A decade back, Clarissa Campolina burst on the filmmaking scene co-directing with Helvecio Marins Jr. “Swirl” (“Girimunho”), a portrait of an elderly faith healer on Brazil’s arid highlands and the beliefs, myths and habits of rural Brazil before they are swept aside by the passing of a generation.
Activated by producer Luana Melgaço, Campolina and fellow director Marilia Rocha so as to produce “Swirl,” Belo Horizonte-based Anavilhana has since then consolidated as one of Brazil’s most prominent regional production houses. It has spent seven years maturing Campolina’s third feature and first solo outing, “Faraway Song” (“Canção ao Longe”).
The film’s a different proposition to “Swirl,” a far more structured narrative, as coming of age stories have to be, more in line with Rocha’s own fiction feature debut, “Where I Grow Old,” a 2016 Rotterdam Festival competition player.
Written by Campolina and Caetano Gotardo, who co-directed Berlin...
Activated by producer Luana Melgaço, Campolina and fellow director Marilia Rocha so as to produce “Swirl,” Belo Horizonte-based Anavilhana has since then consolidated as one of Brazil’s most prominent regional production houses. It has spent seven years maturing Campolina’s third feature and first solo outing, “Faraway Song” (“Canção ao Longe”).
The film’s a different proposition to “Swirl,” a far more structured narrative, as coming of age stories have to be, more in line with Rocha’s own fiction feature debut, “Where I Grow Old,” a 2016 Rotterdam Festival competition player.
Written by Campolina and Caetano Gotardo, who co-directed Berlin...
- 12/3/2021
- by John Hopewell
- Variety Film + TV
Whether a viewer in 1896 or 2020, cinema has always been a dynamic and variable experience. Cinema as an event—as a manifestation of a meeting point between the art of moving images and an audience, big or small—has never fit any one definition, and this last year, so severely disrupted by a global pandemic, has deeply underscored the versatility and resilience of our great love.Our viewing this year, like that of so many, has been strange: compromised, confrontational, escapist, euphoric, painful, revelatory—encompassing all of the reactions one can have to film. How we encountered our favorite movies and most meaningful cinematic experiences of the year was hardly new: A by-now-normal mix of festivals, theatres, various subscription and transactional streaming services, as well as private screener links and gems buried on over-stuffed hard drives. But for most of the year, the communal experience shrunk to living rooms and glowing screens.
- 12/23/2020
- MUBI
Yulene Olaizola’s “Tragic Jungle,” Natalia Meta’s “The Intruder” and Clarisa Navas’ “One in a Thousand” will compete in the San Sebastian Film Festival’s Latinos Horizontes, a showcase of standout recent movies from Latin America that this year underscores the emergence or consolidation of a new generation of female filmmakers in Latin America.
In all, women direct or co-direct seven of the nine features in Horizontes Latinos, a section which also features two world premieres: “La Verónica,” from Chile’s Leonardo Medel; and “Unlimited Edition,” co-directed by Virginia Cosín, Edgardo Cozarinsky, Santiago Loza and Romina Paula.
Certainly, this year’s San Sebastian makes no claim via its selection to women having suddenly taken over the Latin American industry: Four of the five titles from the region in other sections, including main competition (Argentine Eduardo Crespo’s “Nosotros Nunca Moriremos”) and New Directors (Brazilian João Paulo Miranda’s “Memory House”) are made by men.
In all, women direct or co-direct seven of the nine features in Horizontes Latinos, a section which also features two world premieres: “La Verónica,” from Chile’s Leonardo Medel; and “Unlimited Edition,” co-directed by Virginia Cosín, Edgardo Cozarinsky, Santiago Loza and Romina Paula.
Certainly, this year’s San Sebastian makes no claim via its selection to women having suddenly taken over the Latin American industry: Four of the five titles from the region in other sections, including main competition (Argentine Eduardo Crespo’s “Nosotros Nunca Moriremos”) and New Directors (Brazilian João Paulo Miranda’s “Memory House”) are made by men.
- 8/21/2020
- by John Hopewell
- Variety Film + TV
Portuguese event could be one of the first film festivals to take place physically in Europe as lockdowns ease.
Portuguese film festival IndieLisboa, which had to abandon its original April 30 to May 10 dates, is pushing on with plans to hold its 17th edition at the end of August, if an easing of the global Covid-19 health crisis allows.
The event took the usual step of unveiling most of its 2020 selection on April 30 to mark what would have been the opening day.
“We wanted to do something symbolic,” festival director Miguel Valverde told Screen. “In a normal year, we tie up...
Portuguese film festival IndieLisboa, which had to abandon its original April 30 to May 10 dates, is pushing on with plans to hold its 17th edition at the end of August, if an easing of the global Covid-19 health crisis allows.
The event took the usual step of unveiling most of its 2020 selection on April 30 to mark what would have been the opening day.
“We wanted to do something symbolic,” festival director Miguel Valverde told Screen. “In a normal year, we tie up...
- 5/5/2020
- by 1100388¦Melanie Goodfellow¦0¦
- ScreenDaily
If Brazil’s film industry faces unprecedented threats under far-right president Jair Bolsonaro, let’s hope this kind of adventurous filmmaking–which ruminates on the country’s unaddressed injustices that shaped the country of today–isn’t in the populist administration’s sights. All the Dead Ones is an accomplished film by directing duo Caetano Gotardo and Marco Dutra, rich in the nation’s poetry and music, daring in highlighting women’s voices while commenting on Brazil’s history of inequality of wealth, class, and race.
The film hinges on the white, middle-class Soares family in São Paulo at the turn of the twentieth century, a decade after Brazil banned slavery and when the nascent republic was lurching from coup to dictatorship. Before abolition, the Soares were wealthy coffee-plantation owners, but their diminished place in social strata has meant the women of the family shelter in relative obscurity in Brazil’s largest city.
The film hinges on the white, middle-class Soares family in São Paulo at the turn of the twentieth century, a decade after Brazil banned slavery and when the nascent republic was lurching from coup to dictatorship. Before abolition, the Soares were wealthy coffee-plantation owners, but their diminished place in social strata has meant the women of the family shelter in relative obscurity in Brazil’s largest city.
- 2/24/2020
- by Ed Frankl
- The Film Stage
Turn and Face the Strange: Caetano & Gotardo Navigate Displacement in Stellar Period Piece
The tagline for George Cukor’s 1939 classic The Women read “It’s all about men!” which is a potential (one of many) assertions one could make of Marco Dutra & Caetano Gotardo’s simmering, intelligent All the Dead Ones. Set in 1899 Sao Paolo, wherein Brazil’s national identity enters the twentieth century whilst still grappling with the seismic social changes which transpired a decade before with the abolishment of slavery (a snippet of dialogue sums it up best wherein a teacher tells her students the country has gone from an Empire to a Republic), the principal cast of characters are mostly women, each navigating a precarious future in a world where the recent social hierarchy has become abolished.…...
