Netflix has ordered the drama “Ransom Canyon” to series, with Josh Duhamel and Minka Kelly set to star.
Netflix has given “Ransom Canyon” a 10-episode order. The series is described as a romance-fueled family drama and contemporary Western. The official logline states that the show “charts the intersecting lives of three ranching families, all set against the rugged expanse of Texas Hill Country.”
Duhamel will star as Staten Kirkland, described as the owner and sole occupant of the sprawling Double K Ranch. He is further described as “Steadfast and stoic, Staten leads the charge to resist outside forces threatening his way of life and the land that he loves.”
Kelly will play Quinn. It is said that the character “has often found herself in the shadow of others, but after a stint in New York pursuing her career as a concert pianist, she has returned to Ransom Canyon to carve...
Netflix has given “Ransom Canyon” a 10-episode order. The series is described as a romance-fueled family drama and contemporary Western. The official logline states that the show “charts the intersecting lives of three ranching families, all set against the rugged expanse of Texas Hill Country.”
Duhamel will star as Staten Kirkland, described as the owner and sole occupant of the sprawling Double K Ranch. He is further described as “Steadfast and stoic, Staten leads the charge to resist outside forces threatening his way of life and the land that he loves.”
Kelly will play Quinn. It is said that the character “has often found herself in the shadow of others, but after a stint in New York pursuing her career as a concert pianist, she has returned to Ransom Canyon to carve...
- 12/5/2023
- by Joe Otterson
- Variety Film + TV
Company will have production, US distribution, acquisition, international sales components.
Entertainment industry veterans Bob Yari and Marvin Peart have launched film and television production and distribution company WonderHill Studios.
The co-founders and co-ceo’s – who launched 101 Studios together – will focus on production, US distribution, acquisitions, and international sales, with an emphasis on diversity.
Project announcements and executive hires are expected to follow in coming weeks and months.
“WonderHill Studios is eager to fill a crucial hole within the theatrical and television space, while also focusing on diversity in cinema and television in front and behind the camera,” said Yari.
Entertainment industry veterans Bob Yari and Marvin Peart have launched film and television production and distribution company WonderHill Studios.
The co-founders and co-ceo’s – who launched 101 Studios together – will focus on production, US distribution, acquisitions, and international sales, with an emphasis on diversity.
Project announcements and executive hires are expected to follow in coming weeks and months.
“WonderHill Studios is eager to fill a crucial hole within the theatrical and television space, while also focusing on diversity in cinema and television in front and behind the camera,” said Yari.
- 3/29/2023
- by Jeremy Kay
- ScreenDaily
Veteran film financiers and producers Bob Yari and Marvin Peart have partnered to launch WonderHill Studios as co-founders and co-CEOs.
With an announcement timed for the Cannes Film Festival, the film and TV production and distribution company will seek out a lane in the indie theatrical space by producing film and TV content and pursuing domestic film distribution, acquisitions and foreign sales.
“WonderHill Studios is eager to fill a crucial hole within the theatrical and television space, while also focusing on diversity in cinema and television in front and behind the camera. We are dedicated to building a diverse C-suite, and delivering quality independent films to the theatrical marketplace,” said Yari in a statement on Wednesday.
Yari earned a best picture Oscar in 2006 for Crash, but soon afterwards got bogged down in legal woes amidst battles with creditors and litigation with industry creatives. His other film credits include The Illusionist,...
With an announcement timed for the Cannes Film Festival, the film and TV production and distribution company will seek out a lane in the indie theatrical space by producing film and TV content and pursuing domestic film distribution, acquisitions and foreign sales.
“WonderHill Studios is eager to fill a crucial hole within the theatrical and television space, while also focusing on diversity in cinema and television in front and behind the camera. We are dedicated to building a diverse C-suite, and delivering quality independent films to the theatrical marketplace,” said Yari in a statement on Wednesday.
Yari earned a best picture Oscar in 2006 for Crash, but soon afterwards got bogged down in legal woes amidst battles with creditors and litigation with industry creatives. His other film credits include The Illusionist,...
- 3/29/2023
- by Etan Vlessing
- The Hollywood Reporter - Movie News
Bob Yari and Marvin Peart have today announced the launch of WonderHill Studios, a new production and distribution company that will operate in the independent space, focusing on film and television production, domestic film distribution, acquisitions and foreign sales.
Related Story ‘Shadow Of The Vampire’ Duo Launch TV & Film Shingle Related Story Weinstein Company Buyer Lantern Capital Facing December Trial In Battle With 'War With Grandpa' Producer Marvin Peart Over Assets' Purchase – Update Related Story How Marvin Peart Rescued 'The War With Grandpa'; Producer Already Hatching Sequel
The pair of veteran producers and media executives will run WonderHill as Co-Founders and Co-CEOs, prioritizing the development of a versatile slate and the theatrical route for features, as they look to bolster diversity both in media and in the C-suite.
Collectively producing a diversified collection of over 50 films and TV series to date, Yari and Peart are co-founders...
Related Story ‘Shadow Of The Vampire’ Duo Launch TV & Film Shingle Related Story Weinstein Company Buyer Lantern Capital Facing December Trial In Battle With 'War With Grandpa' Producer Marvin Peart Over Assets' Purchase – Update Related Story How Marvin Peart Rescued 'The War With Grandpa'; Producer Already Hatching Sequel
The pair of veteran producers and media executives will run WonderHill as Co-Founders and Co-CEOs, prioritizing the development of a versatile slate and the theatrical route for features, as they look to bolster diversity both in media and in the C-suite.
Collectively producing a diversified collection of over 50 films and TV series to date, Yari and Peart are co-founders...
- 3/29/2023
- by Matt Grobar
- Deadline Film + TV
Coming to Riverdale in Season 2: A bad-boy ex, a bisexual Serpent and… possibly Sabrina the Teenage Witch?
The cast and producers of the CW drama dropped a lot of scoop during the show’s San Diego Comic-Con panel on Saturday. Here’s the latest on “Bughead’s” upcoming challenges, the “sexiest” scene ever, an even meaner Cheryl Blossom and much more:
* A new trailer for Season 2 gave fans a glimpse of Archie’s anger and fear following Fred’s diner shooting, with Pop ominously calling the shooter “the Angel of Death” — and a devilish Cheryl taunting her mom Penelope,...
The cast and producers of the CW drama dropped a lot of scoop during the show’s San Diego Comic-Con panel on Saturday. Here’s the latest on “Bughead’s” upcoming challenges, the “sexiest” scene ever, an even meaner Cheryl Blossom and much more:
* A new trailer for Season 2 gave fans a glimpse of Archie’s anger and fear following Fred’s diner shooting, with Pop ominously calling the shooter “the Angel of Death” — and a devilish Cheryl taunting her mom Penelope,...
- 7/22/2017
- TVLine.com
Our resident VOD expert tells you what's new to rent and/or own this week via various Digital HD providers such as cable Movies On Demand, Amazon, iTunes, Vudu, Google Play and, of course, Netflix. Cable Movies On Demand: Same-day-as-disc releases, older titles and pretheatrical Nerve (action-thriller; Emma Roberts, Dave Franco; rated PG-13) Lights Out (supernatural horror; Teresa Palmer, Gabriel Bateman, Billy Burke, Mario Bello; rated PG-13) Captain Fantastic (drama-comedy; Viggo Mortensen, Frank Langella; rated R) Papa: Hemingway in Cuba (drama; Giovanni Ribisi, Joely Richardson, Adrian Sparks; rated R) Digital HD: Rent from $4-$7 or own from $13-$20 (HD may cost more than Sd) Vudu Finding Dory (animated sequel to...
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- 10/25/2016
- by Robert B. DeSalvo
- Movies.com
Shooting a feature film in Cuba comes with a unique set of challenges that make the usual logistical hurdles of filmmaking seem like nothing. Still, those who have had the opportunity to shoot in the socialist country say they wouldn’t trade the experience for anything. As the U.S. trade embargo with Cuba comes to an end, film production in the country is expected to ramp up.
While Hollywood studio productions like “Fast 8” and “Transformers: The Last Knight” claimed to be “making history” earlier this year by being the first American films to shoot in Havana in half a century, two American directors had already shot independent films in Cuba on the heels of the relaxed travel restrictions by the United States government: Bob Yari’s “Papa Hemingway in Cuba” and Ben Chace’s “Sin Alas” (“Without Wings”).
Read More: ‘Sin Alas’ – First American Film Shot in Cuba...
While Hollywood studio productions like “Fast 8” and “Transformers: The Last Knight” claimed to be “making history” earlier this year by being the first American films to shoot in Havana in half a century, two American directors had already shot independent films in Cuba on the heels of the relaxed travel restrictions by the United States government: Bob Yari’s “Papa Hemingway in Cuba” and Ben Chace’s “Sin Alas” (“Without Wings”).
Read More: ‘Sin Alas’ – First American Film Shot in Cuba...
- 6/23/2016
- by Graham Winfrey
- Indiewire
Black Panther coming for your ticket moneyWhile Captain America v. Iron Man didn't prove to be that much hotter a ringside ticket than Batman v. Superman did in its opening weekend (there's just a 15 million difference or so), the gap will surely widen. The movie's general quality will help it outlive and outperform that earlier embarrassment. One thing the two films do have in common is that the audience excitement appears to be primarily wrapped up in the new characters (Wonder Woman then & Spider-Man/Black Panther now) as opposed to the familiar faces. In related news, Bunny v Fox aka Zootopia overtook Batman v Superman this weekend to become the second highest grossing film of the year thus far.
But real question: who on earth was going to Batman v Superman This weekend of all weekends (it earned another million) with Iron Man vs. Captain America available to them?
Top...
But real question: who on earth was going to Batman v Superman This weekend of all weekends (it earned another million) with Iron Man vs. Captain America available to them?
Top...
- 5/8/2016
- by NATHANIEL R
- FilmExperience
Chicago – Getting the opportunity to trod upon the very ground that Ernest Hemingway once trod must have been a heady experience for the producers of “Papa Hemingway in Cuba.” But location simply isn’t enough if such a literary legend is to come to life.
Rating: 2.0/5.0
The film was directed by noted producer Bob Yari, his second effort, but it smacked of something that had problems all along the way, including sound design and story structure. Yes, the production got permission to film at the actual sites of Hemingway’s haunts in Cuba – his house, for example, had been lovingly preserved by the government there – but unfortunately that seemed like enough for the film. There was absolutely no life to the story, and there were several bad casting choices…including Papa Hemingway…and the film lands with a thud rather than a heralding for the man, image and essence of the legendary writer.
Rating: 2.0/5.0
The film was directed by noted producer Bob Yari, his second effort, but it smacked of something that had problems all along the way, including sound design and story structure. Yes, the production got permission to film at the actual sites of Hemingway’s haunts in Cuba – his house, for example, had been lovingly preserved by the government there – but unfortunately that seemed like enough for the film. There was absolutely no life to the story, and there were several bad casting choices…including Papa Hemingway…and the film lands with a thud rather than a heralding for the man, image and essence of the legendary writer.
- 5/3/2016
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
This week’s episode of our podcast We Are Movie Geeks The Show is up! Hear Wamg’s Michelle McCue, Jim Batts and Tom Stockman discuss the weekend box office. We’ll review Green Room, Keanu, Mother’S Day, and Papa Hemingway In Cuba. Also, Melissa Thompson will call in from L.A. and talk about her visit to the new ‘Wizarding World of Harry Potter‘ Theme park at Universal Studios and getting to see the original Delorean car from Back To The Future.
Here’s this week’s show. Have a listen:
http://www.wearemoviegeeks.com/wp-content/uploads/Wamg-5-2-54.mp3
The post This Week’s Wamg Podcast – Green Room, Keanu, Mother’S Day, and More! appeared first on We Are Movie Geeks.
Here’s this week’s show. Have a listen:
http://www.wearemoviegeeks.com/wp-content/uploads/Wamg-5-2-54.mp3
The post This Week’s Wamg Podcast – Green Room, Keanu, Mother’S Day, and More! appeared first on We Are Movie Geeks.
- 5/2/2016
- by Movie Geeks
- WeAreMovieGeeks.com
The first Hollywood film to be shot in Cuba since Castro isn’t close but no cigar – the Ernest Hemingway biopic is an oceangoing embarrassment
Papa: Hemingway in Cuba holds the distinction of being the first Hollywood production to shoot on the island nation since 1959. But other film-makers looking to leave their mark need not fret, as there’s still an opportunity to make the first American film shot there since Fidel Castro came to power that isn’t a complete, mortifying embarrassment.
