol.2 - The Desolate One" (As mil e uma noites: Volume 2, O desolado).
-Jesús Bosqued Maté, Pilar Quintana, for "The Bride" (La novia).
-Pilar Peredo, for "Ixcanul."
-Sebastián Orgambide, for "The Clan" (El clan).
Premio Platino for Best Cinematography
-Arnaldo Rodríguez, for "The Memory of Water" (La memoria del agua).
-David Gallego, for "Embrace of the Serpent" (El abrazo de la serpiente).
-Luis Armando Arteaga, for "Ixcanul."
-Miguel Ángel Amoedo, for "The Bride" (La novia).
-Sergio Armstrong, for "The Club" (El club).
Premio Platino for Best Sound Direction
-Carlos García, Marco Salavarría, for "Embrace of the Serpent" (El abrazo de la serpiente).
-David Machado, Jaime Fernández, Nacho Arenas, for "Retribution" (El desconocido).
-Eduardo Cáceres, Julien Cloquet, for "Ixcanul."
-Federico Esquerro, Santiago Fumagalli, Edson Secco, for "Paulina."
-Vicente D’Elía, Leandro de Loredo, for "The Clan" (El clan).
Acknowledging the need for a unified industry in the region and a platform for the Iberoamerican industry to honor and support its own productions, the Premios Platino of Iberoamerican Cinema were born three years ago. Each year the organizing committee selects a diverse group of nominees and invites members of the industry across the American continent and the Iberian peninsula to vote in order to select the winners. The ceremony takes place in a different country every year as a way to include all of the varied industries in the process and execution of the event.
This morning, after considering more than 150 films from a pool of over 800 theatrically releases productions, the final nominees were announced by a group of talented actors, including legendary Mexican-American thespian Edward James Olmos, and filmmakers led by CNN en Español's journalist Juan Carlos Arciniegas. Guatemala's Berlin-winning gem "Ixcanul" received 8 nominations, just as Colombia's Oscar-nominated "Embrace of the Serpent" did. These two gorgeously executed works center on indigenous stories and highlight the rich cultural heritage of Latin America. It's a pleasant surprise to see these two fantastic films get the most love.
Chile's "The Club" and Argentina's "The Clan," films by the two most prolific Pablos working in South America, Pablo Larrain and Pablo Trapero, received 6 nominations each. Larrain's dark tale about Catholic priests with questionable pasts was also nominated this year for a Golden Globe in the Best Foreign Language Film category. Perhaps one of the most surprising, yet well-deserved nominations, was the inclusion of Alonso Ruizpalacios among the Best Director nominees for his brilliant debut "Güeros."
Two films distributed by Pantelion received nomations: "600 Miles" and "Un Gallo con Muchos Huevos." Oscilloscope earned 10 mentions with properties "Ma Ma" and "Embrace of the Serpent." Kino Lorber's "Ixcanul, ""Güeros," and "The Pearl Button" also earned the art house distributor 10 nominations.
Regarding the quality of the films being produced in Iberoamerica Egeda's Elvi Cano said, “This has been an exceptional year for Iberoamerican Cinema, with 826 qualifying releases. Iberoamerican Cinema is alive, growing and stronger then ever.” Renowned journalist and host Juan Carlos Arciniegas added," These awards are starting a revolution and it's my dream, as an ambassador for Premios Platino, that these magnificent films that got nominated today to be seen by all our Iberoamerican audiences. I can't be more proud of what our filmmakers are doing today and if the public don't get to enjoy them, we won't be doing our job"
The 3rd Annual Premios Platino of Iberoamerican Cinema will take place on July 24th in Punta del Este, Uruguay
Here is the full list of nominees:
Premio Platino for Best Iberoamerican Picture
-"Embrace of the Serpent" (El abrazo de la serpiente), by Ciro Guerra (Ciudad Lunar Producciones, Caracol Cine, Dago García Producciones, Nortesur Producciones S.A., Mc Producciones, Buffalo Films) (Colombia, Venezuela, Argentina).
-"The Clan" (El clan), by Pablo Trapero (Kramer & Sigman Films, Matanza Cine S.R.L., El Deseo, P.C., S.A.) (Argentina, Spain).
-"The Club" (El club), by Pablo Larraín (Fabula Producciones) (Chile).
-"Ixcanul," by Jayro Bustamante (La Casa de Producción, Tu vas voir Productions) (Guatemala).
-"Truman," by Cesc Gay (Imposible Films S.L., Truman Film A.I.E., Bd Cine S.R.L) (Spain, Argentina).
Premio Platino for Best Director
-Alonso Ruizpalacios, for "Güeros."
-Cesc Gay, for "Truman."
-Ciro Guerra, for "Embrace of the Serpent" (El abrazo de la serpiente).
Pablo Larraín, for "The Club" (El club).
Pablo Trapero, for "The Clan" (El clan).
Premio Platino for Best Actor
-Alfredo Castro, for "The Club" (El club).
-Damián Alcázar, for "Magallanes."
-Guillermo Francella, for "The Clan" (El clan).
-Javier Cámara, for "Truman."
-Ricardo Darín, for "Truman."
Premio Platino for Best Actress
-Antonia Zegers, for "The Club" (El club).
-Dolores Fonzi, for "Paulina."
-Elena Anaya, for "The Memory of Water" (La memoria del agua).
-Inma Cuesta, for "The Bride" (La novia).
-Penélope Cruz, for "Ma Ma."
Premio Platino for Best Original Score
-Alberto Iglesias, for "Ma Ma."
-Federico Jusid, for "Magallanes."
-Lucas Vidal, for "Nobody Wants the Night" (Nadie quiere la noche).
-Nascuy Linares, for "Embrace of the Serpent" (El abrazo de la serpiente).
-Pascual Reyes, for "Ixcanul."
Premio Platino for Best Animated Feature Film
-"Capture the Flag" (Atrapa la bandera), by Enrique Gato (Telecinco Cinema S.A., Los Rockets La Película A.I.E., Telefónica Studios S.L.U., 4 Cats Pictures S.L., Ikiru Films S.L., Lightbox Animation Studios S.L.) (Spain).
-"Top Cat Begins" (Don Gato 2: El inicio de la pandilla), by Andrés Couturier (Anima Estudios) (Mexico).
-"El Americano", by Ricardo Arnaiz, Mike Kunkel (Olmos Productions, Phil Roman Entertainment, Animex) (Mexico).
-"Amila's Secret" (El secreto de Amila), by Gorka Vázquez (Baleuko, S.L., Talape Animazioa, Draftoon Animation) (Spain, Argentina).
-"Huevos: Little Rooster's Egg-Cellent Adventure" (Un gallo con muchos huevos), by Gabriel Riva Palacio Alatriste, Rodolfo Riva Palacio Alatriste (Huevocartoon Producciones) (Mexico).
Premio Platino for Best Documentary Feature Film
-"Beyond My Grandfather Allende" (Allende mi abuelo Allende), by Marcia Tambutti Allende (Errante Producciones Ltda, Martfilms) (Chile, Mexico).
-"New Girls 24 Hours" (Chicas nuevas 24 horas), by Mabel Lozano (Mafalda Entertainment, S.L., Aleph Media S.A., Puatarará Films, Hangar Films, Arte Vital) (Spain, Argentina, Paraguay, Colombia, Peru).
-"The Pearl Button" (El botón de nácar), by Patricio Guzmán (Atacama Productions, Valdivia Film, France 3 Cinema, Mediaproduccion, S.L.) (Chile, Spain).
-"Tea Time" (La once), by Maite Alberdi (Micromundo Producciones) (Chile).
-"The Propaganda Game," by Álvaro Longoria (Morena Films S. L.) (Spain).
Premio Platino for Best Screenplay
-Cesc Gay, Tomás Aragay, for "Truman."
-Ciro Guerra, Jacques Toulemonde, for "Embrace of the Serpent" (El abrazo de la serpiente).
-Jayro Bustamante, for "Ixcanul."
-Pablo Larraín, Guillermo Calderón, Daniel Villalobos; for "The Club" (El club).
-Salvador del Solar, for "Magallanes."
Premio Platino for Best Iberoamerican Debut Feature Film
-"600 Miles" (600 Millas), by Gabriel Ripstein (Lucia Films) (Mexico).
- "Retribution" (El desconocido), by Dani de la Torre (Atresmedia Cine S. L., Vaca Films Studio, S.L.) (Spain).
-"The Boss, Anatomy of a Crime" (El patrón: radiografía de un crimen), by Sebastián Schindel (Magoya Films S.A., Estrella Films) (Argentina, Venezuela).
-"Ixcanul," by Jayro Bustamante (La Casa de Producción, Tu vas voir Productions) (Guatemala).
-"Magallanes," by Salvador del Solar (Péndulo Films, Tondero Producciones, Cepa Audiovisual S.R.L., Proyectil, Cinemara, Nephilim Producciones, S.L.) (Peru, Colombia, Argentina, Spain).
Premio Platino for Best Film Editing
-César Díaz, for "Ixcanul."
-Eric Williams, for "Magallanes."
-Etienne Boussac, Cristina Gallego, for "Embrace of the Serpent" (El abrazo de la serpiente).
-Jorge Coira, for "Retribution" (El desconocido).
-Pablo Trapero, Alejandro Carrillo Penovi, for "The Clan" (El clan).
Premio Platino for Best Art Direction
-Angélica Perea, for "Embrace of the Serpent" (El abrazo de la serpiente).
-Bruno Duarte, Artur Pinheiro, for "Arabian Nights: Vol.2 - The Desolate One" (As mil e uma noites: Volume 2, O desolado).
-Jesús Bosqued Maté, Pilar Quintana, for "The Bride" (La novia).
-Pilar Peredo, for "Ixcanul."
-Sebastián Orgambide, for "The Clan" (El clan).
Premio Platino for Best Cinematography
-Arnaldo Rodríguez, for "The Memory of Water" (La memoria del agua).
-David Gallego, for "Embrace of the Serpent" (El abrazo de la serpiente).
-Luis Armando Arteaga, for "Ixcanul."
-Miguel Ángel Amoedo, for "The Bride" (La novia).
-Sergio Armstrong, for "The Club" (El club).
Premio Platino for Best Sound Direction
-Carlos García, Marco Salavarría, for "Embrace of the Serpent" (El abrazo de la serpiente).
-David Machado, Jaime Fernández, Nacho Arenas, for "Retribution" (El desconocido).
-Eduardo Cáceres, Julien Cloquet, for "Ixcanul."
-Federico Esquerro, Santiago Fumagalli, Edson Secco, for "Paulina."
-Vicente D’Elía, Leandro de Loredo, for "The Clan" (El clan).
- 5/27/2016
- by Carlos Aguilar
- Sydney's Buzz
Known in Mexico and by audiences across Latin America for his humorous impressions, satirical characters, and his skills as an entertaining host for a variety of TV shows, actor and comedian Omar Chaparro has spent the past few years actively pursuing a career in film.
One of his most recent successes, both in Mexico and in the Spanish-speaking U.S. market, is the film “Pulling Strings,” which is one in a series of box-office hits for production company Pantelion. In that film, a romantic comedy with bicultural sensibilities, Chaparro played a role close to those he previously had delved into during his years in television. But for his latest project, “Compadres,” in which he is the protagonist, the performer decided to challenge himself by bringing to life a Mexican police officer who friends a young American hacker.
Because of the physicality required for the role and the dramatic undertones in the screenplay, this is a departure for Chaparro, who clearly is aiming to broaden his acting skills and the audience for his work. In our conversation with the actor we discuss his role as Garza, who deviates from the Mexican stereotypes, his relationship with co-star Joey Morgan, and yet another upcoming project with Pantelion to be released later this year.
"Compadres" opens on April 22 across the U.S.
Aguilar: Garza is a character significantly different from those you have played in the past. It feels like a real departure in your career. Tell me about the challenges of making this transition into a more serious role.
Omar Chaparro: It was a challenge for multiple reasons. Physically I had to train harder and they also wanted to make a more human character. He is a Mexican character that knows how to defend himself. They also wanted to make the actios sequences seem as realistic as possible. They didn’t want the shoot-outs, the punches, the kicks, and the explosions to look cheap, so I had to take my role very seriously. I do think that I left some aspects of what I had been doing on television behind, even though this is my eight film. I believe this is a much more serious character despite the film being an action comedy. He is an honest cop. He is strong, brave, and audacious, but he is also someone who is going through an extreme situation, which is the kidnapping of a loved one. He is definitely a character with more nuances that what I had been doing. It is a bit more distant from comedy and closer to reality.
Aguilar: One of the most refreshing elements about your role is that he is not another version of the stereotypical Mexican character we often see in American films. It's a film that takes place between Mexico and the U.S., but a Mexican lead. Was that part of the appeal for you?
Omar Chaparro: Yes of course. I loved the fact that this is a bicultural film that reflects the reality of life on the border, the differences between the "Gringos" and the Mexicans, and how we coexist and can become friends. But I also enjoyed that my character is an antihero. He is different, and I think that it will let the audience see a different type of Mexican in a Hollywood film. He is not the gardener or the one that crosses the border illegally and is being chased by Ice. He is a good cop, almost like a Mexican Bruce Willis. That’s something we hadn’t really seen before and that makes it fun.
Aguilar: Part of what makes this comedy work is the banter between you and your co-star Joey Morgan who plays Vic. Was this friendship developed organic during the set? How was the experience of working with someone from a very different background and with different experiences?
