La casa muda (2010)
The Fox distribution deal was struck by FilmSharks Intl. which has acquired international territory sales rights to “You Shall Not Sleep” and will introduce it to buyers at the Toronto Festival. Variety has had first access to an international trailer and initial teaser artwork.
One of the most awaited of Latin American horror movies since Hernandez and his producing partner Ignacio Garcia Cucucovich first announced it to Variety at 2015’s Ventana Sur, “You Shall Not Sleep” is produced by Bossi, whose credits include Ricardo Darin’s “Chinese Takeaway” and “Black Snow,” Maria Luisa Gutierrez, producer of Santiago Segura’s “Torrente” saga, Argentina’s Juan Pablo Buscarini (“Gamemaker 3D) and Cucucovich (“Casa Muda”), Hernandez
Based out of Madrid, it looks set, at least in a first-phase, to work a Latin America-Spain-Europe access, producing high-end film and TV from a broad range of more accessible but still artistically-ambitious Spanish-language auteurs.
Tandem Films’ first-slate projects include “Insomnes,” from Gustavo Hernandez (“The Silent House), starring Belen Rueda (“The Orphanage”), and “La Elvira,” a sweeping period adventure from Norberto Lopez Amado (“Sara’s Notebook”).
Further directors with projects in development include Iciar Bollain (“The Olive Tree,” “Even the Rain”), Juan Pablo Buscarini (“Perez”) and Mariela Seresesky (“The Open Door”).
Spain’s new subsidy regulations “means that it’s important to have a certain financial muscle,
Set up at Montevideo’s Mother Superior Films, where Hernandez partners with Ignacio Cucucovich, who will produce, “Persomnia” could also mark Hernandez’s English-language debut, Hernandez said Tuesday at Ventana Sur.
Shot as one continuous take and the subject of a U.S. remake starring Elizabeth Olsen and directed by “Open Water’s” Chris Kentis and Lara Lau, “La casa muda” was shot in an isolated countryside house. “Local God,” Hernandez’s second film, seen at September’s Austin Fantastic Festival, unspools in a cave where a demonic force unleashes a rockband members’ worst nightmares.
Written by Juma Fodde Roma (“Splendorous Garden of the Heart”), “Persomnia” continues Hernandez’s hallmark claustrophobia: A young actress joins a radical theater troupe,
Peruvian director Dorian Fernández-Moris told the audience in a session moderated by Screen International Us editor Jeremy Kay how the counterfeiters wasted no time going after his first film Cementario General.
“My movie opened and next day they were selling my movie at the traffic lights for $2,” said Fernández-Moris. “I wanted to kick them but I understand this is part of a huge machine.”
What happened next was even more eye-opening. The filmmaker explained how the people who distributed pirate copies formed Fencopac, an association that acquired home distribution rights to Peruvian films.
Fencopac sells legal DVDs and Blu-ray discs at around $4 and returns $1 from each sale to the producers.
“We don’t have piracy any more. I received $35,000 for Cemetary 2 and a similar amount for another film. Now
Paris-based sales company Elle Driver has taken on world sales of Palestinian filmmakers Tarzan and Arab’s black comedy Dégradé capturing life on the Gaza Strip.
The film joins a strong Efm slate, which also includes Golden Bear contenders Nobody Wants the Night and Diary of a Chambermaid as well as Emmanuelle Bercot’s Standing Tall.
Twin brothers Tarzan and Arab’s short film Condom Lead, revolving around the complications of making love in a conflict zone, premiered at Cannes in 2013.
Their debut feature is set against the backdrop of the real-life liberation of a stolen lioness from the compound of the Hassanein family, one of Gaza’s most powerful clans.
“We’ll be showing first images of the film which is based on true events in Gaza in 2007,” said Elle Driver co-chief Adeline Fontan Tessaur, ahead of the European Film Market (Feb 5-13).
The film focuses
News of “Albatros” comes as Hernandez attends Ventana Sur to promote Juma Fodde Roma’s witchhunt tale “Ice for the Eagles,” part of its Beyond the Window fantastic film project showcase.
Set up at Montevideo’s Mother Superior, where Hernandez partners with Ignacio Cucucovich, “Albatros” is written by Fodde Roma. Cucucovich produces. Story centers on Iris, a young paraplegic who struggles to survive in a near-future world ravaged by a pandemic of irrational violence. On her journey, she zealously looks for her little niece, while constantly avoiding the savages that roam this decaying earth, lurking on the roads that lead to the top of the mountain, which holds the only hope of salvation.
Notably, Latin America’s modern genre build is an almost entirely 21st century phenomenon. None of the 21 directors featured at Blood Window in either its six-title Work in Progress or much larger Beyond the Window helmed a feature before 2000.
“There’s always been a sensation, not only in Argentina but also over Latin America, that genre couldn’t really belong to us: It was the almost exclusive preserve of Americans,” said Incaa’s Javier Fernandez, Blood Window organizer.
“Just a few years back,
40 years before, in 1960, lighter cameras enabled a cinéma vérité-flavored revolution in street realism. By 2000, new digital cameras suggested a whole new set of promises, including telling stories that would have been unimaginable within minimum budgets for features even ten years before. In 2000, film purists warned that digital still didn’t look as good as celluloid, but that didn’t stop at least three innovative filmmakers from boldly going where no filmmaker had gone before. Mike Figgis’ Timecode (2000) was the first star-supported (Salma Hayek, Stellan Skarsgard, Holly Hunter, among many others) single-shot project since Rope, underlining that earlier film’s timelessness. If Run Lola Run could do one story three times, then Timecode would do three or four stories one time: the movie is four separate ninety-minute shots shown all at the same time, each in one quadrant of the screen. Where do you look?
The real-time film has long been a sub-genre without much critical attention, but the time of the real-time film has come. Cuarón’s Gravity (2013), which was shot and edited so as to seem like a real-time film, floated away with the most 2014 Oscars,
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The Fantastic Market | Mercado Fantastico runs September 18-20 in Austin, Texas. Fantastic Fest lead programmer Rodney Perkins and festival director Kristen Bell are heading up the effort. For more info on all of the below projects, visit FantasticFest.com/Projects.
Canana - the Mexican production outlet helmed by Gael Garcia Bernal, Diego Luna, and Pablo Cruz - is co-producing the market alongside filmmaker Robert Rodriguez's El Rey Network. Cristina Garza, Vice President of Mundial, Canana's sales joint venture with Im Global, is sourcing projects from the region.
"The public response to this year's call for submissions was astounding," says market director Perkins. "The 15 selected projects represent a diverse mix of talent from the United States and abroad. We are extremely
Now the initial lineup for the 2014 festival has been announced and as always it looks very promising.
From the Press Release
Fantastic Fest Celebrates 10 Years Of Chaos And Destruction With Us Premiere Of Kevin Smith’S “Tusk”, Leonard Maltin, The Meltdown With Jonah And Kumail And “ABCs Of Death 2
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