Papa is another biopic-through-the-lens of a young acolyte, similar to the recent debacle Nina, though this time its screenplay was written by the witness himself. Giovanni Ribisi is Ed Myers (name changed from the late Denne Bart Petitclerc), a newspaperman in Miami in the late 1950s. Abandoned by his father at a young age, as we’re told through lugubrious narration, he turned to the books of...
Papa: Hemingway in Cuba holds the distinction of being the first Hollywood production to shoot on the island nation since 1959. But other film-makers looking to leave their mark need not fret, as there’s still an opportunity to make the first American film shot there since Fidel Castro came to power that isn’t a complete, mortifying embarrassment.
Papa is another biopic-through-the-lens of a young acolyte, similar to the recent debacle Nina, though this time its screenplay was written by the witness himself. Giovanni Ribisi is Ed Myers (name changed from the late Denne Bart Petitclerc), a newspaperman in Miami in the late 1950s. Abandoned by his father at a young age, as we’re told through lugubrious narration, he turned to the books of...
- 4/27/2016
- by Jordan Hoffman
- The Guardian - Film News
The trade embargo between Cuba and the United States, imposed in 1960, has long prevented American films from being produced on the island, so it’s very fitting that the first Hollywood project to shoot there in more than 50 years is a story that is not only very Cuban, but also very American. Based on the experiences of journalist Denne Bart Petitclerc, who wrote the screenplay before his death in 2006, Papa Hemingway In Cuba explores the author’s friendship with an ambitious young writer during his final years, as he struggled with depression and alcoholism.
The film opens in 1956, as Miami Globe reporter Eddie Myers (Giovanni Ribisi) tries to craft a letter to his lifelong idol. Each attempt gets pitched into the wastebasket, but Eddie’s curious co-worker and girlfriend Debbie (Minka Kelly) fishes one out to see what has him so troubled. She’s so moved by the message that...
The film opens in 1956, as Miami Globe reporter Eddie Myers (Giovanni Ribisi) tries to craft a letter to his lifelong idol. Each attempt gets pitched into the wastebasket, but Eddie’s curious co-worker and girlfriend Debbie (Minka Kelly) fishes one out to see what has him so troubled. She’s so moved by the message that...
- 4/20/2016
- by Brent Hankins
- We Got This Covered
Expanding its Grand Theft Auto travel dreams, the Fast and Furious franchise has set its sights on a new, long-banned destination: Cuba. THR reports that Furious 8 is looking to film parts of the sequel in Cuba, making it the first major movie to shoot in the previously restricted island since President Obama lifted its decades-old embargo last year. Director F. Gary Gray has reportedly already traveled to Cuba for professional research, and Universal says it's in the process of getting approval from both the U.S. and Cuban governments to film there.On Wednesday, Showtime announced that House of Lies would become the first American scripted show to film in Cuba, with plans to film its fifth-season finale in Havana. Last March, Conan O'Brien became the first late-night host to film in Cuba since the embargo was set in the '60s, while Bob Yari's indie Hemingway biopic...
- 1/7/2016
- by Dee Lockett
- Vulture
Palm Springs International Film Fest Announces Premieres, New Voices/New Visions, and Modern Masters
The 27th annual Palm Springs International Film Festival (Psiff) has announced its line-up of Premieres, New Voices/New Visions competition and Modern Masters. Films from 60 countries, including 54 premieres (7 World, 17 North American and 30 U.S.), will unspool at the Festival, running from January 1-11, 2016 in Palm Springs, California.
“The line-up this year, while full of unexpected surprises, vividly reflects what is going on in the world around us,” said Festival Director Darryl Macdonald. “There’s a particular focus on stories about displaced people – immigrants, emigrants, refugees, those seeking asylum or shelter. There’s a concurrent trend toward stories revolving around new beginnings and escaping the shackles of the past, whether sexual, cultural, societal or self-imposed. Balancing all of these is a focus on family and romance, along with films involving a healthy dose of magic realism or absurdist comedy, and a plethora of exceptional films dealing with the usual obsessions – music, food, sex and art. All in all, it’s about as well-rounded, as thoughtfully chosen, and as provocative as it’s possible for a smartly curated lineup of new international cinema to be.”
“I am thrilled at the breadth and depth of this year’s program,” said Festival Artistic Director Helen du Toit. “While Modern Masters showcases such widely acclaimed filmmakers as as Apichatpong Weerasethakul, Barbara Kopple and Terence Davies, our New Voices/New Visions program is evidence that new masters are emerging around the world. The range of approaches is extraordinary. Highlights include Raam Reddy's 'Thithi' (India), which skillfully juggles myriad characters in a delightful low key comedy; Yorgos Zois’ 'Interruption' (Greece), which challenges the audience with a complex and highly compelling narrative; and Maris Curran's 'Five Nights in Maine' (USA), featuring David Oyelowo's nuanced and heartbreaking performance as a widower reconnecting with his estranged mother-in-law.”
Showcasing the diversity of international cinema, Festival premieres will include:
World premieres: "50 Days in the Desert" (Luxembourg) directed by Fabrizio Maltese, "Agnes" (Germany/Belgium), the documentary "Broadway: Beyond the Golden Age" (Us) featuring Alec Baldwin, Carol Channing, Dick Van Dyke, Jane Fonda and Robert Redford, "The Carer" (Hungary/UK), "Going Going Gone" (UK), "Searchdog" (Us) and "Set the Thames on Fire" (UK).
North American premieres: "Banat" (Italy/Romania/Bulgaria/Macedonia), "Death By Death" (Belgium/France), "A Decent Man" (Switzerland),"Departure" (France/UK),"Fly Away Solo" (India/France), "Interruption" (Greece/Croatia), "A Korean in Paris" (South Korea/France), "The Memory of Water" (Chile/Spain/Argentina/Germany), "Moor" (Pakistan), "On My Mother’s Side" (Canada), "Paradise Trips" (Belgium/Croatia), "Rosita" (Denmark), "Spy Time" (Spain), "Tanna" (Australia/Vanuatu), "Thithi" (India/Us/Canada), "Utopians" (Hong Kong) and "When a Tree Falls" (Spain).
U.S. premieres: "1944" (Estonia/Finland), "3000 Nights" (Palestine/France/Jordan/Lebanon), "Atomic Falafel" (Israel/Germany/New Zealand), "Belgian Rhapsody" (Belgium), "Beyond My Grandfather Allende" (Chile/Mexico), "Born to Dance" (New Zealand), "Closet Monster" (Canada), "Enclave" (Serbia/Germany), "The Endless River" (South Africa/France), "Endorphine" (Canada),Exotica, "Erotica, Etc." (France), "Fire Song" (Canada), "Five Nights in Maine" (Us), "A Heavy Heart" (Germany), "Home Care" (Czech Republic/Slovakia), "Let Them Come" (Algeria/France), "My Big Night" (Spain), "My Internship in Canada" (Canada), "The Other Side" (Italy/France), "Our Everyday Life" (Bosnia, Herzegovina/Slovenia/Croatia), "The Paradise Suite" (Netherlands/Sweden/Bulgaria), "Parched" (India/Us/UK), "Parisienne" (France), "Sabali" (Canada), "Sleeping Giant" (Canada), "Summer Solstice" (Poland/Germany), "Trap" (Philippines), "The Violin Teacher" (Brazil), "Wedding Doll" (Israel) and " Zubaan" (India).
The New Voices/New Visions competition showcases 12 Us premieres from top emerging international directors marking their feature film debut at the Festival, with the additional criteria that the films selected are currently without U.S. distribution. The winner is selected by a jury of U.S. distributors which include Gary Rubin of Cohen Media, Dan Berger of Oscilloscope and Ryan Kampe of Visit Films/Monument Releasing. The winner will receive use of a $60,000 Panavision camera package and a glass sculpture designed for the Festival by renowned artist Dale Chihuly. Films selected for this year include:
"Banat" (Italy/Romania/Bulgaria/Macedonia), Director Adriano Valerio "Death By Death" (Belgium/France), Director Xavier Seron "Departure" (UK/France), Director Andrew Steggall "Five Nights in Maine" (Us), Director Maris Curran and starring David Oyelowo "A Heavy Heart" (Germany), Director Thomas Stuber "Home Care" (Czech Republic/Slovakia), Director Slávek Horák "Interruption" (Greece/Croatia), Director Yorgos Zois "Let Them Come" (Algeria/France), Director Salem Brahimi "Our Everyday Life" (Bosnia and Herzegovina/Slovenia/Croatia), Director Ines Tanović "Paradise Trips" (Belgium/Croatia), Director Raf Reyntjens "Sleeping Giant" (Canada), Director Andrew Cividino "Thithi" (India/Us/Canada), Director Raam Reddy
The Modern Masters section features 10 films from international directors who set the standards for contemporary cinema. Films selected for this year include:
"Cemetery Of Splendour" (Thailand/UK), Director Apichatpong Weerasethakul "Dheepan" (France), Director Jacques Audiard "Miss Sharon Jones!" (Us), Director Barbara Kopple "Mountains May Depart" (China/France/Japan), Director Jia Zhangke "My Golden Days" (France), Director Arnaud Desplechin "My Mother" (Italy/France), Director Nanni Moretti "Our Little Sister" (Japan), Director Hirokazu Kore-eda "Sunset Song" (UK/Luxembourg), Director Terence Davies "Sweet Bean" (Japan), Director Naomi Kawase "Women He’s Undressed" (Australia), Director Gillian Armstrong
Other Festival films with notable talent and directors include: "45 Years" (UK) directed by Andrew Haigh and starring Charlotte Rampling and Tom Courtenay, "Anomalisa" (Us) directed by Duke Johnson and Charlie Kaufman with the voices of David Thewlis and Jennifer Jason Leigh, "Chronic" (Mexico/France) starring Tim Roth, "Closet Monster" (Canada) with Connor Jessup and Isabella Rossellini, "Eisenstein in Guanajuato" (Netherlands/Mexico/Finland/Belgium/France) directed by Peter Greenaway, "February" (Us/Canada) starring Kiernan Shipka and Emma Roberts, "Hello, My Name is Doris" (Us) starring Sally Field, Max Greenfield, Beth Behrs and Stephen Root, "Hitchcock/Truffaut" (France/Us) directed by Kent Jones and featuring Peter Bogdanovich, David Fincher and Richard Linklater, "The Invitation" (Us) starring Logan Marshall-Green and Michiel Huisman, "The Lady in the Van" (UK) directed by Nicholas Hytner and starring Maggie Smith, Jim Broadbent and James Corden, "Louder Than Bombs" (USA) starring Jesse Eisenberg, Gabriel Byrne and Isabelle Huppert, "Men & Chicken" (Denmark) starring Mads Mikkelsen, "Papa (Cuba)" directed by Bob Yari and starring Giovanni Ribisi, Joely Richardson and Minka Kelly, "A Perfect Day" (Spain) starring Benicio del Toro, Tim Robbins and Olga Kurylenko, "The Seventh Fire" (Us) executive produced by Terrence Malick, Natalie Portman and Chris Eyre, and "Where to Invade Next" (Us) directed by Michael Moore.
The complete line-up will be available on December 18 at www.psfilmfest.org.
“The line-up this year, while full of unexpected surprises, vividly reflects what is going on in the world around us,” said Festival Director Darryl Macdonald. “There’s a particular focus on stories about displaced people – immigrants, emigrants, refugees, those seeking asylum or shelter. There’s a concurrent trend toward stories revolving around new beginnings and escaping the shackles of the past, whether sexual, cultural, societal or self-imposed. Balancing all of these is a focus on family and romance, along with films involving a healthy dose of magic realism or absurdist comedy, and a plethora of exceptional films dealing with the usual obsessions – music, food, sex and art. All in all, it’s about as well-rounded, as thoughtfully chosen, and as provocative as it’s possible for a smartly curated lineup of new international cinema to be.”
“I am thrilled at the breadth and depth of this year’s program,” said Festival Artistic Director Helen du Toit. “While Modern Masters showcases such widely acclaimed filmmakers as as Apichatpong Weerasethakul, Barbara Kopple and Terence Davies, our New Voices/New Visions program is evidence that new masters are emerging around the world. The range of approaches is extraordinary. Highlights include Raam Reddy's 'Thithi' (India), which skillfully juggles myriad characters in a delightful low key comedy; Yorgos Zois’ 'Interruption' (Greece), which challenges the audience with a complex and highly compelling narrative; and Maris Curran's 'Five Nights in Maine' (USA), featuring David Oyelowo's nuanced and heartbreaking performance as a widower reconnecting with his estranged mother-in-law.”
