This year’s Locarno Film Festival (Aug 7 -17) lineup includes Quentin Tarantino’s Once Upon A Time In Hollywood and Joseph Gordon-Levitt plane thriller 7500, which gets its world premiere at the Swiss showcase. Scroll down for major category lineups.
The 72nd edition of the festival marks the first for incoming artistic director Lili Hinstein who has taken over from Carlo Chatrian. As ever, there is a strong contingent of European and Asian arthouse movies and the Piazza Grande section includes a handful of titles with more mainstream appeal, such as Tarantino’s Cannes pic Once Upon A Time In Hollywood, which rolls out globally in August.
Alongside Once Upon A Time In Hollywood, the open air Piazza Grande screenings will include the world premieres of German-produced hijack thriller-drama 7500, Carice Van Houten starrer Instinct, UK comedy actor Simon Bird’s directorial debut Days Of The Bagnold Summer, French director Stéphane Demoustier...
The 72nd edition of the festival marks the first for incoming artistic director Lili Hinstein who has taken over from Carlo Chatrian. As ever, there is a strong contingent of European and Asian arthouse movies and the Piazza Grande section includes a handful of titles with more mainstream appeal, such as Tarantino’s Cannes pic Once Upon A Time In Hollywood, which rolls out globally in August.
Alongside Once Upon A Time In Hollywood, the open air Piazza Grande screenings will include the world premieres of German-produced hijack thriller-drama 7500, Carice Van Houten starrer Instinct, UK comedy actor Simon Bird’s directorial debut Days Of The Bagnold Summer, French director Stéphane Demoustier...
- 7/17/2019
- by Andreas Wiseman
- Deadline Film + TV
Patagonia could be a worryingly hard sell to the popcorn chomping public. Its brilliant cast rarely use the Queen’s English; preferring the Spanish and Welsh tongue as we follow the intertwining stories through Wales and Argentina’s Patagonia.
Marc Evans (My Little Eye) has the directorial reigns here; taking the viewer on a intriguing journey that plays out the lives of two women, at very different stages – an old lady’s quest to find the birthplace of her mother and the relationship of a young couple, still treading the early complicated waters of their potential life together.
Evans is a marvel behind the camera. As the parallel journeys play out, the screen is filled with stunning panoramic landscapes that lend themselves as a beautifully artistic backdrop. The contrast between the harsh farmland desert of Patagonia, against the sweeping valleys of deepest darkest Wales act as striking mood ring for the movie.
Marc Evans (My Little Eye) has the directorial reigns here; taking the viewer on a intriguing journey that plays out the lives of two women, at very different stages – an old lady’s quest to find the birthplace of her mother and the relationship of a young couple, still treading the early complicated waters of their potential life together.
Evans is a marvel behind the camera. As the parallel journeys play out, the screen is filled with stunning panoramic landscapes that lend themselves as a beautifully artistic backdrop. The contrast between the harsh farmland desert of Patagonia, against the sweeping valleys of deepest darkest Wales act as striking mood ring for the movie.
- 7/6/2011
- by Matt Hamm
- HeyUGuys.co.uk
Director: Diego Lerman Writers: Diego Lerman, Maria Meira Starring: Julieta Zylberberg, Osmar Nuñez, Marta Lubos, Gaby Ferrero, Diego Veggezzi, Pablo Sigal Much of 20th century Latin American history is marred by viscous dictators who actively sought to repress any and all opposed to their regimes. The history of Argentina is no exception to this. The period between 1976 and 1983 is known as the Dirty War in Argentina when thousands of students, unionists, activists, journalists and anyone who sympathized with left-wing politics were “disappeared” by the military dictator Jorge Rafael Videla and his ruthless entourage. This period of intense repression is artistically manifested in much of the art of Argentina from the latter part of the 20th century on. Diego Lerman’s allegorical film, La mirada invisible (The Invisible Eye), is set in a Buenos Aires high school in 1982. The world of the school starkly contrasts the world beyond its courtyard walls...
- 5/6/2011
- by Caitlyn Collins
- SmellsLikeScreenSpirit
A road movie about the links between Wales and Argentina, Marc Evans's film includes an acting debut for the singer Duffy
Duffy makes her acting debut with a small part in this sincere road movie – and looks like she's itching to be in a way cooler, hipper film. In the late 19th century, thousands emigrated from Wales to inhospitable Argentina; here director Marc Evans knots together two modern stories, one from each country. A wily octogenarian Argentine (Marta Lubos) pressgangs a neighbour's son into taking her to Wales, which her mother left in the 1920s, pregnant and unmarried; a couple from Cardiff (Nia Roberts, Matthew Gravelle) travel to Patagonia where he photographs chapels; austere and isolated, they're a metaphor for his remoteness. But a topcoat of enforced lyricism creates an emotional soft-focus that is unsatisfying and unconvincing.