Omar Chaparro: It was very fun. We clicked right from the first day we met. I lived in the U.S. for a year many years ago - I lived in Boise, Idaho more specifically. I was living with a young guy similar to him. In real life he is kind of bipolar, very sensitive, passionate, and intense. He reminded of that kid 20 years ago when I was living in Idaho. I think that’s part of why we created such a strong bond. He became my friend. We went out partying. We went to the Gloria Trevi concert and he slept over at my place. The chemistry between us was real and you can see that in the film. There are scenes where we are improvising and playing around. The song we perform in the movie, the one called “Puto” by Molotov, wasn’t even on the screenplay. We were inside the car as the camera was rolling and I started singing it and he joined me. We didn’t even know they were recording us until we heard the director yell out, “Don’t cut.” He liked it and that’s why it’s in the film.
Aguilar: In a sense you showed him a different side of Mexican culture.
Omar Chaparro: Yes! He liked it. But he also taught me things. I feel like despite his young age he has great cinematic chops as well as an agile talent for comedy. He can also instantaneously get into a dramatic performance. He would give me advice on acting and even on my accent and English pronunciation. He was like my dialect coach.
Aguilar: How important is it for you, in the roles you choose to play, that they have an element of comedy since it's something you do so well? There is definitely much more than just fun gags in "Compadres."
Omar Chaparro: The film is very balanced. It’s a movie with a lot heart. Besides the action scenes that are also very well realized, there are lots of scenes that make you laugh. It’s a film about how these characters and these cultures intertwine. We even see the cop risking his life for this kid or the kid getting emotional in the climax of the film. That’s something very beautiful, and I think audiences will connect with these emotional aspects of the film.
Aguilar: Speaking of that, it seems like the relationship between you and Joey in the film is almost like that of a father and a son. He doesn't have a father and Garza is a afraid of starting a family and losing his freedom.
Omar Chaparro: They complement each other. He is a kid that spends his time locked in his room behind a computer. He doesn’t know anything else. He is a lonely kid that takes care of his grandfather. His parents died when he was very young and he never had a father figure in his life besides his grandfather, who is in a home. Garza, on the other hand, is a lone wolf that lives in a camper and that doesn’t think about having a family. They complement each other and they quickly develop a beautiful and affectionate friendship in the midst of the shoot-outs and chases.
Aguilar: Have you found it difficult to get work in bigger films, in particular in the U.S. where non-white actors tend to have a harder time getting leading roles?
Omar Chaparro: I don’t like to use the word difficult, I prefer to say “not so easy.” This is a country with so much diversity and where there’s a lot of competition. When there is a casting call for a TV show or a film, besides the actors that are already in Hollywood, there are also actors from Ireland, Australia, Guatemala, and elsewhere trying to get the part. The tapes come from all over the world for any role. The competition is arduous and it’s not very easy to get a lead role. I’m very fortunate to be in a film of this size as the protagonist, even though I’m aware that I still have a long way to go I’m enjoying this moment. I’m enjoying everything, from the reviews to the fact that people are supporting the film. It’s almost a miracle that this is actually happening, so I really want to enjoy this moment.
Aguilar: Is there any specific character that you would like to play in the future now that your career has broadened beyond comedy?
Omar Chaparro: As an actor, an also because I’m very hyperactive, I don’t think I’ll ever be satisfied. I think happiness exists in the middle ground between appreciating what you have and always wanting more. That’s what I’m doing. I’m appreciating this action comedy right now, but I want to know what’s next. I want to play roles that challenge me. I’m very comfortable in comedies, but I’d love to play perhaps a boxer, someone from another country, or even a famous drug dealer. Maybe star in a movie about the life of El Chapo Guzman, why not? [Laughs}.
Aguilar: Where you hesitant about embarking in this project because of the demands in involved, included the fighting sequences and the physical strength and abilities that would entail?
Omar Chaparro: I believe that when Francisco González, the producer of the film, thought of me for this leading role, he knew that he wanted an actor that had experience doing comedy but that could also be believable during the action sequences. I have the pleasure of being his friend, and he knows that throughout most of my life I trained in karate Shotokai. Probably that also motivated him to think of me. I did tell him, “I’m a little rusty because I haven’t trained in a while,” but they say that what you learn well you never forget. In any case we trained boxing and Krav Maga, a different martial art style, for several weeks before we started shooting. I think that helped a lot while choreographing the sequences.
Aguilar: Given that the film will play in both sides of the border, was there any concern about whether the comedy would work for both Spanish-speaking audiences and those who only speak English?
Omar Chaparro: Comedy is always different in Spanish and in English. American comedy is different, so the biggest challenge for this film was for it to be understandable in both cultures. The film is about to be released in the U.S, but in Mexico the film is already a success. It did so well that there has been talks of a sequel, “Compadres 2.” We are waiting to see how people here in the U.S. react to it. One of the writers,Ted Perkins, is a gringo, and the other is Gabriel Ripstein, who is Mexican, so they were very careful so the comedy could work for both cultures. That has a lot to do with the story itself. If the characters are real and the story is authentic, then the comedy will work in any country.
Aguilar: What are your future plans? Will you go back to television or continue seeking roles in films? I understand you already have another upcoming film.
Omar Chaparro: I want to continue learning. I’m excited to make more films and I want to improve my English. We also just shot a film called “No Manches Frida,” which will open in theaters on September 2nd, and it also stars Marta Higareda. It’s based on a very famous German story that was adapted into Spanish. I believe that it can become a box-office success both in Mexico and in the U.S. I’m very happy, we are just now finishing promotion for “Compadres,” and we are going to start promoting this other film in August. Cinema is opening its doors to me and I’m very excited.
Aguilar: Would you say part of this increased in opportunities and production in terms of Mexican films with bicultural appeal has to do with Pantelion's efforts?
Omar Chaparro: Yes. Pantelion has been taking chances on good and different stories like “Comapadres.” It’s a film that is working with a genre that hadn’t been done in Mexico in a long time and with a unique tone, and I think the audiences really appreciate that. Gringos are going to enjoy the film as well because about 60% of the dialogue in the film is in English. We can only hope that the film does as well here as it did in Mexico.
One of his most recent successes, both in Mexico and in the Spanish-speaking U.S. market, is the film “Pulling Strings,” which is one in a series of box-office hits for production company Pantelion. In that film, a romantic comedy with bicultural sensibilities, Chaparro played a role close to those he previously had delved into during his years in television. But for his latest project, “Compadres,” in which he is the protagonist, the performer decided to challenge himself by bringing to life a Mexican police officer who friends a young American hacker.
Because of the physicality required for the role and the dramatic undertones in the screenplay, this is a departure for Chaparro, who clearly is aiming to broaden his acting skills and the audience for his work. In our conversation with the actor we discuss his role as Garza, who deviates from the Mexican stereotypes, his relationship with co-star Joey Morgan, and yet another upcoming project with Pantelion to be released later this year.
"Compadres" opens on April 22 across the U.S.
Aguilar: Garza is a character significantly different from those you have played in the past. It feels like a real departure in your career. Tell me about the challenges of making this transition into a more serious role.
Omar Chaparro: It was a challenge for multiple reasons. Physically I had to train harder and they also wanted to make a more human character. He is a Mexican character that knows how to defend himself. They also wanted to make the actios sequences seem as realistic as possible. They didn’t want the shoot-outs, the punches, the kicks, and the explosions to look cheap, so I had to take my role very seriously. I do think that I left some aspects of what I had been doing on television behind, even though this is my eight film. I believe this is a much more serious character despite the film being an action comedy. He is an honest cop. He is strong, brave, and audacious, but he is also someone who is going through an extreme situation, which is the kidnapping of a loved one. He is definitely a character with more nuances that what I had been doing. It is a bit more distant from comedy and closer to reality.
Aguilar: One of the most refreshing elements about your role is that he is not another version of the stereotypical Mexican character we often see in American films. It's a film that takes place between Mexico and the U.S., but a Mexican lead. Was that part of the appeal for you?
Omar Chaparro: Yes of course. I loved the fact that this is a bicultural film that reflects the reality of life on the border, the differences between the "Gringos" and the Mexicans, and how we coexist and can become friends. But I also enjoyed that my character is an antihero. He is different, and I think that it will let the audience see a different type of Mexican in a Hollywood film. He is not the gardener or the one that crosses the border illegally and is being chased by Ice. He is a good cop, almost like a Mexican Bruce Willis. That’s something we hadn’t really seen before and that makes it fun.
Aguilar: Part of what makes this comedy work is the banter between you and your co-star Joey Morgan who plays Vic. Was this friendship developed organic during the set? How was the experience of working with someone from a very different background and with different experiences?
Omar Chaparro: It was very fun. We clicked right from the first day we met. I lived in the U.S. for a year many years ago - I lived in Boise, Idaho more specifically. I was living with a young guy similar to him. In real life he is kind of bipolar, very sensitive, passionate, and intense. He reminded of that kid 20 years ago when I was living in Idaho. I think that’s part of why we created such a strong bond. He became my friend. We went out partying. We went to the Gloria Trevi concert and he slept over at my place. The chemistry between us was real and you can see that in the film. There are scenes where we are improvising and playing around. The song we perform in the movie, the one called “Puto” by Molotov, wasn’t even on the screenplay. We were inside the car as the camera was rolling and I started singing it and he joined me. We didn’t even know they were recording us until we heard the director yell out, “Don’t cut.” He liked it and that’s why it’s in the film.
Aguilar: In a sense you showed him a different side of Mexican culture.
Omar Chaparro: Yes! He liked it. But he also taught me things. I feel like despite his young age he has great cinematic chops as well as an agile talent for comedy. He can also instantaneously get into a dramatic performance. He would give me advice on acting and even on my accent and English pronunciation. He was like my dialect coach.
Aguilar: How important is it for you, in the roles you choose to play, that they have an element of comedy since it's something you do so well? There is definitely much more than just fun gags in "Compadres."
Omar Chaparro: The film is very balanced. It’s a movie with a lot heart. Besides the action scenes that are also very well realized, there are lots of scenes that make you laugh. It’s a film about how these characters and these cultures intertwine. We even see the cop risking his life for this kid or the kid getting emotional in the climax of the film. That’s something very beautiful, and I think audiences will connect with these emotional aspects of the film.
Aguilar: Speaking of that, it seems like the relationship between you and Joey in the film is almost like that of a father and a son. He doesn't have a father and Garza is a afraid of starting a family and losing his freedom.
Omar Chaparro: They complement each other. He is a kid that spends his time locked in his room behind a computer. He doesn’t know anything else. He is a lonely kid that takes care of his grandfather. His parents died when he was very young and he never had a father figure in his life besides his grandfather, who is in a home. Garza, on the other hand, is a lone wolf that lives in a camper and that doesn’t think about having a family. They complement each other and they quickly develop a beautiful and affectionate friendship in the midst of the shoot-outs and chases.
Aguilar: Have you found it difficult to get work in bigger films, in particular in the U.S. where non-white actors tend to have a harder time getting leading roles?
Omar Chaparro: I don’t like to use the word difficult, I prefer to say “not so easy.” This is a country with so much diversity and where there’s a lot of competition. When there is a casting call for a TV show or a film, besides the actors that are already in Hollywood, there are also actors from Ireland, Australia, Guatemala, and elsewhere trying to get the part. The tapes come from all over the world for any role. The competition is arduous and it’s not very easy to get a lead role. I’m very fortunate to be in a film of this size as the protagonist, even though I’m aware that I still have a long way to go I’m enjoying this moment. I’m enjoying everything, from the reviews to the fact that people are supporting the film. It’s almost a miracle that this is actually happening, so I really want to enjoy this moment.
Aguilar: Is there any specific character that you would like to play in the future now that your career has broadened beyond comedy?
Omar Chaparro: As an actor, an also because I’m very hyperactive, I don’t think I’ll ever be satisfied. I think happiness exists in the middle ground between appreciating what you have and always wanting more. That’s what I’m doing. I’m appreciating this action comedy right now, but I want to know what’s next. I want to play roles that challenge me. I’m very comfortable in comedies, but I’d love to play perhaps a boxer, someone from another country, or even a famous drug dealer. Maybe star in a movie about the life of El Chapo Guzman, why not? [Laughs}.
Aguilar: Where you hesitant about embarking in this project because of the demands in involved, included the fighting sequences and the physical strength and abilities that would entail?
Omar Chaparro: I believe that when Francisco González, the producer of the film, thought of me for this leading role, he knew that he wanted an actor that had experience doing comedy but that could also be believable during the action sequences. I have the pleasure of being his friend, and he knows that throughout most of my life I trained in karate Shotokai. Probably that also motivated him to think of me. I did tell him, “I’m a little rusty because I haven’t trained in a while,” but they say that what you learn well you never forget. In any case we trained boxing and Krav Maga, a different martial art style, for several weeks before we started shooting. I think that helped a lot while choreographing the sequences.
Aguilar: Given that the film will play in both sides of the border, was there any concern about whether the comedy would work for both Spanish-speaking audiences and those who only speak English?
Omar Chaparro: Comedy is always different in Spanish and in English. American comedy is different, so the biggest challenge for this film was for it to be understandable in both cultures. The film is about to be released in the U.S, but in Mexico the film is already a success. It did so well that there has been talks of a sequel, “Compadres 2.” We are waiting to see how people here in the U.S. react to it. One of the writers,Ted Perkins, is a gringo, and the other is Gabriel Ripstein, who is Mexican, so they were very careful so the comedy could work for both cultures. That has a lot to do with the story itself. If the characters are real and the story is authentic, then the comedy will work in any country.
