Brazil’s Raccord Produções, Chile’s Araucaria Cine and France’s Nord-Ouest Films are teaming to produce acclaimed Brazilian filmmaker Gabe Klinger’s feature drama project “Okonomiyaki.”
“Okonomiyaki” will topline celebrated Brazilian actor-helmer Leandra Leal, Yuki Sugimoto, star of Disney+ series “Mila in the Multiverse,” and feature Marco Pigossi, of Netflix’s “Invisible City” and “Tidelands.”
The feature-length project has been selected for the San Sebastian Film Festival’s Europe-Latin America Co-production Forum, its industry centerpiece, which runs Sept. 25-27.
The film is produced by Clélia Bessa and Marcos Pieri at Raccord, Araucaria’s Isabel Orellana and Nord-Ouest Films’ Ola Byszuk, who are looking fo further financing and co-production, as well as sales and distribution partners for the project.
Offscreen talent includes longtime Pablo Larraín Dp Sergio Armstrong and editor Soledad Salfate, of Sebastián Lelio’s Oscar-winner “A Fantastic Woman.”
Principal photography on “Okonomiyaki” is scheduled to kick-off second quarter next year in Sao Paulo.
“Okonomiyaki” will topline celebrated Brazilian actor-helmer Leandra Leal, Yuki Sugimoto, star of Disney+ series “Mila in the Multiverse,” and feature Marco Pigossi, of Netflix’s “Invisible City” and “Tidelands.”
The feature-length project has been selected for the San Sebastian Film Festival’s Europe-Latin America Co-production Forum, its industry centerpiece, which runs Sept. 25-27.
The film is produced by Clélia Bessa and Marcos Pieri at Raccord, Araucaria’s Isabel Orellana and Nord-Ouest Films’ Ola Byszuk, who are looking fo further financing and co-production, as well as sales and distribution partners for the project.
Offscreen talent includes longtime Pablo Larraín Dp Sergio Armstrong and editor Soledad Salfate, of Sebastián Lelio’s Oscar-winner “A Fantastic Woman.”
Principal photography on “Okonomiyaki” is scheduled to kick-off second quarter next year in Sao Paulo.
- 8/28/2023
- by Emiliano De Pablos
- Variety Film + TV
It is not often that we come across a decent film on friendships sans drama coming out of Mexico. This Latino industry worldwide is known for its telenovela style of storytelling and filmmaking, which turns over the top and preposterous in no time. Thankfully, Maquíllame Otra Vez, loosely translated to Making it Up, is a Mexican movie written and directed by Guillermo Calderón that is broadly about female friendships, sisterhood, and how just a simple act of love and caring is what matters, and there need not be a spectacle to showcase that.
The plot of this one-hour, forty-minute film is simple. There is a small group of very talented makeup artists who are out of work and are desperately looking for a job. They come across another friend who seems to have contacts, but she is battling her demons and is trying very hard to overcome it. Maneuvering between odd jobs,...
The plot of this one-hour, forty-minute film is simple. There is a small group of very talented makeup artists who are out of work and are desperately looking for a job. They come across another friend who seems to have contacts, but she is battling her demons and is trying very hard to overcome it. Maneuvering between odd jobs,...
- 7/2/2023
- by Smriti Kannan
- Film Fugitives
Ema Photo: Courtesy of Sundance Institute Ema, Mubi, available now
Actress Mariana Di Girolamo is a Chilean name to watch as she brings chameleon-like qualities to roles like this and, a year later, Leonardo Medel's La Veronica. Here, she plays reggaeton dancer Ema, one half of a couple (alongside Gael Garcia Bernal's choreographer Gaston) whose adoption of a young boy has turned sour along with their relationship. Blazing with contradiction, we see Ema trying on personas for size - mother, wife, sexually liberated fly-by-night - with Di Girolamo bringing a magnetic intensity to each, as her character begins to show she wants to get the child back, no matter what the cost. Beyond the performances, the dance choreography embedded in Pablo Larrain's film and fiercely colour-coded cinematography from Sergio Armstrong are stunning.
Et: The Extra-terrestrial, 2.30pm, ITV2, Easter Monday
If you're looking for something all the family...
Actress Mariana Di Girolamo is a Chilean name to watch as she brings chameleon-like qualities to roles like this and, a year later, Leonardo Medel's La Veronica. Here, she plays reggaeton dancer Ema, one half of a couple (alongside Gael Garcia Bernal's choreographer Gaston) whose adoption of a young boy has turned sour along with their relationship. Blazing with contradiction, we see Ema trying on personas for size - mother, wife, sexually liberated fly-by-night - with Di Girolamo bringing a magnetic intensity to each, as her character begins to show she wants to get the child back, no matter what the cost. Beyond the performances, the dance choreography embedded in Pablo Larrain's film and fiercely colour-coded cinematography from Sergio Armstrong are stunning.
Et: The Extra-terrestrial, 2.30pm, ITV2, Easter Monday
If you're looking for something all the family...
- 4/10/2023
- by Amber Wilkinson
- eyeforfilm.co.uk
Claudia Sainte-Luce’s “El reino de Dios” (“The Realm of God”) and “Carajita” by Silvina Schnicer and Ulises Porra took home the bulk of the prizes in their respective categories, the Mayahuel for best Mexican film and best Ibero-American film at the 37th Guadalajara Int’l Film Fest (Ficg), which wrapped June 18.
Festival highlights included a conversation, albeit by remote, between festival director Estrella Araiza and Guadalajara native Guillermo del Toro who talked about the making of his upcoming stop-motion animation feature, “Guillermo del Toro’s Pinocchio.” The film, set to bow on Netflix in December, was filmed with 20 animators in more than 60 sets in Canada and Guadalajara, Del Toro revealed.
Sainte-Luce’s coming-of-age drama about a young boy’s struggle with his faith as he’s about to take his first communion, which world premiered at the Berlinale’s Generation Kplus sidebar, also won Ficg’s Mezcal awards for best cinematography,...
Festival highlights included a conversation, albeit by remote, between festival director Estrella Araiza and Guadalajara native Guillermo del Toro who talked about the making of his upcoming stop-motion animation feature, “Guillermo del Toro’s Pinocchio.” The film, set to bow on Netflix in December, was filmed with 20 animators in more than 60 sets in Canada and Guadalajara, Del Toro revealed.
Sainte-Luce’s coming-of-age drama about a young boy’s struggle with his faith as he’s about to take his first communion, which world premiered at the Berlinale’s Generation Kplus sidebar, also won Ficg’s Mezcal awards for best cinematography,...
- 6/20/2022
- by Anna Marie de la Fuente
- Variety Film + TV
In a ceremony marked by laughter, tears, a lot of hugs and a celebration of a return to watching films al vivo, the 36th Guadalajara International Film Festival (Ficg) came to a close with the presentation of a long list of prizes to some of Latin America’s top filmmakers, many whose names are well-known in Mexico and across the region and many whose names will, no doubt, be well-known in the future.