Showcasing the diversity of international cinema, Festival premieres will include:
World premieres: "50 Days in the Desert" (Luxembourg) directed by Fabrizio Maltese, "Agnes" (Germany/Belgium), the documentary "Broadway: Beyond the Golden Age" (Us) featuring Alec Baldwin, Carol Channing, Dick Van Dyke, Jane Fonda and Robert Redford, "The Carer" (Hungary/UK), "Going Going Gone" (UK), "Searchdog" (Us) and "Set the Thames on Fire" (UK).
North American premieres: "Banat" (Italy/Romania/Bulgaria/Macedonia), "Death By Death" (Belgium/France), "A Decent Man" (Switzerland),"Departure" (France/UK),"Fly Away Solo" (India/France), "Interruption" (Greece/Croatia), "A Korean in Paris" (South Korea/France), "The Memory of Water" (Chile/Spain/Argentina/Germany), "Moor" (Pakistan), "On My Mother’s Side" (Canada), "Paradise Trips" (Belgium/Croatia), "Rosita" (Denmark), "Spy Time" (Spain), "Tanna" (Australia/Vanuatu), "Thithi" (India/Us/Canada), "Utopians" (Hong Kong) and "When a Tree Falls" (Spain).
U.S. premieres: "1944" (Estonia/Finland), "3000 Nights" (Palestine/France/Jordan/Lebanon), "Atomic Falafel" (Israel/Germany/New Zealand), "Belgian Rhapsody" (Belgium), "Beyond My Grandfather Allende" (Chile/Mexico), "Born to Dance" (New Zealand), "Closet Monster" (Canada), "Enclave" (Serbia/Germany), "The Endless River" (South Africa/France), "Endorphine" (Canada),Exotica, "Erotica, Etc." (France), "Fire Song" (Canada), "Five Nights in Maine" (Us), "A Heavy Heart" (Germany), "Home Care" (Czech Republic/Slovakia), "Let Them Come" (Algeria/France), "My Big Night" (Spain), "My Internship in Canada" (Canada), "The Other Side" (Italy/France), "Our Everyday Life" (Bosnia, Herzegovina/Slovenia/Croatia), "The Paradise Suite" (Netherlands/Sweden/Bulgaria), "Parched" (India/Us/UK), "Parisienne" (France), "Sabali" (Canada), "Sleeping Giant" (Canada), "Summer Solstice" (Poland/Germany), "Trap" (Philippines), "The Violin Teacher" (Brazil), "Wedding Doll" (Israel) and " Zubaan" (India).
The New Voices/New Visions competition showcases 12 Us premieres from top emerging international directors marking their feature film debut at the Festival, with the additional criteria that the films selected are currently without U.S. distribution. The winner is selected by a jury of U.S. distributors which include Gary Rubin of Cohen Media, Dan Berger of Oscilloscope and Ryan Kampe of Visit Films/Monument Releasing. The winner will receive use of a $60,000 Panavision camera package and a glass sculpture designed for the Festival by renowned artist Dale Chihuly. Films selected for this year include:
"Banat" (Italy/Romania/Bulgaria/Macedonia), Director Adriano Valerio "Death By Death" (Belgium/France), Director Xavier Seron "Departure" (UK/France), Director Andrew Steggall "Five Nights in Maine" (Us), Director Maris Curran and starring David Oyelowo "A Heavy Heart" (Germany), Director Thomas Stuber "Home Care" (Czech Republic/Slovakia), Director Slávek Horák "Interruption" (Greece/Croatia), Director Yorgos Zois "Let Them Come" (Algeria/France), Director Salem Brahimi "Our Everyday Life" (Bosnia and Herzegovina/Slovenia/Croatia), Director Ines Tanović "Paradise Trips" (Belgium/Croatia), Director Raf Reyntjens "Sleeping Giant" (Canada), Director Andrew Cividino "Thithi" (India/Us/Canada), Director Raam Reddy
The Modern Masters section features 10 films from international directors who set the standards for contemporary cinema. Films selected for this year include:
"Cemetery Of Splendour" (Thailand/UK), Director Apichatpong Weerasethakul "Dheepan" (France), Director Jacques Audiard "Miss Sharon Jones!" (Us), Director Barbara Kopple "Mountains May Depart" (China/France/Japan), Director Jia Zhangke "My Golden Days" (France), Director Arnaud Desplechin "My Mother" (Italy/France), Director Nanni Moretti "Our Little Sister" (Japan), Director Hirokazu Kore-eda "Sunset Song" (UK/Luxembourg), Director Terence Davies "Sweet Bean" (Japan), Director Naomi Kawase "Women He’s Undressed" (Australia), Director Gillian Armstrong
Other Festival films with notable talent and directors include: "45 Years" (UK) directed by Andrew Haigh and starring Charlotte Rampling and Tom Courtenay, "Anomalisa" (Us) directed by Duke Johnson and Charlie Kaufman with the voices of David Thewlis and Jennifer Jason Leigh, "Chronic" (Mexico/France) starring Tim Roth, "Closet Monster" (Canada) with Connor Jessup and Isabella Rossellini, "Eisenstein in Guanajuato" (Netherlands/Mexico/Finland/Belgium/France) directed by Peter Greenaway, "February" (Us/Canada) starring Kiernan Shipka and Emma Roberts, "Hello, My Name is Doris" (Us) starring Sally Field, Max Greenfield, Beth Behrs and Stephen Root, "Hitchcock/Truffaut" (France/Us) directed by Kent Jones and featuring Peter Bogdanovich, David Fincher and Richard Linklater, "The Invitation" (Us) starring Logan Marshall-Green and Michiel Huisman, "The Lady in the Van" (UK) directed by Nicholas Hytner and starring Maggie Smith, Jim Broadbent and James Corden, "Louder Than Bombs" (USA) starring Jesse Eisenberg, Gabriel Byrne and Isabelle Huppert, "Men & Chicken" (Denmark) starring Mads Mikkelsen, "Papa (Cuba)" directed by Bob Yari and starring Giovanni Ribisi, Joely Richardson and Minka Kelly, "A Perfect Day" (Spain) starring Benicio del Toro, Tim Robbins and Olga Kurylenko, "The Seventh Fire" (Us) executive produced by Terrence Malick, Natalie Portman and Chris Eyre, and "Where to Invade Next" (Us) directed by Michael Moore.
The complete line-up will be available on December 18 at www.psfilmfest.org.
- 12/15/2015
- by Peter Belsito
- Sydney's Buzz
** New Update: Two more American films have come to my attention through readers of the blog:
Alison Klayman wrote to say "I know you said at least two films, but I wanted specifically to alert you to the fact that my film "The 100 Years Show" is also playing in the Panorama Documental sections (same as Pj Letofsky's film). "The 100 Years Show" is about 100-year old Cuban-American artist Carmen Herrera, and was produced with RatPac (Brett Ratner) Documentary Films. I'll be attending the festival too.
Alex Mallis wrote in to say: "Our short narrative, "La Noche buena" (the first American-directed since the embargo) is also screening at the festival.
Original Blog:
At least two films by American filmmakers will screen this year at the Havana Film Festival, whose official name is Festival de Cine Nuevo Latinamericano. As the Centerpiece Film, Bob Yari, producer of almost 50 films, will screen his second directed film “Papa” about Ernest Hemingway. It can be called “the first [official or legal] American film made in Havana in the last fifty years”, though underground films have been made (e.g., “Love & Suicide”). “Papa” is being sold at Afm by Elias Axume’s Premiere Entertainment.
Doc filmmaker Pj Letofsky will also be screening his film “ Tarkovsky: Time Within Time” which just premiered at the Sao Paolo Film Festival.
Many U.S. citizens are now interested in going to Havana. To give an in-depth look at Cuba’s film business, I am publishing a [long] chapter of what I hope will soon be published, my book on Iberoamerican film business. I will also be publishing another [shorter] interview here soon with Havana Film Festival Director, Ivan Giroud.
Cuba (Chapter Seven)
Officially the Republic of Cuba, or in Spanish, República de Cuba, the nation is comprised of the main island of Cuba, the Isla de la Juventud, and several archipelagos. To the north of Cuba lies the United States; the Bahamas are to the northeast, México to the west, the Cayman Islands and Jamaica to the south, and Haiti and the Dominican Republic are to the southeast.
Cuba is the largest island in the Caribbean, and with over 11 million inhabitants.
Cuba is undergoing a transition into a market, entrepreneurial economy under the Presidency of Raul Castro. With this transition, the cinema industry is also undergoing great changes. The state mandated organization, Icaic, which has been running the cinema industry, is now under scrutiny. New legislation concerning the film industry is slowly underway as a result of discussions ongoing within the film community. Hopefully the establishment of diplomatic relations will the U.S. last October will propel changes, though without lifting the embargo, it may not.
History of Cinema of Cuba
Cuba’s elite has always stayed in touch with the latest in culture as it developed in Europe during the Spanish colonial era. Cuba’s tradition of cinema dates back to 1897 when the Lumiére Brothers representative from France stopped in Havana to show their films on a tour of the Antilles Islands, México, Venezuela, and the Guineas. Cuba’s particular style of cinema, called the “Cinema of the Greater Antilles”, evolved from the theater of melodrama and comedy and from the radio dramas of Felix B. Caignet, all of which formed the popular melodramas and comedies we still see today.
Mexican coproductions and U.S. filmmakers escaping the monopolistic Edison came to Cuba as well as to California in the early days of film. Federico Garcia Lorca arrived in Cuba in 1930 with a screenplay, “Voyage of the Moon”, and a print of “Un Chien Andalou” hoping to break from the Paris-Berlin monopoly, but his plans never took shape. Many films from Spain, México, Argentina and Uruguay also played in Cuba. Some leading Cuban actors had a strong presence in México and Argentina. Musicians such as Ernesto Lecuona, Bola de Nieve and Rita Montaner performed in movies in several countries.
Cuba, along with Mexico and Argentina, has the most developed cinema culture of Latin America. At its most prosperous, it had the third largest number of theaters in Latin America until the special period when Ussr withdrew its support. Today it has 39 movie theaters. Three of them, including the Yara in Havana, had been built especially for 3D in the 1950s.
Movie going is one of Cuba’s national pastimes, rating perhaps as high as baseball. The average Cuban sees one and a half films a year. However, the lack of international appeal for most of its comedies and melodramas has held its international growth in check up to today. That is now changing.
The international nature of Cuban cinema was consciously defined after the Revolution of 1959 when the Institute for Cuban Art and Industry Cinematography (Icaic) was created by Fidel Castro and entrusted to his university classmate, Alfredo Guevara. The law creating Icaic was incorporated into the Cuban Constitution itself just three months after the Revolution and was an important part of the Nuevo Cine Latinoamerico, a movement throughout Latin America as the Latin American nations threw off their dictatorships. Film, according to this law, is "the most powerful and provocative form of artistic expression, and the most direct and widespread vehicle for education and bringing ideas to the public.”
Cinema was created for theatrical exhibition, for individuals and groups to share in smaller collectives, and for television.
The law ordaining Icaic to control every cinematographic activity created no further rules about financing, about submitting, reading and approving project proposals or regarding any required time frames. Icaic functions very internally with no outside surveillance.
Actually it is possible to make films without Icaic participation, the point is that without Icaic a film cannot get national distribution.
Over the past decade Icaic has loosened its monopolistic administration. Every sector and every level of cinema is discussing the concept of a new Law of Cinema with the government’s interest in formalizing as law a more inclusive infrastructure with more transparent rules and regulations.
Under the leadership of Raul Castro, the island has been undergoing a gradual economic reform process allowing entrepreneurs to license their own businesses after decades of state monopoly. The measures include the authorization of self-employment in more than 200 small trades and activities. According to the government, there are currently 442,000 registered as “self-employed”. The Castro administration hopes for this emerging sector to absorb over a million state workers to be laid off in the coming years.[ii]
In October 2014, the state closed down many private cinemas which had emerged avowing to the love of cinema of the people. Many were 3D “salons” in homes or in separate rooms in restaurants. Authorities pressed for "order, discipline and obedience" in the growing small business sector. Needless to say, the films shown were pirated and not licensed by the rights holders. Nor was there ever any official licensing to privately owned theaters (yet).
However, these could provide a good source of taxation. It needs to be decided what shall be taxed, how tax monies should be apportioned for film funding, film education, what tax incentives the government might offer, how distribution will be subsidized, how archives may be maintained and presented, how to regulate screenings, dvd, TV and online platforms, what cash incentives might bring in production from the outside, what joint ventures within the Caribbean might be developed and how Icaic is approaching and incorporating the changing environment. The Director of Icaic, Robert Smith de Castro. is facing more challenges than its previous longtime Director, Alfredo Guevera, ever faced when the government provided everything. Now it must find answers from its neighbors and its own internal producers and procedures.