Aguilar: What are your future plans? Will you go back to television or continue seeking roles in films? I understand you already have another upcoming film.
Omar Chaparro: I want to continue learning. I’m excited to make more films and I want to improve my English. We also just shot a film called “No Manches Frida,” which will open in theaters on September 2nd, and it also stars Marta Higareda. It’s based on a very famous German story that was adapted into Spanish. I believe that it can become a box-office success both in Mexico and in the U.S. I’m very happy, we are just now finishing promotion for “Compadres,” and we are going to start promoting this other film in August. Cinema is opening its doors to me and I’m very excited.
Aguilar: Would you say part of this increased in opportunities and production in terms of Mexican films with bicultural appeal has to do with Pantelion's efforts?
Omar Chaparro: Yes. Pantelion has been taking chances on good and different stories like “Comapadres.” It’s a film that is working with a genre that hadn’t been done in Mexico in a long time and with a unique tone, and I think the audiences really appreciate that. Gringos are going to enjoy the film as well because about 60% of the dialogue in the film is in English. We can only hope that the film does as well here as it did in Mexico.
- 4/21/2016
- by Carlos Aguilar
- Sydney's Buzz
The International Film Festival in Guadalajara (FICG31) celebrated its 31th anniversary this year and moved to the center of town, a move toward regaining its early luster within the galaxy of younger festivals now competing for resources in México. With its myriad of activities beyond the mere programming of films, its mentoring other festivals such as Puerto Vallarta and Oaxaca, I would give it two thumbs up.
On Friday, March 11, it announced its awards and officially announced next year’s Guest of Honor, Germany, closing with the German film, Doris Dörrie’s “Fukushima Mon Amour” (Isa: The Match Factory). This film is a deeply moving homage to the spirit of humanity, recovery and love as a German clown, played by Rosalie Thomass and her clown partners, the wonderful Moshe Cohen of San Francisco and Nami Kamata, visit the people remaining at the devastated town of Fukushima and Rosalie bonds with the last geisha of Fukushima played by the beautiful Aya Irizuki. It premiered at the Panorama of the Berlinale where Doris won the C.I.C.A.E. Award and the Heiner Carow Prize.
Official Competition Winners FICG31
Mezcal Award for Best Mexican Film to “Maquinaria Panamericana”/ “Panamerican Machinery”
Mezcal jury
The jury consists of 30 students from related fields from universities or major schools of Mexico, Latin American, Europe and Canada. Serving as a sort of tutor, Jose Ramon Mikelajauregui, Director of Dis was responsible for the academic program held at FICG31.
The Mezcal Award consisting of 500,000 Mexican pesos went to the director, Joaquín del Paso for “Maquinaria Panamericana”/ “Panamerican Machinery”, a portrait of an inefficient factory on the edge of Mexico City where the workers lock themselves in when the owner is found dead in the back of the warehouse and they discover he has been bankrolling the wages out of his own pocket for years.
A coproduction of Mantarraya Producciones, it also won the Fipresci Prize at its premiere in the Forum of the Berlinale. International sales agent (Isa) is the new Paris-based sales and co-production company Luxbox whose
co-ceo Fiorella Moretti was formerly head of sales at Ndm, the Mexico City-based sales company she set up with director Carlos Reygadas and producer Jaime Romandia of Mantarraya Productions in 2012 to sell “Post Tenebras Lux”.
Co-ceo Hédi Zardi previously worked in sales for Fortissimo and went on to Unifrance, the French cinema promotions agency and then to the PR and events company Le Public Systeme, where he was in charge of industry initiatives at Marrakesh and Deauville festivals.
The pair got to know one another through Gabriel Ripstein’s “600 Miles”, winner of the best first feature last year at the Berlinale, which Zardi associate produced and Moretti sold.
Special Mention went to “Margarita” directed by Bruno Santamaría Razo
Infinitum Aaward Grante dby the Public, consisting of 150,000 pesos, went to " El Charro de Toluquilla" (Isa: Imcine) by José Villalobos Romero, a doc about mariachi singer Jaime Garcia Dominguez who became fascinated by the recklessness and ladies´ man lifestyle of the classic Mexican movie characters with one difference: he´s got HIV. Jaime faces an inner maturing process as he decides between keeping this lifestyle or becoming a family man. It also won the award for Best Iberoamerican Documentary of 150,000 Mexican pesos or its equivalent in dollars to the director.
Best Latin American Fiction Film consisting of 250,000 Mexican pesos or its equivalent in dollars went to the production company of Felipe Guerrero’s film “ Oscuro animal”, about three women forced to flee their homes in a war torn region in Colombia. The film also won Best Actress Award (s) for Marleyda Soto, Luisa Galiano and Jocelyn Vides Meneses and Best Photography Award to Fernando Lockett.
A coproduction of Argentina, Greece, Netherlands, Germany and Colombia, it is being sold internationally by FiGa. It previously played in the Rotterdam Film Festival’s Tiger Competition and Ficci Cartagena 2016’s Official Dramatic Competition. At the Berlinale’s Efm 2016 it was part of the World Cinema Fund’s First Look section. Financing for the film came from Colombia’s Proimágenes, Argentina’s Incaa, Netherlands’ Hubert Bals Fund, Fundación Typa, and Germany’s Nrw and World Cinema Fund.
It also won the award for Award for Best Iberoamerican Director consisting off 150,000 Mexican pesos or its equivalent in dollars, because “almost wordlessly it portrays a complex and painful situation in Colombia which is all too common in Latin America.”
Special Feature Film Jury Award Iberoamerican Fiction of 125,000 Mexican pesos or its equivalent in dollars, went to the production company of “The 4th Company”/ ”La 4a Compañía” by Amir Galván Cervera and Mitzi Vanessa Arreola, based upon a true story about an underdog prison (American-style) football team that, against all odds, wins against the police force team. The jury stated that it “considers it a cinematic achievement about a shameful moment in the history of Mexico to be remembered and not to be repeated”. Adrian Thief also won for Best Actor, and he is that! There is no Isa of record, so those ISAs reading this should check it out on Cinando! It’s a seller!
Award for Best Latin American Film of 125,000 Mexican pesos or its equivalent in dollars went to the superb debuting director from Puerto Rico, Angel Manuel Soto for“La Granja”/ “The Farm”. Also the first film produced independently by Tom Davia’s Cinemaven (but check out his credits!), this film is a full-circle “Crash”-style story that rivals “Gemorrah” in its look at the barrio called “The Farm” or “La Granja” in which the lives of a midwife, a young boxer, a janitor, a mute kid and a young couple collide in a story about the desperate pursuit of happiness on the mean streets of La Granja. Shot on a budget of $250,000, this film took four years to complete as the Puerto Rican government film establishment sought to block its production and release – and you can see why. It previously played in Fantastic Fest.
This is another discovery film with no Isa, and I am sure the agents have already locked their eyes upon writer-director Angel Manuel Soto. He lives in Los Angeles. “Born in Santurce, Puerto Rico. Son of a car salesman and a flight attendant. Studied architecture and advertising. Always loved films. Now he makes them. He is a cinephile. He travels all over the world doing it, including Australia, Thailand, Cambodia, France, USA, and Puerto Rico. He is not planning on stopping.”
Best Screenplay Award went to Marina Seresesky for “La Puerta Abierta”/ “Open Door” (pictured above). Marina also directed this first film. She has made two shorts previously. After Ficg it will play at Sofia Iff 2016 in International Competition, San Diego Latino 2016 and Chicago Latino 2016 Film Festivals.
Movies Recommended for Selection for the Golden Globes Awards 2017 are “The 4th Company” and “Ciudades Desiertas” / “Deserted Cities” by Roberto Sneider.
Documentary Jury Special Award of 100,000 Mexican pesos or its equivalent in dollars to the director Jorge Caballero for“Patient”/ "Paciente" Isa Rise and Shine, a new company in Germany, picked up the film at its world premiere in Competition at Idfa.
Best Iberoamerican Short Film Award D of 75,000 pesos or its equivalent in dollars to the directors Miguel de Olaso and Bruno Zacharias for the 10 minute short “ Los Angeles 1991”.
Special Mention went to “Juan's Sundown”/ "El Ocaso de Juan" by Omar Deneb Vargas Juárez
Rigo Mora Award for Best Mexican Animated Short Film of 100,000 Mexican pesos went to the director Alejandro Rios for “ The Cats”/"Los Gatos."
Maguey Award for best Lgbt film went to "Theo et Hugo dans le meme bateau"/ "Paris 05:59" of France, directed by Olivier Ducastel and Jacques Martineau.
Special Mention went to “Neon Bull” of Brazil, directed by Gabriel Mascaro for its poetic and innovative illustrating of how traditional ideas of masculinity slowly have been made obsolete inviting us to question our own perspectives on gender bias.
After the Awards, Ficg gave a great closing night party. Lots of good people, new and old friends, great salsa band, danced til 3! Here’s me with my friend David Martinez of Raindance Film Festival. Coming from Guadalajara, living in London, this year he came home with Elliot Grove of Founder and Director of Raindance, and Aaron Wileman of Imaginative Exposure who gave a Master Class on Film Funds and Product Placement.
And of course I presented my own book in its abridged, Spanish language format, published by the University of Guadalajara Press, Cine Iberoamerican Industria y financiamiento por pais (Iberoamerican Cinema: Industry and Financing by Country). Read more about it here.
On Friday, March 11, it announced its awards and officially announced next year’s Guest of Honor, Germany, closing with the German film, Doris Dörrie’s “Fukushima Mon Amour” (Isa: The Match Factory). This film is a deeply moving homage to the spirit of humanity, recovery and love as a German clown, played by Rosalie Thomass and her clown partners, the wonderful Moshe Cohen of San Francisco and Nami Kamata, visit the people remaining at the devastated town of Fukushima and Rosalie bonds with the last geisha of Fukushima played by the beautiful Aya Irizuki. It premiered at the Panorama of the Berlinale where Doris won the C.I.C.A.E. Award and the Heiner Carow Prize.
Official Competition Winners FICG31
Mezcal Award for Best Mexican Film to “Maquinaria Panamericana”/ “Panamerican Machinery”
Mezcal jury
The jury consists of 30 students from related fields from universities or major schools of Mexico, Latin American, Europe and Canada. Serving as a sort of tutor, Jose Ramon Mikelajauregui, Director of Dis was responsible for the academic program held at FICG31.
The Mezcal Award consisting of 500,000 Mexican pesos went to the director, Joaquín del Paso for “Maquinaria Panamericana”/ “Panamerican Machinery”, a portrait of an inefficient factory on the edge of Mexico City where the workers lock themselves in when the owner is found dead in the back of the warehouse and they discover he has been bankrolling the wages out of his own pocket for years.
A coproduction of Mantarraya Producciones, it also won the Fipresci Prize at its premiere in the Forum of the Berlinale. International sales agent (Isa) is the new Paris-based sales and co-production company Luxbox whose
co-ceo Fiorella Moretti was formerly head of sales at Ndm, the Mexico City-based sales company she set up with director Carlos Reygadas and producer Jaime Romandia of Mantarraya Productions in 2012 to sell “Post Tenebras Lux”.
Co-ceo Hédi Zardi previously worked in sales for Fortissimo and went on to Unifrance, the French cinema promotions agency and then to the PR and events company Le Public Systeme, where he was in charge of industry initiatives at Marrakesh and Deauville festivals.
The pair got to know one another through Gabriel Ripstein’s “600 Miles”, winner of the best first feature last year at the Berlinale, which Zardi associate produced and Moretti sold.
Special Mention went to “Margarita” directed by Bruno Santamaría Razo
Infinitum Aaward Grante dby the Public, consisting of 150,000 pesos, went to " El Charro de Toluquilla" (Isa: Imcine) by José Villalobos Romero, a doc about mariachi singer Jaime Garcia Dominguez who became fascinated by the recklessness and ladies´ man lifestyle of the classic Mexican movie characters with one difference: he´s got HIV. Jaime faces an inner maturing process as he decides between keeping this lifestyle or becoming a family man. It also won the award for Best Iberoamerican Documentary of 150,000 Mexican pesos or its equivalent in dollars to the director.
Best Latin American Fiction Film consisting of 250,000 Mexican pesos or its equivalent in dollars went to the production company of Felipe Guerrero’s film “ Oscuro animal”, about three women forced to flee their homes in a war torn region in Colombia. The film also won Best Actress Award (s) for Marleyda Soto, Luisa Galiano and Jocelyn Vides Meneses and Best Photography Award to Fernando Lockett.
A coproduction of Argentina, Greece, Netherlands, Germany and Colombia, it is being sold internationally by FiGa. It previously played in the Rotterdam Film Festival’s Tiger Competition and Ficci Cartagena 2016’s Official Dramatic Competition. At the Berlinale’s Efm 2016 it was part of the World Cinema Fund’s First Look section. Financing for the film came from Colombia’s Proimágenes, Argentina’s Incaa, Netherlands’ Hubert Bals Fund, Fundación Typa, and Germany’s Nrw and World Cinema Fund.
It also won the award for Award for Best Iberoamerican Director consisting off 150,000 Mexican pesos or its equivalent in dollars, because “almost wordlessly it portrays a complex and painful situation in Colombia which is all too common in Latin America.”
