Dirty War (2004 TV Movie)
The Argentinian-born royal visited the Jessehof homeless center in Delft, Netherlands, on Tuesday after losing her father, Jorge Horacio Zorreguieta, earlier this month. Zorreguieta died at the age 89 following a battle with non-Hodgkin’s lymphoma on August 8.
Maxima wore a pink and yellow patterned shirtdress with bold pink earrings for her day at the center, where she met with people at the center. Jessehof provides a safe space for the homeless and those dealing with social isolation.
Less than two weeks ago, Maxima — along with her husband,
“It’s our most ambitious film to date,” said Mantarraya’s Jaime Romandia, who describes it as a period piece and the first biopic in the company’s slate.
Azuela plays opposite Julio Bracho whose credits include TV series “El Capo” and Jorge Negrete’s biopic “Cantinflas,” as Dr. Atl, a painter and writer with whom Nahui had a tumultuous affair. Her real name was Carmen Mondragon but Dr. Atl gave her the moniker Nahui Olin, a symbol of Aztec renewal meaning “four movements.” At the peak of her career in the ‘20s and ‘30s, Nahui also posed as a model for the likes of Diego Rivera, Jean Charlot and Edward Weston.
Mantarraya is also prepping another pic with Tort, “Los
Breaking Glass is planning a limited theatrical opening, followed by a VOD and DVD release in the third quarter of 2017.
“A dark journey of the soul” which makes for an “atmosphere-driven, haunting feature debut,” according to Variety, “The Long Night of Francisco Sanctis” was acquired for world sales by Berlin-based Films Boutique, a company which has carved out a reputation for backing notable first movies such as Houda Benyamina’s 2016 Camera d’Or winner “Divines.”
“The Long Night” world-premiered at Buenos Aires’ Bafici Festival, where it won best film, then segued to an appearance in Cannes’ Un Certain Regard. It has gone on to play a number of festivals – including Busan, Jerusalem and Warsaw – before holding its U.S. premiere at the Hamptons Film Festival,
and Cinema Tropical announce
Neighboring Scenes: New Latin American CinemaJanuary 26–31: The Film Society of Lincoln Center announces the second annual Neighboring Scenes, a showcase of contemporary Latin American cinema, co-presented with Cinema Tropical
Exhibiting the breadth of styles, techniques, and approaches employed by Latin American filmmakers today, the festival highlights impressive recent productions from across the region. Featuring titles from Paraguay, Peru, and the Dominican Republic for the first time, as well as films from Argentina, Brazil, Chile, Colombia, and Mexico, Neighboring Scenes celebrates the expanding range of contemporary Latin American filmmaking in its second edition.
“This year, we are pleased to highlight several emerging filmmakers, with many fantastic debut and second films in a range of styles — from political thriller and bleak comedy to observational documentary,” said Film Society of Lincoln Center Programmer at Large Rachael Rakes. “Furthermore, half of the works
Bodega Films will release “Captain Koblic” in theaters across France in early 2017, said Guido Rud at Buenos Aires’ FilmSharks Intl, the movie’s sales agent.
Disney has picked up Latin American rights to the title. Pablo Bossi (“Francis: Pray For Me”), the producer of “Nine Queens,” one of Darin’s international breakthroughs, produces with Juan Pablo Buscarini, Jose Ibanez, Spain’s Atresmedia Cine and Viacom’s newly-bought Telefe, Argentina’s No. 1 broadcast network.
The deal roles off negotiations between Bodega and “Koblic” sales agent FilmSharks Intl. at this month’s Ventana Sur market.
Set during Argentina’s Dirty War, Darin plays a navy captain who,
Open to recent movies from Latin America, Spain and Portugal which open theatrically or snag major festival prizes, the Fenix certainly serve as significant recognition for “Neruda,” which faced off in the best picture category with titles such as Kleber Mendoca’s “Aquarius,” a Cannes competition player, and Pablo Trapero’s “The Clan,” which won Trapero best director at Venice.
The plaudit will also serve notice to “Neruda’s” distributors. “Neruda,” which won four Fenix Awards in all, has sold nearly around the world but still has to open in most territories, said its sales agent,
Confirmed in the run-up to Ventana Sur, and presented a few weeks back behind closed doors at Los Cabos, the line-up is bulking, heterogenous, and ambitious. It also represents the latest projects from one of the few companies in Argentina capable of making films which gross seven-figure box office outside Argentina.
Slate takes in Lucia Puenzo’s French-language debut “Bluebeard,” brothers Esteban and Nicolas Puenzo’s feature debuts, two movie projects from Luis Puenzo – one a animated-live action feature, another a historical epic – and two potentially notable TV drama series.
However ranging, the slate
FilmSharks has licensed territories on 1970s-set Ricardo Darin thriller Captain Koblic following its recent international premiere in Busan.
Rights have gone in the Us (Somos Distribution), Japan (Only Hearts), Australia and New Zealand (Bonsai), Colombia (Cinecolor) and Turkey (Filmarti).
The Buenos Aires-based sales agent is in advanced talks here with buyers for France, Italy and Germany.
Captain Koblic (formerly Koblic) previously sold to Disney for Latin America, Paris Filmes for Brazil, Dea Planeta for Spain and Seven Films for Greece.
Sebastian Borensztein directed the film about a Navy officer during Argentina’s ‘Dirty War’ who refuses to take part in death flights and flees to a coastal city.
There he encounters a thuggish police chief played by Coppa Colpi winner Oscar Martinez.