The tagline for George Cukor’s 1939 classic The Women read “It’s all about men!” which is a potential (one of many) assertions one could make of Marco Dutra & Caetano Gotardo’s simmering, intelligent All the Dead Ones. Set in 1899 Sao Paolo, wherein Brazil’s national identity enters the twentieth century whilst still grappling with the seismic social changes which transpired a decade before with the abolishment of slavery (a snippet of dialogue sums it up best wherein a teacher tells her students the country has gone from an Empire to a Republic), the principal cast of characters are mostly women, each navigating a precarious future in a world where the recent social hierarchy has become abolished.…...
- 2/24/2020
- by Nicholas Bell
- IONCINEMA.com
Berlin — Having slowed incentives to a near halt this year, Brazilian president Jair Bolsonaro’s government looks set to decimate film funding in 2020. Brazil’s industry is bracing – and fighting back.
On Sunday, at Berlin, Projeto Paradiso, a philanthropic organization, announced a Sao Paulo Forum, New Business Models for a New Audiovisual Era, and that it was backing the participation of Brazil’s Clarisse Goulart, from Rio de Janeiro’s Conspiraçao Filmes, at Less is More, a European program coaching development executives.
Projeto Paradiso, is also supporting the attendance at Berlin of filmmakers behind 11 selected movies or projects from “All the Dead Ones’” Caetano Gotardo and Marco Dutta downwards.
Project Paradise will never have anywhere near the budget of Brazil’s massive Audiovisual Sector Fund, whose very existence is now challenged by Bolsonaro. But it is investing in the industry precisely where money goes furthest – development and distribution – and targets...
On Sunday, at Berlin, Projeto Paradiso, a philanthropic organization, announced a Sao Paulo Forum, New Business Models for a New Audiovisual Era, and that it was backing the participation of Brazil’s Clarisse Goulart, from Rio de Janeiro’s Conspiraçao Filmes, at Less is More, a European program coaching development executives.
Projeto Paradiso, is also supporting the attendance at Berlin of filmmakers behind 11 selected movies or projects from “All the Dead Ones’” Caetano Gotardo and Marco Dutta downwards.
Project Paradise will never have anywhere near the budget of Brazil’s massive Audiovisual Sector Fund, whose very existence is now challenged by Bolsonaro. But it is investing in the industry precisely where money goes furthest – development and distribution – and targets...
- 2/24/2020
- by John Hopewell
- Variety Film + TV
‘All The Dead Ones’ lands mid-pack.
Christian Petzold’s Undine took the lead on Screen’s Competition jury grid on day three of the Berlinale, recording three top score fours (excellent).
Those top marks came from Helena Lindblad of Dagens Nyheter, Paolo Bertolin of Segnocinema, and Wang Muyan of The Paper. It also took three scores of three (good), with only a one (poor) from The Morning Star’s Rita Di Santo pulling its average down to 3.1.
Berlinale regular Petzold’s film sees him reunite Transit stars Paula Beer and Franz Rogowski for a modern-day retelling of a myth relating to the titular water nymph.
Christian Petzold’s Undine took the lead on Screen’s Competition jury grid on day three of the Berlinale, recording three top score fours (excellent).
Those top marks came from Helena Lindblad of Dagens Nyheter, Paolo Bertolin of Segnocinema, and Wang Muyan of The Paper. It also took three scores of three (good), with only a one (poor) from The Morning Star’s Rita Di Santo pulling its average down to 3.1.
Berlinale regular Petzold’s film sees him reunite Transit stars Paula Beer and Franz Rogowski for a modern-day retelling of a myth relating to the titular water nymph.
- 2/24/2020
- by 1101321¦Ben Dalton¦26¦
- ScreenDaily
There are a host of important, even vital ideas behind “All the Dead Ones,” a hybrid period piece addressing Brazil’s unresolved legacy of slavery and the imprint it’s had on an all-too-often downplayed contemporary racism of malignant toxicity. Set largely in 1899, 11 years after the abolition of slavery but designed so modern São Paulo increasingly bleeds into the picture, : Having a character express her colonialist guilt by seeing the ghosts of dead slaves feels far too stale when presented with such Freudian hysteria. Caetano Gotardo and Marco Dutra, collaborating as directors for the first time, channel the artificiality of late Manoel de Oliveira but without the enticing mystery, hampered by an understandable earnestness that yearns for a more subtle approach. International prospects are uncertain at best.
It doesn’t help that the character one instantly bonds with dies after the first few minutes. Josefina (Alaíde Costa) is an...
It doesn’t help that the character one instantly bonds with dies after the first few minutes. Josefina (Alaíde Costa) is an...
- 2/23/2020
- by Jay Weissberg
- Variety Film + TV
Sometimes, as a critic, you really love the film that the filmmakers were trying to make — even though they failed, perhaps even spectacularly, to actually make it. Brazilian Berlinale competition title All the Dead Ones (Todos os mortos) is one such film.
Directors Caetano Gotardo and Marco Dutra — the latter a co-director on the fascinating genre hybrid Good Manners that premiered in Locarno in 2017 — spin a story set in 1899 and 1900, a decade after slavery was abolished in Brazil. They mainly follow the women of the Soares family, whose men used to run a ...
Directors Caetano Gotardo and Marco Dutra — the latter a co-director on the fascinating genre hybrid Good Manners that premiered in Locarno in 2017 — spin a story set in 1899 and 1900, a decade after slavery was abolished in Brazil. They mainly follow the women of the Soares family, whose men used to run a ...
- 2/23/2020
- The Hollywood Reporter - Film + TV
Sometimes, as a critic, you really love the film that the filmmakers were trying to make — even though they failed, perhaps even spectacularly, to actually make it. Brazilian Berlinale competition title All the Dead Ones (Todos os mortos) is one such film.
Directors Caetano Gotardo and Marco Dutra — the latter a co-director on the fascinating genre hybrid Good Manners that premiered in Locarno in 2017 — spin a story set in 1899 and 1900, a decade after slavery was abolished in Brazil. They mainly follow the women of the Soares family, whose men used to run a ...
Directors Caetano Gotardo and Marco Dutra — the latter a co-director on the fascinating genre hybrid Good Manners that premiered in Locarno in 2017 — spin a story set in 1899 and 1900, a decade after slavery was abolished in Brazil. They mainly follow the women of the Soares family, whose men used to run a ...
- 2/23/2020
- The Hollywood Reporter - Movie News
Philippe Garrel’s ‘The Salt Of Tears’ split opinion amongst our critics.
Kelly Reichardt has hit the front in the early stages of Screen’s Berlin 2020 Competition jury grid with her latest film First Cow.
It received consistent scores from all seven critics, with nothing lower than a two (average) and this year’s first score of four (excellent) from Screen’s own critic, culminating in a 2.7 average.
The film, which premiered at Telluride last year, centres on a cook who signs on to serve a party of fur trappers in the Pacific Northwest, forming a friendship with a Chinese immigrant.