Special Feature Film Jury Award Iberoamerican Fiction of 125,000 Mexican pesos or its equivalent in dollars, went to the production company of “The 4th Company”/ ”La 4a Compañía” by Amir Galván Cervera and Mitzi Vanessa Arreola, based upon a true story about an underdog prison (American-style) football team that, against all odds, wins against the police force team. The jury stated that it “considers it a cinematic achievement about a shameful moment in the history of Mexico to be remembered and not to be repeated”. Adrian Thief also won for Best Actor, and he is that! There is no Isa of record, so those ISAs reading this should check it out on Cinando! It’s a seller!
Award for Best Latin American Film of 125,000 Mexican pesos or its equivalent in dollars went to the superb debuting director from Puerto Rico, Angel Manuel Soto for“La Granja”/ “The Farm”. Also the first film produced independently by Tom Davia’s Cinemaven (but check out his credits!), this film is a full-circle “Crash”-style story that rivals “Gemorrah” in its look at the barrio called “The Farm” or “La Granja” in which the lives of a midwife, a young boxer, a janitor, a mute kid and a young couple collide in a story about the desperate pursuit of happiness on the mean streets of La Granja. Shot on a budget of $250,000, this film took four years to complete as the Puerto Rican government film establishment sought to block its production and release – and you can see why. It previously played in Fantastic Fest.
This is another discovery film with no Isa, and I am sure the agents have already locked their eyes upon writer-director Angel Manuel Soto. He lives in Los Angeles. “Born in Santurce, Puerto Rico. Son of a car salesman and a flight attendant. Studied architecture and advertising. Always loved films. Now he makes them. He is a cinephile. He travels all over the world doing it, including Australia, Thailand, Cambodia, France, USA, and Puerto Rico. He is not planning on stopping.”
Best Screenplay Award went to Marina Seresesky for “La Puerta Abierta”/ “Open Door” (pictured above). Marina also directed this first film. She has made two shorts previously. After Ficg it will play at Sofia Iff 2016 in International Competition, San Diego Latino 2016 and Chicago Latino 2016 Film Festivals.
Movies Recommended for Selection for the Golden Globes Awards 2017 are “The 4th Company” and “Ciudades Desiertas” / “Deserted Cities” by Roberto Sneider.
Documentary Jury Special Award of 100,000 Mexican pesos or its equivalent in dollars to the director Jorge Caballero for“Patient”/ "Paciente" Isa Rise and Shine, a new company in Germany, picked up the film at its world premiere in Competition at Idfa.
Best Iberoamerican Short Film Award D of 75,000 pesos or its equivalent in dollars to the directors Miguel de Olaso and Bruno Zacharias for the 10 minute short “ Los Angeles 1991”.
Special Mention went to “Juan's Sundown”/ "El Ocaso de Juan" by Omar Deneb Vargas Juárez
Rigo Mora Award for Best Mexican Animated Short Film of 100,000 Mexican pesos went to the director Alejandro Rios for “ The Cats”/"Los Gatos."
Maguey Award for best Lgbt film went to "Theo et Hugo dans le meme bateau"/ "Paris 05:59" of France, directed by Olivier Ducastel and Jacques Martineau.
Special Mention went to “Neon Bull” of Brazil, directed by Gabriel Mascaro for its poetic and innovative illustrating of how traditional ideas of masculinity slowly have been made obsolete inviting us to question our own perspectives on gender bias.
After the Awards, Ficg gave a great closing night party. Lots of good people, new and old friends, great salsa band, danced til 3! Here’s me with my friend David Martinez of Raindance Film Festival. Coming from Guadalajara, living in London, this year he came home with Elliot Grove of Founder and Director of Raindance, and Aaron Wileman of Imaginative Exposure who gave a Master Class on Film Funds and Product Placement.
And of course I presented my own book in its abridged, Spanish language format, published by the University of Guadalajara Press, Cine Iberoamerican Industria y financiamiento por pais (Iberoamerican Cinema: Industry and Financing by Country). Read more about it here.
- 3/17/2016
- by Sydney Levine
- Sydney's Buzz
Mexican actor Kristyan Ferrer stars with Tim Roth in the Mexican film 600 Miles directed by Gabriel Ripstein. Ferrer (Buen Dia, Ramon, Sin Nombre), a festival film favorite, plays gun smuggler "Arnulfo" in 600 Miles, and he's telling CineMovie what the movie has to say about gun control. He's also naming the Hollywood A-listers he would like to work if he made an American film. Watch our Spanish interview.
Read More ...
Read More ...
- 2/6/2016
- by info@cinemovie.tv (Super User)
- CineMovie
Exclusive: New company to make first official market outing at Efm.
New Paris-based sales and co-production company Luxbox has acquired world rights to Hedi and Maquinaria Panamericana ahead of their premieres at the Berlinale.
Tunisian director and scriptwriter Mohamed Ben Attia’s Hedi is the first Arab-language film to play in competition at the Berlinale since Hany Abu Assad’s Paradise Now in 2005.
It follows an unassuming, young man who is controlled by an authoritarian mother. On the eve of his arranged marriage to a local girl chosen by his mother, he meets an adventurous, free-spirited young girl who changes his view of life.
Dora Bouchoucha of Tunis-based Nomadis Images — who has strong ties with the European film industry through her work with France’s National Cinema Centre (Cnc) and Rotterdam’s CineMart — produced the film with the Jean-Pierre and Luc Dardennes’s Les Films du Fleuve on board as a co-producer.
“Hedi means ‘calm...
New Paris-based sales and co-production company Luxbox has acquired world rights to Hedi and Maquinaria Panamericana ahead of their premieres at the Berlinale.
Tunisian director and scriptwriter Mohamed Ben Attia’s Hedi is the first Arab-language film to play in competition at the Berlinale since Hany Abu Assad’s Paradise Now in 2005.
It follows an unassuming, young man who is controlled by an authoritarian mother. On the eve of his arranged marriage to a local girl chosen by his mother, he meets an adventurous, free-spirited young girl who changes his view of life.
Dora Bouchoucha of Tunis-based Nomadis Images — who has strong ties with the European film industry through her work with France’s National Cinema Centre (Cnc) and Rotterdam’s CineMart — produced the film with the Jean-Pierre and Luc Dardennes’s Les Films du Fleuve on board as a co-producer.
“Hedi means ‘calm...
- 2/1/2016
- ScreenDaily
Anyone that has attended the Palm Springs International Film Festival has surely noticed the rather specific demographic - both in background and age - that makes up the audiences that night after night fill up the screenings. While audiences of color and from a wide age range live in this small town, which has managed to put together an important regional festival for nearly three decades, they don’t seem to have incorporated into the film festival experience. The assumption that the festival is only for those with a higher income, prominent educational backgrounds, or industry connections, might deter local audiences, to whom the festival should aim, from attending.
Conscious of such this phenomenon, the festival and their Latino team in particular, have doubled their efforts to create visibility for the festival in a Latino context in order to attract those patrons that erroneously could think their festival doesn’t welcome them or that it doesn’t offer any stories that could entice them. People like seasoned programmer Hebe Tabachnick, who ensures the best films to come out of Latin America that year screen in Palm Springs; Program Manager Liliana Rodriguez, who also programs the After Dark section of the festival and who is an outspoken supporter of Latin American cinema; or Film Society Assistant Patricia Garza-Elsperger, whose efforts in making the festival a friendly environment for local Latino audiences go above and beyond her official duties.
Events such as the Cine Latino Party, which brings together filmmakers, press, programmers, staff and the general public, or the Latino Filmmakers Dinner, where the artists discussed their works amongst each other and with selected press in attendance in a casual environment that hopes to create a stronger community of people rallying behind Latin American cinema, U.S. Latino projects, and even honorary-Latino films like Paddy Breathnach Cuba-set “Viva.”
Thanks to Tabachnick and her collaborator’s relentless dedication, an immense amount of Latin American films formed part of this year’s Palm Springs International Film Festival program and an equally impressive number of filmmakers came to the city to present their work. The film selection included "Alias Maria" (Colombia),"The Second Mother" (Brazil),"From Afar" (Venezuela), "Jeremy" (Mexico), "The Club" (Chile), "Liz in September" (Venezuela), "Magallanes" (Peru), "The Memory of Water" (Chile), "Papa" (Cuba), "Neon Bull" (Brazil), "Paulina" (Argentina), "The Clan" (Argentina). Celso R. García director of the Guillermo Del Toro-produced “The Thin Yellow Line” (La delgada linea amarilla), Flavio Florencio director of Mexican trans documentary “Made in Bangkok,” Jayor Bustamante director of "Ixcanul," and Ciro Guerra director of the Academy Award-nominated "Embrace of the Serpent," were among he talented creators in attendance.
One particularly insightful presentation was the double feature program of Michel Franco’s English-language debut “Chronic” and Gabriel Ripstein’s feature debut “600 Miles,” in which both filmmakers interchanged roles as producer and directors respectively. Both hard-hitting and emotionally devastating films star British actor Tim Roth in two very distinct roles. In “Chronic” as a hospice caretaker struggling with his own turbulent past, and in “600 Miles” as an Atf agent that is kidnapped by a young Mexican boy working very dangerous people. Following the screenings Tabachnick moderated a Q&A with Ripstein and Roth about their mutual experience working on these titles.
As part of the festival’s commitment to engage its homegrown audiences in the festival’s mission and to expose them stories from around the world from, Tabachnik also hosted a screening of the Mexican family film “Jeremy” (El Jeremias) at a local high school. Through initiatives like this, Psiff wishes to evolve into a more inclusive event that can cater to cinephiles, casual attendees, and those looking to be surprised – no matter how young they are. Community outreach via the power of cinema is what could truly transform the festival from its apparent elite quality to an accessible and much more multicultural space to enjoy and discuss the art form.
Latin American cinema is consistently present and awarded at countless festival due to the particular voices and topical issues it depicts, not only with an authentic approach, but always layered with universal appeal. It’s time that audiences represented in such films or those connected to them by their heritage become a stronger force not only at the mainstream box-office but also at festival where they can have an interaction with the storytellers behind the camera. On that note, Palm Springs International Film Festival is on the right path into becoming a festival that retains the quality of the films, but sets its eyes on diversifying the eyes set that come through the theater doors.
The 27th Palm Springs International Film Festival took place January 1-11, 2016.
Conscious of such this phenomenon, the festival and their Latino team in particular, have doubled their efforts to create visibility for the festival in a Latino context in order to attract those patrons that erroneously could think their festival doesn’t welcome them or that it doesn’t offer any stories that could entice them. People like seasoned programmer Hebe Tabachnick, who ensures the best films to come out of Latin America that year screen in Palm Springs; Program Manager Liliana Rodriguez, who also programs the After Dark section of the festival and who is an outspoken supporter of Latin American cinema; or Film Society Assistant Patricia Garza-Elsperger, whose efforts in making the festival a friendly environment for local Latino audiences go above and beyond her official duties.
Events such as the Cine Latino Party, which brings together filmmakers, press, programmers, staff and the general public, or the Latino Filmmakers Dinner, where the artists discussed their works amongst each other and with selected press in attendance in a casual environment that hopes to create a stronger community of people rallying behind Latin American cinema, U.S. Latino projects, and even honorary-Latino films like Paddy Breathnach Cuba-set “Viva.”
Thanks to Tabachnick and her collaborator’s relentless dedication, an immense amount of Latin American films formed part of this year’s Palm Springs International Film Festival program and an equally impressive number of filmmakers came to the city to present their work. The film selection included "Alias Maria" (Colombia),"The Second Mother" (Brazil),"From Afar" (Venezuela), "Jeremy" (Mexico), "The Club" (Chile), "Liz in September" (Venezuela), "Magallanes" (Peru), "The Memory of Water" (Chile), "Papa" (Cuba), "Neon Bull" (Brazil), "Paulina" (Argentina), "The Clan" (Argentina). Celso R. García director of the Guillermo Del Toro-produced “The Thin Yellow Line” (La delgada linea amarilla), Flavio Florencio director of Mexican trans documentary “Made in Bangkok,” Jayor Bustamante director of "Ixcanul," and Ciro Guerra director of the Academy Award-nominated "Embrace of the Serpent," were among he talented creators in attendance.
One particularly insightful presentation was the double feature program of Michel Franco’s English-language debut “Chronic” and Gabriel Ripstein’s feature debut “600 Miles,” in which both filmmakers interchanged roles as producer and directors respectively. Both hard-hitting and emotionally devastating films star British actor Tim Roth in two very distinct roles. In “Chronic” as a hospice caretaker struggling with his own turbulent past, and in “600 Miles” as an Atf agent that is kidnapped by a young Mexican boy working very dangerous people. Following the screenings Tabachnick moderated a Q&A with Ripstein and Roth about their mutual experience working on these titles.
As part of the festival’s commitment to engage its homegrown audiences in the festival’s mission and to expose them stories from around the world from, Tabachnik also hosted a screening of the Mexican family film “Jeremy” (El Jeremias) at a local high school. Through initiatives like this, Psiff wishes to evolve into a more inclusive event that can cater to cinephiles, casual attendees, and those looking to be surprised – no matter how young they are. Community outreach via the power of cinema is what could truly transform the festival from its apparent elite quality to an accessible and much more multicultural space to enjoy and discuss the art form.
Latin American cinema is consistently present and awarded at countless festival due to the particular voices and topical issues it depicts, not only with an authentic approach, but always layered with universal appeal. It’s time that audiences represented in such films or those connected to them by their heritage become a stronger force not only at the mainstream box-office but also at festival where they can have an interaction with the storytellers behind the camera. On that note, Palm Springs International Film Festival is on the right path into becoming a festival that retains the quality of the films, but sets its eyes on diversifying the eyes set that come through the theater doors.
