The story of Diego, a young and successful photographer that lives in the glamorous world of fashion, shallowness and excess. A tragic accident turns his world around; his partner is now in...
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The Zero Hour is a gritty, fast-paced heist film. Set in Caracas during the 24 hours of a controversial medical strike, the film tells the story of Parca (The Reaper) a feared hit man that ... See full summary »
Szabolcs quits football against his father's will and returns to his country in Hungary to take charge of an inheritance from his grandfather. There, he meets Aron and they both explore their identities.
Andres (Jean Pierre Agostini) is a fan of Los Leones del Caracas one of the main baseball teams of Venezuela. Julissa (Juliette Pardau) is a fan of Los Navegantes del Magallanes, the rival ... See full summary »
Luis Carlos Hueck
Jean Pierre Agostini De Risi,
Miguel Ángel Landa
Armando, a 50 year man, seeks young men in Caracas and pays them just for company. One day he meets Elder, a 17 years boy that is the leader of a criminal gang, and that meeting changes their lives forever.
Dulce is a mother of two who experiences terrifying encounters with apparitions inside her old house, a place where a tragedy occurs. Thirty years later, an elderly Dulce returns home to decipher the mystery that has tormented her for so long.
Miguel Angel Pacheco,
The story of Diego, a young and successful photographer that lives in the glamorous world of fashion, shallowness and excess. A tragic accident turns his world around; his partner is now in a coma. Unexpectedly, and right at this terrible time, Diego must take care of his son, Armando. Now, both of them have to adapt to each other; Armando to the unknown, homosexual world of his father, and Diego to the closed attitude of his teenage son.Written by
As a Venezuelan-Spanish co-production, Michael Ferrari breaks the stereotypes that have been used in the Venezuelan film, drives an impeccable appearance and a photograph of the hand of Alexandra Henao, fascinates viewers. Plans and camera movements in international cinema quality, enrich this film production which further supported his scenes with the cool colors and characterized.
In his debut, Azul y no tan Rosa, Ferrari presents a thesis which is certainly quite complex: intolerance for sexual diversity is a topic which is naturally difficult to address and that the director handled the film with a very positive simplicity, however the story tries to cover multiple frames as domestic violence, lack of communication between parents and children, gender change and low self-esteem, which, although they are strongly linked to the central idea, causes a slight imbalance in the argument.
It is almost impossible for the extraordinary soundtrack of this film go unnoticed. Composed by the brilliant Spanish pianist Sergio de la Puente, music composition gives it strength and character to the story hard to describe. The rhythm, melody and harmony beautify the scenes, muting, at times, the dialogue in a timely manner. No doubt invaluable added intensity.
Despite the mistakes that can be glimpsed in the film, Azul y no tan Rosa becomes literally eye drops for Venezuelan film. Definitely a work in which Miguel Ferrari adorns his directorial debut.
For Venezuela, a discussion of the Venezuelan cinema today is painful and inconsequential. To summarize, with this film, which tries to cover a little of this reality so degrading.
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