In a contradiction fit for the movies, Rodrigo Guardiola and Gabriel Nuncio’s “The Comedian,” a film all about failure, took top honors as this year’s best Mexican film in competition with cinematographer Mario Secco scooping the best cinematography prize for his work on the film.
“It’s wonderful that this movie exists,” said Nuncio at the ceremony. “The truth is, I got to work with very talented people on this movie and I think that...
In a contradiction fit for the movies, Rodrigo Guardiola and Gabriel Nuncio’s “The Comedian,” a film all about failure, took top honors as this year’s best Mexican film in competition with cinematographer Mario Secco scooping the best cinematography prize for his work on the film.
“It’s wonderful that this movie exists,” said Nuncio at the ceremony. “The truth is, I got to work with very talented people on this movie and I think that...
- 10/10/2021
- by Jamie Lang
- Variety Film + TV
Back in 2015, in what already feels like a slightly different era of the Venice Film Festival — currently on a roll of crowning big-name Oscar players — Venezuelan filmmaker Lorenzo Vigas won the Golden Lion for his debut feature “From Afar.” A small, subtle queer relationship study, riddled with ambiguity, it never made quite the impression it deserved to on the post-festival art-house circuit. (Its total U.S. box office was in the low five figures.) That was our loss more than his, and for his superb second narrative feature, Vigas shows no inclination to compromise: “The Box” may see him relocating to Mexico, but it’s otherwise wholly of a piece with his debut in its terse, cut-to-the-quick refinement, its loaded, exquisitely composed images, and its fixation on shifting, complex man-versus-boy dynamics.
Though it’s ultimately no easier a sell than “From Afar,” there’s more of a heated genre thrust...
Though it’s ultimately no easier a sell than “From Afar,” there’s more of a heated genre thrust...
- 9/7/2021
- by Guy Lodge
- Variety Film + TV
Among the many praiseworthy qualities of “My Tender Matador,” the most notable is its honesty. It would have been so easy for the film, about a transgender woman in Pinochet’s Chile and her relationship with a straight political activist, to have overplayed its hand with ill-judged sentiment or sensationalism, but instead director Rodrigo Sepúlveda Urzúa guides everything just right, from the refusal to treat anyone with less than full respect to the superb ensemble, and from Sergio Armstrong’s carefully calibrated camerawork to the thoughtful understanding of how daylight changes a person who’s lived fullest under the protection of the night. Based on the groundbreaking novel by queer icon Pedro Lemebel, the film deserves better treatment than most international gay-themed dramas get.
Alfredo Castro’s versatility shouldn’t be taken for granted, but how can we not when he keeps delivering one fully rounded performance after another? Here...
Alfredo Castro’s versatility shouldn’t be taken for granted, but how can we not when he keeps delivering one fully rounded performance after another? Here...
- 9/16/2020
- by Jay Weissberg
- Variety Film + TV
The protagonist of Pablo Larraín’s “Tony Manero” was a man obsessed to the point of insanity with achieving celebrity as the replication of someone else. So there’s a sort of inverse symmetry at work in the Larraín-produced “Nobody Knows I’m Here,” the strange little debut from Gaspar Antillo, about a man whose celebrity was stolen from him, and given to another. He is Memo, a taciturn recluse nourishing secret singing talent, played with tremendous grace by Jorge Garcia. Still best known as Hurley from “Lost,” Garcia quietly electrifies here in a role that feels like a breakout;
As a child, the pure-voiced Memo (played in home-movie-style flashbacks by Lukas Vergara), managed by his rapacious father (Alexander Goic), seemed on the cusp of pop-singing success when a producer suggested instead that his voice be recorded for Angelo, a more telegenic boy, to mime to. The song, “Nobody Knows I’m Here...
As a child, the pure-voiced Memo (played in home-movie-style flashbacks by Lukas Vergara), managed by his rapacious father (Alexander Goic), seemed on the cusp of pop-singing success when a producer suggested instead that his voice be recorded for Angelo, a more telegenic boy, to mime to. The song, “Nobody Knows I’m Here...
- 6/26/2020
- by Jessica Kiang
- Variety Film + TV
Ten years have passed since Jorge Garcia wrapped his breakthrough role as the scene-stealing goofball on ABC’s “Lost,” and the world hasn’t seen much of him since then. The same can be said for Memo Garrido, the soft-spoken recluse portrayed by Garcia in what amounts to his first lead role with the Chilean drama “Nobody Knows I’m Here,” which makes up for missed time. Gaspar Antillo’s directorial debut is a curious and intriguing mixed bag that meshes “A Star Is Born” with “Searching for Sugarman” to craft the sullen backwoods story of a talented singer hiding from the world that rejected his talent long ago. Despite a bumpy screenplay and some odd tonal choices, .
Despite the mysterious aura, “Nobody Knows I’m Here” wastes little time establishing Memo’s backstory: Grainy video recounts the melodic voice of his childhood, and how his father struggled to make a buck...
Despite the mysterious aura, “Nobody Knows I’m Here” wastes little time establishing Memo’s backstory: Grainy video recounts the melodic voice of his childhood, and how his father struggled to make a buck...
- 6/24/2020
- by Eric Kohn
- Indiewire
Ten years have passed since Jorge Garcia wrapped his breakthrough role as the scene-stealing goofball on ABC’s “Lost,” and the world hasn’t seen much of him since then. The same can be said for Memo Garrido, the soft-spoken recluse portrayed by Garcia in what amounts to his first lead role with the Chilean drama “Nobody Knows I’m Here,” which makes up for missed time. Gaspar Antillo’s directorial debut is a curious and intriguing mixed bag that meshes “A Star Is Born” with “Searching for Sugarman” to craft the sullen backwoods story of a talented singer hiding from the world that rejected his talent long ago. Despite a bumpy screenplay and some odd tonal choices, .
Despite the mysterious aura, “Nobody Knows I’m Here” wastes little time establishing Memo’s backstory: Grainy video recounts the melodic voice of his childhood, and how his father struggled to make a buck...
Despite the mysterious aura, “Nobody Knows I’m Here” wastes little time establishing Memo’s backstory: Grainy video recounts the melodic voice of his childhood, and how his father struggled to make a buck...
- 6/24/2020
- by Eric Kohn
- Thompson on Hollywood
Chile’s Forastero has shared with Variety the first trailer for it is highly anticipated, pan-Latin American co-production “My Tender Matador,” staring the country’s most prolific lead actor Alfredo Castro “The Club”).
Co-produced by Forestero in Chile, Tornado in Argentina, Caponeto in Mexico and Zapik Films in Chile, the feature is directed by Rodrigo Sepúlveda Urzúa and based on the the novel by celebrated Chilean writer Pedro Lemebel, a figure decades ahead of his time is his advocacy of gender issues, in an archly conservative Chile under and after the dictatorship of Augusto Pinochet.
Turning on an intimate friendship, the 1986-set feature tells the story of an impoverished, elderly, cross-dresser known as the Queen of the Corner (Castro). After falling in love with a charming guerrilla, the character gets swept up in a covert anti-Pinochet operation.
In the trailer we see the first encounter between the two, and the...