The 27th Palm Springs International Film Festival took place January 1-11, 2016.
- 1/23/2016
- by Carlos Aguilar
- Sydney's Buzz
Veteran Mexican auteur Arturo Ripstein is behind numerous classics such as "The Castle of Purity, " "The Place Without Limits," or "Depp Crimson," and despite being in his seventies, the prolific artist continues to take risks, as is the case with his latest tragicomedy "Bleak Street." His close relationship with Spanish master Luis Buñuel is evident in the film both thematically and stylistically, yet it's propelled by Ripstein's singular affinity for finding Mexico City's dark corners and the characters that inhabit them.
The filmmaker's son, Gabriel Ripstein, is now also a director and producer whose debut feature "600 Miles" represented Mexico in the Best Foreign Language Film race at this year's Academy Awards and which will be released in the U.S. by Pantelion later this year.
"Bleak Street" will be released theatrically on January 20 at Film Forum in NYC by Leisure Time Features
The official synopsis reads as follows:
In the early morning hours, two elderly prostitutes go back to their hovels. They are not tired from working; they are tired of not working. One has problems at home with her teenage daughter and cross dressing husband. The other lives with her invalid mother and loneliness. But that night, they have a date to celebrate the victory in the ring of two wrestlers, twin midgets wearing masks. At the hourly hotel, in order to rob the tiny men of their earnings, they drug them with eye drops. But the dose proves fatal. They murder them unintentionally. Scared and confused, they decide to hide from the police and run away together to live, as they always have, on Bleak Street.
You can watch the trailer below...
The filmmaker's son, Gabriel Ripstein, is now also a director and producer whose debut feature "600 Miles" represented Mexico in the Best Foreign Language Film race at this year's Academy Awards and which will be released in the U.S. by Pantelion later this year.
"Bleak Street" will be released theatrically on January 20 at Film Forum in NYC by Leisure Time Features
The official synopsis reads as follows:
In the early morning hours, two elderly prostitutes go back to their hovels. They are not tired from working; they are tired of not working. One has problems at home with her teenage daughter and cross dressing husband. The other lives with her invalid mother and loneliness. But that night, they have a date to celebrate the victory in the ring of two wrestlers, twin midgets wearing masks. At the hourly hotel, in order to rob the tiny men of their earnings, they drug them with eye drops. But the dose proves fatal. They murder them unintentionally. Scared and confused, they decide to hide from the police and run away together to live, as they always have, on Bleak Street.
You can watch the trailer below...
- 1/20/2016
- by Carlos Aguilar
- Sydney's Buzz
Twenty-nine films from twelve countries have been nominated in the sixth annual edition of the Cinema Tropical Awards, honoring the best of Latin American cinema of the year in six different categories: Best Feature Film; Best Documentary Film; Best Director, Feature Film; Best Director, Documentary Film; Best First Film; and Best U.S. Latino Film.
The five films competing for the Cinema Tropical Award for Best Feature Film of the Year are: The Club by Pablo Larraín (Chile), Jauja by Lisandro Alonso (Argentina), Los Hongos by Oscar Ruiz Navia (Colombia), The Princess of France by Matías Piñeiro (Argentina), and White Out, Black In by Adirley Queirós (Brazil).
The five nominees for Best U.S. Latino Film of the Year are: The Book of Life by Jorge Gutierrez, East Side Sushi by Anthony Lucero, Mala Mala by Antonio Santini and Dan Sickles, Me and Earl and the Dying Girl by Alfonso Gomez-Rejon, and We Like It Like That by Mathew Ramirez Warren.
The winners of the 6th Annual Cinema Tropical Awards will be announced at a special evening ceremony at The New York Times Company headquarters in New York City on Wednesday, January 20, 2016. The winning films will be showcased as part of the Cinema Tropical Festival at Museum of the Moving Image, February 25-28, 2016, celebrating the organization’s 15th anniversary.
The candidates were culled from a comprehensive list of films created by a nominating committee composed of 12 film professionals from Latin America, the U.S., and Europe. All the films under consideration had a minimum of 60 minutes in length and premiered between April 1, 2014 and March 31, 2015.
Complete List of Nominations:
Best Feature Film
• "The Club"/ "El club" (Pablo Larraín, Chile, 2015)
• "Jauja" (Lisandro Alonso, Argentina, 2014)
• "Los Hongos" (Óscar Ruiz Navia, Colombia, 2014)
• "The Princess of France" / "La princesa de Francia" (Matías Piñeiro, Argentina/USA, 2014)
• "White Out, Black In" / "Branco Sai, Petro Fica" (Adirley Queirós, Brazil, 2014)
Best Director, Feature Film
• Nicolás Pereda, "The Absent" / "Los ausentes" (Mexico, 2014)
• Gabriel Mascaro, "August Winds" / "Ventos de Agosto" (Brazil, 2014)
• Pablo Larraín, "The Club" / "El club" (Chile, 2015)
• Laura Amelia Guzmán and Israel Cárdenas, "Sand Dollars" / "Dólares de arena" (Dominican Republic/Mexico/Argentina, 2014)
• Paz Fábrega, "Viaje" (Costa Rica, 2015)
Best First Film
• "600 Miles" (Gabriel Ripstein, Mexico, 2015)
• "The Fire" / "El incendio" (Juan Schnitman, Argentina, 2015)
• "Ixcanul" (Jayro Bustamante, Guatemala, 2015)
• "She Comes Back on Thursday" / "Ela Volta Na Quinta" (Andrés Novais Oliveira, Brazil, 2014)
• "Videophilia (and Other Viral Syndromes)" / "Videofilia (y otros síndromes virales)" (Juan Daniel F. Molero, Peru, 2015)
Best Documentary Film
• "A Committee Chronicle" / "Crónica de un comité" (José Luis Sepúlveda and Carolina Adriazola, Chile, 2014)
• "Identification Photos" / "Retratos de Identificaçao" (Anita Leandro, Brazil, 2014)
• "Invasion" / "Invasión" (Abner Benaim, Panama, 2014)
• "Last Conversations" / "Últimas Conversas" (Eduardo Coutinho, Brazil,2015)
• "Monte Adentro" (Nicolás Macario Alonso, Colombia/Argentina, 2014)
Best Director, Documentary Film
• Maíra Bühler and Matias Mariani, "I Touched All Your Stuff"/ "A Vida Privada dos Hipopótamos" (Brazil, 2014)
• Karina García Casanova, "Juanicas" (Mexico, 2014)
• Betzabé García, "Kings of Nowhere"/ "Los reyes del pueblo que no existe" (Mexico, 2015)
• Aldo Garay, "The New Man" / "El hombre nuevo" (Uruguay, 2015)
• Christopher Murray, "Propaganda" (Chile, 2014)
Best U.S. Latino Film
• "The Book of Life" (Jorge Gutierrez, USA, 2014)
• "East Side Sushi" (Anthony Lucero, USA, 2014)
• "Mala Mala" (Antonio Santini and Dan Sickles, USA/Puerto Rico, 2014)
• "Me and Earl and the Dying Girl" (Alfonso Gomez-Rejon USA, 2015)
• "We Like It Like That" (Mathew Ramirez Warren, USA, 2015)
2015 Jury: Amalia Córdova, film programmer and scholar; Aaron Cutler, film critic and programmer; Paul Dallas, film critic; Vanessa Erazo, Film Editor, Remezcla; Michelle Farrell, film scholar; Sandra Kogut, filmmaker; Dominic Davis, film programmer, Rooftop Films; David Schwartz, Chief Curator, Museum of the Moving Image; Diana Vargas, Artistic Director, Havana Film Festival New York.
2015 Nominating Committee: Fábio Andrade, Revista Cinética, Brazil; Juan Pablo Bastarrachea, Cine Tonalá, Mexico; Consuelo Castillo, Doctv Latinoamérica, Colombia; Fernando del Razo, Riviera Maya Film Festival, Mexico; Vanessa Erazo, Film Editor, Remezcla, USA; Luis Gonzalez Zaffaroni, DocMontevideo, Uruguay; James Lattimer, Berlinale's Forum, Germany; Alicia Morales, Lima Film Festival, Peru; Joel Poblete. Sanfic, Chile; Andrea Stavenhagen, San Sebastian Film Festival, Spain; Charles Tesson, Critics' Week, Cannes, France; Raúl Niño Zambrano, International Documentary Film Festival - Idfa, Netherlands.
The five films competing for the Cinema Tropical Award for Best Feature Film of the Year are: The Club by Pablo Larraín (Chile), Jauja by Lisandro Alonso (Argentina), Los Hongos by Oscar Ruiz Navia (Colombia), The Princess of France by Matías Piñeiro (Argentina), and White Out, Black In by Adirley Queirós (Brazil).
The five nominees for Best U.S. Latino Film of the Year are: The Book of Life by Jorge Gutierrez, East Side Sushi by Anthony Lucero, Mala Mala by Antonio Santini and Dan Sickles, Me and Earl and the Dying Girl by Alfonso Gomez-Rejon, and We Like It Like That by Mathew Ramirez Warren.
The winners of the 6th Annual Cinema Tropical Awards will be announced at a special evening ceremony at The New York Times Company headquarters in New York City on Wednesday, January 20, 2016. The winning films will be showcased as part of the Cinema Tropical Festival at Museum of the Moving Image, February 25-28, 2016, celebrating the organization’s 15th anniversary.
The candidates were culled from a comprehensive list of films created by a nominating committee composed of 12 film professionals from Latin America, the U.S., and Europe. All the films under consideration had a minimum of 60 minutes in length and premiered between April 1, 2014 and March 31, 2015.
Complete List of Nominations:
Best Feature Film
• "The Club"/ "El club" (Pablo Larraín, Chile, 2015)
• "Jauja" (Lisandro Alonso, Argentina, 2014)
• "Los Hongos" (Óscar Ruiz Navia, Colombia, 2014)
• "The Princess of France" / "La princesa de Francia" (Matías Piñeiro, Argentina/USA, 2014)
• "White Out, Black In" / "Branco Sai, Petro Fica" (Adirley Queirós, Brazil, 2014)
Best Director, Feature Film
• Nicolás Pereda, "The Absent" / "Los ausentes" (Mexico, 2014)
• Gabriel Mascaro, "August Winds" / "Ventos de Agosto" (Brazil, 2014)
• Pablo Larraín, "The Club" / "El club" (Chile, 2015)
• Laura Amelia Guzmán and Israel Cárdenas, "Sand Dollars" / "Dólares de arena" (Dominican Republic/Mexico/Argentina, 2014)
• Paz Fábrega, "Viaje" (Costa Rica, 2015)
Best First Film
• "600 Miles" (Gabriel Ripstein, Mexico, 2015)
• "The Fire" / "El incendio" (Juan Schnitman, Argentina, 2015)
• "Ixcanul" (Jayro Bustamante, Guatemala, 2015)
• "She Comes Back on Thursday" / "Ela Volta Na Quinta" (Andrés Novais Oliveira, Brazil, 2014)
• "Videophilia (and Other Viral Syndromes)" / "Videofilia (y otros síndromes virales)" (Juan Daniel F. Molero, Peru, 2015)
Best Documentary Film
• "A Committee Chronicle" / "Crónica de un comité" (José Luis Sepúlveda and Carolina Adriazola, Chile, 2014)
• "Identification Photos" / "Retratos de Identificaçao" (Anita Leandro, Brazil, 2014)
• "Invasion" / "Invasión" (Abner Benaim, Panama, 2014)
• "Last Conversations" / "Últimas Conversas" (Eduardo Coutinho, Brazil,2015)
• "Monte Adentro" (Nicolás Macario Alonso, Colombia/Argentina, 2014)
Best Director, Documentary Film
• Maíra Bühler and Matias Mariani, "I Touched All Your Stuff"/ "A Vida Privada dos Hipopótamos" (Brazil, 2014)
• Karina García Casanova, "Juanicas" (Mexico, 2014)
• Betzabé García, "Kings of Nowhere"/ "Los reyes del pueblo que no existe" (Mexico, 2015)
• Aldo Garay, "The New Man" / "El hombre nuevo" (Uruguay, 2015)
• Christopher Murray, "Propaganda" (Chile, 2014)
Best U.S. Latino Film
• "The Book of Life" (Jorge Gutierrez, USA, 2014)
• "East Side Sushi" (Anthony Lucero, USA, 2014)
• "Mala Mala" (Antonio Santini and Dan Sickles, USA/Puerto Rico, 2014)
• "Me and Earl and the Dying Girl" (Alfonso Gomez-Rejon USA, 2015)
• "We Like It Like That" (Mathew Ramirez Warren, USA, 2015)
2015 Jury: Amalia Córdova, film programmer and scholar; Aaron Cutler, film critic and programmer; Paul Dallas, film critic; Vanessa Erazo, Film Editor, Remezcla; Michelle Farrell, film scholar; Sandra Kogut, filmmaker; Dominic Davis, film programmer, Rooftop Films; David Schwartz, Chief Curator, Museum of the Moving Image; Diana Vargas, Artistic Director, Havana Film Festival New York.
