After a decade working as a creative producer and Dp (“White on White”), José Angel Ayalón, co-founder of Tenerife-based El Viaje Films, has moved into production on “La Lucha,” a feature film set against the background of lucha canaria wrestling, a contact sport dating back to ancient times.
“La Lucha” marks the latest title from Tenerife-based El Viaje Films, behind 2015 international breakout “Dead Slow Ahead,” “Undergrowth” which took two prizes at this month’s Malaga Festival, the standout 2021 “They Carry Death,” selected for Venice’s Critics Week, as well as serving as the Spanish producer on Chile’s Oscar entry “White on White,” a 2019 Venice Horizons best film and director entry.
Just a decade back, “La Lucha’s” shoot would have been notable for its very existence. Now it forms part of a domestic Canary Islands film scene which, though years in its build, is suddenly seeming to be coming into focus,...
“La Lucha” marks the latest title from Tenerife-based El Viaje Films, behind 2015 international breakout “Dead Slow Ahead,” “Undergrowth” which took two prizes at this month’s Malaga Festival, the standout 2021 “They Carry Death,” selected for Venice’s Critics Week, as well as serving as the Spanish producer on Chile’s Oscar entry “White on White,” a 2019 Venice Horizons best film and director entry.
Just a decade back, “La Lucha’s” shoot would have been notable for its very existence. Now it forms part of a domestic Canary Islands film scene which, though years in its build, is suddenly seeming to be coming into focus,...
- 3/25/2024
- by John Hopewell and Callum McLennan
- Variety Film + TV
Dead Slow Ahead, described by our reviewer as: 'An immersive cinematic experience and an impressive directorial debut' Homage to Catalonia - a film festival which aims to explore the relationship between Scotland and the Catalan region of Spain - runs from September 27 to October 6 at venues in Edinburgh and Glasgow.
The programme comprises a mixture of features and shorts, including Hacking Justice, Uncertain Glory and Oscar-nominated short Timecode.
The festival will open in Edinburgh with the UK premiere of Hacking Justice, a Catalan-German documentary following the defence of Wikileaks Julian Assange by Judge Baltasar Garzon, a prominent judge who after investigating human rights abuses in countries including Chile, Chad and Argentina decided to take him as a client.
Augsti Villaronga's Uncertain Glory offers the Catalan point of view on Spanish Civil War. Based on the novel by Joan Sales - the first Catalan novel to depict the conflict from the defeated,...
The programme comprises a mixture of features and shorts, including Hacking Justice, Uncertain Glory and Oscar-nominated short Timecode.
The festival will open in Edinburgh with the UK premiere of Hacking Justice, a Catalan-German documentary following the defence of Wikileaks Julian Assange by Judge Baltasar Garzon, a prominent judge who after investigating human rights abuses in countries including Chile, Chad and Argentina decided to take him as a client.
Augsti Villaronga's Uncertain Glory offers the Catalan point of view on Spanish Civil War. Based on the novel by Joan Sales - the first Catalan novel to depict the conflict from the defeated,...
- 9/15/2017
- by Amber Wilkinson
- eyeforfilm.co.uk
Throughout the year, film festivals pop up across the country highlighting everything from future Oscar nominees like Sundance or Toronto, to avant garde works that will likely make waves on the art scene, like Ann Arbor or Locarno. And that’s no different for non-fiction cinema.
One of the most intriguing festivals looking at documentary cinema is now nearing its conclusion, and has brought to light some truly superlative pieces of work. At NYC’s Museum of Modern Art, the museum’s latest installment of their Doc Fortnight series is about to conclude, and has included some great documentaries both new and old.
Opening the festival is one of its greatest discoveries. Entitled Machines, the film marks its New York premiere as part of this series, and is the debut film from documentarian Rahul Jain. An Indian/German/Finnish co-production, Machines centers around a large textile factory in Gujarat, India...
One of the most intriguing festivals looking at documentary cinema is now nearing its conclusion, and has brought to light some truly superlative pieces of work. At NYC’s Museum of Modern Art, the museum’s latest installment of their Doc Fortnight series is about to conclude, and has included some great documentaries both new and old.
