Eliseo Subiela, the director of the magic realism school who directed 1992 rom-com The Dark Side Of The Heart starring Dario Grandinetti, has died. He was 71.
Argentinian trade body Asociación General de Directores Autores Cinematográficos y Audiovisuales de Argentina released the news over the weekend.
The immediate cause of death was unknown, although Argentinian newspaper Clarín reported that he recently suffered a heart attack.
Subiela was born in Buenos Aires on December 27, 1944. Besides The Dark Side Of The Heart, his most renowned directing credits include Last Images Of The Shipwreck and Man Facing Southeast.
Subiela died two days before what would have been his 72nd birthday. He was previously married to Mora Moglia.
Argentinian trade body Asociación General de Directores Autores Cinematográficos y Audiovisuales de Argentina released the news over the weekend.
The immediate cause of death was unknown, although Argentinian newspaper Clarín reported that he recently suffered a heart attack.
Subiela was born in Buenos Aires on December 27, 1944. Besides The Dark Side Of The Heart, his most renowned directing credits include Last Images Of The Shipwreck and Man Facing Southeast.
Subiela died two days before what would have been his 72nd birthday. He was previously married to Mora Moglia.
- 12/26/2016
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
There are many good examples of poetry in movies (On film, Film & Music, 29 January). One that springs to mind is Argentinian director Eliseo Subiela's 1992 film El Lado Oscuro del Corazón (The Dark Side of the Heart), where the main character, Oliverio, is a young poet living in Buenos Aires and making ends meet by selling his ideas to advertising companies. In the movie Oliverio is constantly reciting poems by Juan Gelman, Mario Benedetti and his namesake Oliverio Girondo. Needless to say, the film was a success in Iberoamerica, where it introduced these important Latin American poets to a younger generation.
Mario Lopez-Goicoechea
London
• A native, I've just returned to London after 26 years in New York City. While still in wonderment at how much richer London is now, I am also very aware of the economic turmoil in which it finds itself, along with much of the world. The...
Mario Lopez-Goicoechea
London
• A native, I've just returned to London after 26 years in New York City. While still in wonderment at how much richer London is now, I am also very aware of the economic turmoil in which it finds itself, along with much of the world. The...
- 1/30/2010
- The Guardian - Film News
MADRID -- Signaling the beginning of a new film season, the 11th annual Malaga Spanish Film Festival kicks off Thursday with a lineup that offers a slate of premieres from first-time directors and seasoned veterans.
"(The festival's) strength is in having the means necessary to turn the festival into one ... capable of showing off almost the entire range of formats produced by the Spanish industry," festival director Solomon Castiel said in an interview. "And all of it complemented by markets that are growing in importance."
This year's official competition cranks up with Gutierrez-Aragon's controversial "Todos Estamos Invitados" (We're All Invited), about a Basque terrorist suffering from amnesia.
The Festival de Cannes' Guy Braucourt will head the official jury, comprising musician Bernardo Bonezzi, magazine editor Charo Izquierdo, New York Film Festival director Richard Pena, Spanish producer Mate Cantero, actor Juan Diego and director Eliseo Subiela.
While the official lineup may serve as fuel for the Spanish boxoffice in the coming months, parallel markets will offer a wide variety of locally made film, TV and documentaries.
"(The festival's) strength is in having the means necessary to turn the festival into one ... capable of showing off almost the entire range of formats produced by the Spanish industry," festival director Solomon Castiel said in an interview. "And all of it complemented by markets that are growing in importance."
This year's official competition cranks up with Gutierrez-Aragon's controversial "Todos Estamos Invitados" (We're All Invited), about a Basque terrorist suffering from amnesia.
The Festival de Cannes' Guy Braucourt will head the official jury, comprising musician Bernardo Bonezzi, magazine editor Charo Izquierdo, New York Film Festival director Richard Pena, Spanish producer Mate Cantero, actor Juan Diego and director Eliseo Subiela.
While the official lineup may serve as fuel for the Spanish boxoffice in the coming months, parallel markets will offer a wide variety of locally made film, TV and documentaries.
FORT LAUDERDALE, Fla. -- "Heartlift" displays Argentinean filmmaker Eliseo Subiela working in a more accessible mode than usual, to uneven results. This comedy/drama about a middle-aged plastic surgeon who discovers a nonsurgical path to youthfulness via a passionate affair with a much younger woman has moments that are affecting and funny, but the overall tone is too disjointed for it to be fully satisfying. The film recently screened at the Fort Lauderdale International Film Festival.
Antonio Ruiz (Pep Munne) is a famous and hugely successful plastic surgeon who prides on the fact that he "makes the best tits in Spain." He is happily married to the vivacious Cristina (Maria Barranco), and despite the fact that he's in his fifties, he has more than kept his dashing good looks.
This gets him into trouble when he attends a conference in Buenos Aires, where his assistant turns out to be the gorgeous Delia (Moro Anghileri). Soon, she's teaching him the intricacies of the tango, and one thing leads to another.