In general, funding a film, renting equipment and shooting in Cuba all need to be approved by Icaic. This has changed somewhat as other players have come to take a role, like Rtv Commercial, which is in fact the production company of Cuban National Television.
Rtv Commercial coproduced the newest Cuban hit, “Conducta” (“Behavior”) with Icaic. It premiered at Ficg 2014 (Guadalajara International Film Festival) and played at Tiff 2014 and other festivals such as the Málaga Spanish Film Festival 2014 where it won five awards.
New Developments in Cuban Cinema
In 2014 there were 14 productions and coproductions made, compared to seven in 2009 and 4 in 2000 according to FnCl and Ocal, databases of Latin American film.
At Cannes’ Cinema du Monde in May 2014 and in San Sebastian’s Coproduction Forum, “ August” (“Agosto”) was one of 15 projects selected to be seen and discussed by the international community of sales, distribution and financial executives. Directed by Armando Capó Ramos and produced by La Feria Producciones’ Marcella Esquivel, it is a coproduction between Costa Rica and Cuba. It will shoot next year in Havana and is now raising funds through crowdfunding. Also featured among the 15 in San Sebastian was “Wolfdog” (“Hombre entre perro y lobo”) directed by Irene Gutiérrez and produced by El Viaje Films, a Spain-Cuba coproduction.
Seeking modes of financing outside of government funding began in 2002 with the Festival of New Filmmakers showcasing projects was created by young people outside the Icaic system. As a result of the 2002 event, five years later, a funding mechanism called Hacienda Cine was created by pulling productions from Icaic Cuban television into centers and foundations that have other areas for audiovisual production. Pitch sessions for each selected entity were set up. The prize for production services worth 20,000 Convertible Cuban Pesos (equivalent to Us $20,000) was set up by Icaic Production. There are currently also smaller groups creating smaller formats, scientific or otherwise who are fomenting alternative forms of financing as well.
Lia Rodriguez Nieto is an attorney who was mentored by and worked fourteen years, until his death, with Camilo Vives, Icaic’s head of production, first as an attorney and then as a producer. She has now taken charge of the industry section at the Havana Film Festival which Vives began in 2009. She and Antonio López, recently produced a Cuba-Panama-France coproduction “ El Acompañante” (“The Companion”) directed by Pavel Giroud. She states that over the last five to seven years, private (not state institutional) productions have co-existed with institutional production. However, it would be important for independent producers to have a more regulated and confident relationship with Icaic in a more normalized fashion in order to have easier access to filming permits, forms of financing, banking relations, coproduction treaties, and a number of other elements which are essential to film production.
Rebeca Chávez is a director and a member of one of the groups pushing for a new cinema law which will, in principle, establish a new system incorporating the democratic participation of all people in the business, including techs, writers, directors, producers, actors, etc. and where all will have a democratically designed access to funds. In1984 she began her career as documentary director and her work has been given different national and international awards. She is the second woman in Cuba who has made feature films. She has taught several seminars on theory and practice of documentary cinema and on the Cuban experience in the genre in different institutions in the United States, Puerto Rico, England and Spain. She has worked as advisor for scripts of documentaries and feature films.
It is most important that the state has the will to make these changes, and it has stated it is open to changing the laws. Omar González who succeeded Alfredo Guevara as the head of the Icaic was replaced in 2013 by 30 year Icaic employee Roberto Smith de Castro who is now faced with reorganizing Icaic and implementing new laws which are yet to be formulated. He is considered to be a patient and attentive man who listens and will work to incorporate the diverse opinions into a new working reality.
The son of the famed director Daniel Diaz Torres whose controversial film “Alicia en el pueblo de Maravillas” (“Alice in the City of Wonders”) in 1991 was so critical of the bureaucracy of the government at the time of the Soviet collapse that it caused the resignation of Icaic’s director Espinosa, independent producer Daniel Diaz Ravelo points out that the independent producer is neither legal nor illegal but exists in a sort of limbo, free to produce whatever he or she wants but needing legal sanctions to access necessary permits, equipment, etc. And a filmmaker has no bank account so fiscal responsibility is difficult. One must get a certificate from Icaic but there is no registration rule on how this is to be done.
And it gets more complicated. It is difficult to raise a Us$400,000 budget without networking with filmmakers from other countries and yet travel is not easy for Cubans. They can travel -- Cuba no longer has a problem with that -– but often they cannot get the visa required from the country they want or need to travel to. Daniel’s father had a problem in traveling to find financing for his last film, “La Pelicula de Ana” (“Ana's Movie”), from former producers of his films. It did receive some funding from Icaic and from former funding friend, Icestorm in Germany, and a loan from Ibermedia. Unfortunately Daniel Diaz Torres, Sr. recently died an early death and did not see the fruits of his labor in the 2013 Havana premiere.
The new generation today in Cuba is highly independent; it knows that diversity of film subjects and of filmmakers is key to Cuban cinema today and it is finding diverse sources of financing and distribution. It needs more information as well because everything depends upon contacts. Cineastes traveling to Cuba will find a vibrant group open to coproducing.
2015 marks the eighth year of the Havana Film Festival’s Works in Progress. The Post Production Award, Nuestra América Primera Copia, is an international competition for films from Latin America and from Cuba, with no restrictions; films can be produced by Icaic or independently. For example, in 2013 awards went to four films, one from Chile, “I’m Not Lorena” (“No Soy Lorena”), which premiered at Tiff 2014; one from Argentina, “La Salada”, which premiered at the San Sebastian International Film Festival 2014 and Tiff 2014; and two from Cuba -- one Icaic film, “His Wedding Dress” (“Vestido de novia”), and the independent, “Venice” which was also Tiff 2014.
Thanks to an initiative by La Muestra, a group of Cuban production companies (including several independent ones), once a year support is awarded to four or five projects by young filmmakers. The independent film “Melaza” by Carlos Lechuga with the 5ta Avenida Productions premiered on October 3, 2013.
Rubén Padrón Astorga, writing for On Cuba [iii], November-December 2013 [1] writes:
The best prospects for our cinema today emerged like an earthquake in late April of this year, when Kiki Álvarez, the director of “Jirafas”, “La ola” and “Marina” and “Venezia”, initiated a debate on the problems that the country has with two vital filmmaking processes (production and distribution). Close to 60 audiovisual makers responded with a meeting where they formed a Filmmakers Committee to represent the rest of the country’s professionals.
Soon after its creation, the Committee announced that its objectives included ensuring the active participation of Cuban filmmakers in every decision that was made about [our] cinema, and protecting and developing its production at the industrial and independent levels. At this time, they are working together with Icaic and the Ministry of Culture to pass a decree-law defining the autonomous audiovisual creator, which would legitimize filmmakers as a legal concept, with full rights to exercise their profession. However, the decree-law, which was drafted seven years ago and ratified by the most recent Uneac Congress, was rewritten by the Filmmakers Committee so that it is not limited to recognizing audiovisual practice as individual work, but as collective, and so that it legally protects independent producers.
This committee, together with the so-called Ministry of Culture Temporary Working Group for the Transformation of Icaic, is actively participating in drawing up a diagnosis of Cuban cinema’s problems, which will be followed with the drafting of policies and actions for solving those problems. This step will clear the way for the long-term creation of a comprehensive film law. This law, which would involve widening the scope of the law passed in 1959 for Icaic’s founding, or drafting a new one, would include the creation of a film commission that would support production and make it viable; a promotion fund that would be governed by an arts council, and to which all independent and institutional artists could aspire; financial incentives that would promote the support of private and state companies and sponsors; and a general legal framework that conceives of cinema systemically, inspired by the useful experiences that have taken place in other countries in the region, such as Colombia, Argentina, Guatemala, and the Dominican Republic.
A convocation of cinema directors was held May 4, 2013 in Strawberry and Chocolate Cultural Center, Havana to address the need to participate in all plans and activities planned for Cuban cinema. The meeting chose a working group composed of Enrique Kiki Álvarez, Enrique Colina, Rebeca Chávez Lourdes de los Santos, Daniel Diaz Ravelo, Pavel Giroud, Magda González Grau, Inti Herrera, Senel Paz, Fernando Perez, Manuel Perez and Pedro L. Rodríguez.
The main objective of this group is to represent the filmmakers at all levels and events, promote and ensure the active participation of the same in all decisions and projects that relate to Cuban cinema, and strive for the protection and development of these arts and industries and their makers, which is our right and duty as protagonists of this art. At its first meeting, the group reached the following conclusions and agreements (verbatim):
1 -. We recognize the Cuban Film Institute and the Film Industry (Icaic) as the rector of the Cuban film industry state agency; born with the revolution and its long history is a legacy that belongs to all filmmakers. At the same time, we believe that the problems and projections of Cuban cinema today do not concern only the Icaic, but also other institutions and institutional groups or independently involved in their production, without whose help and commitment is not possible to achieve meaningful and lasting solutions. For that reason, its reorganization and promotion can not be done only in the context of this organism.
2 -. We understand the Cuban film produced through institutional, independent mechanisms, co-production with third or mixed formulas, and as filmmakers to all creators, technicians and Cuban specialists of these arts and industries that do their work inside or outside the institutions , whatever they may be aesthetic, content or affinity group. Consequently, it is imperative the adoption of Decree Law Media Creator recognition. This decree should be enriched with all additional legal supplements necessary.
3 -. We consider essential enacting a Film Law, whose production and given all participate and to be the legal body to order and protect the artistic and economic activity in the country.
4 -. We consider it important to study and implement a Film Development Fund, to which all authors in accessing equal rights and conditions, and open call to an independent jury whose selection parameter is the quality and feasibility of the whole project.
5 -. At this stage, the filmmakers give priority to the organization and remodeling of the methods of production and realization of works, the concept that these are, first and last instance being essentially the way we express ourselves and connect with the public. Similarly, we propose a systemic boost our activity covering the organization and remodeling of the forms of production, distribution, exhibition and national and international projection of Cuban cinema.
6 -. Start work, reviewing and updating the document "Proposals for a renewal of Cuban cinema", adopted at the Seventh Congress of the Uneac in 2008. As progress is made, they will be sharing all the proposals with the filmmakers.
7 -. Exchanging proposals and views with the State Commission working on the development of proposals for the transformation of the Cuban Institute of Cinematographic Art and Industry.
8 -. To express our deep concern for all matters concerning international relations and Cuban cinema projection, which was a revolutionary vanguard movement in the Latin American and global context. We strive for a quick recovery and exchange relationships with filmmakers from Latin America and the world, and the continuity of the Festival of New Latin American Cinema, in its next edition turns 35.
9 -. This representation group performed their work in ongoing dialogue and communication with all filmmakers through regular meetings, which shall have the power to ratify or renew the group members, making decisions of common interest and to identify priorities and lines of job.
Filmmakers Group in the Assembly elected Cuban Filmmakers Saturday May 4 at the Centro Cultural Fresa y Chocolate, after its first meeting on May 8.
Havana, May 8, 2013. This was a verbatim article in Cubarte Magazine. [iv]
Festivals/ Markets
In 1979 Icaic created the International Festival of New Latin American Cinema aka Havana Film Festival as a way to disseminate its ethical convictions about developing film that was nonconformist, irreverent, critical of social injustice and rebellious against the pressures of the market across the continent. The event hosted over 600 filmmakers from Latin America and had as presidents of juries Gabriel García Márquez (Fiction ) and Santiago Álvarez (Documentaries and Cartoons.) The Coral Grand Prize winners were Geraldo Sarno (“Colonel Delmiro Gouveia”, Brazil) and Sergio Giral (“Maluala”, Cuba), in Fiction, Patricio Guzmán (“The Battle of Chile: the Struggle a People Without Arms”, Chile), Documentary, and Juan Padrón (“Elpidio Valdés”, Cuba) in Animation.
However, the contradiction of Icaic’s exercising a central control over maverick innovations is obvious since it controlled the production criteria and the right to decide what type of film was convenient to make and what was not.
An official competition of unpublished scripts for feature films is held by International Festival of New Latin American Cinema for authors from Latin America and the Caribbean for original scripts (no literary adaptations), written in Spanish and with Latin American themes. Scripts whose production rights have been transferred to third parties are not eligible. [v]
Icaic also supports the Festival Internacional de Cine Pobre de Humberto Solas[vi] for low budget films and Festival Internacional de Documentales “Santiago Alvarez in Memoriam”[vii].
Muestra Joven is a festival for Cuban youth with premiere fiction, doc and animated films. It has collateral activities of debates about the films in the festivals, master classes, meetings about contemporary issues and themes in the audiovisual community, workshps and onferences, poster exhibitions and homages.