Opening the festival is one of its greatest discoveries. Entitled Machines, the film marks its New York premiere as part of this series, and is the debut film from documentarian Rahul Jain. An Indian/German/Finnish co-production, Machines centers around a large textile factory in Gujarat, India...
- 2/22/2017
- by Joshua Brunsting
- CriterionCast
One of the superlative aspects of each and every Portland International Film Festival, is this festival’s ability to find and guts in booking the most avant-garde film films/film makers. Be it documentaries like the masterful debut of Eduardo Williams in The Human Surge or the latest fiction work from established capital A artists like Albert Serra in The Death of Louis Xiv, Piff collects and curates films that consistently attempt to push boundaries in both content and form.
That’s partly why it’s hard to describe the genuine shock one has when sitting through the bewilderingly challenging documentary Dead Slow Ahead.
Dead Slow Ahead is a rare type of debut. A first film that feels entirely of one singular and fully formed voice, first time feature filmmaker Maruo Herce introduces himself as one to keep a keen eye on. A direct extension of the “slow cinema” movement,...
That’s partly why it’s hard to describe the genuine shock one has when sitting through the bewilderingly challenging documentary Dead Slow Ahead.
Dead Slow Ahead is a rare type of debut. A first film that feels entirely of one singular and fully formed voice, first time feature filmmaker Maruo Herce introduces himself as one to keep a keen eye on. A direct extension of the “slow cinema” movement,...
- 2/10/2017
- by Joshua Brunsting
- CriterionCast
Awards season keeps ticking right along, but tonight’s Cinema Eye Honors promised at least a tiny respite from narrative-based filmmaking, as the New York City-set ceremony is all about honoring the best in the year’s documentary filmmaking.
Big winners included Kirsten Johnson’s “Cameraperson,” which picked up Outstanding Achievement in Nonfiction Feature Filmmaking, along with editing and cinematography wins. Right behind it was Ezra Edelman’s “O.J.: Made in America,” which earned Edelman a directing win, along with a production win for Edelman and Caroline Waterlow. Best TV offering went to “Making a Murderer.”
Nominations were lead by Raoul Peck’s “I Am Not Your Negro” and “O.J.: Made in America,” which each pulled in five nominations apiece, though Johnson’s “Cameraperson” and Gianfranco Rosi’s “Fire at Sea” aren’t far behind, with four nominations each. Both Peck and Rosi’s features ultimately walked away without an award.
Big winners included Kirsten Johnson’s “Cameraperson,” which picked up Outstanding Achievement in Nonfiction Feature Filmmaking, along with editing and cinematography wins. Right behind it was Ezra Edelman’s “O.J.: Made in America,” which earned Edelman a directing win, along with a production win for Edelman and Caroline Waterlow. Best TV offering went to “Making a Murderer.”
Nominations were lead by Raoul Peck’s “I Am Not Your Negro” and “O.J.: Made in America,” which each pulled in five nominations apiece, though Johnson’s “Cameraperson” and Gianfranco Rosi’s “Fire at Sea” aren’t far behind, with four nominations each. Both Peck and Rosi’s features ultimately walked away without an award.
- 1/12/2017
- by Kate Erbland
- Indiewire
The nominees for the 10th annual Cinema Eye Honors have been announced, with “I Am Not Your Negro” and “Oj: Made in America” both receiving five each. They’re followed in short order by “Cameraperson” and “Fire at Sea,” which along with “Weiner” are all in contention for the top prize. A total of 37 features and five shorts will be in contention at the upcoming ceremony, which “Hoop Dreams” director Steve James will host from the Museum of the Moving Image on January 11. Here’s the full list of nominees:
Outstanding Achievement in Nonfiction Feature Filmmaking
“Cameraperson” (Kirsten Johnson)
“Fire at Sea” (Gianfranco Rosi)
“I Am Not Your Negro” (Raoul Peck)
“Oj: Made in America” (Ezra Edelman)
“Weiner” (Josh Kriegman and Elyse Steinberg)
Outstanding Achievement in Direction
Kirsten Johnson, “Cameraperson”
Gianfranco Rosi, “Fire at Sea”
Raoul Peck, “I Am Not Your Negro”
Robert Greene, “Kate Plays Christine”
Ezra Edelman, “Oj:...