Kelly Reichardt has hit the front in the early stages of Screen’s Berlin 2020 Competition jury grid with her latest film First Cow.
It received consistent scores from all seven critics, with nothing lower than a two (average) and this year’s first score of four (excellent) from Screen’s own critic, culminating in a 2.7 average.
The film, which premiered at Telluride last year, centres on a cook who signs on to serve a party of fur trappers in the Pacific Northwest, forming a friendship with a Chinese immigrant.
- 2/23/2020
- by 1101321¦Ben Dalton¦26¦
- ScreenDaily
Directed by Caetano Gotardo and Marco Dutra, Brazilian Berlin competition entry “All the Dead Ones” kicks off in Belle Epoque 1899 São Paulo. Ana, the daughter of a plantation owner and her nun sister attempt persuade a reluctant Ina, a former slave, to perform an ancient African ritual to cure their mother. A time warp at the hour mark moves part of the drama to contemporary high-rise São Paulo, as Ana in 1899 becomes obsessed by ghosts of dead black slaves.
“‘All the Dead Ones’ talks about how Brazil is much richer than we maybe think. Although a period film, it talks in a very original way about something still happening today,” says Carlo Chatrian, Berlin artistic director. The directors talked to Variety about the film.
The film uses an arresting time warp to ask how much Brazil has really changed.
Gotardo: The way that Brazilian society was organized after the end...
“‘All the Dead Ones’ talks about how Brazil is much richer than we maybe think. Although a period film, it talks in a very original way about something still happening today,” says Carlo Chatrian, Berlin artistic director. The directors talked to Variety about the film.
The film uses an arresting time warp to ask how much Brazil has really changed.
Gotardo: The way that Brazilian society was organized after the end...
- 2/23/2020
- by John Hopewell
- Variety Film + TV
The French sales agent is pinning its hopes on the Berlin competition title by Brazil’s Caetano Gotardo and Marco Dutra as well as on the Panorama-screened documentary Days of Cannibalism. French international sales agent Indie Sales will be able to boast a jam-packed line-up of 12 titles at the European Film Market of the 70th Berlinale (20 February-1 March). Standing out in particular is a feature that will be vying for the Golden Bear: All the Dead Ones by Brazilian duo Caetano Gotardo and Marco Dutra (Special Jury Prize at Locarno in 2017 for Good Manners). The movie, which has been produced by Brazilian outfit Dezenove Som e Imagens together with France’s Good Fortune Films (Clément Duboin and Florence Cohen), will have its official world premiere on Sunday 23 February. The story, written by the pair of directors, kicks off in 1899, shortly after slavery has been abolished in Brazil....
The new co-heads of the Berlin Film Festival have had an eventful build up to their first edition, which gets underway in two weeks. The festival program has been greeted with cautious optimism but there have also been bumps in the road, including last week’s suspension of the Alfred Bauer Silver Bear Prize and some questions over the choice of Jeremy Irons as jury head in light of comments the actor once made about women and same sex marriage.
We spoke to artistic director Carlo Chatrian (formerly of Locarno) and executive director Mariette Rissenbeek (formerly of German Films) about this year’s lineup, the festival’s direction and some of the noise being made away from the films. The duo declined to answer additional questions about the Alfred Bauer situation but we have covered that here.
Deadline: How are you feeling about this year’s festival?
Carlo Chatrian: We both feel very excited.
We spoke to artistic director Carlo Chatrian (formerly of Locarno) and executive director Mariette Rissenbeek (formerly of German Films) about this year’s lineup, the festival’s direction and some of the noise being made away from the films. The duo declined to answer additional questions about the Alfred Bauer situation but we have covered that here.
Deadline: How are you feeling about this year’s festival?
Carlo Chatrian: We both feel very excited.
- 2/4/2020
- by Andreas Wiseman
- Deadline Film + TV
French outfit is handling a trio of Berlinale titles including Golden Bear contender All The Dead Ones.
Paris-based Indie Sales has acquired world sales rights to Teboho Edkins’ documentary Days Of Cannibalism ahead of its premiere in the Berlinale’s Panorama Dokumente section.
Shot in the southern African country of Lesotho, the work explores the impact of the arrival of a wave of Chinese entrepreneurs on its rural communities, which traditionally made their living from cattle farming.
Edkins, who describes the feature as a “contemporary documentary western”, captures the simmering tensions as forces of capitalism challenge the old order and traditions.
Paris-based Indie Sales has acquired world sales rights to Teboho Edkins’ documentary Days Of Cannibalism ahead of its premiere in the Berlinale’s Panorama Dokumente section.
Shot in the southern African country of Lesotho, the work explores the impact of the arrival of a wave of Chinese entrepreneurs on its rural communities, which traditionally made their living from cattle farming.
Edkins, who describes the feature as a “contemporary documentary western”, captures the simmering tensions as forces of capitalism challenge the old order and traditions.
- 1/30/2020
- by 1100388¦Melanie Goodfellow¦0¦
- ScreenDaily
DaysThe titles for the 70th Berlin International Film Festival are being announced in anticipation of the event running February 20 - March 2, 2020. We will update the program as new films are revealed.COMPETITIONBerlin Alexanderplatz (Burhan Qurbani): Francis has survived his escape from Africa. In Berlin he gets to know Hasenheide park, the city’s clubs and its streets. His pal Reinhold becomes an adversary. Mieze brings both happiness and tragedy. Dau. Natasha (Ilya Khrzhanovskiy and Jekaterina Oertel): Natasha works in the canteen of a secret Soviet research institute. She drinks a lot, likes to talk about love and embarks on an affair. State security intervenes. A tale of violence that is as radical as it is provocative.The Woman Who Ran (Hong Sangsoo): While her husband is on a business trip, Gamhee meets three of her friends on the outskirts of Seoul. They make friendly conversation, as always,...
- 1/29/2020
- MUBI
The Berlinale lineup already includes films from Jia Zhangke, Matías Piñeiro, and more, but now the competition slate has arrived and it’s an incredibly promising selection. Headed by Carlo Chatrian, it includes many of our most-anticipated films of the year with Christian Petzold’s Undine, Hong Sang-soo’s The Woman Who Ran, Tsai Ming-Liang’s Days, Philippe Garrel’s The Salt of Tears, Abel Ferrara’s Siberia, and Caetano Gotardo & Marco Dutra’s All the Dead Ones, plus recent festival favorites: Kelly Reichardt’s First Cow and Eliza Hittman’s Never Rarely Sometimes Always.
Check out the lineup below and return for our coverage.
Competition
Berlin Alexanderplatz
Germany / Netherlands
by Burhan Qurbani
with Welket Bungué, Jella Haase, Albrecht Schuch, Joachim Król, Annabelle Mandeng, Nils Verkooijen, Richard Fouofié Djimeli
World premiere
Dau. Natasha
Germany / Ukraine / United Kingdom / Russian Federation
by Ilya Khrzhanovskiy, Jekaterina Oertel
with Natalia Berezhnaya, Olga Shkabarnya, Vladimir Azhippo,...