When Antonio returns home, he finds that he can't get Delia out of his head, and he soon pretends to be attending another conference so they can reunite. Meanwhile, Cristina, devastated at the knowledge of her husband's infidelity, begins an affair with her sleazy shrink Jean Pierre Noher), who in handy fashion keeps a bed in the back of his office.
The film, which uneasily alternates between sensitively examining middle-aged angst and farcically depicting the complications of Antonio's affair -- the two couples meet up accidentally in a restaurant in a scene that could have come from "I Love Lucy" -- can't quite overcome the artificiality of its elements. Not helping matters are cutesy bits like the frequent appearances of a philosophy-spouting cab driver, the type that one runs into only in bad movies.
Still, "Heartlift" has its pleasures, most notably the affecting lead performances by Munne and Barranco, which demonstrate that the young have no monopoly on sexiness.
Antonio Ruiz (Pep Munne) is a famous and hugely successful plastic surgeon who prides on the fact that he "makes the best tits in Spain." He is happily married to the vivacious Cristina (Maria Barranco), and despite the fact that he's in his fifties, he has more than kept his dashing good looks.
This gets him into trouble when he attends a conference in Buenos Aires, where his assistant turns out to be the gorgeous Delia (Moro Anghileri). Soon, she's teaching him the intricacies of the tango, and one thing leads to another.
When Antonio returns home, he finds that he can't get Delia out of his head, and he soon pretends to be attending another conference so they can reunite. Meanwhile, Cristina, devastated at the knowledge of her husband's infidelity, begins an affair with her sleazy shrink Jean Pierre Noher), who in handy fashion keeps a bed in the back of his office.
The film, which uneasily alternates between sensitively examining middle-aged angst and farcically depicting the complications of Antonio's affair -- the two couples meet up accidentally in a restaurant in a scene that could have come from "I Love Lucy" -- can't quite overcome the artificiality of its elements. Not helping matters are cutesy bits like the frequent appearances of a philosophy-spouting cab driver, the type that one runs into only in bad movies.
Still, "Heartlift" has its pleasures, most notably the affecting lead performances by Munne and Barranco, which demonstrate that the young have no monopoly on sexiness.
- 12/14/2006
- The Hollywood Reporter - Movie News
MADRID -- Spain's premiere showcase of homegrown fare, the Malaga Spanish Film Festival, will feature 14 films in its official competition, offering a balanced dose of new and veteran talent, organizers announced Thursday. Manuel Iborra's period piece The Idiot Maiden, Eliseo Subiela's mid-life reflection Heartlift and Daniel Sanchez Arevalo's coming-of-age tale DarkBlueAlmostBlack are three of the films that will vie for the 60,000 ($72,000) main prize. Other films in competition include: Carlos Iglesias' 14 Coins Till the Border, Raimon Masllorens' Without You, Cesar Martinez Herrada's Sand in the Pockets, Sigfrid Monleon's The Bicycle, Roger Gual's Remake, Gerardo Herrero's Rough Winds, Mireia Ros' The Beat of the Streets, Gerardo Olivares' The Great Match, Chema Rodriguez's The Railroad All-Stars and Rafa Russo's Love in Self Defense.
Eliseo Subiela has produced one of his more disappointing efforts in this would-be fairy tale about a young cashier who discovers she has extraordinary powers. Although filled with moments demonstrating this talented filmmaker's witty and graceful style, it is ultimately undone by its high whimsy quotient.
"Little Miracles" (Pequenos Milagros) recently received its U.S. premiere at the Miami Film Festival, which has consistently championed the Argentine director's works.
The story concerns young Rosalia, who works at the local supermarket and is also a volunteer reader for the blind. She spends much of her time fantasizing scenarios about the various people she comes across and conjures up images of herself as a silent-movie damsel in distress who is constantly being rescued by her fairy godmother. Ultimately, through the "little miracles" that keep happening to her, Rosalia comes to believe that she is a fairy herself and sets out to improve the lives of those around her.
At the same time, she is being observed by a young astronomer who specializes, of course, in the study of UFOs. Constantly spotting the beautiful Rosalia in his photographs, he becomes obsessed with her. Living alone, he resorts to seeking romantic advice from his pet, a bloodshot basset hound.
"Little Miracles" is a highly stylized effort that ranges from surrealism to poetry to tangos to naturalism. Unfortunately, it never attains the mystical tone it seeks, and the endless fantasy sequences -- although they contain many imaginative visual elements -- simply slow the pace to a crawl. The film is most effective when it remains earthbound, as with an extended and moving scene in which Rosalia makes peace with the father who abandoned her years before. Ironically, it is with the more fantastical elements, which are usually signaled by the sounds of a choir on the soundtrack, that the film seems its most prosaic.
LITTLE MIRACLES (PEQUENOS MILAGROS)
Promisa SA
Director-screenwriter: Eliseo Subiela
Producers: Omar Romay, Eliseo Subiela
Executive producer: Sabina Sigler
Director of photography: Daniel Rodriguez Maseda
Editor: Marcela Saenz
Music: Osvaldo Montes
Color/stereo
Cast: Julieta Ortega, Antonio Birabent, Paco Rabal, Hector Alterio, Monica Galan
Running time -- 100 minutes
No MPAA rating...