Co-produced by Forestero in Chile, Tornado in Argentina, Caponeto in Mexico and Zapik Films in Chile, the feature is directed by Rodrigo Sepúlveda Urzúa and based on the the novel by celebrated Chilean writer Pedro Lemebel, a figure decades ahead of his time is his advocacy of gender issues, in an archly conservative Chile under and after the dictatorship of Augusto Pinochet.
Turning on an intimate friendship, the 1986-set feature tells the story of an impoverished, elderly, cross-dresser known as the Queen of the Corner (Castro). After falling in love with a charming guerrilla, the character gets swept up in a covert anti-Pinochet operation.
In the trailer we see the first encounter between the two, and the...
- 6/19/2020
- by Jamie Lang
- Variety Film + TV
Pablo Larraín's Ema is having a free virtual preview on Mubi in many countries on May 1, 2020. Following this preview, will be showing exclusively on Mubi in the United Kingdom, India, and other countries in May and June.Illustration by Elda Broglio.Halfway through Pablo Larraín’s Ema the camera frames a lamenting image of loss, picturing two adults holding onto each other in a small race car bed. No martial bed is in sight, nor is any child; this is a snapshot of grief. The man’s torso sinks into the woman’s lap, his hands wrapped around her hips. Resting her head on his back, the woman is, at the same time, supporting him and leaning on his shoulders. It is precisely this arresting shot composition that molds Ema into an unorthodox Pietà, using bodies to spell out the film’s tragic potential in a single frame. In this version,...
- 4/30/2020
- MUBI
Movies have been named after far less interesting forces than the protagonist of Ema. Played with unblinking gravitas by the Chilean television actress Mariana Di Girólamo (a remarkable find), Ema is a contemporary dancer who stalks the neon lit streets of the Chilean port city of Valparaíso in track bottoms, cropped leopard-print tops, and slicked back peroxide blonde hair. She also has a propensity for arson. In the film she leaves her partner Gaston–who is the choreographer of her dance troupe (and also maybe gay)–in order to dance to Reggaeton hits on a rundown tarmac football pitch. The film is utterly infatuated with her.
Ema was directed by Pablo Larraín, one of the finest filmmakers to emerge in this young century. The son of wealthy conservatives, his work to date has tended towards leftist politics. Ema is Larraín at his most freeform, an unorthodox feature built around Di Girólamo that is,...
Ema was directed by Pablo Larraín, one of the finest filmmakers to emerge in this young century. The son of wealthy conservatives, his work to date has tended towards leftist politics. Ema is Larraín at his most freeform, an unorthodox feature built around Di Girólamo that is,...
- 9/11/2019
- by Rory O'Connor
- The Film Stage
that feels like it was born out of a three-way between “Amélie,” “Oldboy,” and Gaspar Noé before maturing into a force of nature all its own, Pablo Larraín’s “Ema” doesn’t always dance to a clear or recognizable beat, but anybody willing to get on its wavelength will be rewarded with one of the year’s most dynamic and electrifying films. Which isn’t to suggest the movie — Larraín’s first since the one-two punch of “Neruda” and “Jackie” in 2016 — doesn’t grab you from the moment it starts, only that it keeps you on your toes for a little while before you can figure out the steps, and it never lets you take the lead.
Or maybe the film’s initial veil of impenetrability would be more accurately likened to the billowing smoke that obfuscates a burning car wreck. At least the identity of the firestarter is never in doubt.
Or maybe the film’s initial veil of impenetrability would be more accurately likened to the billowing smoke that obfuscates a burning car wreck. At least the identity of the firestarter is never in doubt.
- 8/31/2019
- by David Ehrlich
- Indiewire
Ema
Chilean director Pablo Larrain returns to Chile for his eighth feature, this time for his first contemporary set drama in his native country with Ema, an adoption issue melodrama which also reunites him for the third time with Gael Garcia Bernal (who starred in 2012’s No and 2016’s Neruda). Bernal is joined by a predominantly female cast which includes Mariana Di Girolamo, Paola Giannini, Santiago Cabrera, Giannina Fruttero, Josefina Fiebelkorn, Paula Hofmann, and Catalina Saavedra. The project is produced by the director’s brother, Juan de Dios Larrain (who has producing his films since 2006’s Fuga through their company Fabula) while his usual Dp Sergio Armstrong is also on board.…...
Chilean director Pablo Larrain returns to Chile for his eighth feature, this time for his first contemporary set drama in his native country with Ema, an adoption issue melodrama which also reunites him for the third time with Gael Garcia Bernal (who starred in 2012’s No and 2016’s Neruda). Bernal is joined by a predominantly female cast which includes Mariana Di Girolamo, Paola Giannini, Santiago Cabrera, Giannina Fruttero, Josefina Fiebelkorn, Paula Hofmann, and Catalina Saavedra. The project is produced by the director’s brother, Juan de Dios Larrain (who has producing his films since 2006’s Fuga through their company Fabula) while his usual Dp Sergio Armstrong is also on board.…...
- 1/7/2019
- by Nicholas Bell
- IONCINEMA.com
Marialy Rivas’ film took prizes including Film of the Festival.
Chilean film Princesita has won four awards at the UK’s Raindance Film Festival, including the Film of the Festival prize.
Directed by Marialy Rivas, Princesita opened the London event on September 26. It also took home best international feature, best performance for Sara Caballero and best cinematography for Sergio Armstrong.
Scroll down for the full list of winners
Produced by Pablo and Juan de Dios Larraín’s production company The Fabula, the film tells the story of 12-year old Tamara, who has been raised in a cult. It premiered at...
Chilean film Princesita has won four awards at the UK’s Raindance Film Festival, including the Film of the Festival prize.
Directed by Marialy Rivas, Princesita opened the London event on September 26. It also took home best international feature, best performance for Sara Caballero and best cinematography for Sergio Armstrong.
Scroll down for the full list of winners
Produced by Pablo and Juan de Dios Larraín’s production company The Fabula, the film tells the story of 12-year old Tamara, who has been raised in a cult. It premiered at...
- 10/5/2018
- by Ben Dalton
- ScreenDaily
The festival will open on September 26 with Marialy Rivas’ ‘Princesita’.
The UK’s Raindance Film Festival has revealed the line-up for its 2018 edition (September 26-October 7), with over 80 features and 99 shorts screening at the festival.
The programme includes 31 world premieres, 28 international premieres, 21 European and 81 UK premieres.
The festival will open with the UK premiere of Marialy Rivas’ Chilean drama Princesita about a girl growing up in a cult. It premiered at Tiff in 2017 and is produced by Juan de Dios Larrain’s Fabula.
According to the festival, it received a record 8,929 submissions from 118 countries.
The programme includes a director’s cut...
The UK’s Raindance Film Festival has revealed the line-up for its 2018 edition (September 26-October 7), with over 80 features and 99 shorts screening at the festival.
The programme includes 31 world premieres, 28 international premieres, 21 European and 81 UK premieres.
The festival will open with the UK premiere of Marialy Rivas’ Chilean drama Princesita about a girl growing up in a cult. It premiered at Tiff in 2017 and is produced by Juan de Dios Larrain’s Fabula.