Outstanding Achievement in Nonfiction Feature Filmmaking
“Cameraperson” (Kirsten Johnson)
“Fire at Sea” (Gianfranco Rosi)
“I Am Not Your Negro” (Raoul Peck)
“Oj: Made in America” (Ezra Edelman)
“Weiner” (Josh Kriegman and Elyse Steinberg)
Outstanding Achievement in Direction
Kirsten Johnson, “Cameraperson”
Gianfranco Rosi, “Fire at Sea”
Raoul Peck, “I Am Not Your Negro”
Robert Greene, “Kate Plays Christine”
Ezra Edelman, “Oj:...
- 11/2/2016
- by Michael Nordine
- Indiewire
Qff co-directors Huw Walmsley-Evans and John Edmond.
Queensland Film Festival (Qff) has unveiled the program for its second year, to be held July 15-24 at New Farm Cinemas and the Institute of Modern Art.
The festival, which has doubled in size this year, will screen 40 features and shorts, including 19 Australian premieres. Festival co-directors John Edmond and Huw Walmsley-Evans said Qff's 2016 return is a direct result of an enthusiastic response to last year.s program. .Strong community support from both our partners and the general public has ensured that we could increase the number of screenings, and these are films that it.s important that the Brisbane public have a chance to see," Edmond said. Walmsley-Evans said: "Qff's first year proved what we knew to be true: Brisbane wants to see the best that the thriving world cinema has to offer.. Qff will open with Pedro Almodovar.s Julieta, screening direct from Cannes. Other highlights include The Red Turtle, Michael Dudock de Wit's dialogue-free collaboration with animation house Studio Ghibli; Chevalier; Lucile Hadžihalilovic.s Evolution; and Dead Slow Ahead. Local films will include Sean Byrne.s (The Loved Ones) horror The Devil.s Candy and Sydney-based Margot Nash.s documentary essay The Silences. In a nod to now-lost film festivals of Brisbane.s past, Qff will also celebrate the 50th anniversary of the first-ever Brisbane Film Festival with a restoration of Agnes Varda.s Cleo From 5 to 7, as well as a selection of shorts that screened at the first event. It will similarly mark the 25th anniversary of the Brisbane International Film Festival with a screening of David Cronenberg.s classic adaptation of William Burrough.s Naked Lunch.
There will also be free panels discussions regarding the art and history of filmmaking, including The Art and Craft of Editing in Eugène Green.s La Sapienza and The Son of Joseph, presented with the Australian Screen Editor.s guild and the Arc Centre of Excellence for the History of Emotions.
The festival will also reflect on the history of Brisbane film culture with Fifty Years of Film Festivals — Remembering Bff, courtesy of a presentation by Qff co-director Huw Walmsley-Evans and Queensland University of Technology.s (Qut) Dr Tess Van Hemert. Qut is the festival.s major partner. Qff is also supported by the Arc Centre of Excellence for the History of Emotions, Australian Screen Editors Guild, Avant Card, the Cantrills, the Czech and Slovak Film Festival, David Stratton, the Institute of Modern Art, the National Film and Sound Archive, and New Farm Cinemas Full program and ticket sales: qldff.com .
Queensland Film Festival (Qff) has unveiled the program for its second year, to be held July 15-24 at New Farm Cinemas and the Institute of Modern Art.