Check out the lineup below and return for our coverage.
Competition
Berlin Alexanderplatz
Germany / Netherlands
by Burhan Qurbani
with Welket Bungué, Jella Haase, Albrecht Schuch, Joachim Król, Annabelle Mandeng, Nils Verkooijen, Richard Fouofié Djimeli
World premiere
Dau. Natasha
Germany / Ukraine / United Kingdom / Russian Federation
by Ilya Khrzhanovskiy, Jekaterina Oertel
with Natalia Berezhnaya, Olga Shkabarnya, Vladimir Azhippo,...
- 1/29/2020
- by Jordan Raup
- The Film Stage
The Berlin International Film Festival on Wednesday morning revealed the main competition lineup and gala selections for festival’s 70th edition.
The festival, which begins February 20, will screen 18 films in competition, including movies from Sally Potter, Kelly Reichardt, and Eliza Hittman. Six are from female directors.
Among the gala presentations is Pixar’s” Onward.” The Dan Scanlon-helmed urban fantasy includes the voices of Tom Holland, Chris Pratt, Julia-Louis Dreyfus, Octavia Spencer, Mel Rodriguez, Kyle Bornheimer, Lena Waithe, and Ali Wong.
Here is the complete list:
Competition
“Berlin Alexanderplatz” (Germany/Netherlands)
Director: Burhan Qurbani
Cast: Welket Bungué, Jella Haase, Albrecht Schuch, Joachim Król, Annabelle Mandeng, Nils Verkooijen, and Richard Fouofié Djimeli
“Dau. Natasha” (Germany/Ukraine/United Kingdom/Russia)
Directors: Ilya Khrzhanovskiy and Jekaterina Oertel
Cast: Natalia Berezhnaya, Olga Shkabarnya, Vladimir Azhippo, Alexei Blinov, and Luc Bigé
“Domangchin yeoja” (“The Woman Who Ran”) (South Korea)
Director: Hong Sangsoo
Cast: Kim Minhee,...
The festival, which begins February 20, will screen 18 films in competition, including movies from Sally Potter, Kelly Reichardt, and Eliza Hittman. Six are from female directors.
Among the gala presentations is Pixar’s” Onward.” The Dan Scanlon-helmed urban fantasy includes the voices of Tom Holland, Chris Pratt, Julia-Louis Dreyfus, Octavia Spencer, Mel Rodriguez, Kyle Bornheimer, Lena Waithe, and Ali Wong.
Here is the complete list:
Competition
“Berlin Alexanderplatz” (Germany/Netherlands)
Director: Burhan Qurbani
Cast: Welket Bungué, Jella Haase, Albrecht Schuch, Joachim Król, Annabelle Mandeng, Nils Verkooijen, and Richard Fouofié Djimeli
“Dau. Natasha” (Germany/Ukraine/United Kingdom/Russia)
Directors: Ilya Khrzhanovskiy and Jekaterina Oertel
Cast: Natalia Berezhnaya, Olga Shkabarnya, Vladimir Azhippo, Alexei Blinov, and Luc Bigé
“Domangchin yeoja” (“The Woman Who Ran”) (South Korea)
Director: Hong Sangsoo
Cast: Kim Minhee,...
- 1/29/2020
- by Chris Lindahl
- Indiewire
18-strong Competition strand includes films by Sally Potter, Hong Sangsoo, Tsai Ming-Liang, Christian Petzold, Rithy Panh and Philippe Garrel.
The 18-strong competition line-up for the 70th Berlin International Film Festival (Feb 20-Mar 1) has been unveiled by the festival’s new executive director Mariette Rissenbeek and artistic director Carlo Chatrian.
Among the titles selected are new work by Sally Potter, Kelly Reichardt, Hong Sangsoo, Philippe Garrel, Rithy Panh, Tsai Ming-Liang and Silver Bear winner Christian Petzold.
Other intriguing projects include Burhan Qurbani’s Berlin Alexanderplatz and Ilya Khrzhanovskiy and Jekaterina Oertel’s long-gestating project Dau. Natasha.
Six of the 18 films selected...
The 18-strong competition line-up for the 70th Berlin International Film Festival (Feb 20-Mar 1) has been unveiled by the festival’s new executive director Mariette Rissenbeek and artistic director Carlo Chatrian.
Among the titles selected are new work by Sally Potter, Kelly Reichardt, Hong Sangsoo, Philippe Garrel, Rithy Panh, Tsai Ming-Liang and Silver Bear winner Christian Petzold.
Other intriguing projects include Burhan Qurbani’s Berlin Alexanderplatz and Ilya Khrzhanovskiy and Jekaterina Oertel’s long-gestating project Dau. Natasha.
Six of the 18 films selected...
- 1/29/2020
- by 1101184¦Orlando Parfitt¦38¦
- ScreenDaily
The Berlin International Film Festival has unveiled its 2020 line-up, with 18 films playing in competition from directors such as Abel Ferrara, Sally Potter, Christian Petzold, Hong Sangsoo, Kelly Reichardt and Eliza Hittman.
Abel Ferrara’s Willem Dafoe starrer “Siberia” is a world premiere in competition, as is Sally Potter’s “The Roads Not Taken.”
Among the U.S. films at the Berlinale, Reichardt’s “First Cow” is an international premiere, and so too is Hittman’s “Never Rarely Sometimes Always.”
Pixar’s latest animation, “Onward”, also has its international premiere out of competition in the Special Galas section.
Previous Berlin Silver Bear winner Christian Petzold’s latest, “Undine”, world premieres, while Iranian director Mohammed Rasoulof, who is not allowed to travel outside his home country, world premieres his latest, “There is No Evil.”
Six out of the 18 films in competition are helmed by female directors.
The 70th edition of the festival...
Abel Ferrara’s Willem Dafoe starrer “Siberia” is a world premiere in competition, as is Sally Potter’s “The Roads Not Taken.”
Among the U.S. films at the Berlinale, Reichardt’s “First Cow” is an international premiere, and so too is Hittman’s “Never Rarely Sometimes Always.”
Pixar’s latest animation, “Onward”, also has its international premiere out of competition in the Special Galas section.
Previous Berlin Silver Bear winner Christian Petzold’s latest, “Undine”, world premieres, while Iranian director Mohammed Rasoulof, who is not allowed to travel outside his home country, world premieres his latest, “There is No Evil.”
Six out of the 18 films in competition are helmed by female directors.
The 70th edition of the festival...
- 1/29/2020
- by Tim Dams
- Variety Film + TV
Paris-based company Indie Sales will head to the Paris-set industry showcase UniFrance Rendez-Vous With French Cinema with five anticipated French movies, including “Welcome to the Jungle” with Catherine Deneuve.
The other titles are the comedies “Enormous” and “Man Up!,” as well as the ecological tale “Fishlove” and the drama “Under the Concrete.” All five films will be having their market premieres at the Rendez-Vous which kicks off Jan. 16.