In April 2014 the Mediateque of Women Directors, based in Cuba formally affiliated with The Trinidad and Tobago Film Festival in creating the the Caribbean Film Market. The project is also in association with The Foundation for Global Democracy and Development of the Dominican Republic, The Association for The Development of Art and Commercial Cinematography of Guadalupe, The Foundation for New Latinamerican Cinema, The Regional and International Film Festival of Guadalupe and the Mediateque of Women Directors.
Education
Icaic was in charge of training and promotion of talented young people not only in cinema but in other arts like music for which it created the Experimental Sound Group.
Isa
Most of the new independent filmmakers are young graduates of the Higher Art Institute’s (Isa) Faculty of Audiovisual Communication Media and its provincial affiliates. The University of Arts of Cuba - (Isa), Instituto Superior de Arte - was established on September 1, 1976 by the Cuban government as a school for the arts. Its original structure had three schools: Music, Visual Arts, and Performing Arts. At present the Isa has four schools, the previous three and the one for Arts and Audiovisual Communication Media. There are also four teaching schools in the provinces, one in Camagüey, two in Holguín and one in Santiago de Cuba. Isa offers pre-degree and post-degree courses, as well as a wide spectrum of brief and extension courses, including preparation for Cuban and foreign professors for a degree of Doctor on Sciences in Art. Predegree education has increased to five careers: Music, Visual Arts, Theatre Arts, Dance Arts and Arts and Audiovisual Communication Media. In 1996, the Isa established the National Award of Artistic Teaching, conceived for recognizing a lifework devoted to arts teaching.
Eictv
Eictv, the International School of Cinema and Television was founded December 15, 1986 at the Festival of New Latin American Cinema in Havana with the support of then-President Fidel Castro on the initiative of Latin American cultural figures such as Argentine director, “Father of the New Latin American Cinema”, Fernando Birri, Julio and Gabo and Colombian Nobel Prize winning novelist Gabriel Garcia Marquez who donated his prize money to establish the school.. It is located in San Antonio de los Baños near Havana, on land donated by the Cuban government.
Hundreds of young students from all over Latin America have studied direction, script, photography and edition. Since its founding , 810 students have graduated and it has become one of the region’s most important and well-grounded cultural projects.
Students pay 15,000 euros (about $19,700) to attend for the full three-year program. The fee includes food, lodging and equipment. Tuition income accounts for just 15 percent of the school's budget. Funding comes from international agencies such as Ibermedia; countries including Brazil, Cuba, the Dominican Republic and Panama; and regional organizations like the Alba alliance of leftist Latin American nations.
For the past eight years, Nuevas Miradas, organized by the Eictv Production Department has held its presentations at the International Festival of New Latin American Cinema for bringing new projects to the attention of international professionals.
Also in the late 1980s, Cuba created the Third World Film School to train students from various third world countries in the art of filmmaking.
Film Funding
Icaic has been the only body to fund films. How the selection of what films would receive funding has never been a public matter.
There are no instruments for private companies or individuals to contribute to film production in Cuba yet. There are however, international funds that may help finance films, such as Hubert Bals Fund from The Netherlands, World Cinema Fund from Germany, Fonds Sud from France, the Norwegian Fund, Sor Fond, Acp, etc. The best actively kept lists are found in Ocal[viii] and Online Film Financing [ix].
Coproduction with Cuba
As early as 1948 coproductions were common between Cuba and México. During the 70s and 80s Russian coproductions included Mikhail Kalatozov’s classic 1964 film “I Am Cuba” (“Soy Cuba”). Spain has played a role in coproducing Latin American and Cuban films since the 30s but in the 1990s it began to invest more heavily. In 1997 Ibermedia was created for the purpose of promoting coproduction between Spain and Latin American countries. Cuba is one of the fourteen countries involved in this organization.
In addition, Cuba has bilateral coproduction treaties with Italy, Canada, Venezuela, Spain and Chile. So far nothing has resulted from the Chile accord.
Two examples of Cuban coproduced films are Humberto Solás’ 1982 film “Cecilia” (Cuba - Spain) and Tomás Gutiérrez Alea and Juan Carlos Tabío’s 1992 Academy Award-nominated “Strawberry and Chocolate” (“Fresa y chocolate”) (Cuba – México – Spain - U.S.).
In September 2013 at San Sebastian International Film Festival’s 2nd Europe-Latin America Coproduction Forum, “The Companion”/ "El Acompañante" won the Best Project Award sponsored by Spain’s Audiovisual Producers’ Rights Management Association Egeda and carrying a 10,000 Euros (Us$13,000) cash award.
This is the third feature of Giroud after “The Silly Age” and “Omerta”. It is a coproduction of Cuba, Venezuela’s NativaPro Cinematográfica and France’s Tu Vas Voir owned by Edgard Tenembaum who produced Walter Salles’ “The Motorcycle Diaries”. The film also obtained the collaboration of Programa Ibermedia and was selected for Cinemas du Monde.
Pavel Giroud is one of the most promising of young Cuban filmmakers today. “The Companion”/ "El Acompañante" is set in 1988 Havana and tells the story of the friendship which develops between Horacio Romero, a Cuban boxer who fails a drug test and a defiant patient at an AIDS center under military rule for whom Romero must serve as a warden or, in Cuban government parlance, a “companion”. Playing the role of Horacio is Yotuel Romero (Latin Grammy Award-winning and founding member of Cuban rap group Orishas). Orishas is one of the world’s most critically hailed Latin-urban artists. The co-protagonist is Cuban actor Armando Miguel Gómez who has received international recognition for his role in the recent films "Behavior”/ “Conducta" and “Melaza”. International sales are handled by the Brazil-based international sales agency, Habanero, which, coincidently is owned by Cuban Alfredo Calvino and Brazilian Patricial Martin who handle such outstanding films as “Juan on the Dead”, Carlos Lechuga’s “Melaza”, Sebastian Cordero’s “Pescador” and Francisco Franco’s “Last Call”. Habanero also sponsors distribution awards at Ficg and Ventana Sur’s Primer Corte, a showcase for pictures in post-production. All the updated information about these films, including festivals and awards is available at: www.habanerofilmsales.com.
Case Study of the Producer, Inti Hererra
Cuba’s first English language film, “Eating the Sun”, a coproduction with Canada, is being produced by Inti Herrera who also is heading the new night spot of avant garde popular entertainment, La Fabrica de Arte Cubano.
Inti Herrera, formerly of 5ta Avenida Productions and I first met in 2003 through the international sales agent Alfredo Calvino whose then-company Latinofusion was selling Inti’s first fiction feature, “Viva Cuba”, a road movie of two kids traveling across Cuba in search of one’s father.
Inti graduated Eictv and worked for a long time as an independent producer of documentaries.
In 2009, when Camilo Vives, Icaic’s head of production created the Industry Sector of the Havana Film Festival Inti became its director and managed it until 2010. In 2010 when he was still running the industry space he invited me to speak about New Media, and I spoke of Peter Broderick who was then invited to do a workshop at Eictv.
As an executive producer, Inti must raise financing from the development through the completion of film projects. Each project is of course different from the last. He and Alejandro Brugués were originally discussing working on a different sort of film, “Melaza”, but put it on hold and in 2010 and 2011 he worked instead on the commercial film, “Juan of the Dead”, which is the most exhibited film of Cuba.
“Juan of the Dead”, Cuba’s first truly independent movie, a zombie horror comedy was coproduced in 2011 by Spain's La Zanfoña Producciones, where it was post-produced, and Cuba's first independent production company Producciones de la 5ta Avenida which also produced “Personal Belongings” in 2006 and “Melaza” in 2012. The film was written and directed by Alejandro Brugués (“Personal Belongings”). It was executive produced by Inti Herrera, Claudia Calviño and Gervasio Iglesias.
The film was represented for international sales by Latinofusion, a Guadalajara based company sponsored by Universidad de Guadalajara and managed by Alfredo Calvino. It was shown in more than 50 festivals worldwide, winning 10 audience awards and the Spanish Film Academy’s Goya Award of the for best Iberoamerican film. It sold to 42 territories.
“Juan of the Dead” distributors:
Argentina (Condor/ Mirada), Bolivia (Londra Films P&D), Brazil (Imovision), Canada (A-z Films), Chile (Arcadia Films), Germany (Pandastorm Pictures), Hong Kong and Macau (Sundream Motion Pictures), Hungary (Ads Service), Italy ( Moviemax Media Group Spa), Japan (Fine Films), Latin American Pay TV (HBO Latin America), México and Central America (Canana), Netherlands (Filmfreak), Norway (Tromso International Film Festival), Puerto Rico (Wiesner), Russia and Cis territories (Cinema Prestige), Spain (Avalon), Switzerland (Ascot Elite), U.K and Ireland (Metrodome), U.S.(Theatrical Distributor Outsider Pictures, all other rights Focus World)
Today Inti is working with a new director, Alfredo Ureta on the Canadian coproduction and the first Cuban film in English. “Eating the Sun” is about a Canadian-Cuban couple who decides to live in Cuba. Before settling in they make a tour of the country and become involved in a psychological thriller. The Canadian producer is Gordon Weiske of Canwood Entertainment. They are discussing the male lead role with Kris Holden-Ried. The goal is to find new markets for this film, markets which Cuba has not targeted before.
Top 10 Films of Cuba is a selection of my own:
1. “Memorias del subdesarrollo” (“Memories of Underdevelopment”) (Tomás Gutiérrez Alea, 1968)
2. “Lucia” (Humberto Solás, 1969)
3. “Vampiros en La Habana” (“Vampires in Havana”) (Juan Padrón, 1983)
4. “Soy Cuba” (“I am Cuba”) ( Mikhail Kalatozov, 1964)
5. “La bella del Alhambra” (“The beauty of the Alhambra”) (Enrique Pineda Barnet, 1989)
6. “Fresa y Chocolate” (“Strawberry and Chocolate”) (Tomás Gutiérrez Alea and Juan Carlos Tabío, 1993)
7. “Lista de Espera” (“The waiting list”) (Juan Carlos Tabío, 2000)
8. “Havana Suite” (“Suite Havana”) (Fernando Pérez, 2003)
9. “Juan of the Dead” (Alejandro Brugués, 2011)
10. “Melaza” (Carlos Lechuga, 2013)
[1] http://www.oncubamagazine.com/magazine/for-independent-and-industrial-cuban-cinema/
Cubacine. El Portal del Cine Cubano. http://www.cubacine.cu/index.html.
[ii] http://www.havanatimes.org/?p=99785#sthash.yCWbyCcU.dpuf
[iii] http://oncubamagazine.com/magazine-articles/for-independent-and-industrial-cuban-cinema/ Cubacine. El Portal del Cine Cubano. http://www.cubacine.cu/index.html.
[iv] http://www.cubarte.cult.cu/periodico/opinion/cineastas-cubanos-por-el-cine-cubano/24423.html
[v] http://www.cinelatinoamericano.org/ocal/direct.aspx?cod=1234
[vi] www.festivalcinepobre.org , www.cubacine.cu/cinepobre
[vii] www.cubacine.cu/festivalsantiagoalvarez/index.html
[viii] http://www.cinelatinoamericano.org/ocal/directorios.aspx?cod=8&par=2
[ix] www.olffi.com/...
Alison Klayman wrote to say "I know you said at least two films, but I wanted specifically to alert you to the fact that my film "The 100 Years Show" is also playing in the Panorama Documental sections (same as Pj Letofsky's film). "The 100 Years Show" is about 100-year old Cuban-American artist Carmen Herrera, and was produced with RatPac (Brett Ratner) Documentary Films. I'll be attending the festival too.
Alex Mallis wrote in to say: "Our short narrative, "La Noche buena" (the first American-directed since the embargo) is also screening at the festival.
Original Blog:
At least two films by American filmmakers will screen this year at the Havana Film Festival, whose official name is Festival de Cine Nuevo Latinamericano. As the Centerpiece Film, Bob Yari, producer of almost 50 films, will screen his second directed film “Papa” about Ernest Hemingway. It can be called “the first [official or legal] American film made in Havana in the last fifty years”, though underground films have been made (e.g., “Love & Suicide”). “Papa” is being sold at Afm by Elias Axume’s Premiere Entertainment.
Doc filmmaker Pj Letofsky will also be screening his film “ Tarkovsky: Time Within Time” which just premiered at the Sao Paolo Film Festival.
Many U.S. citizens are now interested in going to Havana. To give an in-depth look at Cuba’s film business, I am publishing a [long] chapter of what I hope will soon be published, my book on Iberoamerican film business. I will also be publishing another [shorter] interview here soon with Havana Film Festival Director, Ivan Giroud.