The festival, which has doubled in size this year, will screen 40 features and shorts, including 19 Australian premieres. Festival co-directors John Edmond and Huw Walmsley-Evans said Qff's 2016 return is a direct result of an enthusiastic response to last year.s program. .Strong community support from both our partners and the general public has ensured that we could increase the number of screenings, and these are films that it.s important that the Brisbane public have a chance to see," Edmond said. Walmsley-Evans said: "Qff's first year proved what we knew to be true: Brisbane wants to see the best that the thriving world cinema has to offer.. Qff will open with Pedro Almodovar.s Julieta, screening direct from Cannes. Other highlights include The Red Turtle, Michael Dudock de Wit's dialogue-free collaboration with animation house Studio Ghibli; Chevalier; Lucile Hadžihalilovic.s Evolution; and Dead Slow Ahead. Local films will include Sean Byrne.s (The Loved Ones) horror The Devil.s Candy and Sydney-based Margot Nash.s documentary essay The Silences. In a nod to now-lost film festivals of Brisbane.s past, Qff will also celebrate the 50th anniversary of the first-ever Brisbane Film Festival with a restoration of Agnes Varda.s Cleo From 5 to 7, as well as a selection of shorts that screened at the first event. It will similarly mark the 25th anniversary of the Brisbane International Film Festival with a screening of David Cronenberg.s classic adaptation of William Burrough.s Naked Lunch.
There will also be free panels discussions regarding the art and history of filmmaking, including The Art and Craft of Editing in Eugène Green.s La Sapienza and The Son of Joseph, presented with the Australian Screen Editor.s guild and the Arc Centre of Excellence for the History of Emotions.
The festival will also reflect on the history of Brisbane film culture with Fifty Years of Film Festivals — Remembering Bff, courtesy of a presentation by Qff co-director Huw Walmsley-Evans and Queensland University of Technology.s (Qut) Dr Tess Van Hemert. Qut is the festival.s major partner. Qff is also supported by the Arc Centre of Excellence for the History of Emotions, Australian Screen Editors Guild, Avant Card, the Cantrills, the Czech and Slovak Film Festival, David Stratton, the Institute of Modern Art, the National Film and Sound Archive, and New Farm Cinemas Full program and ticket sales: qldff.com .
- 6/15/2016
- by Staff Writer
- IF.com.au
The 17th Jeonju International Film Festival (Jiff) saw its Grand Prize in the International Competition go to Elite Zexer’s Israeli film Sand Storm today (May 5).Scroll down for full list of winners
Set in a Bedouin village, the film deals with the conflict between tradition and modern values in the family as the mother prepares her husband’s wedding to a second wife and the daughter has a forbidden relationship with a boy from the next village. The award comes with a prize of KW20m ($17,140).
International Competition jury member Jean-Francois Rauger said: “We wish to see more directors putting their efforts observing phases of society.”
Best Picture Prize ($10,000) for International Competition went to Ted Fendt’s Short Stay, which follows an everyday man who moves to Philadelphia to run his friend’s walking tour company.
The Special Jury Prize, which comes with KW7m ($6,000), went to Emir Baigazin’s The Wounded Angel, which follows...
Set in a Bedouin village, the film deals with the conflict between tradition and modern values in the family as the mother prepares her husband’s wedding to a second wife and the daughter has a forbidden relationship with a boy from the next village. The award comes with a prize of KW20m ($17,140).
International Competition jury member Jean-Francois Rauger said: “We wish to see more directors putting their efforts observing phases of society.”
Best Picture Prize ($10,000) for International Competition went to Ted Fendt’s Short Stay, which follows an everyday man who moves to Philadelphia to run his friend’s walking tour company.
The Special Jury Prize, which comes with KW7m ($6,000), went to Emir Baigazin’s The Wounded Angel, which follows...
- 5/5/2016
- by hjnoh2007@gmail.com (Jean Noh)
- ScreenDaily
Engram of ReturningThe selection at this year’s installation of the Film Society of Lincoln Center’s Art of the Real film festival, an annual showcase dedicated to conveying the spectrum of nonfiction filmmaking, are an intriguing bunch culled from a variety of seemingly opposing cultures, yet still exhibiting a fascination with interrogating the past. That this fixation is explored through a miscellany of aesthetic methods is only testament to the veracity of the festival’s undertaking.As this year’s sidebar retrospective of avant-garde giant Bruce Baillie’s work evinces, the nuances and vagaries of the term ‘“nonfiction” allow for fruitful pairings of works that continue the lineage of the abstract, non-narrative work that comes to define our idea of the American avant-garde with those of more familiar documentary tendencies. Daïchi Saïto’s superlative Engram of Returning, playing as part of the second shorts program,is certainly the film...