According to the festival, it received a record 8,929 submissions from 118 countries.
The programme includes a director’s cut...
- 8/22/2018
- by Ben Dalton
- ScreenDaily
It’s a wonderful thing to be proven wrong after declaring a little-known character actor to have had a once-in-a-career moment — when that unforeseen breakthrough merely paves the way for an unexpectedly fruitful career. So it is with Chile’s Paulina Garcia, whose vibrant late-career performance in 2013’s “Gloria” turned out to be a fixed bolt from the blue, its reverberations running the gamut from TV’s “Narcos” to Ira Sachs’ “Little Men.” Now, in Cecilia Atán and Valeria Pivato’s wistfully gorgeous miniature “The Desert Bride,” it has a true and worthy companion piece.
Another story of middle-aged female loneliness and displacement, Atán and Pivato’s anecdote-scaled film is presented through a quieter, more fragile narrative prism than “Gloria’s,” as a repressed domestic worker’s unplanned pit stop en route to a new job opens the narrowest of windows onto a new life altogether. It’s a loving...
Another story of middle-aged female loneliness and displacement, Atán and Pivato’s anecdote-scaled film is presented through a quieter, more fragile narrative prism than “Gloria’s,” as a repressed domestic worker’s unplanned pit stop en route to a new job opens the narrowest of windows onto a new life altogether. It’s a loving...
- 5/1/2018
- by Guy Lodge
- Variety Film + TV
Tiff 17 Little Girls Long to Be Princesitas
Marialy Rivas, whose previous feature Young & Wild won Sundance 2012's Director’s Biograpy World Cinema Screenwriting Award, returns to the festival circuit with Princesita an unpredictable and darker tale of a young girl on the edge of womanhood premiering in the Discovery section of the Toronto International Film Festival.
Marialy Rivas, director of Princesita
A teenager in Young & Wild, and now a girl in Princesita, are both on their way to becoming women, and both are entrapped by external rules and impositions from society and from their families. Both must break away from what surrounds them in order to conquer themselves, and both set off towards an uncertain future, but which in the end, belongs to them alone.
Synopsis: In a distant land on the southernmost tip of the world lives Tamara, a twelve-year-old girl who has been raised in a cult led by the charismatic Miguel.
Marialy Rivas, whose previous feature Young & Wild won Sundance 2012's Director’s Biograpy World Cinema Screenwriting Award, returns to the festival circuit with Princesita an unpredictable and darker tale of a young girl on the edge of womanhood premiering in the Discovery section of the Toronto International Film Festival.
Marialy Rivas, director of Princesita
A teenager in Young & Wild, and now a girl in Princesita, are both on their way to becoming women, and both are entrapped by external rules and impositions from society and from their families. Both must break away from what surrounds them in order to conquer themselves, and both set off towards an uncertain future, but which in the end, belongs to them alone.
Synopsis: In a distant land on the southernmost tip of the world lives Tamara, a twelve-year-old girl who has been raised in a cult led by the charismatic Miguel.
- 9/14/2017
- by Sydney Levine
- Sydney's Buzz
In this raw and moving drama, a troubled middle-aged man, abused by the teenagers he pays handsomely to keep him company, falls for a street gangster with a chilling proposal
From Afar is the terrifically stylish work of first-time Venezuelan director Lorenzo Vigas: it won the Golden Lion at last year’s Venice film festival. The title hints at the movie’s emotional alienation but also a kind of rapture, a sense that the inspiration of love is nurtured by long-distance pining. It could also be inspired by Sergio Armstrong’s superbly controlled cinematography – particularly its enigmatic static shots and long shots that incidentally appear to show the influence of the film’s producer, Michel Franco. Vigas has co-written the movie with Guillermo Arriaga, the author of Babel, 21 Grams and Amores Perros, and their script perhaps has some of Arriaga’s weakness for twist-in-the-tail but without indulgence or tricksiness.
From Afar is the terrifically stylish work of first-time Venezuelan director Lorenzo Vigas: it won the Golden Lion at last year’s Venice film festival. The title hints at the movie’s emotional alienation but also a kind of rapture, a sense that the inspiration of love is nurtured by long-distance pining. It could also be inspired by Sergio Armstrong’s superbly controlled cinematography – particularly its enigmatic static shots and long shots that incidentally appear to show the influence of the film’s producer, Michel Franco. Vigas has co-written the movie with Guillermo Arriaga, the author of Babel, 21 Grams and Amores Perros, and their script perhaps has some of Arriaga’s weakness for twist-in-the-tail but without indulgence or tricksiness.
- 6/30/2016
- by Peter Bradshaw
- The Guardian - Film News
It's a well-known fact that Iberoamerican cinema, which includes Latin American, Spanish, and Portuguese productions, has had a prominent presence at the most important international film festivals for several years now and several films have been recognized at some of the most important film awards around the world. Colombia's "Embrace of the Serpent" earning the country's first-ever Oscar nomination in the Best Foreign Language Film category and Argentina's "Wild Tales" taking home the 2016 BAFTA Award for Best Film Not in English Language are juts two examples of recent victories.
Acknowledging the need for a unified industry in the region and a platform for the Iberoamerican industry to honor and support its own productions, the Premios Platino of Iberoamerican Cinema were born three years ago. Each year the organizing committee selects a diverse group of nominees and invites members of the industry across the American continent and the Iberian peninsula to vote in order to select the winners. The ceremony takes place in a different country every year as a way to include all of the varied industries in the process and execution of the event.
This morning, after considering more than 150 films from a pool of over 800 theatrically releases productions, the final nominees were announced by a group of talented actors, including legendary Mexican-American thespian Edward James Olmos, and filmmakers led by CNN en Español's journalist Juan Carlos Arciniegas. Guatemala's Berlin-winning gem "Ixcanul" received 8 nominations, just as Colombia's Oscar-nominated "Embrace of the Serpent" did. These two gorgeously executed works center on indigenous stories and highlight the rich cultural heritage of Latin America. It's a pleasant surprise to see these two fantastic films get the most love.
Chile's "The Club" and Argentina's "The Clan," films by the two most prolific Pablos working in South America, Pablo Larrain and Pablo Trapero, received 6 nominations each. Larrain's dark tale about Catholic priests with questionable pasts was also nominated this year for a Golden Globe in the Best Foreign Language Film category. Perhaps one of the most surprising, yet well-deserved nominations, was the inclusion of Alonso Ruizpalacios among the Best Director nominees for his brilliant debut "Güeros."
Two films distributed by Pantelion received nomations: "600 Miles" and "Un Gallo con Muchos Huevos." Oscilloscope earned 10 mentions with properties "Ma Ma" and "Embrace of the Serpent." Kino Lorber's "Ixcanul, ""Güeros," and "The Pearl Button" also earned the art house distributor 10 nominations.