Co-directed by Hugo Benamozig and David Caiglioli, “Welcome to the Jungle” stars Deneuve as possessive mother and renown ethnologist who sets off to rescue her beloved son, a young and naive anthropology researcher, in the Amazonian jungle. The adventure comedy also stars Vincent Dedienne (“The Rose Maker”), Jonathan Cohen (“Budapest”) and Alice Belaïdi (“Odd Job”).
“Enormous” is wacky romantic comedy directed by Sophie Letourneur and starring Marina Foïs (“Polisse”) as a world-renowned pianist whose pregnancy turns into a nightmare. Foïs stars opposite...
The other titles are the comedies “Enormous” and “Man Up!,” as well as the ecological tale “Fishlove” and the drama “Under the Concrete.” All five films will be having their market premieres at the Rendez-Vous which kicks off Jan. 16.
Co-directed by Hugo Benamozig and David Caiglioli, “Welcome to the Jungle” stars Deneuve as possessive mother and renown ethnologist who sets off to rescue her beloved son, a young and naive anthropology researcher, in the Amazonian jungle. The adventure comedy also stars Vincent Dedienne (“The Rose Maker”), Jonathan Cohen (“Budapest”) and Alice Belaïdi (“Odd Job”).
“Enormous” is wacky romantic comedy directed by Sophie Letourneur and starring Marina Foïs (“Polisse”) as a world-renowned pianist whose pregnancy turns into a nightmare. Foïs stars opposite...
- 1/15/2020
- by Elsa Keslassy
- Variety Film + TV
Dutra whose credits include 2011 Un Certain Regard entry Hard Labor and Good Manners, which won the Locarno jury prize in 2017.
Paris-based Indie Sales has acquired world sales rights to Brazilian director Marco Dutra’s upcoming period drama All The Dead Ones, set against the backdrop of Sao Paolo in the late 19th century, shortly after the abolition of slavery.
The film revolves around three women from a formerly wealthy coffee plantation-owning family that has gone into financial decline amid the rapidly changing backdrop of Brazil at the turn of the century.
The death of their long-time maid, a former black slave from their farm,...
Paris-based Indie Sales has acquired world sales rights to Brazilian director Marco Dutra’s upcoming period drama All The Dead Ones, set against the backdrop of Sao Paolo in the late 19th century, shortly after the abolition of slavery.
The film revolves around three women from a formerly wealthy coffee plantation-owning family that has gone into financial decline amid the rapidly changing backdrop of Brazil at the turn of the century.
The death of their long-time maid, a former black slave from their farm,...
- 9/6/2019
- by Melanie Goodfellow
- ScreenDaily
Introduzione all’Oscuro lovers who can't make it to Rotterdam this year, can sample a selection of films from the comfort of their couch.
Festival Scope has teamed up with International Film Festival Rotterdam to screen 15 films online between now and February 24.
Films in the line-up includes the world premiere of Your Bones And Your Eyes by Caetano Gotardo - who also stars - and collaborative work The Seven Last Words, inspired by Franz Joseph Haydn's The Last Seven Years Of Our Saviour On The Cross, by multidisciplinary directors Kaveh Nabatian, Ariane Lorrain, Sophie Goyette, Juan Andrés Arango, Sophie Deraspe, Karl Lemieux, Caroline Monnet.
The line-up also includes films that have featured at other festivals, including Hans Hurch tribute Introduzione all'Oscuro and Sri Lankan drama House Of My Fathers, which tracks a man and woman's attempts to break an infertility curse that has struck their feuding villages.
Films cost 4€ each or 2€ if.
Festival Scope has teamed up with International Film Festival Rotterdam to screen 15 films online between now and February 24.
Films in the line-up includes the world premiere of Your Bones And Your Eyes by Caetano Gotardo - who also stars - and collaborative work The Seven Last Words, inspired by Franz Joseph Haydn's The Last Seven Years Of Our Saviour On The Cross, by multidisciplinary directors Kaveh Nabatian, Ariane Lorrain, Sophie Goyette, Juan Andrés Arango, Sophie Deraspe, Karl Lemieux, Caroline Monnet.
The line-up also includes films that have featured at other festivals, including Hans Hurch tribute Introduzione all'Oscuro and Sri Lankan drama House Of My Fathers, which tracks a man and woman's attempts to break an infertility curse that has struck their feuding villages.
Films cost 4€ each or 2€ if.
- 1/24/2019
- by Amber Wilkinson
- eyeforfilm.co.uk
Around The World When You Were My AgeThe titles for the 48th International Film Festival Rotterdam are being announced in anticipation of the event running January 23 – February 3, 2018. We will update the program as new films are revealed.Tiger COMPETITIONSons of Denmark (Ulaa Salim)Take Me Somewhere Nice (Ena Sendijarević)Present.Perfect. (Shengze Zhu)Sheena667 (Grigory Dobrygin)Nona. If They Soak Me, I’ll Burn Them (Camila José Donoso)Koko-di Koko-da (Johannes Nyholm)Els dies que vindran (Carlos Marqués-Marcet)Bright Future COMPETITIONAlva (Ico Costa)Chèche lavi (Sam Ellison)De nuevo otra vez (Romina Paula)Doozy (Richard Squires)Dreissig (Simona Kostova)Ende der Saison (Elmar Imanov)Fabiana (Brunna Laboissière)The Gold-Laden Sheep & the Sacred Mountain (Ridham Janve)Heroes (Köken Ergun)Historia de mi nombre (Karin Cuyul)Last Night I Saw You Smiling (Kavich Neang)Lost Holiday (Michael Kerry Matthews/Thomas Matthews)Maggie (Yi Okseop)Mens (Isabelle Prim)No Data Plan (Miko Revereza...
- 1/9/2019
- MUBI
Contrasts abound in Juliana Rojas and Marco Dutra’s terrifyingly captivating Good Manners, a horror-meets-children’s-movie that uses all the tropes at its disposal to conjure up a piercing discussion of class, race, and desire in present-day Brazil. Six years after their collaborative debut, Hard Labor (2011), the writer-directors return to the theme of social divisions, this time to tackle it through the unconventional lens of werewolf mythology in a fantasy-fueled melodrama that should inject a much-needed revitalizing serum into a stagnating genre.
An unemployed professional caretaker from one of São Paulo’s poorer suburbs, dark-skinned Clara (a remarkable Isabél Zuaa) lands a gig as a live-in nanny at a fancy high-rise apartment. Her employer, pregnant Ana (Marjorie Estiano), is an entitled, white 29-year-old from a rich plantation family: shunned from her relatives after she refused to abort, she now awaits the due date indulging in compulsive shopping and steak eating.
An unemployed professional caretaker from one of São Paulo’s poorer suburbs, dark-skinned Clara (a remarkable Isabél Zuaa) lands a gig as a live-in nanny at a fancy high-rise apartment. Her employer, pregnant Ana (Marjorie Estiano), is an entitled, white 29-year-old from a rich plantation family: shunned from her relatives after she refused to abort, she now awaits the due date indulging in compulsive shopping and steak eating.