Cuba (Chapter Seven)
Officially the Republic of Cuba, or in Spanish, República de Cuba, the nation is comprised of the main island of Cuba, the Isla de la Juventud, and several archipelagos. To the north of Cuba lies the United States; the Bahamas are to the northeast, México to the west, the Cayman Islands and Jamaica to the south, and Haiti and the Dominican Republic are to the southeast.
Cuba is the largest island in the Caribbean, and with over 11 million inhabitants.
Cuba is undergoing a transition into a market, entrepreneurial economy under the Presidency of Raul Castro. With this transition, the cinema industry is also undergoing great changes. The state mandated organization, Icaic, which has been running the cinema industry, is now under scrutiny. New legislation concerning the film industry is slowly underway as a result of discussions ongoing within the film community. Hopefully the establishment of diplomatic relations will the U.S. last October will propel changes, though without lifting the embargo, it may not.
History of Cinema of Cuba
Cuba’s elite has always stayed in touch with the latest in culture as it developed in Europe during the Spanish colonial era. Cuba’s tradition of cinema dates back to 1897 when the Lumiére Brothers representative from France stopped in Havana to show their films on a tour of the Antilles Islands, México, Venezuela, and the Guineas. Cuba’s particular style of cinema, called the “Cinema of the Greater Antilles”, evolved from the theater of melodrama and comedy and from the radio dramas of Felix B. Caignet, all of which formed the popular melodramas and comedies we still see today.
Mexican coproductions and U.S. filmmakers escaping the monopolistic Edison came to Cuba as well as to California in the early days of film. Federico Garcia Lorca arrived in Cuba in 1930 with a screenplay, “Voyage of the Moon”, and a print of “Un Chien Andalou” hoping to break from the Paris-Berlin monopoly, but his plans never took shape. Many films from Spain, México, Argentina and Uruguay also played in Cuba. Some leading Cuban actors had a strong presence in México and Argentina. Musicians such as Ernesto Lecuona, Bola de Nieve and Rita Montaner performed in movies in several countries.
Cuba, along with Mexico and Argentina, has the most developed cinema culture of Latin America. At its most prosperous, it had the third largest number of theaters in Latin America until the special period when Ussr withdrew its support. Today it has 39 movie theaters. Three of them, including the Yara in Havana, had been built especially for 3D in the 1950s.
Movie going is one of Cuba’s national pastimes, rating perhaps as high as baseball. The average Cuban sees one and a half films a year. However, the lack of international appeal for most of its comedies and melodramas has held its international growth in check up to today. That is now changing.
The international nature of Cuban cinema was consciously defined after the Revolution of 1959 when the Institute for Cuban Art and Industry Cinematography (Icaic) was created by Fidel Castro and entrusted to his university classmate, Alfredo Guevara. The law creating Icaic was incorporated into the Cuban Constitution itself just three months after the Revolution and was an important part of the Nuevo Cine Latinoamerico, a movement throughout Latin America as the Latin American nations threw off their dictatorships. Film, according to this law, is "the most powerful and provocative form of artistic expression, and the most direct and widespread vehicle for education and bringing ideas to the public.”
Cinema was created for theatrical exhibition, for individuals and groups to share in smaller collectives, and for television.
The law ordaining Icaic to control every cinematographic activity created no further rules about financing, about submitting, reading and approving project proposals or regarding any required time frames. Icaic functions very internally with no outside surveillance.
Actually it is possible to make films without Icaic participation, the point is that without Icaic a film cannot get national distribution.
Over the past decade Icaic has loosened its monopolistic administration. Every sector and every level of cinema is discussing the concept of a new Law of Cinema with the government’s interest in formalizing as law a more inclusive infrastructure with more transparent rules and regulations.
Under the leadership of Raul Castro, the island has been undergoing a gradual economic reform process allowing entrepreneurs to license their own businesses after decades of state monopoly. The measures include the authorization of self-employment in more than 200 small trades and activities. According to the government, there are currently 442,000 registered as “self-employed”. The Castro administration hopes for this emerging sector to absorb over a million state workers to be laid off in the coming years.[ii]
In October 2014, the state closed down many private cinemas which had emerged avowing to the love of cinema of the people. Many were 3D “salons” in homes or in separate rooms in restaurants. Authorities pressed for "order, discipline and obedience" in the growing small business sector. Needless to say, the films shown were pirated and not licensed by the rights holders. Nor was there ever any official licensing to privately owned theaters (yet).
However, these could provide a good source of taxation. It needs to be decided what shall be taxed, how tax monies should be apportioned for film funding, film education, what tax incentives the government might offer, how distribution will be subsidized, how archives may be maintained and presented, how to regulate screenings, dvd, TV and online platforms, what cash incentives might bring in production from the outside, what joint ventures within the Caribbean might be developed and how Icaic is approaching and incorporating the changing environment. The Director of Icaic, Robert Smith de Castro. is facing more challenges than its previous longtime Director, Alfredo Guevera, ever faced when the government provided everything. Now it must find answers from its neighbors and its own internal producers and procedures.
In general, funding a film, renting equipment and shooting in Cuba all need to be approved by Icaic. This has changed somewhat as other players have come to take a role, like Rtv Commercial, which is in fact the production company of Cuban National Television.
Rtv Commercial coproduced the newest Cuban hit, “Conducta” (“Behavior”) with Icaic. It premiered at Ficg 2014 (Guadalajara International Film Festival) and played at Tiff 2014 and other festivals such as the Málaga Spanish Film Festival 2014 where it won five awards.
New Developments in Cuban Cinema
In 2014 there were 14 productions and coproductions made, compared to seven in 2009 and 4 in 2000 according to FnCl and Ocal, databases of Latin American film.
At Cannes’ Cinema du Monde in May 2014 and in San Sebastian’s Coproduction Forum, “ August” (“Agosto”) was one of 15 projects selected to be seen and discussed by the international community of sales, distribution and financial executives. Directed by Armando Capó Ramos and produced by La Feria Producciones’ Marcella Esquivel, it is a coproduction between Costa Rica and Cuba. It will shoot next year in Havana and is now raising funds through crowdfunding. Also featured among the 15 in San Sebastian was “Wolfdog” (“Hombre entre perro y lobo”) directed by Irene Gutiérrez and produced by El Viaje Films, a Spain-Cuba coproduction.
Seeking modes of financing outside of government funding began in 2002 with the Festival of New Filmmakers showcasing projects was created by young people outside the Icaic system. As a result of the 2002 event, five years later, a funding mechanism called Hacienda Cine was created by pulling productions from Icaic Cuban television into centers and foundations that have other areas for audiovisual production. Pitch sessions for each selected entity were set up. The prize for production services worth 20,000 Convertible Cuban Pesos (equivalent to Us $20,000) was set up by Icaic Production. There are currently also smaller groups creating smaller formats, scientific or otherwise who are fomenting alternative forms of financing as well.
Lia Rodriguez Nieto is an attorney who was mentored by and worked fourteen years, until his death, with Camilo Vives, Icaic’s head of production, first as an attorney and then as a producer. She has now taken charge of the industry section at the Havana Film Festival which Vives began in 2009. She and Antonio López, recently produced a Cuba-Panama-France coproduction “ El Acompañante” (“The Companion”) directed by Pavel Giroud. She states that over the last five to seven years, private (not state institutional) productions have co-existed with institutional production. However, it would be important for independent producers to have a more regulated and confident relationship with Icaic in a more normalized fashion in order to have easier access to filming permits, forms of financing, banking relations, coproduction treaties, and a number of other elements which are essential to film production.
Rebeca Chávez is a director and a member of one of the groups pushing for a new cinema law which will, in principle, establish a new system incorporating the democratic participation of all people in the business, including techs, writers, directors, producers, actors, etc. and where all will have a democratically designed access to funds. In1984 she began her career as documentary director and her work has been given different national and international awards. She is the second woman in Cuba who has made feature films. She has taught several seminars on theory and practice of documentary cinema and on the Cuban experience in the genre in different institutions in the United States, Puerto Rico, England and Spain. She has worked as advisor for scripts of documentaries and feature films.
It is most important that the state has the will to make these changes, and it has stated it is open to changing the laws. Omar González who succeeded Alfredo Guevara as the head of the Icaic was replaced in 2013 by 30 year Icaic employee Roberto Smith de Castro who is now faced with reorganizing Icaic and implementing new laws which are yet to be formulated. He is considered to be a patient and attentive man who listens and will work to incorporate the diverse opinions into a new working reality.
The son of the famed director Daniel Diaz Torres whose controversial film “Alicia en el pueblo de Maravillas” (“Alice in the City of Wonders”) in 1991 was so critical of the bureaucracy of the government at the time of the Soviet collapse that it caused the resignation of Icaic’s director Espinosa, independent producer Daniel Diaz Ravelo points out that the independent producer is neither legal nor illegal but exists in a sort of limbo, free to produce whatever he or she wants but needing legal sanctions to access necessary permits, equipment, etc. And a filmmaker has no bank account so fiscal responsibility is difficult. One must get a certificate from Icaic but there is no registration rule on how this is to be done.
And it gets more complicated. It is difficult to raise a Us$400,000 budget without networking with filmmakers from other countries and yet travel is not easy for Cubans. They can travel -- Cuba no longer has a problem with that -– but often they cannot get the visa required from the country they want or need to travel to. Daniel’s father had a problem in traveling to find financing for his last film, “La Pelicula de Ana” (“Ana's Movie”), from former producers of his films. It did receive some funding from Icaic and from former funding friend, Icestorm in Germany, and a loan from Ibermedia. Unfortunately Daniel Diaz Torres, Sr. recently died an early death and did not see the fruits of his labor in the 2013 Havana premiere.
The new generation today in Cuba is highly independent; it knows that diversity of film subjects and of filmmakers is key to Cuban cinema today and it is finding diverse sources of financing and distribution. It needs more information as well because everything depends upon contacts. Cineastes traveling to Cuba will find a vibrant group open to coproducing.
2015 marks the eighth year of the Havana Film Festival’s Works in Progress. The Post Production Award, Nuestra América Primera Copia, is an international competition for films from Latin America and from Cuba, with no restrictions; films can be produced by Icaic or independently. For example, in 2013 awards went to four films, one from Chile, “I’m Not Lorena” (“No Soy Lorena”), which premiered at Tiff 2014; one from Argentina, “La Salada”, which premiered at the San Sebastian International Film Festival 2014 and Tiff 2014; and two from Cuba -- one Icaic film, “His Wedding Dress” (“Vestido de novia”), and the independent, “Venice” which was also Tiff 2014.
Thanks to an initiative by La Muestra, a group of Cuban production companies (including several independent ones), once a year support is awarded to four or five projects by young filmmakers. The independent film “Melaza” by Carlos Lechuga with the 5ta Avenida Productions premiered on October 3, 2013.
Rubén Padrón Astorga, writing for On Cuba [iii], November-December 2013 [1] writes:
The best prospects for our cinema today emerged like an earthquake in late April of this year, when Kiki Álvarez, the director of “Jirafas”, “La ola” and “Marina” and “Venezia”, initiated a debate on the problems that the country has with two vital filmmaking processes (production and distribution). Close to 60 audiovisual makers responded with a meeting where they formed a Filmmakers Committee to represent the rest of the country’s professionals.
Soon after its creation, the Committee announced that its objectives included ensuring the active participation of Cuban filmmakers in every decision that was made about [our] cinema, and protecting and developing its production at the industrial and independent levels. At this time, they are working together with Icaic and the Ministry of Culture to pass a decree-law defining the autonomous audiovisual creator, which would legitimize filmmakers as a legal concept, with full rights to exercise their profession. However, the decree-law, which was drafted seven years ago and ratified by the most recent Uneac Congress, was rewritten by the Filmmakers Committee so that it is not limited to recognizing audiovisual practice as individual work, but as collective, and so that it legally protects independent producers.
This committee, together with the so-called Ministry of Culture Temporary Working Group for the Transformation of Icaic, is actively participating in drawing up a diagnosis of Cuban cinema’s problems, which will be followed with the drafting of policies and actions for solving those problems. This step will clear the way for the long-term creation of a comprehensive film law. This law, which would involve widening the scope of the law passed in 1959 for Icaic’s founding, or drafting a new one, would include the creation of a film commission that would support production and make it viable; a promotion fund that would be governed by an arts council, and to which all independent and institutional artists could aspire; financial incentives that would promote the support of private and state companies and sponsors; and a general legal framework that conceives of cinema systemically, inspired by the useful experiences that have taken place in other countries in the region, such as Colombia, Argentina, Guatemala, and the Dominican Republic.