Regarding the quality of the films being produced in Iberoamerica Egeda's Elvi Cano said, “This has been an exceptional year for Iberoamerican Cinema, with 826 qualifying releases. Iberoamerican Cinema is alive, growing and stronger then ever.” Renowned journalist and host Juan Carlos Arciniegas added," These awards are starting a revolution and it's my dream, as an ambassador for Premios Platino, that these magnificent films that got nominated today to be seen by all our Iberoamerican audiences. I can't be more proud of what our filmmakers are doing today and if the public don't get to enjoy them, we won't be doing our job"
The 3rd Annual Premios Platino of Iberoamerican Cinema will take place on July 24th in Punta del Este, Uruguay
Here is the full list of nominees:
Premio Platino for Best Iberoamerican Picture
-"Embrace of the Serpent" (El abrazo de la serpiente), by Ciro Guerra (Ciudad Lunar Producciones, Caracol Cine, Dago García Producciones, Nortesur Producciones S.A., Mc Producciones, Buffalo Films) (Colombia, Venezuela, Argentina).
-"The Clan" (El clan), by Pablo Trapero (Kramer & Sigman Films, Matanza Cine S.R.L., El Deseo, P.C., S.A.) (Argentina, Spain).
-"The Club" (El club), by Pablo Larraín (Fabula Producciones) (Chile).
-"Ixcanul," by Jayro Bustamante (La Casa de Producción, Tu vas voir Productions) (Guatemala).
-"Truman," by Cesc Gay (Imposible Films S.L., Truman Film A.I.E., Bd Cine S.R.L) (Spain, Argentina).
Premio Platino for Best Director
-Alonso Ruizpalacios, for "Güeros."
-Cesc Gay, for "Truman."
-Ciro Guerra, for "Embrace of the Serpent" (El abrazo de la serpiente).
Pablo Larraín, for "The Club" (El club).
Pablo Trapero, for "The Clan" (El clan).
Premio Platino for Best Actor
-Alfredo Castro, for "The Club" (El club).
-Damián Alcázar, for "Magallanes."
-Guillermo Francella, for "The Clan" (El clan).
-Javier Cámara, for "Truman."
-Ricardo Darín, for "Truman."
Premio Platino for Best Actress
-Antonia Zegers, for "The Club" (El club).
-Dolores Fonzi, for "Paulina."
-Elena Anaya, for "The Memory of Water" (La memoria del agua).
-Inma Cuesta, for "The Bride" (La novia).
-Penélope Cruz, for "Ma Ma."
Premio Platino for Best Original Score
-Alberto Iglesias, for "Ma Ma."
-Federico Jusid, for "Magallanes."
-Lucas Vidal, for "Nobody Wants the Night" (Nadie quiere la noche).
-Nascuy Linares, for "Embrace of the Serpent" (El abrazo de la serpiente).
-Pascual Reyes, for "Ixcanul."
Premio Platino for Best Animated Feature Film
-"Capture the Flag" (Atrapa la bandera), by Enrique Gato (Telecinco Cinema S.A., Los Rockets La Película A.I.E., Telefónica Studios S.L.U., 4 Cats Pictures S.L., Ikiru Films S.L., Lightbox Animation Studios S.L.) (Spain).
-"Top Cat Begins" (Don Gato 2: El inicio de la pandilla), by Andrés Couturier (Anima Estudios) (Mexico).
-"El Americano", by Ricardo Arnaiz, Mike Kunkel (Olmos Productions, Phil Roman Entertainment, Animex) (Mexico).
-"Amila's Secret" (El secreto de Amila), by Gorka Vázquez (Baleuko, S.L., Talape Animazioa, Draftoon Animation) (Spain, Argentina).
-"Huevos: Little Rooster's Egg-Cellent Adventure" (Un gallo con muchos huevos), by Gabriel Riva Palacio Alatriste, Rodolfo Riva Palacio Alatriste (Huevocartoon Producciones) (Mexico).
Premio Platino for Best Documentary Feature Film
-"Beyond My Grandfather Allende" (Allende mi abuelo Allende), by Marcia Tambutti Allende (Errante Producciones Ltda, Martfilms) (Chile, Mexico).
-"New Girls 24 Hours" (Chicas nuevas 24 horas), by Mabel Lozano (Mafalda Entertainment, S.L., Aleph Media S.A., Puatarará Films, Hangar Films, Arte Vital) (Spain, Argentina, Paraguay, Colombia, Peru).
-"The Pearl Button" (El botón de nácar), by Patricio Guzmán (Atacama Productions, Valdivia Film, France 3 Cinema, Mediaproduccion, S.L.) (Chile, Spain).
-"Tea Time" (La once), by Maite Alberdi (Micromundo Producciones) (Chile).
-"The Propaganda Game," by Álvaro Longoria (Morena Films S. L.) (Spain).
Premio Platino for Best Screenplay
-Cesc Gay, Tomás Aragay, for "Truman."
-Ciro Guerra, Jacques Toulemonde, for "Embrace of the Serpent" (El abrazo de la serpiente).
-Jayro Bustamante, for "Ixcanul."
-Pablo Larraín, Guillermo Calderón, Daniel Villalobos; for "The Club" (El club).
-Salvador del Solar, for "Magallanes."
Premio Platino for Best Iberoamerican Debut Feature Film
-"600 Miles" (600 Millas), by Gabriel Ripstein (Lucia Films) (Mexico).
- "Retribution" (El desconocido), by Dani de la Torre (Atresmedia Cine S. L., Vaca Films Studio, S.L.) (Spain).
-"The Boss, Anatomy of a Crime" (El patrón: radiografía de un crimen), by Sebastián Schindel (Magoya Films S.A., Estrella Films) (Argentina, Venezuela).
-"Ixcanul," by Jayro Bustamante (La Casa de Producción, Tu vas voir Productions) (Guatemala).
-"Magallanes," by Salvador del Solar (Péndulo Films, Tondero Producciones, Cepa Audiovisual S.R.L., Proyectil, Cinemara, Nephilim Producciones, S.L.) (Peru, Colombia, Argentina, Spain).
Premio Platino for Best Film Editing
-César Díaz, for "Ixcanul."
-Eric Williams, for "Magallanes."
-Etienne Boussac, Cristina Gallego, for "Embrace of the Serpent" (El abrazo de la serpiente).
-Jorge Coira, for "Retribution" (El desconocido).
-Pablo Trapero, Alejandro Carrillo Penovi, for "The Clan" (El clan).
Premio Platino for Best Art Direction
-Angélica Perea, for "Embrace of the Serpent" (El abrazo de la serpiente).
-Bruno Duarte, Artur Pinheiro, for "Arabian Nights: Vol.2 - The Desolate One" (As mil e uma noites: Volume 2, O desolado).
-Jesús Bosqued Maté, Pilar Quintana, for "The Bride" (La novia).
-Pilar Peredo, for "Ixcanul."
-Sebastián Orgambide, for "The Clan" (El clan).
Premio Platino for Best Cinematography
-Arnaldo Rodríguez, for "The Memory of Water" (La memoria del agua).
-David Gallego, for "Embrace of the Serpent" (El abrazo de la serpiente).
-Luis Armando Arteaga, for "Ixcanul."
-Miguel Ángel Amoedo, for "The Bride" (La novia).
-Sergio Armstrong, for "The Club" (El club).