2015 Nominating Committee: Fábio Andrade, Revista Cinética, Brazil; Juan Pablo Bastarrachea, Cine Tonalá, Mexico; Consuelo Castillo, Doctv Latinoamérica, Colombia; Fernando del Razo, Riviera Maya Film Festival, Mexico; Vanessa Erazo, Film Editor, Remezcla, USA; Luis Gonzalez Zaffaroni, DocMontevideo, Uruguay; James Lattimer, Berlinale's Forum, Germany; Alicia Morales, Lima Film Festival, Peru; Joel Poblete. Sanfic, Chile; Andrea Stavenhagen, San Sebastian Film Festival, Spain; Charles Tesson, Critics' Week, Cannes, France; Raúl Niño Zambrano, International Documentary Film Festival - Idfa, Netherlands.
- 12/27/2015
- by Sydney Levine
- Sydney's Buzz
Fascinating is the best way to describe the process by which the final five nominated for the Academy Award in the Best Foreign Language Film are selected. Each year dozens of countries send their Oscar hopeful to Hollywood for AMPAS to consider. This work should, at least in theory, be the best representation of the national cinematic achievements of that year. This usually makes for a crowded field of storytelling marvels.
Since each country, via its national film academy or a special cultural committee, can only submit one candidate, there are always “snubs” even at the selections stage. These often happens because a film doesn’t meet the requirements or simply because the selecting body didn’t regard them as highly. While there are numerous detractors regarding AMPAS rule of only one entry per country, in a sense this helps level the playfield given that smaller territories might have very choices in comparison to European powerhouses. The other perspective argues that because of this process sometimes the real standouts don’t get a chance to compete.
Once a film becomes the official entry the next, and most arduous step, is to get into the 9-film shortlist. Six of them are chosen by popular within the AMPAS’ Foreign Language Film committee and the other three by an executed committee. These nine finalists are then watched by 30 randomly selected members from different Academy branches over one weekend. This is where the five nominees are chosen. This year 80 accepted submissions (noting that Afghanistan’s entry was disqualified) are vying for the trophy, and that means that 75 of the world’s best films will have to cherish the exposure given by process.
Nevertheless, making the shortlist is more than a commendable feat itself. This list will be revealed next week, and though there are always unexpected surprises, there are of course a few favorites and films that have garnered lots of positive attention throughout the season. After watching over three quarters out of the colossal list of entries in contention I’d like to share my observations on the 25 films that seem like the strongest bets to make the coveted shortlist and eventually become Academy Award nominees. Granted, other films could easily sneak in if they manage to impress the right people, but I feel confident that most of those that will advance will come from the least below.
Argentina
"The Clan" (El Clan)
Dir. Pablo Trapero
Isa: Film Factory Entertainment
U.S. Distribution: Fox International
Trapero’s sordid crime drama based on the real life story of the Puccio family, which became national news when authorities discovered they were behind a series of kidnapping and murders, is a compelling work that uses Argentina’s historical context as backdrop. . Almodovar’s El Deseo, the company behind the Oscar-nominated “Wild Tales”, produced the film.
Read More: 'The Clan Wins' Audience Award At Miami Dade College’s Miami International Film Festival’s Gems
Austria
"Goodnight Mommy" (Ich seh, ich seh)
Dirs. Severin Fiala & Veronika Franz
Isa: Films Distribution
U.S. Distribution: Radius-twc
One of the most daring selections is also one the most acclaimed horror films of the year. This art house chiller confronts a pair of mischievous twin boys with their convalescent mother who recently underwent a facial surgery. The thematic and aesthetic elegance that co-directors Severin Fiala and Veronika Franz employed elevates “Goodnight Mommy” beyond the usual gruesome fare.
Belgium
"The Brand New Testament" (Le tout nouveau testament)
Dir. Jaco Van Dormael
Isa: Le Pacte
U.S. Distribution: None Yet
This fantastical take on religion is yet another unique vision from director Jaco Van Dormael, the filmmaker behind such films as “Mr. Nobody.” With a humorous tone, “The Brand New Testament” explores what would happen if God himself lived in a regular apartment in Brussels pretending to be a mortal and finding pleasure in the little things that annoy human life - all of which are orchestrated by him.
Brazil
"The Second Mother" (Que Horas Ela Volta?)
Dir. Anna Muylaert
Isa: The Match Factory
U.S. Distribution: Oscilloscope Pictures
Anna Muylaert’s crowd-pleasing, yet thematically complex gem delves into the intricacies of class in Brazilian society through the eyes of an endearing live-in maid. Regina Casé, in an Oscar-worthy performance, becomes Val, a diligent and humble housekeeper that has worked with the same wealthy family in Sao Paulo for many years and who only questions her role within this environment when her strange daughter comes to visit.
Read More: Anna Muylaert on Why the Protagonist of 'The Second Mother' is a Super Hero
Canada
"Felix & Meira"
Dir. Maxime Giroux
Isa: Urban Distribution International
U.S. Distribution: Oscilloscope Laboratories
A clandestine romance and the yoke of religion are at the center of Maxime Giroux’s delicate debut feature. Meira (Hadas Yaron is a Hasidic woman who feels trapped by the expectations and limitations imposed her, but when she meets Felix (Martin Dubreuil), a secular man who is equally lost, her vision of the world widens.
Rea More: 'Felix and Meira' Director Maxime Giroux on Understanding Hasidim and Quebecois Isolation
Chile
"The Club" (El Club)
Dir. Pablo Larraín
Isa: Funny Balloons
U.S. Distribution: Music Box Films
Larrain's latest work follows a group of priests and nuns who live in an isolated beachside town after committing a score of heinous crimes. Though they have the church's protection, there are people out there who are not willing to let impunity prevail. Magnificently written and acted, this dark and piercing drama ranks up there with the director’s best work
Colombia
"Embrace of the Serpent" (El Abrazo de la Serpiente)
Dir. Ciro Guerra
Isa: Films Boutique
U.S. Distribution: Oscilloscope Laboratories
Strikingly beautiful and laced with poetic mysticism, Ciro Guerra’s most accomplished work to date follows the journey of two European explores at particular times in history as they are guided through the Amazon by Karamakate, an imposing local shaman man who is wary of their intentions.
Czech Republic
"Home Care" (Domácí péce)
Dir. Slávek Horák
Isa: M-Appeal
U.S. Distribution: None Yet
This very low-key dramedy from first-time director Slávek Horák about a a middle-aged home care nurse, who not only has to look after her patients but also her own family, hasn’t had as much exposure as other films on this list; however, the quality of the performances and the nuanced screenplay have resonated with those who have seen it.
Denmark
"A War" (Krigen)
Dir. Tobias Lindholm
Isa: Studiocanal
U.S. Distribution: Magnolia Pictures
Director Tobias Lindholm follow up to “A Hijacking,” blends gritty action with a courtroom drama in a searing study on guilt and the collateral damage of armed conflicts from the point of view of conflicted family man and company commander Claus M. Pedersen (Pilou Asbæk). Subtle observations and intricate moral complexity are once again Lindholm's greatest strengths.
Estonia
"1944"
Dir. Elmo Nüganen
Isa: Eyewell Ab
U.S. Distribution: None Yet
After earning its first-ever Academy Award nomination earlier this year, the Eastern European country returns to the race with an impressive historical epic about Estonian soldiers fighting on different sides against their own. The film was directed, who starred in the Oscar-nominated “Tangerines.”
Finland
"The Fencer" (Miekkailija)
Dir. Klaus Härö
Isa: The Little Film Company
U.S. Distribution: None Yet
Finnish filmmaker Klaus Härö takes on an Estonian story about a professional fencer who becomes a physical education teacher in his homeland after leaving Russia to escape the Kgb. This classically executed and elegant period drama offers uplifting moments, romance, and exquisite cinematography.
France
"Mustang"
Dir. Deniz Gamze Ergüven
Isa: Kinology
U.S. Distribution: Cohen Media Group
Through traditional gender roles and expectations in Turkish society, adults attempt to tame the blossoming womanhood in Deniz Gamze Ergüven's five teenage protagonists. Delicately shot and cast to perfection, this peculiar coming-of-ager is an empowering breath of fresh air that honors freedom and femininity in equal measures.
Read More: 'Mustang' Director Deniz Gamze Ergüven on Femininity in Cinema and French Multiculturalism
Germany
"Labyrinth of Lies" (Im Labyrinth des Schweigens)
Dir. Giulio Ricciarelli
Isa: Beta Cinema
U.S. Distribution: Sony Pictures Classics
In the aftermath of WWII German authorities and the majority of the population refused to acknowledge the magnitude of their involvement in the Holocaust until a driven young prosecutor begins uncovering the truth. Ricciarelli film is a compelling historical drama with a fantastic lead performance by Alexander Fehling at its core.
Read More: Dir. Giulio Ricciarelli and Star Alexander Fehling on the Historical Relevance of 'Labyrinth of Lies' and Germany's Open Wound
Guatemala
"Ixcanul"
Dir. Jayro Bustamante
Isa: Film Factory Entertainment
U.S. Distribution: Kino Lorber
Bustamante’s Silver Bear-winning ethereal masterpiece in indigenous language is an intimate look at the lives of the country’s Mayan population. Told through the eyes of a teenage girl destined to an arranged marriage, this marvelously photographed film speaks of tradition, modernity, mysticism, male chauvinism, and cultural isolation.
Read More: 'Ixcanul' Director Jayro Bustamante on the Strength of Mayan Women and Guatemala's Indigenous Majority
Hungary
"Son of Saul" (Saul fia)
Dir. László Nemes
Isa: Films Distribution
U.S. Distribution: Sony Pictures Classics
By far the most incredible debut of the year and one of the best films about the Holocaust ever made, this year’s Grand Prix winner takes the viewer inside the Nazi killing machine from the perspective of the Sonderkommando, a group of Jewish men chosen to carry out all horrific manual labor within the gas chambers. Immersive and devastating, Nemes' stunner is a powerful cinematic statement.
Iceland
"Rams" (Hrútar)
Dir. Grímur Hákonarson
Isa: New Europe Film Sales
U.S. Distribution: Cohen Media Group
A humorous look at brotherhood and pastoral life, this Un Certain Regard-winning dark comedy pays homage to the importance of sheep in the Icelandic cultural identity. When a disease wipes out the entire town’s flock, two estrange siblings, who haven’t spoken to each other in decades, are forced to collaborate in order to save their livelihood.
Ireland
"Viva"
Dir. Paddy Breathnach
Isa: Mongrel International
U.S. Distribution: Magnolia Pictures
Jesus, a young gay man in Havana, only finds relief from his daily struggles when he transforms into a drag performer in front of an eager audience, but when his macho father returns after decades away his dreams are jeopardized. This Irish production set in Cuba is a delightful work that thrives on authenticity and emotionally layered performances.
Read More:'Viva' Director Paddy Breathnach on Making an Irish Film in Cuba and Visceral Transformation
Jordan
"Theeb" (ذيب)
Dir. Naji Abu Nowar
Isa: Fortissimo Films
U.S. Distribution: Film Movement
Adapting the sensibilities of classic Westerns into a uniquely Middle Eastern setting, this period piece touches on the complicated relationship between the region and the colonial powers via the experiences of a young Bedouin boy who embarks on a mission across the desert. Top-notch filmmaking that twists conventions to depict a singular worldview.
Mexico
"600 Miles" (600 Millas)
Dir. Gabriel Ripstein
Isa: Ndm
U.S. Distribution: Pantelion Films
By focusing on two characters from opposite sides of the border, Gabriel Ripstein’s debut Starring Tim Roth delves into the U.S/Mexico conflictive, yet unavoidable codependency and share responsibility in the fight against organized crime. Guns are at the center of this realist tale in which everyone’s morality is tinged with shades of grey.
The Netherlands
"The Paradise Suite"
Dir. Joost van Ginkel
Isa: Media Luna New Films
U.S. Distribution: None Yet
In this profound multi-narrative film the tumultuous stories of characters from diverse latitudes collide in Amsterdam in unexpected and heartbreaking ways. An Eastern European girl dragged into prostitution, an African man desperate to stay afloat, a war criminal in disguise, a woman seeking revenge, and famous musician and his son struggling to connect, all, in their own way, looking fro redemption.
Norway
"The Wave" (Bølgen)
Dir. Roar Uthaug
Isa: TrustNordisk
U.S. Distribution: Magnolia Pictures
Besides its spectacular, Hollywood-worthy visual effects, what sets this Scandinavian disaster movie apart from less sophisticated American efforts is its interesting character development. While the chaos and destruction on screen is an exhilarating feast, the human aspect is never forgotten and it’s crucial to the Norwegian specificity of the plot.
Romania
"Aferim!"
Dir. Radu Jude
Isa: Beta Cinema
U.S. Distribution: Big World Pictures
Thematically fascinating and visually impeccable, this black-and-white historical adventure set in the early 19th century solidifies Romanian cinema as one of the most exciting and innovative currents in Europe. Radu Jude’s film centers on the mostly unknown history of Gypsy slavery and how this shaped Romanian society by using a tragicomic tone and timeless aesthetics.
Spain
"Flowers" (Loreak)
Dirs. Jon Garaño & Jose Mari Goenaga
Isa: Film Factory Entertainment
U.S. Distribution: Music Box Films
The country’s firs Basque-language entry is a soft-spoken drama that juxtaposes the grieving processes of three women after the tragic death of man that touched their lives directly and indirectly. Unpretentious in its concept, yet unexpectedly philosophical, the power of the narrative lies on the actresses that flourish and decay in varying degrees throughout the film.