The misguided lead in question, Ines (Carla Crespo), appearing to be in the third trimester of her pregnancy, a point where, obviously, lineage becomes a greater pressure on the mind. This isn’t helped by her strained relationship with her mother, Tessa (Rosario Bléfari); the telephone exchange that opens Idea of a Lake includes the classic parental line about
Distributed in Italy by Look Now!, “Lake” is freely inspired by “Pozo de aire,” a book of poems and photos by Guadalupe Gaona –also the film’s stills photographer. But there’s a sense of semi-autobiography about it as well. It begins with Ines, an Argentine photographer in her thirties who is pregnant, setting out to publish a book dedicated to the memory of her father. She has only one photo, of a
Opening Uruguay’s new Punta del Este Convention Center, the 2016 Platinos will go down as serving further and perhaps final kudos recognition for a title which also won the top prize at Cannes’ 2015 Directors’ Fortnight and the Sloan Award at this year’s Sundance Fest, consolidating Guerra’s reputation as one of the most exciting and original talents working out of Latin America today, after two features which garnered acclaim at Cannes (“Wandering Shadows,” “The Wind Journeys”), but hardly the international resonance of “Embrace of the Serpent.”
Though the awards had no clear favourite, “Embrace of the Serpent,” with “Ixcanul,” had scored the most nominations
Axel Kuschevatzky announced the deal to Variety at Punta del Este, the Uruguayan resort where Darin will receive a Lifetime Achievement Award at Sunday night’s 3rd Platino Ibero-American Awards ceremony.
Marking the second feature from Argentina’s Martin Hodara, who teamed with Darin to co-direct 2007’s “La señal,” “Black Snow” is produced by Spanish outfits A Contracorriente Films, Bowfinger International Pictures and Gloriamundi Producciones. Argentina’s Pampa Films and Tieless Media co-produce. Guido Rud’s FilmSharks Intl. handles world sales.
The announcement of the involvement of Telefe, Argentina’s top free-to-air broadcast network, and Telefonica Studios, the production arm of telco giant Telefonica, come as FilmSharks revealed further sales at Punta del Este on another Darin title, Sebastián Borensztein’s “Koblic.”
Opening in Spain (via DeAPlaneta), Argentina and Uruguay
From the get-go, Estrada Mora’s life and cinema knew few borders. He was born in Colombia, in the Antioquia highlands, educated at Washington and Lee University in Virginia – going on to serve on its board until 2012 — worked in the oil business for Geosource in Peru, Bolivia, Ecuador and Kenya, and settled in Argentina.
It was from Argentina, that he launched an effective second career as a film producer, emerging from the get-go as one of its internationally most ambitious producers.
Among early productions, all set up at Buenos Aires’ Jempsa — which he founded in 1987 — 1987’s “Under the Earth,” from Beda Docampo Feijoo, was set in Poland; 1988’s “Southbound,” from Juan Bautista Stagnaro, shot in Yugoslavia; “The Loves of Kafka,” also Docampo’s, in
The generation that broke through 10 to 15 years ago is now almost all over 40, says Argentine producer Hernan Musaluppi. The subject matter those filmmakers choose reflects a mature, well-rounded world view that includes political and social opinions, he adds.
These films question the limits of real democratic change after the end of the continent’s dictatorships in the 1980s, or seek to deliver a more nuanced and ethically accurate portrayal of countries’ immediate past or abuse-sodden present.
In Pablo Trapero’s 1980s-set “The Clan,” playing in Venice and Toronto,
Now at a final draft screenplay, “Ex” is being moved at Toronto by Forastero partner Florencia Larrea and its new executive produce, Lucas Engel.
A dramatic comedy, per Sandoval, “Ex” will star Argentine Antonella Costa, who broke through as a Dirty War torture victim in Marco Bellis’ “Olympus Garage,” and starred in Eduardo Mignona’s “The Wind” and Alejandro Chomski’s “Today and Tomorrow.”
Costa plays Marcela, a 35-year-old Argentine singer who was a sex-fiend until 30, then falls in love and, when dumped, become frigid and loses her voice. Finally, she meets Chilean Carlos, who turns her on, and pursues him to Chile, thinking he’s her last chance with a man.
Now in its fourth edition, the Forum is a fest fixture. Indeed, running parallel to San Sebastian’s Films in Progress over Sept. 21-23, it forms San Sebastian’s industry backbone, attracting a large third-party presence. A Focus on Canada, for instance, will run alongside the Forum, facilitating contacts between the Latin American, Spanish and Canadian producers in San Sebastian.
Three factors mark something of a departure at the Forum, however. As San Sebastian drives to shore up its world premiere credentials, it is insisting evermore that Forum projects are first looks: 11 of the
Like “Secret,” “11,247” explores what its director, Gabriel Mamruth, calls “the collateral damage” of Argentina’s Dirty War, waged by its Junta dictatorship, with a character setting out to discover the truth behind an life-changing event: Here, the discovery by a Spain-based Interpol agent, that his father, who supposedly disappeared during the dictatorship, is still alive, living under a false identity in Paris.
But when Lucas finally confronts his father, the truth is not as black-and-white as he may have expected, Mamruth explained at Small is Biutiful, a key Spanish film project forum that, part of the Paris Spanish film festival Different 8!, took place Friday in Paris.
Rodolfo de Souza (“Cartagena”) will play Lucas’ father.
Organized by Espagnolas en Paris and the Ile de France Film Commission, and backed by Cannes’ Marché du Film – a powerful combo – Small is Biutiful forms part of Different! The Other Spanish Cinema, firmly established as the major Spanish film fest/industry event in Paris. Now in its eighth edition, it serves as a significant industry corridor between edgier indie projects in Spain and France’s art-house/crossover industry, by far the largest in Europe.
Different8! kicks off June 12 with Rendez-vous a l’Opera!, a Spanish film sales event attended this year by a record 44 French distribution execs, plus the sales agents – Film Factory,
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