Premio Platino for Best Sound Direction
-Carlos García, Marco Salavarría, for "Embrace of the Serpent" (El abrazo de la serpiente).
-David Machado, Jaime Fernández, Nacho Arenas, for "Retribution" (El desconocido).
-Eduardo Cáceres, Julien Cloquet, for "Ixcanul."
-Federico Esquerro, Santiago Fumagalli, Edson Secco, for "Paulina."
-Vicente D’Elía, Leandro de Loredo, for "The Clan" (El clan).
Acknowledging the need for a unified industry in the region and a platform for the Iberoamerican industry to honor and support its own productions, the Premios Platino of Iberoamerican Cinema were born three years ago. Each year the organizing committee selects a diverse group of nominees and invites members of the industry across the American continent and the Iberian peninsula to vote in order to select the winners. The ceremony takes place in a different country every year as a way to include all of the varied industries in the process and execution of the event.
This morning, after considering more than 150 films from a pool of over 800 theatrically releases productions, the final nominees were announced by a group of talented actors, including legendary Mexican-American thespian Edward James Olmos, and filmmakers led by CNN en Español's journalist Juan Carlos Arciniegas. Guatemala's Berlin-winning gem "Ixcanul" received 8 nominations, just as Colombia's Oscar-nominated "Embrace of the Serpent" did. These two gorgeously executed works center on indigenous stories and highlight the rich cultural heritage of Latin America. It's a pleasant surprise to see these two fantastic films get the most love.
Chile's "The Club" and Argentina's "The Clan," films by the two most prolific Pablos working in South America, Pablo Larrain and Pablo Trapero, received 6 nominations each. Larrain's dark tale about Catholic priests with questionable pasts was also nominated this year for a Golden Globe in the Best Foreign Language Film category. Perhaps one of the most surprising, yet well-deserved nominations, was the inclusion of Alonso Ruizpalacios among the Best Director nominees for his brilliant debut "Güeros."
Two films distributed by Pantelion received nomations: "600 Miles" and "Un Gallo con Muchos Huevos." Oscilloscope earned 10 mentions with properties "Ma Ma" and "Embrace of the Serpent." Kino Lorber's "Ixcanul, ""Güeros," and "The Pearl Button" also earned the art house distributor 10 nominations.
Regarding the quality of the films being produced in Iberoamerica Egeda's Elvi Cano said, “This has been an exceptional year for Iberoamerican Cinema, with 826 qualifying releases. Iberoamerican Cinema is alive, growing and stronger then ever.” Renowned journalist and host Juan Carlos Arciniegas added," These awards are starting a revolution and it's my dream, as an ambassador for Premios Platino, that these magnificent films that got nominated today to be seen by all our Iberoamerican audiences. I can't be more proud of what our filmmakers are doing today and if the public don't get to enjoy them, we won't be doing our job"
The 3rd Annual Premios Platino of Iberoamerican Cinema will take place on July 24th in Punta del Este, Uruguay
Here is the full list of nominees:
Premio Platino for Best Iberoamerican Picture
-"Embrace of the Serpent" (El abrazo de la serpiente), by Ciro Guerra (Ciudad Lunar Producciones, Caracol Cine, Dago García Producciones, Nortesur Producciones S.A., Mc Producciones, Buffalo Films) (Colombia, Venezuela, Argentina).
-"The Clan" (El clan), by Pablo Trapero (Kramer & Sigman Films, Matanza Cine S.R.L., El Deseo, P.C., S.A.) (Argentina, Spain).
-"The Club" (El club), by Pablo Larraín (Fabula Producciones) (Chile).
-"Ixcanul," by Jayro Bustamante (La Casa de Producción, Tu vas voir Productions) (Guatemala).
-"Truman," by Cesc Gay (Imposible Films S.L., Truman Film A.I.E., Bd Cine S.R.L) (Spain, Argentina).
Premio Platino for Best Director
-Alonso Ruizpalacios, for "Güeros."
-Cesc Gay, for "Truman."
-Ciro Guerra, for "Embrace of the Serpent" (El abrazo de la serpiente).
Pablo Larraín, for "The Club" (El club).
Pablo Trapero, for "The Clan" (El clan).
Premio Platino for Best Actor
-Alfredo Castro, for "The Club" (El club).
-Damián Alcázar, for "Magallanes."
-Guillermo Francella, for "The Clan" (El clan).
-Javier Cámara, for "Truman."
-Ricardo Darín, for "Truman."
Premio Platino for Best Actress
-Antonia Zegers, for "The Club" (El club).
-Dolores Fonzi, for "Paulina."
-Elena Anaya, for "The Memory of Water" (La memoria del agua).
-Inma Cuesta, for "The Bride" (La novia).
-Penélope Cruz, for "Ma Ma."
Premio Platino for Best Original Score
-Alberto Iglesias, for "Ma Ma."
-Federico Jusid, for "Magallanes."
-Lucas Vidal, for "Nobody Wants the Night" (Nadie quiere la noche).
-Nascuy Linares, for "Embrace of the Serpent" (El abrazo de la serpiente).
-Pascual Reyes, for "Ixcanul."
Premio Platino for Best Animated Feature Film
-"Capture the Flag" (Atrapa la bandera), by Enrique Gato (Telecinco Cinema S.A., Los Rockets La Película A.I.E., Telefónica Studios S.L.U., 4 Cats Pictures S.L., Ikiru Films S.L., Lightbox Animation Studios S.L.) (Spain).
-"Top Cat Begins" (Don Gato 2: El inicio de la pandilla), by Andrés Couturier (Anima Estudios) (Mexico).
-"El Americano", by Ricardo Arnaiz, Mike Kunkel (Olmos Productions, Phil Roman Entertainment, Animex) (Mexico).
-"Amila's Secret" (El secreto de Amila), by Gorka Vázquez (Baleuko, S.L., Talape Animazioa, Draftoon Animation) (Spain, Argentina).
-"Huevos: Little Rooster's Egg-Cellent Adventure" (Un gallo con muchos huevos), by Gabriel Riva Palacio Alatriste, Rodolfo Riva Palacio Alatriste (Huevocartoon Producciones) (Mexico).
Premio Platino for Best Documentary Feature Film
-"Beyond My Grandfather Allende" (Allende mi abuelo Allende), by Marcia Tambutti Allende (Errante Producciones Ltda, Martfilms) (Chile, Mexico).
-"New Girls 24 Hours" (Chicas nuevas 24 horas), by Mabel Lozano (Mafalda Entertainment, S.L., Aleph Media S.A., Puatarará Films, Hangar Films, Arte Vital) (Spain, Argentina, Paraguay, Colombia, Peru).
-"The Pearl Button" (El botón de nácar), by Patricio Guzmán (Atacama Productions, Valdivia Film, France 3 Cinema, Mediaproduccion, S.L.) (Chile, Spain).
-"Tea Time" (La once), by Maite Alberdi (Micromundo Producciones) (Chile).
-"The Propaganda Game," by Álvaro Longoria (Morena Films S. L.) (Spain).