Sweden
"A Pigeon Sat on a Branch Reflecting on Existence" (En duva satt på en gren och funderade på tillvaron)
Dir. Roy Andersson
Isa: Coproduction Office (Paris)
U.S. Distribution: Magnolia Pictures
As brilliant as anything Andersson has ever created, the final chapter in his trilogy about the absurdity of what it means to be human is one of the most unconventional cinematic experiences in recent memory. Without the constraints of la traditional plot, this nonlinear treasure uses clever vignettes to talk about death, humor, and the mundane things that define our existence.
Read More: 7 Reasons Why Roy Andersson's Latest Film is a Must-See Philosophical Wonder
Taiwan
"The Assassin" (聶隱娘)
Dir. Hsiao-hsien Hou
Isa: Wild Bunch
U.S. Distribution: Well Go USA Entertainment
Armed with breathtaking cinematography, lavish costumes and production design, and an ancient legend about betrayal and retribution, master Hsiao-hsien Hou obliterates our expectations and delivers a one-of-a-kind martial arts epic that’s more concerned with sensory transcendence than narrative clarity, but is no less of an enthralling experience because of it.
Since each country, via its national film academy or a special cultural committee, can only submit one candidate, there are always “snubs” even at the selections stage. These often happens because a film doesn’t meet the requirements or simply because the selecting body didn’t regard them as highly. While there are numerous detractors regarding AMPAS rule of only one entry per country, in a sense this helps level the playfield given that smaller territories might have very choices in comparison to European powerhouses. The other perspective argues that because of this process sometimes the real standouts don’t get a chance to compete.
Once a film becomes the official entry the next, and most arduous step, is to get into the 9-film shortlist. Six of them are chosen by popular within the AMPAS’ Foreign Language Film committee and the other three by an executed committee. These nine finalists are then watched by 30 randomly selected members from different Academy branches over one weekend. This is where the five nominees are chosen. This year 80 accepted submissions (noting that Afghanistan’s entry was disqualified) are vying for the trophy, and that means that 75 of the world’s best films will have to cherish the exposure given by process.
Nevertheless, making the shortlist is more than a commendable feat itself. This list will be revealed next week, and though there are always unexpected surprises, there are of course a few favorites and films that have garnered lots of positive attention throughout the season. After watching over three quarters out of the colossal list of entries in contention I’d like to share my observations on the 25 films that seem like the strongest bets to make the coveted shortlist and eventually become Academy Award nominees. Granted, other films could easily sneak in if they manage to impress the right people, but I feel confident that most of those that will advance will come from the least below.
Argentina
"The Clan" (El Clan)
Dir. Pablo Trapero
Isa: Film Factory Entertainment
U.S. Distribution: Fox International
Trapero’s sordid crime drama based on the real life story of the Puccio family, which became national news when authorities discovered they were behind a series of kidnapping and murders, is a compelling work that uses Argentina’s historical context as backdrop. . Almodovar’s El Deseo, the company behind the Oscar-nominated “Wild Tales”, produced the film.
Read More: 'The Clan Wins' Audience Award At Miami Dade College’s Miami International Film Festival’s Gems
Austria
"Goodnight Mommy" (Ich seh, ich seh)
Dirs. Severin Fiala & Veronika Franz
Isa: Films Distribution
U.S. Distribution: Radius-twc
One of the most daring selections is also one the most acclaimed horror films of the year. This art house chiller confronts a pair of mischievous twin boys with their convalescent mother who recently underwent a facial surgery. The thematic and aesthetic elegance that co-directors Severin Fiala and Veronika Franz employed elevates “Goodnight Mommy” beyond the usual gruesome fare.
Belgium
"The Brand New Testament" (Le tout nouveau testament)
Dir. Jaco Van Dormael
Isa: Le Pacte
U.S. Distribution: None Yet
This fantastical take on religion is yet another unique vision from director Jaco Van Dormael, the filmmaker behind such films as “Mr. Nobody.” With a humorous tone, “The Brand New Testament” explores what would happen if God himself lived in a regular apartment in Brussels pretending to be a mortal and finding pleasure in the little things that annoy human life - all of which are orchestrated by him.
Brazil
"The Second Mother" (Que Horas Ela Volta?)
Dir. Anna Muylaert
Isa: The Match Factory
U.S. Distribution: Oscilloscope Pictures
Anna Muylaert’s crowd-pleasing, yet thematically complex gem delves into the intricacies of class in Brazilian society through the eyes of an endearing live-in maid. Regina Casé, in an Oscar-worthy performance, becomes Val, a diligent and humble housekeeper that has worked with the same wealthy family in Sao Paulo for many years and who only questions her role within this environment when her strange daughter comes to visit.
Read More: Anna Muylaert on Why the Protagonist of 'The Second Mother' is a Super Hero
Canada
"Felix & Meira"
Dir. Maxime Giroux
Isa: Urban Distribution International
U.S. Distribution: Oscilloscope Laboratories
A clandestine romance and the yoke of religion are at the center of Maxime Giroux’s delicate debut feature. Meira (Hadas Yaron is a Hasidic woman who feels trapped by the expectations and limitations imposed her, but when she meets Felix (Martin Dubreuil), a secular man who is equally lost, her vision of the world widens.
Rea More: 'Felix and Meira' Director Maxime Giroux on Understanding Hasidim and Quebecois Isolation
Chile
"The Club" (El Club)
Dir. Pablo Larraín
Isa: Funny Balloons
U.S. Distribution: Music Box Films
Larrain's latest work follows a group of priests and nuns who live in an isolated beachside town after committing a score of heinous crimes. Though they have the church's protection, there are people out there who are not willing to let impunity prevail. Magnificently written and acted, this dark and piercing drama ranks up there with the director’s best work
Colombia
"Embrace of the Serpent" (El Abrazo de la Serpiente)
Dir. Ciro Guerra
Isa: Films Boutique
U.S. Distribution: Oscilloscope Laboratories
Strikingly beautiful and laced with poetic mysticism, Ciro Guerra’s most accomplished work to date follows the journey of two European explores at particular times in history as they are guided through the Amazon by Karamakate, an imposing local shaman man who is wary of their intentions.
Czech Republic
"Home Care" (Domácí péce)
Dir. Slávek Horák
Isa: M-Appeal
U.S. Distribution: None Yet
This very low-key dramedy from first-time director Slávek Horák about a a middle-aged home care nurse, who not only has to look after her patients but also her own family, hasn’t had as much exposure as other films on this list; however, the quality of the performances and the nuanced screenplay have resonated with those who have seen it.
Denmark
"A War" (Krigen)
Dir. Tobias Lindholm
Isa: Studiocanal
U.S. Distribution: Magnolia Pictures
Director Tobias Lindholm follow up to “A Hijacking,” blends gritty action with a courtroom drama in a searing study on guilt and the collateral damage of armed conflicts from the point of view of conflicted family man and company commander Claus M. Pedersen (Pilou Asbæk). Subtle observations and intricate moral complexity are once again Lindholm's greatest strengths.
Estonia
"1944"
Dir. Elmo Nüganen
Isa: Eyewell Ab
U.S. Distribution: None Yet
After earning its first-ever Academy Award nomination earlier this year, the Eastern European country returns to the race with an impressive historical epic about Estonian soldiers fighting on different sides against their own. The film was directed, who starred in the Oscar-nominated “Tangerines.”
Finland
"The Fencer" (Miekkailija)
Dir. Klaus Härö
Isa: The Little Film Company
U.S. Distribution: None Yet
Finnish filmmaker Klaus Härö takes on an Estonian story about a professional fencer who becomes a physical education teacher in his homeland after leaving Russia to escape the Kgb. This classically executed and elegant period drama offers uplifting moments, romance, and exquisite cinematography.
France
"Mustang"
Dir. Deniz Gamze Ergüven
Isa: Kinology
U.S. Distribution: Cohen Media Group
Through traditional gender roles and expectations in Turkish society, adults attempt to tame the blossoming womanhood in Deniz Gamze Ergüven's five teenage protagonists. Delicately shot and cast to perfection, this peculiar coming-of-ager is an empowering breath of fresh air that honors freedom and femininity in equal measures.
Read More: 'Mustang' Director Deniz Gamze Ergüven on Femininity in Cinema and French Multiculturalism
Germany
"Labyrinth of Lies" (Im Labyrinth des Schweigens)
Dir. Giulio Ricciarelli
Isa: Beta Cinema
U.S. Distribution: Sony Pictures Classics
In the aftermath of WWII German authorities and the majority of the population refused to acknowledge the magnitude of their involvement in the Holocaust until a driven young prosecutor begins uncovering the truth. Ricciarelli film is a compelling historical drama with a fantastic lead performance by Alexander Fehling at its core.
Read More: Dir. Giulio Ricciarelli and Star Alexander Fehling on the Historical Relevance of 'Labyrinth of Lies' and Germany's Open Wound
Guatemala
"Ixcanul"
Dir. Jayro Bustamante
Isa: Film Factory Entertainment
U.S. Distribution: Kino Lorber
Bustamante’s Silver Bear-winning ethereal masterpiece in indigenous language is an intimate look at the lives of the country’s Mayan population. Told through the eyes of a teenage girl destined to an arranged marriage, this marvelously photographed film speaks of tradition, modernity, mysticism, male chauvinism, and cultural isolation.
Read More: 'Ixcanul' Director Jayro Bustamante on the Strength of Mayan Women and Guatemala's Indigenous Majority
Hungary
"Son of Saul" (Saul fia)
Dir. László Nemes
Isa: Films Distribution
U.S. Distribution: Sony Pictures Classics
By far the most incredible debut of the year and one of the best films about the Holocaust ever made, this year’s Grand Prix winner takes the viewer inside the Nazi killing machine from the perspective of the Sonderkommando, a group of Jewish men chosen to carry out all horrific manual labor within the gas chambers. Immersive and devastating, Nemes' stunner is a powerful cinematic statement.
Iceland
"Rams" (Hrútar)
Dir. Grímur Hákonarson
Isa: New Europe Film Sales
U.S. Distribution: Cohen Media Group
A humorous look at brotherhood and pastoral life, this Un Certain Regard-winning dark comedy pays homage to the importance of sheep in the Icelandic cultural identity. When a disease wipes out the entire town’s flock, two estrange siblings, who haven’t spoken to each other in decades, are forced to collaborate in order to save their livelihood.
Ireland
"Viva"
Dir. Paddy Breathnach
Isa: Mongrel International
U.S. Distribution: Magnolia Pictures
Jesus, a young gay man in Havana, only finds relief from his daily struggles when he transforms into a drag performer in front of an eager audience, but when his macho father returns after decades away his dreams are jeopardized. This Irish production set in Cuba is a delightful work that thrives on authenticity and emotionally layered performances.
Read More:'Viva' Director Paddy Breathnach on Making an Irish Film in Cuba and Visceral Transformation
Jordan
"Theeb" (ذيب)
Dir. Naji Abu Nowar
Isa: Fortissimo Films
U.S. Distribution: Film Movement
Adapting the sensibilities of classic Westerns into a uniquely Middle Eastern setting, this period piece touches on the complicated relationship between the region and the colonial powers via the experiences of a young Bedouin boy who embarks on a mission across the desert. Top-notch filmmaking that twists conventions to depict a singular worldview.
Mexico
"600 Miles" (600 Millas)
Dir. Gabriel Ripstein
Isa: Ndm
U.S. Distribution: Pantelion Films
By focusing on two characters from opposite sides of the border, Gabriel Ripstein’s debut Starring Tim Roth delves into the U.S/Mexico conflictive, yet unavoidable codependency and share responsibility in the fight against organized crime. Guns are at the center of this realist tale in which everyone’s morality is tinged with shades of grey.
The Netherlands
"The Paradise Suite"
Dir. Joost van Ginkel
Isa: Media Luna New Films
U.S. Distribution: None Yet
In this profound multi-narrative film the tumultuous stories of characters from diverse latitudes collide in Amsterdam in unexpected and heartbreaking ways. An Eastern European girl dragged into prostitution, an African man desperate to stay afloat, a war criminal in disguise, a woman seeking revenge, and famous musician and his son struggling to connect, all, in their own way, looking fro redemption.
Norway
"The Wave" (Bølgen)
Dir. Roar Uthaug
Isa: TrustNordisk
U.S. Distribution: Magnolia Pictures
Besides its spectacular, Hollywood-worthy visual effects, what sets this Scandinavian disaster movie apart from less sophisticated American efforts is its interesting character development. While the chaos and destruction on screen is an exhilarating feast, the human aspect is never forgotten and it’s crucial to the Norwegian specificity of the plot.
Romania
"Aferim!"
Dir. Radu Jude
Isa: Beta Cinema
U.S. Distribution: Big World Pictures
Thematically fascinating and visually impeccable, this black-and-white historical adventure set in the early 19th century solidifies Romanian cinema as one of the most exciting and innovative currents in Europe. Radu Jude’s film centers on the mostly unknown history of Gypsy slavery and how this shaped Romanian society by using a tragicomic tone and timeless aesthetics.
Spain
"Flowers" (Loreak)
Dirs. Jon Garaño & Jose Mari Goenaga
Isa: Film Factory Entertainment
U.S. Distribution: Music Box Films
The country’s firs Basque-language entry is a soft-spoken drama that juxtaposes the grieving processes of three women after the tragic death of man that touched their lives directly and indirectly. Unpretentious in its concept, yet unexpectedly philosophical, the power of the narrative lies on the actresses that flourish and decay in varying degrees throughout the film.