- 4/7/2016
- by Eric Barroso
- MUBI
Find out what made our top 10 films of 2015 - and which films racked up the most mentions from Team Screen.Scroll down for Screen’s overall top 10
Screen’s esteemed critics have had their turn. Now, Screen staff, contributors and correspondents reveal their favourite films of 2015.
Matt Mueller (Editor)
Force Majeure (dir. Ruben Ostlund)Mad Max: Fury Road (dir. George Miller)The Look Of Silence (dir. Joshua Oppenheimer)The Revenant (dir. Alejandro Gonzalez Inarritu)Ex Machina (dir. Alex Garland)Amy (dir. Asif Kapadia)Sunset Song (dir. Terence Davies)Tangerine (dir. Sean Baker)The Martian (dir. Ridley Scott)Anomalisa (dirs. Duke Johnson, Charlie Kaufman)Michael Rosser (Managing editor)
Son Of Saul (dir. Laszlo Nemes)Star Wars: The Force Awakens (dir. Jj Abrams)Ex Machina (dir. Alex Garland)Room (dir. Lenny Abrahamson)The Martian (dir. Ridley Scott)Inside Out (dirs. Pete Docter, Ronnie Del Carmen)Amy (dir. Asif Kapadia)45 Years (dir. Andrew Haigh)Slow West (dir. John Maclean)[link=tt...
Screen’s esteemed critics have had their turn. Now, Screen staff, contributors and correspondents reveal their favourite films of 2015.
Matt Mueller (Editor)
Force Majeure (dir. Ruben Ostlund)Mad Max: Fury Road (dir. George Miller)The Look Of Silence (dir. Joshua Oppenheimer)The Revenant (dir. Alejandro Gonzalez Inarritu)Ex Machina (dir. Alex Garland)Amy (dir. Asif Kapadia)Sunset Song (dir. Terence Davies)Tangerine (dir. Sean Baker)The Martian (dir. Ridley Scott)Anomalisa (dirs. Duke Johnson, Charlie Kaufman)Michael Rosser (Managing editor)
Son Of Saul (dir. Laszlo Nemes)Star Wars: The Force Awakens (dir. Jj Abrams)Ex Machina (dir. Alex Garland)Room (dir. Lenny Abrahamson)The Martian (dir. Ridley Scott)Inside Out (dirs. Pete Docter, Ronnie Del Carmen)Amy (dir. Asif Kapadia)45 Years (dir. Andrew Haigh)Slow West (dir. John Maclean)[link=tt...
- 12/23/2015
- ScreenDaily
Another year, another film festival goes by. The 34th Vancouver International Film Festival was 16 days of intense film watching, as I tried to immerse myself in a fleeting atmosphere celebrating the some of the best of contemporary world cinema. And even though Viff may not boast the prestige or media frenzy of Cannes, Tiff, or Nyff, it does – like almost any film festival does – hold a special place in the mind of this budding cinephile. With over 350 films, it’s necessary to schedule my time according to the best films, generally award winners from previous fests.
But I try to deviate from the known auteurs and films which garnered bouquets of critical praise earlier in the year, because my favourite part of film festivals is nestling into the Pacific Cinematheque or Vancity Theatre at a sparsely populated screening, with the anticipation of seeing what could be a masterpiece or a disaster.
But I try to deviate from the known auteurs and films which garnered bouquets of critical praise earlier in the year, because my favourite part of film festivals is nestling into the Pacific Cinematheque or Vancity Theatre at a sparsely populated screening, with the anticipation of seeing what could be a masterpiece or a disaster.
- 10/20/2015
- by Josh Hamm
- SoundOnSight
Dead Slow Ahead
Directed by Mauro Herce
2015, Spain
For over two months, Mauro Herce and his crew travelled aboard the freighter My Fair Lady, shooting 14-16 hours a day as it made it laborious journey from Ukraine to New Orleans. Blurring the lines between documentary and fiction, Dead Slow Ahead detaches itself from reality in favour of setting a science fiction, dystopian tone. Welding disparate images and foreboding sounds from deep within the labyrinthine corridors of the ship, Herce has transformed what could have been a dull documentation of life aboard the ship and imbued it with an otherworldly sense of wonder.