- 4/10/2018
- by The Film Stage
- The Film Stage
The Brazilian filmmakers Juliana Rojas and Marco Dutra have been working together for over a decade now. After an award-winning career in short films, their feature debut Hard Labor (2011) world premiered at Cannes Film Festival in the Un Certain Regard section. Following this, the two writer-directors pursued their solo careers, continuing to explore the genre of horror and musical. I interviewed the duo about their long-awaited reunion for their new film Good Manners (2017), which will have its world premiere as part of the International Competition at the 70th Locarno Film Festival.Notebook: The two of you have been working together for over a decade now. How do you understand the development of this long time partnership?We met in film school when we were at the end of our teens. What first brought us together was our common interest in musicals, fantasy and horror films. These are the kinds of...
- 8/5/2017
- MUBI
Era el Cielo
Director: Marco Dutra
Writers: Lucia Puenzo, Caetano Gotardo, Sergio Bizzio
Brazilian director Marco Dutra‘s first feature (review), 2011’s Hard Labor (co-directed by Juliana Rojas) premiered in Un Certain Regard at Cannes and finally reached theatrical release in the Us several months ago courtesy of Kino Lorber. Since then, he directed the solo feature Era el Cielo (When I Was Alive), and will be ready with his third film, It Was Heaven in 2016. Dutra directs from a script co-authored by Hard Labor writer Caetano Gotardo and the team behind Xxy (2007), Sergio Bizzio and Argentinean director Lucia Puenzo. His first Spanish language production concerns “questioning masculinity roles, sexuality, and barriers of intimacy,” in a narrative about a man who comes home to see his wife violated by two strangers. Paralyzed, he doesn’t come to her rescue and she doesn’t realize he’s witnessed the attack. She...
Director: Marco Dutra
Writers: Lucia Puenzo, Caetano Gotardo, Sergio Bizzio
Brazilian director Marco Dutra‘s first feature (review), 2011’s Hard Labor (co-directed by Juliana Rojas) premiered in Un Certain Regard at Cannes and finally reached theatrical release in the Us several months ago courtesy of Kino Lorber. Since then, he directed the solo feature Era el Cielo (When I Was Alive), and will be ready with his third film, It Was Heaven in 2016. Dutra directs from a script co-authored by Hard Labor writer Caetano Gotardo and the team behind Xxy (2007), Sergio Bizzio and Argentinean director Lucia Puenzo. His first Spanish language production concerns “questioning masculinity roles, sexuality, and barriers of intimacy,” in a narrative about a man who comes home to see his wife violated by two strangers. Paralyzed, he doesn’t come to her rescue and she doesn’t realize he’s witnessed the attack. She...
- 1/8/2016
- by Nicholas Bell
- IONCINEMA.com
We inhabit a pulp fiction universe. News, magazine features, unscripted TV, crime-time series, movie trailers are all splattered with the bleeding lede and dug-up dirt tailored to grab and hold our attention, until the next salacious thing comes along. We plumb new shallows with click-bait, which constantly screeches at us with empty promises of substance, or at least something juicy. Few get past the gushing artery. We simply tie it off with a few key words—Lone Gunman, Bad Parent, Pederast—shake our heads and click on. Even as the stories that form the basis of this triptych film are “ripped from the headlines,” Caetano Gotardo's The Moving Creatures shuns the sensationalism and soap-opera histrionics normally employed in their telling, and retelling. >> - Shari Kizirian...
- 9/11/2015
- Fandor: Keyframe
We inhabit a pulp fiction universe. News, magazine features, unscripted TV, crime-time series, movie trailers are all splattered with the bleeding lede and dug-up dirt tailored to grab and hold our attention, until the next salacious thing comes along. We plumb new shallows with click-bait, which constantly screeches at us with empty promises of substance, or at least something juicy. Few get past the gushing artery. We simply tie it off with a few key words—Lone Gunman, Bad Parent, Pederast—shake our heads and click on. Even as the stories that form the basis of this triptych film are “ripped from the headlines,” Caetano Gotardo's The Moving Creatures shuns the sensationalism and soap-opera histrionics normally employed in their telling, and retelling. >> - Shari Kizirian...
- 9/11/2015
- Keyframe
Cinema Slate will handle the New York theatrical release of Caetano Gotardo’s feature debut "The Moving Creatures." The film was written and directed by Caetano Gotardo and features songs by Gotardo and Marco Dutra ("Hard Labor"). It stars Cida Moreira (as Maria Júlia), Andrea Marquee (as Silvia), Fernanda Vianna (as Ana) and Rômulo Braga (as Eduardo).
This is the second film in the ongoing Brazilian Film Series: Year One (following "I Touched All Your Stuff," to be released on August 28), "The Moving Creatures" was an official selection at the Miami International Film Festival and won a Best Actress (Cida Moreira) and Best Film (Fiction) award at Berlin’s Latin American Film Festival (Lakino).
For more info on the film visit Here
Here is the official synopsis:
In Caetano Gotardo’s lyrical omnibus film "The Moving Creatures" (O Que se Move), three very different mothers are confronted, through three very different trials-by-ordeal, with the limits of what a mother “just knows”. With little fanfare (and not a whiff of the blatant “interconnectedness” often de rigeur among multi-story films), the daily rhythms and textures of three families unfold before us. And at the end of each story, all three mothers emerge from their private crucibles with an understanding — though one that can only be expressed in a way that erupts into the film’s very reality.
In the film’s first story, a mother (Maria Júlia, played by famed Brazilian actress, singer and performer Cida Moreira), learns about her son’s most intimate secret maybe a minute too late. On the second tale, an enigmatically afflicted sound engineer (Eduardo, played by Rômulo Braga) skulks through his day of nausea and confusion, while his wife Silvia (Andréa Marquee) muses on the scope of infant wisdom with a friend, as the two gaze at the former’s child. What happens next throws both parents into a state of trauma. The last story follows João (Henrique Schafer) and Ana (Fernanda Vianna), on their preparations to re-encounter their long-lost son.
The film will open on Sept 11 at Cinema Village in NYC and that it will also be available on Fandor.com on the same day. Take a look at the exclusive trailer below.
This is the second film in the ongoing Brazilian Film Series: Year One (following "I Touched All Your Stuff," to be released on August 28), "The Moving Creatures" was an official selection at the Miami International Film Festival and won a Best Actress (Cida Moreira) and Best Film (Fiction) award at Berlin’s Latin American Film Festival (Lakino).
For more info on the film visit Here
Here is the official synopsis:
In Caetano Gotardo’s lyrical omnibus film "The Moving Creatures" (O Que se Move), three very different mothers are confronted, through three very different trials-by-ordeal, with the limits of what a mother “just knows”. With little fanfare (and not a whiff of the blatant “interconnectedness” often de rigeur among multi-story films), the daily rhythms and textures of three families unfold before us. And at the end of each story, all three mothers emerge from their private crucibles with an understanding — though one that can only be expressed in a way that erupts into the film’s very reality.