Sweden
"A Pigeon Sat on a Branch Reflecting on Existence" (En duva satt på en gren och funderade på tillvaron)
Dir. Roy Andersson
Isa: Coproduction Office (Paris)
U.S. Distribution: Magnolia Pictures
As brilliant as anything Andersson has ever created, the final chapter in his trilogy about the absurdity of what it means to be human is one of the most unconventional cinematic experiences in recent memory. Without the constraints of la traditional plot, this nonlinear treasure uses clever vignettes to talk about death, humor, and the mundane things that define our existence.
Read More: 7 Reasons Why Roy Andersson's Latest Film is a Must-See Philosophical Wonder
Taiwan
"The Assassin" (聶隱娘)
Dir. Hsiao-hsien Hou
Isa: Wild Bunch
U.S. Distribution: Well Go USA Entertainment
Armed with breathtaking cinematography, lavish costumes and production design, and an ancient legend about betrayal and retribution, master Hsiao-hsien Hou obliterates our expectations and delivers a one-of-a-kind martial arts epic that’s more concerned with sensory transcendence than narrative clarity, but is no less of an enthralling experience because of it.
- 12/14/2015
- by Carlos Aguilar
- Sydney's Buzz
Jose here. I spoke to 600 Miles director Gabriel Ripstein minutes after an earthquake hit Mexico City on November 23rd and unexpectedly became the bearer of bad news when I asked him if his family was alright. Mr. Ripstein wasn’t aware there’d been an earthquake, but calmly added “no news is good news”. His serene demeanor reminded me of the tone of his film, a weapon-trafficking tale which could’ve easily become a sensationalist drama, but instead goes for an understated, thoughtful approach. The film stars Tim Roth as an American Atf agent who is kidnapped by a Mexican weapons smuggler played by Kristyan Ferrer (who audiences will know from Sin Nombre).
Ripstein allows his actors to revel in the humanity of these characters and delivers a film that goes beyond “odd couple” clichés, to comment on an issue that doesn’t get as much coverage as the war on drugs or terrorism.
Ripstein allows his actors to revel in the humanity of these characters and delivers a film that goes beyond “odd couple” clichés, to comment on an issue that doesn’t get as much coverage as the war on drugs or terrorism.
- 12/8/2015
- by Jose
- FilmExperience
Tim Roth (Pulp Fiction, Reservoir Dogs) has crossed the border to work in what is being hailed as the Mexican New Wave movement in film. First he starred in Michel Franco's Chronic, and next he'll be appearing in Gabriel Ripstein's (Pulling Strings) 600 Millas, a drama set against gun smuggling from the U.S. into Mexico. Watch the trailer.
- 12/1/2015
- by info@cinemovie.tv (Super User)
- CineMovie
Like many of the filmmakers who’ve made gangster movies, “600 Miles” writer-director Gabriel Ripstein admitted that he’s stolen from Martin Scorsese. In his case, he said at TheWrap’s Award Screening of his film, Mexico’s entry into the Oscar foreign-language race, it was a scene where baby-faced gangster Arnulfo (Kristyan Ferrer) tries out his tough image in a mirror. “Obviously, I stole it,” Ripstein told moderator Tim Appelo. “But in ‘Taxi Driver,’ it’s a scene of violence, and here it’s a moment of love, seduction – a young man coming to terms with his sexuality, which is really frowned upon.
- 11/25/2015
- by Tim Appelo
- The Wrap
Winning the Best First Feature Award at the Berlin International Film Festival is no small feat, and debutante Gabriel Ripstein achieved such distinction last February with "600 Miles," a singular take on the ambivalent relationship between Mexico and the United States. The film is Mexico's Official Oscar Entry in the Best Foreign Language Film category.
English-language talent is represented by British actor Tim Roth who stars as American Hank Harris, an Atf agent who crosses over kidnapped by Arnulfo Rubio (Kristyan Ferrer), a young man who smuggles weapons across the border. Regardless of their distinctively opposing worldviews, their destinies are intricately connected - just likes their respective homelands. Ferrer recently starred in films such as "Buen Dia, Ramon" and "The Empty Hours," both of which were released in the U.S.
Stateside distribution for "600 Miles" is being handled by Pantelion Films, the distribution and production company behind the most successful Spanish-language films ever released in the U.S. including Eugenio Derbez' "Instructions Not Included," "A La Mala," and the surprise animated hit "Un Gallo Con Muchos Huevos."
Pantelion "600 Miles" on December 4th on 50 screens across the U.S.
The official synopsis for the bi-national gripping thriller reads as follows: Arnulfo Rubio, a young gun trafficker between the United States and Mexico, is being followed by Atf agent Hank Harris. After a risky mistake by Harris, Rubio makes a desperate decision: he smuggles the agent into Mexico. And while these two apparent enemies slowly connect, they reach a dangerous place. And the only way out will be by trusting each other.
Check out the official poster for the film below:...
English-language talent is represented by British actor Tim Roth who stars as American Hank Harris, an Atf agent who crosses over kidnapped by Arnulfo Rubio (Kristyan Ferrer), a young man who smuggles weapons across the border. Regardless of their distinctively opposing worldviews, their destinies are intricately connected - just likes their respective homelands. Ferrer recently starred in films such as "Buen Dia, Ramon" and "The Empty Hours," both of which were released in the U.S.
Stateside distribution for "600 Miles" is being handled by Pantelion Films, the distribution and production company behind the most successful Spanish-language films ever released in the U.S. including Eugenio Derbez' "Instructions Not Included," "A La Mala," and the surprise animated hit "Un Gallo Con Muchos Huevos."
Pantelion "600 Miles" on December 4th on 50 screens across the U.S.
The official synopsis for the bi-national gripping thriller reads as follows: Arnulfo Rubio, a young gun trafficker between the United States and Mexico, is being followed by Atf agent Hank Harris. After a risky mistake by Harris, Rubio makes a desperate decision: he smuggles the agent into Mexico. And while these two apparent enemies slowly connect, they reach a dangerous place. And the only way out will be by trusting each other.
Check out the official poster for the film below:...
- 11/19/2015
- by Carlos Aguilar
- Sydney's Buzz
Icelandic feature Rams and Colombian rural drama Land and Shade take top prizes at Greek festival.Scroll down for full list of winners
Icelandic director Grimur Hakonarson’s Rams (Hrutar) has been named best film at the 56th Thessaloniki International Film Festival (Nov 6-15) winning the Golden Alexander.
It beat competition from 13 other first and second films screened in this year’s particularly strong international competition section.
The film, awarded the Un Certain Regard top prize earlier this year in Cannes, deals with two brothers, who haven’t spoken to each other for over 40 years though living in neighbouring farms in a remote valley in Iceland raising sheep.
World sales are handled by Polish outfit New Europe Film Sales. It will be released in Greece by Ama Films.
Following a long tradition of Latin American productions sweeping the Thessaloniki awards, features from Colombia, Argentina, Mexico and Venezuela shared the majority of the other official and side awards...
Icelandic director Grimur Hakonarson’s Rams (Hrutar) has been named best film at the 56th Thessaloniki International Film Festival (Nov 6-15) winning the Golden Alexander.
It beat competition from 13 other first and second films screened in this year’s particularly strong international competition section.
The film, awarded the Un Certain Regard top prize earlier this year in Cannes, deals with two brothers, who haven’t spoken to each other for over 40 years though living in neighbouring farms in a remote valley in Iceland raising sheep.
World sales are handled by Polish outfit New Europe Film Sales. It will be released in Greece by Ama Films.
Following a long tradition of Latin American productions sweeping the Thessaloniki awards, features from Colombia, Argentina, Mexico and Venezuela shared the majority of the other official and side awards...
- 11/16/2015
- by alexisgrivas@yahoo.com (Alexis Grivas)
- ScreenDaily
The 65th Thessaloniki International Film Festival (November 6-14) offers busy industry programme including works in progress and Crossroads co-production strand.The 56th Thessaloniki International Film Festival kicks off today with the Berlin prizewinner Victoria by Sebastian Schipper.
The festival closes Nov 14 with the Cannes awarded My Golden Days (Trois souvenirs de ma jeunesse) by Arnaud Desplechin, who receives an homage, enjoys a full retrospective of his films and will deliver a masterclass.
Also receiving homages are veteran Romanian director Mircea Daneliuc and Greek master cinematographer Nikos Kavoukidis, accompanied by tributes to the 70 years of Greek animation and to the recent Austrian cinema.The late Belgian director Chantal.Akerman is receiving a special homage with the presentation of her 2011 film Almayer’s Folly (La folie Almayer).
The competition program includes 15 first and second films (the full list is below). The five members of the international jury set to award the Golden, Silver and Bronze...
The festival closes Nov 14 with the Cannes awarded My Golden Days (Trois souvenirs de ma jeunesse) by Arnaud Desplechin, who receives an homage, enjoys a full retrospective of his films and will deliver a masterclass.
Also receiving homages are veteran Romanian director Mircea Daneliuc and Greek master cinematographer Nikos Kavoukidis, accompanied by tributes to the 70 years of Greek animation and to the recent Austrian cinema.The late Belgian director Chantal.Akerman is receiving a special homage with the presentation of her 2011 film Almayer’s Folly (La folie Almayer).
The competition program includes 15 first and second films (the full list is below). The five members of the international jury set to award the Golden, Silver and Bronze...
- 11/6/2015
- by alexisgrivas@yahoo.com (Alexis Grivas)
- ScreenDaily
Though there are many issues regarding the problematic process in deciding the roster of nominees for the annual onslaught known as the Academy Awards, the selecting of the nominations for Best Foreign Language film remains an easy target to critique. With specific guidelines regarding theatrical release to qualify and only one sole entry allowed for each ‘competing’ country, by the time a list of titles is announced for Academy voters, who’s to say every voter gets a chance to sample even half the selections? This year, 81 countries provided submissions (which is actually a lower number from the past two years, with 2014 holding the record of 83 entries), and much like other categories, titles arriving with a higher degree of critical buzz are likely to reach a broader range of voters.
This year’s offering includes an exciting range of titles, and at least twenty of these are worthy of the...
This year’s offering includes an exciting range of titles, and at least twenty of these are worthy of the...
- 11/2/2015
- by Nicholas Bell
- IONCINEMA.com
The festival will screen 146 films from 51 countries, and will honour Mohsen Makhmalbaf (pictured) with a five-film tribute.
Singapore International Film Festival (Nov 26 - Dec 6) has unveiled the full line-up for its 26th edition, comprising 146 films from 51 countries across 11 sections.
The festival will open with the international premiere of Cheng Yu-chieh and Lekal Sumi’s Panay and for the first time will do without a closing film.
The winner of the newly created audience choice award as well as the best film from the Silver Screen Awards will have repeat screenings on the last day of the festival instead.
‘We’re ending the festival in a different way, celebrating with two winning films,’ said Sgiff executive director Yuni Hadi, who splits the programming duties with festival director Zhang Wenjie.
A total of 10 Asian films will vye for the Silver Screen Awards. They are:
Black Hen, Min Bahadur BhamDirty Romance, Lee Sang-wooThe Fourth Direction, Gurvinder SinghHappy...
Singapore International Film Festival (Nov 26 - Dec 6) has unveiled the full line-up for its 26th edition, comprising 146 films from 51 countries across 11 sections.
The festival will open with the international premiere of Cheng Yu-chieh and Lekal Sumi’s Panay and for the first time will do without a closing film.
The winner of the newly created audience choice award as well as the best film from the Silver Screen Awards will have repeat screenings on the last day of the festival instead.
‘We’re ending the festival in a different way, celebrating with two winning films,’ said Sgiff executive director Yuni Hadi, who splits the programming duties with festival director Zhang Wenjie.
A total of 10 Asian films will vye for the Silver Screen Awards. They are:
Black Hen, Min Bahadur BhamDirty Romance, Lee Sang-wooThe Fourth Direction, Gurvinder SinghHappy...
- 10/20/2015
- ScreenDaily
Full line-up of the Stockholm film festival includes feature and documentary competition line-ups.Scroll down for full line-up
The Stockholm International Film Festival (Nov 11-22) has unveiled the line-up for its 26th edition, comprising more than 190 films from over 70 countries.
The Stockholm Xxvi Competition includes Marielle Heller’s Us title The Diary of a Teenage Girl and László Nemes’ Holocaust drama Son Of Saul.
It marks the first time Stockholm has a greater number of women than men competing for the Bronze Horse – the festival’s top prize.
The documentary competition includes Amy Berg’s An Open Secret, an investigation into accusations of teenagers being sexually abused within the film industry; and Cosima Spender’s Palio, centred on the annual horse race in Siena, Italy.
Announcing the programme, festival director Git Scheynius also revealed that Chinese artist Ai Weiwei will visit Stockholm for the first time as chairman of the jury for the first Stockholm Impact Award, which...
The Stockholm International Film Festival (Nov 11-22) has unveiled the line-up for its 26th edition, comprising more than 190 films from over 70 countries.
The Stockholm Xxvi Competition includes Marielle Heller’s Us title The Diary of a Teenage Girl and László Nemes’ Holocaust drama Son Of Saul.
It marks the first time Stockholm has a greater number of women than men competing for the Bronze Horse – the festival’s top prize.
The documentary competition includes Amy Berg’s An Open Secret, an investigation into accusations of teenagers being sexually abused within the film industry; and Cosima Spender’s Palio, centred on the annual horse race in Siena, Italy.
Announcing the programme, festival director Git Scheynius also revealed that Chinese artist Ai Weiwei will visit Stockholm for the first time as chairman of the jury for the first Stockholm Impact Award, which...
- 10/20/2015
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
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