Industrial plants sprawl across the shoreline like mechanical insects, and endless wake is churned out and becomes the ship’s soundtrack, colossal mounds of wheat are guarded like a dragon’s golden hoard, radar blips and unknown mechanical whirs unsettle any sense of calm complacency. The sea and...
Directed by Mauro Herce
2015, Spain
For over two months, Mauro Herce and his crew travelled aboard the freighter My Fair Lady, shooting 14-16 hours a day as it made it laborious journey from Ukraine to New Orleans. Blurring the lines between documentary and fiction, Dead Slow Ahead detaches itself from reality in favour of setting a science fiction, dystopian tone. Welding disparate images and foreboding sounds from deep within the labyrinthine corridors of the ship, Herce has transformed what could have been a dull documentation of life aboard the ship and imbued it with an otherworldly sense of wonder.
Industrial plants sprawl across the shoreline like mechanical insects, and endless wake is churned out and becomes the ship’s soundtrack, colossal mounds of wheat are guarded like a dragon’s golden hoard, radar blips and unknown mechanical whirs unsettle any sense of calm complacency. The sea and...
- 10/4/2015
- by Josh Hamm
- SoundOnSight
The Golden Leopard of Locarno Film Festival’s 68th edition went to Right Now, Wrong Then by South Korea’s Hong Sang-soo.Scroll down for full list of winners
The top award comes two years after Sang-soo picked up the Leopard for Best Direction for his previous feature, Our Sunhi.
A previous winner of Locarno’s top award from South Korea was Bae Yong-kyun for Why Has Bodhi-Dharma Left for the East? (Dalmaga dongjogeuro gan kkadalgeun) in 1989.
Right Now, Wrong Then – which is handled internaitonally by Fine Cut - also received the Best Actor Leopard for Jung Jae-Young and a Special Mention from the Ecumenical Jury.
The International Jury – which included German actor Udo Kier, Israeli filmmaker Nadiv Lapid and veteran Us director Jerry Schatzberg awarded its Special Jury Prize to Avishai Sivan for Tikkun, and the Leopard for Best Direction to the veteran Polish director Andrzej Zulawski for Cosmos, his first film...
The top award comes two years after Sang-soo picked up the Leopard for Best Direction for his previous feature, Our Sunhi.
A previous winner of Locarno’s top award from South Korea was Bae Yong-kyun for Why Has Bodhi-Dharma Left for the East? (Dalmaga dongjogeuro gan kkadalgeun) in 1989.
Right Now, Wrong Then – which is handled internaitonally by Fine Cut - also received the Best Actor Leopard for Jung Jae-Young and a Special Mention from the Ecumenical Jury.
The International Jury – which included German actor Udo Kier, Israeli filmmaker Nadiv Lapid and veteran Us director Jerry Schatzberg awarded its Special Jury Prize to Avishai Sivan for Tikkun, and the Leopard for Best Direction to the veteran Polish director Andrzej Zulawski for Cosmos, his first film...
- 8/15/2015
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
The fall festival rush is upon us. Locarno is currently ramping up. Venice has released their line-up and Thom Powers and the Toronto International Film Festival team have dropped a bomb with a previously unannounced new feature from powerhouse docu-provocateur Michael Moore. It is truly a miracle that the production of a film such as Moore’s upcoming Where To Invade Next (see still above) managed to go completely undetected by the filmmaking community until it was literally announced to world premiere at one of the largest film festivals in the world. Programmed as a one of the key films in the Special Presentations section at Tiff, the film sees Moore telling “the Pentagon to ‘stand down’ — he will do the invading for America from now on.” Also announced to premiere at Tiff was Avi Lewis’ This Changes Everything, which has slowly been rising up this list, as well as...
- 8/7/2015
- by Jordan M. Smith
- IONCINEMA.com
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