Rating: 2/5
DramaDuffyCath Clarke
guardian.co.uk © Guardian News & Media Limited 2011 | Use of...
Duffy makes her acting debut with a small part in this sincere road movie – and looks like she's itching to be in a way cooler, hipper film. In the late 19th century, thousands emigrated from Wales to inhospitable Argentina; here director Marc Evans knots together two modern stories, one from each country. A wily octogenarian Argentine (Marta Lubos) pressgangs a neighbour's son into taking her to Wales, which her mother left in the 1920s, pregnant and unmarried; a couple from Cardiff (Nia Roberts, Matthew Gravelle) travel to Patagonia where he photographs chapels; austere and isolated, they're a metaphor for his remoteness. But a topcoat of enforced lyricism creates an emotional soft-focus that is unsatisfying and unconvincing.
Rating: 2/5
DramaDuffyCath Clarke
guardian.co.uk © Guardian News & Media Limited 2011 | Use of...
- 3/4/2011
- by Cath Clarke
- The Guardian - Film News
Here's a collector's item, a drama in which the only languages spoken are Welsh and Spanish. It's also two road movies for the price of one, running the parallel stories of pilgrims on a search for identity. Gwen (Nia Roberts) and her photographer boyfriend Rhys (Matthew Gravelle) journey from hometown Cardiff to Patagonia, having packed some unspecified sadness that comes to the boil when Gwen meets Welsh-Patagonian rancher dude Mateo (Matthew Rhys). Meanwhile, travelling in exactly the opposite direction is elderly Argentine native Cerys (Marta Lubos) who wants to connect with her ancestral Wales before she dies, and takes along her shy young neighbour Alejandro (Nahaul Perez Biscayart) as companion. Wonderfully shot by Robbie Ryan (Fish Tank), the film displays a lyrical sensitivity both to the desert landscapes of Patagonia and to the remote, rain-glazed hills of Wales, and the unlikeliness of their ancient connection (the Welsh settled in Patagonia in 1865) becomes rather moving.
- 3/4/2011
- The Independent - Film
CANNES -- Catholic school girls and provincial doctors -- are there two more repressed groups? -- rub elbows, and a few other body parts, in this unduly dry In Competition entrant. Although a contemporary drama, "La Nina Santa" (The Holy Girl) feels like a period piece from long ago, such is its stodgy dramaturgy.
In this Spanish, coming-of-age story, two sexually immature groups, adolescent students and middle-aged doctors, intersect at a small hotel where a medical convention is being held. The hotel is run by a glamorous divorcee (Mercedes Moran), and it is the hangout of her adolescent daughter, Amalia, and her schoolgirl chums. In between choir rehearsals and Biblical discussions, the girls whisper about all the good things they can't reveal among adults; accordingly, these girls are on their own in these matters, literally and figuratively, groping for answers.
Not surprisingly, the middle-aged cadre of physicians does not seem any more sexually advanced, tied up in long-term marriages and leading the lives of respectable physicians. Like many physicians of their era, the good doctors are of the dweeb variety, nerds who have trouble relating to their patients, especially the taciturn Dr. Jano (Carlos Belloso), who exhibits repressed symptoms almost immediately -- eying the girls, even rubbing up against Amalia (Maria Alche) in a crowd. His seeking her out is no mere random, predatory mistake -- she has cast yearning glances his way and pursued him.
In essence, "La Nina Santa" is a forbidden-love story centering around societal and religious conventions. Filmmaker Lucrecia Martel has intelligently presented a situation where the dictum of religion, as well as the professional guideposts of a respected profession, provide only facile guidance in matters of overall human need, resorting to shallow homilies or institutional dictum. In particular, Martel counterpoints the schoolgirls' rigid religious discussions and hymn singing with their teenaged exuberance and life-embracing natures.
Overall, "La Nina Santa" is a disappointingly barren drama: A running gag of a compulsive maid spraying disinfectant all over provides the film's most entertaining moments. Intercutting between the tedious choir practices and the nerdy socializing of the dull doctors, "La Nina Santa" is a drama of low-pulse rate and dim pallor, bereft of irony and anemic in essential dramatic functions, a surprising diagnosis considering Pedro Almodovar is an executive producer.