A convocation of cinema directors was held May 4, 2013 in Strawberry and Chocolate Cultural Center, Havana to address the need to participate in all plans and activities planned for Cuban cinema. The meeting chose a working group composed of Enrique Kiki Álvarez, Enrique Colina, Rebeca Chávez Lourdes de los Santos, Daniel Diaz Ravelo, Pavel Giroud, Magda González Grau, Inti Herrera, Senel Paz, Fernando Perez, Manuel Perez and Pedro L. Rodríguez.
The main objective of this group is to represent the filmmakers at all levels and events, promote and ensure the active participation of the same in all decisions and projects that relate to Cuban cinema, and strive for the protection and development of these arts and industries and their makers, which is our right and duty as protagonists of this art. At its first meeting, the group reached the following conclusions and agreements (verbatim):
1 -. We recognize the Cuban Film Institute and the Film Industry (Icaic) as the rector of the Cuban film industry state agency; born with the revolution and its long history is a legacy that belongs to all filmmakers. At the same time, we believe that the problems and projections of Cuban cinema today do not concern only the Icaic, but also other institutions and institutional groups or independently involved in their production, without whose help and commitment is not possible to achieve meaningful and lasting solutions. For that reason, its reorganization and promotion can not be done only in the context of this organism.
2 -. We understand the Cuban film produced through institutional, independent mechanisms, co-production with third or mixed formulas, and as filmmakers to all creators, technicians and Cuban specialists of these arts and industries that do their work inside or outside the institutions , whatever they may be aesthetic, content or affinity group. Consequently, it is imperative the adoption of Decree Law Media Creator recognition. This decree should be enriched with all additional legal supplements necessary.
3 -. We consider essential enacting a Film Law, whose production and given all participate and to be the legal body to order and protect the artistic and economic activity in the country.
4 -. We consider it important to study and implement a Film Development Fund, to which all authors in accessing equal rights and conditions, and open call to an independent jury whose selection parameter is the quality and feasibility of the whole project.
5 -. At this stage, the filmmakers give priority to the organization and remodeling of the methods of production and realization of works, the concept that these are, first and last instance being essentially the way we express ourselves and connect with the public. Similarly, we propose a systemic boost our activity covering the organization and remodeling of the forms of production, distribution, exhibition and national and international projection of Cuban cinema.
6 -. Start work, reviewing and updating the document "Proposals for a renewal of Cuban cinema", adopted at the Seventh Congress of the Uneac in 2008. As progress is made, they will be sharing all the proposals with the filmmakers.
7 -. Exchanging proposals and views with the State Commission working on the development of proposals for the transformation of the Cuban Institute of Cinematographic Art and Industry.
8 -. To express our deep concern for all matters concerning international relations and Cuban cinema projection, which was a revolutionary vanguard movement in the Latin American and global context. We strive for a quick recovery and exchange relationships with filmmakers from Latin America and the world, and the continuity of the Festival of New Latin American Cinema, in its next edition turns 35.
9 -. This representation group performed their work in ongoing dialogue and communication with all filmmakers through regular meetings, which shall have the power to ratify or renew the group members, making decisions of common interest and to identify priorities and lines of job.
Filmmakers Group in the Assembly elected Cuban Filmmakers Saturday May 4 at the Centro Cultural Fresa y Chocolate, after its first meeting on May 8.
Havana, May 8, 2013. This was a verbatim article in Cubarte Magazine. [iv]
Festivals/ Markets
In 1979 Icaic created the International Festival of New Latin American Cinema aka Havana Film Festival as a way to disseminate its ethical convictions about developing film that was nonconformist, irreverent, critical of social injustice and rebellious against the pressures of the market across the continent. The event hosted over 600 filmmakers from Latin America and had as presidents of juries Gabriel García Márquez (Fiction ) and Santiago Álvarez (Documentaries and Cartoons.) The Coral Grand Prize winners were Geraldo Sarno (“Colonel Delmiro Gouveia”, Brazil) and Sergio Giral (“Maluala”, Cuba), in Fiction, Patricio Guzmán (“The Battle of Chile: the Struggle a People Without Arms”, Chile), Documentary, and Juan Padrón (“Elpidio Valdés”, Cuba) in Animation.
However, the contradiction of Icaic’s exercising a central control over maverick innovations is obvious since it controlled the production criteria and the right to decide what type of film was convenient to make and what was not.
An official competition of unpublished scripts for feature films is held by International Festival of New Latin American Cinema for authors from Latin America and the Caribbean for original scripts (no literary adaptations), written in Spanish and with Latin American themes. Scripts whose production rights have been transferred to third parties are not eligible. [v]
Icaic also supports the Festival Internacional de Cine Pobre de Humberto Solas[vi] for low budget films and Festival Internacional de Documentales “Santiago Alvarez in Memoriam”[vii].
Muestra Joven is a festival for Cuban youth with premiere fiction, doc and animated films. It has collateral activities of debates about the films in the festivals, master classes, meetings about contemporary issues and themes in the audiovisual community, workshps and onferences, poster exhibitions and homages.
In April 2014 the Mediateque of Women Directors, based in Cuba formally affiliated with The Trinidad and Tobago Film Festival in creating the the Caribbean Film Market. The project is also in association with The Foundation for Global Democracy and Development of the Dominican Republic, The Association for The Development of Art and Commercial Cinematography of Guadalupe, The Foundation for New Latinamerican Cinema, The Regional and International Film Festival of Guadalupe and the Mediateque of Women Directors.
Education
Icaic was in charge of training and promotion of talented young people not only in cinema but in other arts like music for which it created the Experimental Sound Group.
Isa
Most of the new independent filmmakers are young graduates of the Higher Art Institute’s (Isa) Faculty of Audiovisual Communication Media and its provincial affiliates. The University of Arts of Cuba - (Isa), Instituto Superior de Arte - was established on September 1, 1976 by the Cuban government as a school for the arts. Its original structure had three schools: Music, Visual Arts, and Performing Arts. At present the Isa has four schools, the previous three and the one for Arts and Audiovisual Communication Media. There are also four teaching schools in the provinces, one in Camagüey, two in Holguín and one in Santiago de Cuba. Isa offers pre-degree and post-degree courses, as well as a wide spectrum of brief and extension courses, including preparation for Cuban and foreign professors for a degree of Doctor on Sciences in Art. Predegree education has increased to five careers: Music, Visual Arts, Theatre Arts, Dance Arts and Arts and Audiovisual Communication Media. In 1996, the Isa established the National Award of Artistic Teaching, conceived for recognizing a lifework devoted to arts teaching.
Eictv
Eictv, the International School of Cinema and Television was founded December 15, 1986 at the Festival of New Latin American Cinema in Havana with the support of then-President Fidel Castro on the initiative of Latin American cultural figures such as Argentine director, “Father of the New Latin American Cinema”, Fernando Birri, Julio and Gabo and Colombian Nobel Prize winning novelist Gabriel Garcia Marquez who donated his prize money to establish the school.. It is located in San Antonio de los Baños near Havana, on land donated by the Cuban government.
Hundreds of young students from all over Latin America have studied direction, script, photography and edition. Since its founding , 810 students have graduated and it has become one of the region’s most important and well-grounded cultural projects.
Students pay 15,000 euros (about $19,700) to attend for the full three-year program. The fee includes food, lodging and equipment. Tuition income accounts for just 15 percent of the school's budget. Funding comes from international agencies such as Ibermedia; countries including Brazil, Cuba, the Dominican Republic and Panama; and regional organizations like the Alba alliance of leftist Latin American nations.
For the past eight years, Nuevas Miradas, organized by the Eictv Production Department has held its presentations at the International Festival of New Latin American Cinema for bringing new projects to the attention of international professionals.
Also in the late 1980s, Cuba created the Third World Film School to train students from various third world countries in the art of filmmaking.
Film Funding
Icaic has been the only body to fund films. How the selection of what films would receive funding has never been a public matter.
There are no instruments for private companies or individuals to contribute to film production in Cuba yet. There are however, international funds that may help finance films, such as Hubert Bals Fund from The Netherlands, World Cinema Fund from Germany, Fonds Sud from France, the Norwegian Fund, Sor Fond, Acp, etc. The best actively kept lists are found in Ocal[viii] and Online Film Financing [ix].
Coproduction with Cuba
As early as 1948 coproductions were common between Cuba and México. During the 70s and 80s Russian coproductions included Mikhail Kalatozov’s classic 1964 film “I Am Cuba” (“Soy Cuba”). Spain has played a role in coproducing Latin American and Cuban films since the 30s but in the 1990s it began to invest more heavily. In 1997 Ibermedia was created for the purpose of promoting coproduction between Spain and Latin American countries. Cuba is one of the fourteen countries involved in this organization.
In addition, Cuba has bilateral coproduction treaties with Italy, Canada, Venezuela, Spain and Chile. So far nothing has resulted from the Chile accord.
Two examples of Cuban coproduced films are Humberto Solás’ 1982 film “Cecilia” (Cuba - Spain) and Tomás Gutiérrez Alea and Juan Carlos Tabío’s 1992 Academy Award-nominated “Strawberry and Chocolate” (“Fresa y chocolate”) (Cuba – México – Spain - U.S.).
In September 2013 at San Sebastian International Film Festival’s 2nd Europe-Latin America Coproduction Forum, “The Companion”/ "El Acompañante" won the Best Project Award sponsored by Spain’s Audiovisual Producers’ Rights Management Association Egeda and carrying a 10,000 Euros (Us$13,000) cash award.
This is the third feature of Giroud after “The Silly Age” and “Omerta”. It is a coproduction of Cuba, Venezuela’s NativaPro Cinematográfica and France’s Tu Vas Voir owned by Edgard Tenembaum who produced Walter Salles’ “The Motorcycle Diaries”. The film also obtained the collaboration of Programa Ibermedia and was selected for Cinemas du Monde.
Pavel Giroud is one of the most promising of young Cuban filmmakers today. “The Companion”/ "El Acompañante" is set in 1988 Havana and tells the story of the friendship which develops between Horacio Romero, a Cuban boxer who fails a drug test and a defiant patient at an AIDS center under military rule for whom Romero must serve as a warden or, in Cuban government parlance, a “companion”. Playing the role of Horacio is Yotuel Romero (Latin Grammy Award-winning and founding member of Cuban rap group Orishas). Orishas is one of the world’s most critically hailed Latin-urban artists. The co-protagonist is Cuban actor Armando Miguel Gómez who has received international recognition for his role in the recent films "Behavior”/ “Conducta" and “Melaza”. International sales are handled by the Brazil-based international sales agency, Habanero, which, coincidently is owned by Cuban Alfredo Calvino and Brazilian Patricial Martin who handle such outstanding films as “Juan on the Dead”, Carlos Lechuga’s “Melaza”, Sebastian Cordero’s “Pescador” and Francisco Franco’s “Last Call”. Habanero also sponsors distribution awards at Ficg and Ventana Sur’s Primer Corte, a showcase for pictures in post-production. All the updated information about these films, including festivals and awards is available at: www.habanerofilmsales.com.
Case Study of the Producer, Inti Hererra
Cuba’s first English language film, “Eating the Sun”, a coproduction with Canada, is being produced by Inti Herrera who also is heading the new night spot of avant garde popular entertainment, La Fabrica de Arte Cubano.
Inti Herrera, formerly of 5ta Avenida Productions and I first met in 2003 through the international sales agent Alfredo Calvino whose then-company Latinofusion was selling Inti’s first fiction feature, “Viva Cuba”, a road movie of two kids traveling across Cuba in search of one’s father.
Inti graduated Eictv and worked for a long time as an independent producer of documentaries.
In 2009, when Camilo Vives, Icaic’s head of production created the Industry Sector of the Havana Film Festival Inti became its director and managed it until 2010. In 2010 when he was still running the industry space he invited me to speak about New Media, and I spoke of Peter Broderick who was then invited to do a workshop at Eictv.
As an executive producer, Inti must raise financing from the development through the completion of film projects. Each project is of course different from the last. He and Alejandro Brugués were originally discussing working on a different sort of film, “Melaza”, but put it on hold and in 2010 and 2011 he worked instead on the commercial film, “Juan of the Dead”, which is the most exhibited film of Cuba.
“Juan of the Dead”, Cuba’s first truly independent movie, a zombie horror comedy was coproduced in 2011 by Spain's La Zanfoña Producciones, where it was post-produced, and Cuba's first independent production company Producciones de la 5ta Avenida which also produced “Personal Belongings” in 2006 and “Melaza” in 2012. The film was written and directed by Alejandro Brugués (“Personal Belongings”). It was executive produced by Inti Herrera, Claudia Calviño and Gervasio Iglesias.