In the film’s first story, a mother (Maria Júlia, played by famed Brazilian actress, singer and performer Cida Moreira), learns about her son’s most intimate secret maybe a minute too late. On the second tale, an enigmatically afflicted sound engineer (Eduardo, played by Rômulo Braga) skulks through his day of nausea and confusion, while his wife Silvia (Andréa Marquee) muses on the scope of infant wisdom with a friend, as the two gaze at the former’s child. What happens next throws both parents into a state of trauma. The last story follows João (Henrique Schafer) and Ana (Fernanda Vianna), on their preparations to re-encounter their long-lost son.
The film will open on Sept 11 at Cinema Village in NYC and that it will also be available on Fandor.com on the same day. Take a look at the exclusive trailer below.
- 8/20/2015
- by Carlos Aguilar
- Sydney's Buzz
Film-maker Kleber Mendoça, who won the Fipresci Prize at Rotterdam and Wroclaw’s New Horizons for his fiction feature debut Neighbouring Sounds in 2012, will be in Locarno next month as part of an almost 60-strong Brazilian delegation.
Mendoça, who is also the director of Recife’s Janela International Film Festival, will be joined by, among others, festival director colleagues Renata de Almeida and Ivan Melo of the Sao Paulo Iff as well as Manoel Rangel and Eduardo Valente of film funder Ancine, André Sturm of Cinema do Brasil, producers Sara Silveira (Dezenove Som et Imagem), Eliane Ferreira (Muiraquita Filmes) and Elias Ribeiro (Urucu Media), distributors Jean-Thomas Bernardini (Imovision) and Marcos De Oliveira (Europa Filmes), and sales agent Sandro Fiorin (Figa Films).
Carte Blanche focus on Brazil
The fourth edition of Locarno’s Carte Blanche showcase will be the focus of the Brazilian presence at the Swiss festival with the presentation of new Brazilian features and documentaries by their...
Mendoça, who is also the director of Recife’s Janela International Film Festival, will be joined by, among others, festival director colleagues Renata de Almeida and Ivan Melo of the Sao Paulo Iff as well as Manoel Rangel and Eduardo Valente of film funder Ancine, André Sturm of Cinema do Brasil, producers Sara Silveira (Dezenove Som et Imagem), Eliane Ferreira (Muiraquita Filmes) and Elias Ribeiro (Urucu Media), distributors Jean-Thomas Bernardini (Imovision) and Marcos De Oliveira (Europa Filmes), and sales agent Sandro Fiorin (Figa Films).
Carte Blanche focus on Brazil
The fourth edition of Locarno’s Carte Blanche showcase will be the focus of the Brazilian presence at the Swiss festival with the presentation of new Brazilian features and documentaries by their...
- 7/29/2014
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
Inaugural edition of the new co-production market will run June 12-13.Scroll down for full list of projects
Pia Marais, Andrea Segre and Brillante Mendoza [pictured] are among the directors who will be presenting their new projects at the inaugural Paris Coproduction Village in June.
Organised by the same team that runs Les Arcs European Film Festival, in association with the Champs-Elysees Film Festival, the event will take place off Paris’ most famous boulevard on June 12 and 13.
The event was launched in March to replace the respected Paris Project co-production market, which folded after losing its city hall funding.
“We pulled together the line-up in an incredibly short space of time,” said Vanja Kaludjercic, who spearheads the new event alongside Les Arcs CEO Pierre-Emmanuel Fleurantin.
“We were very proactive in terms of chasing projects we knew were coming together. Everyone did their bit and got on the phone. We’re pretty pleased with the resulting selection.”
Fleurantin said: “It...
Pia Marais, Andrea Segre and Brillante Mendoza [pictured] are among the directors who will be presenting their new projects at the inaugural Paris Coproduction Village in June.
Organised by the same team that runs Les Arcs European Film Festival, in association with the Champs-Elysees Film Festival, the event will take place off Paris’ most famous boulevard on June 12 and 13.
The event was launched in March to replace the respected Paris Project co-production market, which folded after losing its city hall funding.
“We pulled together the line-up in an incredibly short space of time,” said Vanja Kaludjercic, who spearheads the new event alongside Les Arcs CEO Pierre-Emmanuel Fleurantin.
“We were very proactive in terms of chasing projects we knew were coming together. Everyone did their bit and got on the phone. We’re pretty pleased with the resulting selection.”
Fleurantin said: “It...
- 5/19/2014
- ScreenDaily
Once again the top Latino works in progress that we will see in the coming year's festivals are showing along with the best completed films selected for these March film festivals and events: Cartagena Film Festival in Colombia (Ficci), Guadalajara Film Festival (Ficg) in Mexico and Cinélatino in Toulouse, France in partnership with the San Sebastian Film Festival, Cinefondation in Paris, France, The Morelia Lab (Mexico) and the Br Lab (Brazil).
All of these events will be bringing to a select public of professionals selected projects to expand their networks, to train and support Latin American talents.
Toulouse Cinélatino
Approximately twenty projects from Latin America or from the Region Midi-Pyrénées, but related to Latin America, at different stages (idea, development, financing...) with various profiles and formats (feature-length fiction films, documentaries and short films), will be presented by their director or producer.
Toulouse Cinélatino: Cinema in Construction (Works in Progress)
Cinema Under Construction (Cinéma en Construction), the 24th edition Toulouse also takes place in March. This double annual event is jointly organized by two European festivals (Toulouse and San Sebastian) with the aim of contributing to the completion, distribution and promotion of Latin American films encountering difficulties at the stage of post-production.
A selection of six films is be presented to an audience exclusively composed of film professionals who can contribute decisively to ensure that these works reach the public.
The complete selection and registrations for individual meetings will be available on-line at the beginning of March.
Cinema Under enjoys the support of the following companies and institutions: Cine Sin Fronteras (Csf), Daniel Goldstein, Deluxe Spain, Dolby Iberia, Laserfilm Cine y Video, Media Mundus, Nephilim producciones, No Problem Sonido, Programa Ibermedia, V_rtigo Films, and the collaboration of Caisse Centrale d’Activit_s Sociales (Ccas), Centre National du Cin_ma et de l’Image Anim_e (Cnc), Cetim, CINƒ +, Cinefondation, Commune Image, Conf_d_ration Internationale des Cin_mas d’Art et Essai (Cicae), Conseil G_n_ral de la Haute Garonne, Conseil Regional Midi-Pyrenees, Crous de Toulouse, Eaux Vives, ƒcole Sup_rieure d’Audiovisuel (Esav), EP2C – Post-production Training Programme, Europa Distribution, Fila 13, Firefly, La Trame, Mactari, Mairie de Toulouse, Minist_re de la Culture et de la Communication, Producers Network, Signis and Titra Tvs.