"Little Miracles" (Pequenos Milagros) recently received its U.S. premiere at the Miami Film Festival, which has consistently championed the Argentine director's works.
The story concerns young Rosalia, who works at the local supermarket and is also a volunteer reader for the blind. She spends much of her time fantasizing scenarios about the various people she comes across and conjures up images of herself as a silent-movie damsel in distress who is constantly being rescued by her fairy godmother. Ultimately, through the "little miracles" that keep happening to her, Rosalia comes to believe that she is a fairy herself and sets out to improve the lives of those around her.
At the same time, she is being observed by a young astronomer who specializes, of course, in the study of UFOs. Constantly spotting the beautiful Rosalia in his photographs, he becomes obsessed with her. Living alone, he resorts to seeking romantic advice from his pet, a bloodshot basset hound.
"Little Miracles" is a highly stylized effort that ranges from surrealism to poetry to tangos to naturalism. Unfortunately, it never attains the mystical tone it seeks, and the endless fantasy sequences -- although they contain many imaginative visual elements -- simply slow the pace to a crawl. The film is most effective when it remains earthbound, as with an extended and moving scene in which Rosalia makes peace with the father who abandoned her years before. Ironically, it is with the more fantastical elements, which are usually signaled by the sounds of a choir on the soundtrack, that the film seems its most prosaic.
LITTLE MIRACLES (PEQUENOS MILAGROS)
Promisa SA
Director-screenwriter: Eliseo Subiela
Producers: Omar Romay, Eliseo Subiela
Executive producer: Sabina Sigler
Director of photography: Daniel Rodriguez Maseda
Editor: Marcela Saenz
Music: Osvaldo Montes
Color/stereo
Cast: Julieta Ortega, Antonio Birabent, Paco Rabal, Hector Alterio, Monica Galan
Running time -- 100 minutes
No MPAA rating...
- 2/18/1998
- The Hollywood Reporter - Movie News
Argentine director Eliseo Subiela is known for such dark, weighty films as "Man Facing Southeast", but he veers in a new stylistic direction with this amiable, meandering romantic comedy.
"Despabilate Amor" (Wake Up, Love ) is too diffuse and unfocused to merit a domestic theatrical release, but it should brighten many a film festival in the months to come. It recently received its U.S. premiere at the 14th Miami Film Festival.
The film centers around an upcoming reunion of old friends being organized by the happy-go-lucky Ricardo (Juan Leyrado). Ricardo likes to stay in shape by dancing to old rock 'n' roll records, his favorite being Elvis' "Jailhouse Rock". The sight of him shimmying and boogieing across his rooftop is a priceless comic image.
Nothing very much happens in the film, which is mainly a series of comic anecdotes that serve to illuminate the characters. But they are so likable and engaging that one doesn't mind the lack of narrative structure or incident, and the dialogue is witty and articulate. Subiela is not content to pander to our stereotypical notions, either; Ricardo, although seemingly a buffoon, reveals unexpected depth as the film goes on. n
DESPABILATE AMOR (WAKE UP, LOVE)
CQ3 Films
Director-writer Eliseo Subiela
Producers Jorge Rocca, Damian Kirzner,
Raul Campos
Director of photography Daniel Rodriguez
Music Martin Bianchedi
Editor Marcela Saenz
Color/stereo
Cast:
Ernesto Dario Grandinetti
Ana Soledad Silveyra
Ricardo Juan Leyrado
Vera Marilyn Solaya
Patricio Gustavo Garzon
Running time -- 98 minutes
No MPAA rating...
"Despabilate Amor" (Wake Up, Love ) is too diffuse and unfocused to merit a domestic theatrical release, but it should brighten many a film festival in the months to come. It recently received its U.S. premiere at the 14th Miami Film Festival.
The film centers around an upcoming reunion of old friends being organized by the happy-go-lucky Ricardo (Juan Leyrado). Ricardo likes to stay in shape by dancing to old rock 'n' roll records, his favorite being Elvis' "Jailhouse Rock". The sight of him shimmying and boogieing across his rooftop is a priceless comic image.
Nothing very much happens in the film, which is mainly a series of comic anecdotes that serve to illuminate the characters. But they are so likable and engaging that one doesn't mind the lack of narrative structure or incident, and the dialogue is witty and articulate. Subiela is not content to pander to our stereotypical notions, either; Ricardo, although seemingly a buffoon, reveals unexpected depth as the film goes on. n
DESPABILATE AMOR (WAKE UP, LOVE)
CQ3 Films
Director-writer Eliseo Subiela
Producers Jorge Rocca, Damian Kirzner,
Raul Campos
Director of photography Daniel Rodriguez
Music Martin Bianchedi
Editor Marcela Saenz
Color/stereo
Cast:
Ernesto Dario Grandinetti
Ana Soledad Silveyra
Ricardo Juan Leyrado
Vera Marilyn Solaya
Patricio Gustavo Garzon
Running time -- 98 minutes
No MPAA rating...
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