The film was represented for international sales by Latinofusion, a Guadalajara based company sponsored by Universidad de Guadalajara and managed by Alfredo Calvino. It was shown in more than 50 festivals worldwide, winning 10 audience awards and the Spanish Film Academy’s Goya Award of the for best Iberoamerican film. It sold to 42 territories.
“Juan of the Dead” distributors:
Argentina (Condor/ Mirada), Bolivia (Londra Films P&D), Brazil (Imovision), Canada (A-z Films), Chile (Arcadia Films), Germany (Pandastorm Pictures), Hong Kong and Macau (Sundream Motion Pictures), Hungary (Ads Service), Italy ( Moviemax Media Group Spa), Japan (Fine Films), Latin American Pay TV (HBO Latin America), México and Central America (Canana), Netherlands (Filmfreak), Norway (Tromso International Film Festival), Puerto Rico (Wiesner), Russia and Cis territories (Cinema Prestige), Spain (Avalon), Switzerland (Ascot Elite), U.K and Ireland (Metrodome), U.S.(Theatrical Distributor Outsider Pictures, all other rights Focus World)
Today Inti is working with a new director, Alfredo Ureta on the Canadian coproduction and the first Cuban film in English. “Eating the Sun” is about a Canadian-Cuban couple who decides to live in Cuba. Before settling in they make a tour of the country and become involved in a psychological thriller. The Canadian producer is Gordon Weiske of Canwood Entertainment. They are discussing the male lead role with Kris Holden-Ried. The goal is to find new markets for this film, markets which Cuba has not targeted before.
Top 10 Films of Cuba is a selection of my own:
1. “Memorias del subdesarrollo” (“Memories of Underdevelopment”) (Tomás Gutiérrez Alea, 1968)
2. “Lucia” (Humberto Solás, 1969)
3. “Vampiros en La Habana” (“Vampires in Havana”) (Juan Padrón, 1983)
4. “Soy Cuba” (“I am Cuba”) ( Mikhail Kalatozov, 1964)
5. “La bella del Alhambra” (“The beauty of the Alhambra”) (Enrique Pineda Barnet, 1989)
6. “Fresa y Chocolate” (“Strawberry and Chocolate”) (Tomás Gutiérrez Alea and Juan Carlos Tabío, 1993)
7. “Lista de Espera” (“The waiting list”) (Juan Carlos Tabío, 2000)
8. “Havana Suite” (“Suite Havana”) (Fernando Pérez, 2003)
9. “Juan of the Dead” (Alejandro Brugués, 2011)
10. “Melaza” (Carlos Lechuga, 2013)
[1] http://www.oncubamagazine.com/magazine/for-independent-and-industrial-cuban-cinema/
Cubacine. El Portal del Cine Cubano. http://www.cubacine.cu/index.html.
[ii] http://www.havanatimes.org/?p=99785#sthash.yCWbyCcU.dpuf
[iii] http://oncubamagazine.com/magazine-articles/for-independent-and-industrial-cuban-cinema/ Cubacine. El Portal del Cine Cubano. http://www.cubacine.cu/index.html.
[iv] http://www.cubarte.cult.cu/periodico/opinion/cineastas-cubanos-por-el-cine-cubano/24423.html
[v] http://www.cinelatinoamericano.org/ocal/direct.aspx?cod=1234
[vi] www.festivalcinepobre.org , www.cubacine.cu/cinepobre
[vii] www.cubacine.cu/festivalsantiagoalvarez/index.html
[viii] http://www.cinelatinoamericano.org/ocal/directorios.aspx?cod=8&par=2
[ix] www.olffi.com/...
- 11/19/2015
- by Sydney Levine
- Sydney's Buzz
Read More: Key West Film Festival Announces Brett Ratner Scholarship, Indiewire's Eric Kohn to Curate Critics Focus The Key West Film Festival has just announced that the Ernest Hemingway biopic "Papa" will screen as the Centerpiece film at the upcoming festival, followed by a Gala event at the historic Hemingway house. Directed by Bob Yari ("The Illusionist"), "Papa" depicts the relationship between journalist Denne Bart Petitclerc, played by Giovanni Ribisi ("Selma"), and legendary writer Ernest Hemingway, played by Adrian Sparks, during the author's residence in Cuba. Set during the Cuban Revolution, the film managed to nab an authentic backdrop, being granted special permission by the U.S. Treasury Department to shoot on location in Havana. This unprecedented access, which allowed filming inside Hemingway's old estate, Finca Vigia, marks "Papa" as the first Hollywood film to be shot in Cuba since 1959. The film co-stars...
- 9/24/2015
- by Tarek Shoukri
- Indiewire
Exclusive: Premiere Entertainment Group has concluded a raft of sales on action thriller Code Of Honor starring Steven Seagal.
Premiere CEO Elias Axume, Svp of sales and acquisitions Jack Campbell and the team will show Toronto buyers the first trailer from the in-house production that wrapped earlier this year.
Deals have closed in France (Metropolitan), Benelux (Just Bridge), Spain (Flins y Piniculas), Italy (Minerva), and Canada (Vvs).
Rights have gone in China (DDDream), Eastern Europe & Cis (Mgn/Paradise), Middle East (Eagle Films), Japan (Klockworx), South Korea (Joy N Contents), Malaysia (Suraya), Turkey (Fida Film), Thailand (Coral) and Africa (Daro).
Seagal stars in Code Of Honor as a former military commander who sets out to rid the city of crime. Craig Sheffer plays a former protégé who teams up with local police to stop the vigilante.
Premiere’s sales portfolio includes Sundance 2014 selection Little Accidents starring Elizabeth Banks, comedic drama Match with Patrick Stewart and family comedy Good Ol...
Premiere CEO Elias Axume, Svp of sales and acquisitions Jack Campbell and the team will show Toronto buyers the first trailer from the in-house production that wrapped earlier this year.
Deals have closed in France (Metropolitan), Benelux (Just Bridge), Spain (Flins y Piniculas), Italy (Minerva), and Canada (Vvs).
Rights have gone in China (DDDream), Eastern Europe & Cis (Mgn/Paradise), Middle East (Eagle Films), Japan (Klockworx), South Korea (Joy N Contents), Malaysia (Suraya), Turkey (Fida Film), Thailand (Coral) and Africa (Daro).
Seagal stars in Code Of Honor as a former military commander who sets out to rid the city of crime. Craig Sheffer plays a former protégé who teams up with local police to stop the vigilante.
Premiere’s sales portfolio includes Sundance 2014 selection Little Accidents starring Elizabeth Banks, comedic drama Match with Patrick Stewart and family comedy Good Ol...
- 9/11/2015
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
This story first appeared in the March 13 issue of The Hollywood Reporter magazine. With President Obama normalizing relations with Cuba — a second round of diplomatic talks is set for Feb. 27 in Washington — the Caribbean nation is welcoming a U.S. filmmaker invasion. "We just brought in Conan O'Brien," says Cuba Film Productions chief Michael Pacino, "and completed filming of the first Hollywood feature since the 1960 embargo: Bob Yari's Papa." Discovery Channel is shooting Cuban Chrome, about the classic American cars Cuba loves, and U.S. director Bruce Donnelly recently helmed Alumbrones, a doc
read more...
read more...
- 2/26/2015
- by Tim Appelo
- The Hollywood Reporter - Movie News
Premiering at the 2013 Sundance Film Festival, Academy Award winning documentarian Barbara Kopple’s Running From Crazy, an exploration of the famed Hemingway family’s bout with mental illness via the perspective of actress Mariel Hemingway, went to release on Oprah Winfrey’s network Own, who executive produces. Engrossing and intimate, at least as far as its lead perspective is concerned, the film is a unique window into a famous and iconic American family, one that rivals the Kennedy’s, as is pointed out, in infamous stature.
Through the guidance of Mariel Hemingway, a spokesperson for depression issues, we’re guided through significant moments of her family’s history, mainly dealing with her two older sisters Joan “Muffet” Hemingway, and actress/model Margaux Hemingway. Like an overshadowing specter, grandfather Ernest “Papa” Hemingway is frequently mentioned, but more as the name that granted a blessing and a curse for his often troubled descendants.
Through the guidance of Mariel Hemingway, a spokesperson for depression issues, we’re guided through significant moments of her family’s history, mainly dealing with her two older sisters Joan “Muffet” Hemingway, and actress/model Margaux Hemingway. Like an overshadowing specter, grandfather Ernest “Papa” Hemingway is frequently mentioned, but more as the name that granted a blessing and a curse for his often troubled descendants.
- 10/28/2014
- by Nicholas Bell
- IONCINEMA.com
An upcoming biopic about Ernest Hemingway's time in Havana just wrapped up production on location in Cuba, making it the first Hollywood film to shoot in the country since the 1959 revolution, according to The Hollywood Reporter.
Check Out the Upcoming Summer Movies that Make 2014 The Season of 'Fierce'
Papa tells the story of journalist Denne Bart Petitclerc's friendship with Hemingway, and is based on an autobiographical script by Petitclerc. The film was directed by Bob Yari, and stars Giovanni Ribisi as a young Petitclerc and Adrian Sparks as Hemingway.
Check Out the Upcoming Summer Movies that Make 2014 The Season of 'Fierce'
Papa tells the story of journalist Denne Bart Petitclerc's friendship with Hemingway, and is based on an autobiographical script by Petitclerc. The film was directed by Bob Yari, and stars Giovanni Ribisi as a young Petitclerc and Adrian Sparks as Hemingway.
- 5/8/2014
- Rollingstone.com
Havana -- Rebels allied with a young Fidel Castro burst into the street outside Havana's Government Palace as soldiers loyal to strongman Fulgencio Batista rain gunfire from above. Steps away, Ernest Hemingway and a young journalist friend dive for cover behind a parked car. An international film crew in recent weeks has been re-enacting this and other historic scenes in the streets of Havana for Papa, a biopic about the budding friendship between Hemingway and the reporter in the turbulent Cuba of the 1950s. Story: Sharon Stone Sues Producer Bob Yari Over Hemingway Biopic Years in the making, producers say
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read more...
- 5/7/2014
- by The Associated Press
- The Hollywood Reporter - Movie News
Washington, Feb. 21: Sharon Stone has sued a movie producer for the 500,000 dollars after he lured the actress to participate in his fraudulent scheme.
Stone, made a deal with Bob Yari to shoot a film named 'Papa', claimed that the producer was a liar and a fraud who asked her to falsify U.S. documents so she could go to Cuba and play Ernest Hemingway's wife in a new movie, TMZ.com reported.
According to the lawsuit, the 55-year-old needed legal clearance to take the trip to Castroland.
Stone has claimed in the lawsuit that Yari asked her to lie in order to get permission from the U.S. Government, and wanted her to say the trip was for a "cultural endeavor", which it wasn't.
In the lawsuit, the actress.
Stone, made a deal with Bob Yari to shoot a film named 'Papa', claimed that the producer was a liar and a fraud who asked her to falsify U.S. documents so she could go to Cuba and play Ernest Hemingway's wife in a new movie, TMZ.com reported.
According to the lawsuit, the 55-year-old needed legal clearance to take the trip to Castroland.
Stone has claimed in the lawsuit that Yari asked her to lie in order to get permission from the U.S. Government, and wanted her to say the trip was for a "cultural endeavor", which it wasn't.
In the lawsuit, the actress.
- 2/21/2014
- by Leon David
- RealBollywood.com
Sharon Stone claims a big time movie producer is a liar and a fraud who asked her to falsify U.S. documents so she could go to Cuba and play Ernest Hemingway's wife in a new movie ... and when she refused she got stiffed and was ordered to return a custom wig.Stone made a deal with Bob Yari to shoot "Papa," about the famous writer. Sharon was slated to play Mary Hemingway, but there was a big snag.
- 2/20/2014
- by TMZ Staff
- TMZ
On Wednesday, The Lone Ranger received multiple Razzie nominations, including the notorious Worst Picture nod. The next day, The Lone Ranger was nominated for an Oscar, for best makeup.
This isn’t the first movie to get nods from both ends of the spectrum. Since the Razzies first began back in 1981, 47 movies have been nominated for both “awards”– some even for the same exact person or song. Here’s a look at the club The Lone Ranger just joined:
The Competition
Oscar nods: Film editing, music (original song) for “People Alone” with music by Lalo Schifrin and lyrics by Wilbur...
This isn’t the first movie to get nods from both ends of the spectrum. Since the Razzies first began back in 1981, 47 movies have been nominated for both “awards”– some even for the same exact person or song. Here’s a look at the club The Lone Ranger just joined:
The Competition
Oscar nods: Film editing, music (original song) for “People Alone” with music by Lalo Schifrin and lyrics by Wilbur...
- 1/16/2014
- by Ariana Bacle
- EW.com - PopWatch
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