Premio Platino for Best Screenplay
-Cesc Gay, Tomás Aragay, for "Truman."
-Ciro Guerra, Jacques Toulemonde, for "Embrace of the Serpent" (El abrazo de la serpiente).
-Jayro Bustamante, for "Ixcanul."
-Pablo Larraín, Guillermo Calderón, Daniel Villalobos; for "The Club" (El club).
-Salvador del Solar, for "Magallanes."
Premio Platino for Best Iberoamerican Debut Feature Film
-"600 Miles" (600 Millas), by Gabriel Ripstein (Lucia Films) (Mexico).
- "Retribution" (El desconocido), by Dani de la Torre (Atresmedia Cine S. L., Vaca Films Studio, S.L.) (Spain).
-"The Boss, Anatomy of a Crime" (El patrón: radiografía de un crimen), by Sebastián Schindel (Magoya Films S.A., Estrella Films) (Argentina, Venezuela).
-"Ixcanul," by Jayro Bustamante (La Casa de Producción, Tu vas voir Productions) (Guatemala).
-"Magallanes," by Salvador del Solar (Péndulo Films, Tondero Producciones, Cepa Audiovisual S.R.L., Proyectil, Cinemara, Nephilim Producciones, S.L.) (Peru, Colombia, Argentina, Spain).
Premio Platino for Best Film Editing
-César Díaz, for "Ixcanul."
-Eric Williams, for "Magallanes."
-Etienne Boussac, Cristina Gallego, for "Embrace of the Serpent" (El abrazo de la serpiente).
-Jorge Coira, for "Retribution" (El desconocido).
-Pablo Trapero, Alejandro Carrillo Penovi, for "The Clan" (El clan).
Premio Platino for Best Art Direction
-Angélica Perea, for "Embrace of the Serpent" (El abrazo de la serpiente).
-Bruno Duarte, Artur Pinheiro, for "Arabian Nights: Vol.2 - The Desolate One" (As mil e uma noites: Volume 2, O desolado).
-Jesús Bosqued Maté, Pilar Quintana, for "The Bride" (La novia).
-Pilar Peredo, for "Ixcanul."
-Sebastián Orgambide, for "The Clan" (El clan).
Premio Platino for Best Cinematography
-Arnaldo Rodríguez, for "The Memory of Water" (La memoria del agua).
-David Gallego, for "Embrace of the Serpent" (El abrazo de la serpiente).
-Luis Armando Arteaga, for "Ixcanul."
-Miguel Ángel Amoedo, for "The Bride" (La novia).
-Sergio Armstrong, for "The Club" (El club).
Premio Platino for Best Sound Direction
-Carlos García, Marco Salavarría, for "Embrace of the Serpent" (El abrazo de la serpiente).
-David Machado, Jaime Fernández, Nacho Arenas, for "Retribution" (El desconocido).
-Eduardo Cáceres, Julien Cloquet, for "Ixcanul."
-Federico Esquerro, Santiago Fumagalli, Edson Secco, for "Paulina."
-Vicente D’Elía, Leandro de Loredo, for "The Clan" (El clan).
- 5/27/2016
- by Carlos Aguilar
- Sydney's Buzz
Pablo Larraín is not finished wrestling with his nation’s psyche. His first three films, Tony Manero, Post Mortem, and No, formed a loose triptych that confronted the trauma of the Augusto Pinochet years from different angles. His fourth, The Club, was a blistering attack against the contemporary institution of the Catholic Church in Chile, which accused it of deep-seated corruption and of collusion with the Pinochet regime. With Neruda he returns to the past, back to 1948, the year the eminent poet and Communist senator Pablo Neruda (Luis Gnecco) went into hiding after the Chilean president outlawed Communism in the country.
As radical a reinvention of the biopic as Todd Haynes’ I’m Not There, Neruda is Larraín’s most conceptual and also his most demanding film yet. Like Haynes, Larraín attempts to create a hybrid between his subject’s art and biography, and, like Haynes’ film, Larraín’s is...
As radical a reinvention of the biopic as Todd Haynes’ I’m Not There, Neruda is Larraín’s most conceptual and also his most demanding film yet. Like Haynes, Larraín attempts to create a hybrid between his subject’s art and biography, and, like Haynes’ film, Larraín’s is...
- 5/16/2016
- by Giovanni Marchini Camia
- The Film Stage
Living Under Your Spotlight: Larrain Paints it Black with Catholic Crisis Comedy
For his first film following the finale of his narrative trilogy documenting the virulence of the Pinochet dictatorship (Tony Manero; Post Mortem; No), Chilean auteur Pablo Larrain returns with a macabre tale of sacerdotal infringements within the Catholic Church in the ludicrous, perverse, and vibrantly entertaining The Club. Starring his usual collaborator, Alfredo Castro, Larrain, along with screenwriters Daniel Villalobos and Guillermo Calderon (2011’s Violeta Went to Heaven) concoct a bizarre tale concerning a cloister of ex-Catholic priests holed up within the confines of an isolated seaside monastery. Relocated out of circulation as punishment by the church, the disparate men languish in all the comforts of an unassuming retirement home community on the church’s dime.
On the coastal extremity of Chile, four men (Alfredo Castro; Jaime Vadell; Alejandro Goic; Alejandro Sieveking) reside together in a home under...
For his first film following the finale of his narrative trilogy documenting the virulence of the Pinochet dictatorship (Tony Manero; Post Mortem; No), Chilean auteur Pablo Larrain returns with a macabre tale of sacerdotal infringements within the Catholic Church in the ludicrous, perverse, and vibrantly entertaining The Club. Starring his usual collaborator, Alfredo Castro, Larrain, along with screenwriters Daniel Villalobos and Guillermo Calderon (2011’s Violeta Went to Heaven) concoct a bizarre tale concerning a cloister of ex-Catholic priests holed up within the confines of an isolated seaside monastery. Relocated out of circulation as punishment by the church, the disparate men languish in all the comforts of an unassuming retirement home community on the church’s dime.
On the coastal extremity of Chile, four men (Alfredo Castro; Jaime Vadell; Alejandro Goic; Alejandro Sieveking) reside together in a home under...
- 2/6/2016
- by Nicholas Bell
- IONCINEMA.com
The Club
Written by Guillermo Calderón, Pablo Larraín and Daniel Villalobos
Directed by Pablo Larraín
Chile, 2015
Director Pablo Larraín is known for his extremely fascinating social commentaries about his native Chile. Most famously, he tackled the Pinochet regime and its legacy with his trilogy comprising Tony Manero, Post-Mortem and No. With The Club, Larraín looks at Catholicism, another major Chilean institution, and the abuses of power that can occur within the priesthood. Interestingly, he doesn’t judge the actions of the characters but rather presents a portrait of a group of devastatingly corrupt and flawed human beings against a misty, almost dreamlike, backdrop. This effect allows a chance to look past the dark and troubling reality of these men’s lives and possibly witness a glimmer of something redeemable, even if that is just for one brief moment.
In a small Chilean town, unbeknownst to the townsfolk, disgraced priests are...