La Nina Santa
Pyramide
Credits:
Producer: Lita Stantic
Writer/director: Lucrecia Martel
Executive producers: Pedro Almodovar, Agustin Almodovar, Esther Garcia
Line producer: Matias Mosteirin
Cinematographer: Felix Monti
Editor: Santiago Ricci
Art director: Graciela Oderigo
Costume designer: Julio Suarez
Sound: Marcos De Aguirre, David Miranda, Guido Berenblum Music: Andres Gerszenzon
Cast:
Mercedes Moran, Carlos Belloso, Alejandro Urdapileta, Maria Alche, Julieta Zylberberg, Mia Maestro, Monica Villa, Marta Lubos, Alejo Mango, Arturo Goetz
No MPAA Rating
Running time -- 106 minutes...
In this Spanish, coming-of-age story, two sexually immature groups, adolescent students and middle-aged doctors, intersect at a small hotel where a medical convention is being held. The hotel is run by a glamorous divorcee (Mercedes Moran), and it is the hangout of her adolescent daughter, Amalia, and her schoolgirl chums. In between choir rehearsals and Biblical discussions, the girls whisper about all the good things they can't reveal among adults; accordingly, these girls are on their own in these matters, literally and figuratively, groping for answers.
Not surprisingly, the middle-aged cadre of physicians does not seem any more sexually advanced, tied up in long-term marriages and leading the lives of respectable physicians. Like many physicians of their era, the good doctors are of the dweeb variety, nerds who have trouble relating to their patients, especially the taciturn Dr. Jano (Carlos Belloso), who exhibits repressed symptoms almost immediately -- eying the girls, even rubbing up against Amalia (Maria Alche) in a crowd. His seeking her out is no mere random, predatory mistake -- she has cast yearning glances his way and pursued him.
In essence, "La Nina Santa" is a forbidden-love story centering around societal and religious conventions. Filmmaker Lucrecia Martel has intelligently presented a situation where the dictum of religion, as well as the professional guideposts of a respected profession, provide only facile guidance in matters of overall human need, resorting to shallow homilies or institutional dictum. In particular, Martel counterpoints the schoolgirls' rigid religious discussions and hymn singing with their teenaged exuberance and life-embracing natures.
Overall, "La Nina Santa" is a disappointingly barren drama: A running gag of a compulsive maid spraying disinfectant all over provides the film's most entertaining moments. Intercutting between the tedious choir practices and the nerdy socializing of the dull doctors, "La Nina Santa" is a drama of low-pulse rate and dim pallor, bereft of irony and anemic in essential dramatic functions, a surprising diagnosis considering Pedro Almodovar is an executive producer.
La Nina Santa
Pyramide
Credits:
Producer: Lita Stantic
Writer/director: Lucrecia Martel
Executive producers: Pedro Almodovar, Agustin Almodovar, Esther Garcia
Line producer: Matias Mosteirin
Cinematographer: Felix Monti
Editor: Santiago Ricci
Art director: Graciela Oderigo
Costume designer: Julio Suarez
Sound: Marcos De Aguirre, David Miranda, Guido Berenblum Music: Andres Gerszenzon
Cast:
Mercedes Moran, Carlos Belloso, Alejandro Urdapileta, Maria Alche, Julieta Zylberberg, Mia Maestro, Monica Villa, Marta Lubos, Alejo Mango, Arturo Goetz
No MPAA Rating
Running time -- 106 minutes...
CANNES -- Catholic school girls and provincial doctors -- are there two more repressed groups? -- rub elbows, and a few other body parts, in this unduly dry In Competition entrant. Although a contemporary drama, "La Nina Santa" (The Holy Girl) feels like a period piece from long ago, such is its stodgy dramaturgy.
In this Spanish, coming-of-age story, two sexually immature groups, adolescent students and middle-aged doctors, intersect at a small hotel where a medical convention is being held. The hotel is run by a glamorous divorcee (Mercedes Moran), and it is the hangout of her adolescent daughter, Amalia, and her schoolgirl chums. In between choir rehearsals and Biblical discussions, the girls whisper about all the good things they can't reveal among adults; accordingly, these girls are on their own in these matters, literally and figuratively, groping for answers.
Not surprisingly, the middle-aged cadre of physicians does not seem any more sexually advanced, tied up in long-term marriages and leading the lives of respectable physicians. Like many physicians of their era, the good doctors are of the dweeb variety, nerds who have trouble relating to their patients, especially the taciturn Dr. Jano (Carlos Belloso), who exhibits repressed symptoms almost immediately -- eying the girls, even rubbing up against Amalia (Maria Alche) in a crowd. His seeking her out is no mere random, predatory mistake -- she has cast yearning glances his way and pursued him.