Written by Guillermo Calderón, Pablo Larraín and Daniel Villalobos
Directed by Pablo Larraín
Chile, 2015
Director Pablo Larraín is known for his extremely fascinating social commentaries about his native Chile. Most famously, he tackled the Pinochet regime and its legacy with his trilogy comprising Tony Manero, Post-Mortem and No. With The Club, Larraín looks at Catholicism, another major Chilean institution, and the abuses of power that can occur within the priesthood. Interestingly, he doesn’t judge the actions of the characters but rather presents a portrait of a group of devastatingly corrupt and flawed human beings against a misty, almost dreamlike, backdrop. This effect allows a chance to look past the dark and troubling reality of these men’s lives and possibly witness a glimmer of something redeemable, even if that is just for one brief moment.
In a small Chilean town, unbeknownst to the townsfolk, disgraced priests are...
- 10/13/2015
- by Liam Dunn
- SoundOnSight
The Venezuelan film From Afar was a decent pick for Venice’s top award, even if some of the other prizes handed out were somewhat on the mysterious side
Jaws dropped, but Venezuelan national pride soared, as a low-profile film from an unknown first-time director scooped the Venice film festival’s top prize the Golden Lion. Lorenzo Vigas’s film From Afar (Desde Allá) wasn’t considered by many as a front runner in a competition that included works from such high-profile names as Charlie Kaufman, Tom Hooper, performer turned director Laurie Anderson and 2011 Golden Lion winner Alexander Sokurov. But Vigas’s dark drama, about the relationship between a middle-aged gay man and a violent young street tough, was certainly one of the discoveries of the festival, and had plenty to recommend it – not least an audaciously minimalist performance from Alfredo Castro, the Chilean actor who in the last few...
Jaws dropped, but Venezuelan national pride soared, as a low-profile film from an unknown first-time director scooped the Venice film festival’s top prize the Golden Lion. Lorenzo Vigas’s film From Afar (Desde Allá) wasn’t considered by many as a front runner in a competition that included works from such high-profile names as Charlie Kaufman, Tom Hooper, performer turned director Laurie Anderson and 2011 Golden Lion winner Alexander Sokurov. But Vigas’s dark drama, about the relationship between a middle-aged gay man and a violent young street tough, was certainly one of the discoveries of the festival, and had plenty to recommend it – not least an audaciously minimalist performance from Alfredo Castro, the Chilean actor who in the last few...
- 9/12/2015
- by Jonathan Romney
- The Guardian - Film News
No
Directed by Pablo Larraín
Written by Pedro Peirano
2012, Chile
Earlier last year, a pro-Pinochet documentary triggered off clashes at a screening in Santiago, Chile, and prompted calls for the film to be banned. But the Piñera administration declared its hands tied, and rightfully so. Even though the Pinochet regime came to an end in 1990, it is sobering to appreciate the strength of Chile’s current democracy considering the nearly two decades of dictatorship the country suffered at his hands, during which any form of dissent was not taken to kindly; a period in its own history that the Latin American nation still finds especially sensitive.
With his fourth feature, and presumably the final film in what is ostensibly his Pinochet trilogy, Pablo Larrain tells the story of how the dictator’s stranglehold was finally released when, in 1987, Augusto José Ramón Pinochet Ugarte called for a plebiscite (or a referendum...
Directed by Pablo Larraín
Written by Pedro Peirano
2012, Chile
Earlier last year, a pro-Pinochet documentary triggered off clashes at a screening in Santiago, Chile, and prompted calls for the film to be banned. But the Piñera administration declared its hands tied, and rightfully so. Even though the Pinochet regime came to an end in 1990, it is sobering to appreciate the strength of Chile’s current democracy considering the nearly two decades of dictatorship the country suffered at his hands, during which any form of dissent was not taken to kindly; a period in its own history that the Latin American nation still finds especially sensitive.
With his fourth feature, and presumably the final film in what is ostensibly his Pinochet trilogy, Pablo Larrain tells the story of how the dictator’s stranglehold was finally released when, in 1987, Augusto José Ramón Pinochet Ugarte called for a plebiscite (or a referendum...
- 2/13/2013
- by Tope
- SoundOnSight
In 1988, Michael Jackson's Moonwalk biography was released, as was the baseball classic Bull Durham starring Susan Sarandon, and Iran Air Flight 655 was shot down by U.S. missiles. Pablo Larrain's masterful Oscar nominee for Best Foreign Film, No, however, has chosen to concentrate on the Chilean military dictator Augusto Pinochet and his overthrow by an advertising executive, Rene Saavedra.
You see, after Pinochet and his thugs tortured and slaughtered several thousand of his citizens with the implicit approval of the United States and other international powers, the world at large developed a conscience of sorts and pressured the Chilean leader to hold a plebiscite on his presidency. The populace was to vote "Yes" in support of Pinochet or "No" to get rid of the tyrant. But how fair could such a referendum be? After all, Pinochet controlled the media and the streets.
Well, to be cordial, let's supply the...
You see, after Pinochet and his thugs tortured and slaughtered several thousand of his citizens with the implicit approval of the United States and other international powers, the world at large developed a conscience of sorts and pressured the Chilean leader to hold a plebiscite on his presidency. The populace was to vote "Yes" in support of Pinochet or "No" to get rid of the tyrant. But how fair could such a referendum be? After all, Pinochet controlled the media and the streets.
Well, to be cordial, let's supply the...
- 1/16/2013
- by Brandon Judell
- www.culturecatch.com
No
Directed by Pablo Larraín
Written by Pedro Peirano
2012, Chile
Earlier this year, a pro-Pinochet documentary triggered off clashes at a screening in Santiago, Chile, and prompted calls for the film to be banned. But the Piñera administration declared its hands tied, and rightfully so. Even though the Pinochet regime came to an end in 1990, it is sobering to appreciate the strength of Chile’s current democracy considering the nearly two decades of dictatorship the country suffered at his hands, during which any form of dissent was not taken to kindly; a period in its own history that the Latin American nation still finds especially sensitive.
With his fourth feature, and presumably the final film in what is ostensibly his Pinochet trilogy, Pablo Larrain tells the story of how the dictator’s stranglehold was finally released when, in 1987, Augusto José Ramón Pinochet Ugarte called for a plebiscite (or a referendum...
Directed by Pablo Larraín
Written by Pedro Peirano
2012, Chile
Earlier this year, a pro-Pinochet documentary triggered off clashes at a screening in Santiago, Chile, and prompted calls for the film to be banned. But the Piñera administration declared its hands tied, and rightfully so. Even though the Pinochet regime came to an end in 1990, it is sobering to appreciate the strength of Chile’s current democracy considering the nearly two decades of dictatorship the country suffered at his hands, during which any form of dissent was not taken to kindly; a period in its own history that the Latin American nation still finds especially sensitive.
With his fourth feature, and presumably the final film in what is ostensibly his Pinochet trilogy, Pablo Larrain tells the story of how the dictator’s stranglehold was finally released when, in 1987, Augusto José Ramón Pinochet Ugarte called for a plebiscite (or a referendum...
- 8/16/2012
- by Tope
- SoundOnSight
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.