In essence, "La Nina Santa" is a forbidden-love story centering around societal and religious conventions. Filmmaker Lucrecia Martel has intelligently presented a situation where the dictum of religion, as well as the professional guideposts of a respected profession, provide only facile guidance in matters of overall human need, resorting to shallow homilies or institutional dictum. In particular, Martel counterpoints the schoolgirls' rigid religious discussions and hymn singing with their teenaged exuberance and life-embracing natures.
Overall, "La Nina Santa" is a disappointingly barren drama: A running gag of a compulsive maid spraying disinfectant all over provides the film's most entertaining moments. Intercutting between the tedious choir practices and the nerdy socializing of the dull doctors, "La Nina Santa" is a drama of low-pulse rate and dim pallor, bereft of irony and anemic in essential dramatic functions, a surprising diagnosis considering Pedro Almodovar is an executive producer.
La Nina Santa
Pyramide
Credits:
Producer: Lita Stantic
Writer/director: Lucrecia Martel
Executive producers: Pedro Almodovar, Agustin Almodovar, Esther Garcia
Line producer: Matias Mosteirin
Cinematographer: Felix Monti
Editor: Santiago Ricci
Art director: Graciela Oderigo
Costume designer: Julio Suarez
Sound: Marcos De Aguirre, David Miranda, Guido Berenblum Music: Andres Gerszenzon
Cast:
Mercedes Moran, Carlos Belloso, Alejandro Urdapileta, Maria Alche, Julieta Zylberberg, Mia Maestro, Monica Villa, Marta Lubos, Alejo Mango, Arturo Goetz
No MPAA Rating
Running time -- 106 minutes...
In this Spanish, coming-of-age story, two sexually immature groups, adolescent students and middle-aged doctors, intersect at a small hotel where a medical convention is being held. The hotel is run by a glamorous divorcee (Mercedes Moran), and it is the hangout of her adolescent daughter, Amalia, and her schoolgirl chums. In between choir rehearsals and Biblical discussions, the girls whisper about all the good things they can't reveal among adults; accordingly, these girls are on their own in these matters, literally and figuratively, groping for answers.
Not surprisingly, the middle-aged cadre of physicians does not seem any more sexually advanced, tied up in long-term marriages and leading the lives of respectable physicians. Like many physicians of their era, the good doctors are of the dweeb variety, nerds who have trouble relating to their patients, especially the taciturn Dr. Jano (Carlos Belloso), who exhibits repressed symptoms almost immediately -- eying the girls, even rubbing up against Amalia (Maria Alche) in a crowd. His seeking her out is no mere random, predatory mistake -- she has cast yearning glances his way and pursued him.
In essence, "La Nina Santa" is a forbidden-love story centering around societal and religious conventions. Filmmaker Lucrecia Martel has intelligently presented a situation where the dictum of religion, as well as the professional guideposts of a respected profession, provide only facile guidance in matters of overall human need, resorting to shallow homilies or institutional dictum. In particular, Martel counterpoints the schoolgirls' rigid religious discussions and hymn singing with their teenaged exuberance and life-embracing natures.
Overall, "La Nina Santa" is a disappointingly barren drama: A running gag of a compulsive maid spraying disinfectant all over provides the film's most entertaining moments. Intercutting between the tedious choir practices and the nerdy socializing of the dull doctors, "La Nina Santa" is a drama of low-pulse rate and dim pallor, bereft of irony and anemic in essential dramatic functions, a surprising diagnosis considering Pedro Almodovar is an executive producer.
La Nina Santa
Pyramide
Credits:
Producer: Lita Stantic
Writer/director: Lucrecia Martel
Executive producers: Pedro Almodovar, Agustin Almodovar, Esther Garcia
Line producer: Matias Mosteirin
Cinematographer: Felix Monti
Editor: Santiago Ricci
Art director: Graciela Oderigo
Costume designer: Julio Suarez
Sound: Marcos De Aguirre, David Miranda, Guido Berenblum Music: Andres Gerszenzon
Cast:
Mercedes Moran, Carlos Belloso, Alejandro Urdapileta, Maria Alche, Julieta Zylberberg, Mia Maestro, Monica Villa, Marta Lubos, Alejo Mango, Arturo Goetz
No MPAA Rating
Running time -- 106 minutes...
- 5/17/2004
- The Hollywood Reporter - Movie News
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