Toulouse Cinélatino: Cinema in Development
Cinema in Development (Cinéma en Développement), the ninth edition, provides a meeting space for professionals wanting to discover talents and to update themselves about Latin American projects which are now in development. This year the Morelia Lab (Mexico) and the Br Lab (Brazil) have joined Cinélatino in bringing their previously selected projects to expand their networks, to train and support Latin American talents. This synergy already exists between La Cinéfondation and Cinélatino, who integrate into the selection of Cinéma en Développement the projects of Cinefondation’s Latin American residency program.
Five new Latin American projects will be presented in Toulouse at Cinéma en Développement #9. The information on these 5 projects is available on Toulouse Cinélatino's website starting on the 25th of February.
Connecting the selected participants with European professionals will occur during the Industry Days of Cinélatino (26, 27, 28 of March 2014). The participants will benefit of a personalized program :
Presentation of their project in the framework of the One to One of Cinéma en Développement,Meetings with key players of the industry,Case studies,Participation to the Cinéma en Construction screenings.
La Cinéfondation (France)
La Résidence du Festival de Cannes every year welcomes a dozen young directors working on their first or second fiction feature film project, in two sessions lasting four and a half months (from October 1st to mid February, and from the end of February to mid July). Since its creation in 2000, the Résidence has welcomed more than seventy filmmakers from more than forty different countries. It makes available a place of residence in the heart of Paris, a personalized program accompanying the writing of their scripts, and a collective program of forums with film industry professionals.
http://www.cinefondation.com/en/generalinformation. Its selection for :
Las Herederas (The Heiresses) by Marcelo Martinessi (Paraguay). Presented in Toulouse by the director, Marcelo Martinessi, First feature of Marcelo Martinessi, who has directed the short film El Baldio. Marcelo has been selected by the Br Lab and by the new Paraguayan residency, Mua.
Todos Os Mortos (The Dead) by Caetano Gotardo and Marco Dutra (Brazil). Presented in Toulouse by the director Caetano Gotardo. Produced by Sara Silveira, the script is written and the film is going to be directed by two Brazilian talents.
Hablemos Del Tiempo (Small Talk) by Marcela Said (Chile). Presented in Toulouse by the director, Marcela Said, Second feature of Marcela who has directed The Summer of the Flying Fish (supported by Cinéma en Construction) and selected by La Quinzaine des Réalisateurs in May 2013.
Morelia Lab (Mexico)
The Morelia Lab Workshop, created by the Morelia International Film Fest (Ficm) in collaboration with the Instituto Mexicano de Cinematografía (Imcine), is proud to be the most important workshop for young producers in Latin America. As a result of its drive and continuity, it has created a fertile space for exploration, reflection and creation, offering young producers a special place to develop in their field.
http://moreliafilmfest.com/en/convocatoria-morelia-lab/ Its selection:
Las Tinieblas (The Darkness) by Daniel Zimbron Castro (Mexico). Presented in Toulouse by the producer, Pablo Zimbron, from the company Varios Lobos. This project is the second episode of a trilogy started by Tau, starring Brontis Jodorowksy, feature film premiered at Morelia Film Festival.
Br Lab (Brazil)
BrLab reaffirms itself as a reference point for Latin American projects’ development in Brazil, thanks to the constant work that allowed us to consolidate our place in the international calendar of similar initiatives. It is undeniable that encounters such as those promoted in the lab naturally foster opportunities for international cooperation and exchange between professionals, boosting different countries’ filmmaking and, in the same sense, encouraging the promotion of Brazilian audiovisual production abroad. BrLab has become a space where Latin American and European professionals spontaneously converge, with an interest in establishing contact with projects that are either fresh or under development – and this approach often results in invaluable partnerships.
http://www.lab-br.com.br/brlab/apresentacao/ Its selection:
Paterno (Paternal) by Marcelo Lordello (Brazil). Presented in Toulouse by Marcelo Lordello, director and producer. Third feature film of Marcelo Lordello, spotted in 2013 by Rotterdam Film Festival with his movie Eles Voltam.
All of these events will be bringing to a select public of professionals selected projects to expand their networks, to train and support Latin American talents.
Toulouse Cinélatino
Approximately twenty projects from Latin America or from the Region Midi-Pyrénées, but related to Latin America, at different stages (idea, development, financing...) with various profiles and formats (feature-length fiction films, documentaries and short films), will be presented by their director or producer.
Toulouse Cinélatino: Cinema in Construction (Works in Progress)
Cinema Under Construction (Cinéma en Construction), the 24th edition Toulouse also takes place in March. This double annual event is jointly organized by two European festivals (Toulouse and San Sebastian) with the aim of contributing to the completion, distribution and promotion of Latin American films encountering difficulties at the stage of post-production.
A selection of six films is be presented to an audience exclusively composed of film professionals who can contribute decisively to ensure that these works reach the public.
The complete selection and registrations for individual meetings will be available on-line at the beginning of March.
Cinema Under enjoys the support of the following companies and institutions: Cine Sin Fronteras (Csf), Daniel Goldstein, Deluxe Spain, Dolby Iberia, Laserfilm Cine y Video, Media Mundus, Nephilim producciones, No Problem Sonido, Programa Ibermedia, V_rtigo Films, and the collaboration of Caisse Centrale d’Activit_s Sociales (Ccas), Centre National du Cin_ma et de l’Image Anim_e (Cnc), Cetim, CINƒ +, Cinefondation, Commune Image, Conf_d_ration Internationale des Cin_mas d’Art et Essai (Cicae), Conseil G_n_ral de la Haute Garonne, Conseil Regional Midi-Pyrenees, Crous de Toulouse, Eaux Vives, ƒcole Sup_rieure d’Audiovisuel (Esav), EP2C – Post-production Training Programme, Europa Distribution, Fila 13, Firefly, La Trame, Mactari, Mairie de Toulouse, Minist_re de la Culture et de la Communication, Producers Network, Signis and Titra Tvs.
Toulouse Cinélatino: Cinema in Development
Cinema in Development (Cinéma en Développement), the ninth edition, provides a meeting space for professionals wanting to discover talents and to update themselves about Latin American projects which are now in development. This year the Morelia Lab (Mexico) and the Br Lab (Brazil) have joined Cinélatino in bringing their previously selected projects to expand their networks, to train and support Latin American talents. This synergy already exists between La Cinéfondation and Cinélatino, who integrate into the selection of Cinéma en Développement the projects of Cinefondation’s Latin American residency program.
Five new Latin American projects will be presented in Toulouse at Cinéma en Développement #9. The information on these 5 projects is available on Toulouse Cinélatino's website starting on the 25th of February.
Connecting the selected participants with European professionals will occur during the Industry Days of Cinélatino (26, 27, 28 of March 2014). The participants will benefit of a personalized program :
Presentation of their project in the framework of the One to One of Cinéma en Développement,Meetings with key players of the industry,Case studies,Participation to the Cinéma en Construction screenings.
La Cinéfondation (France)
La Résidence du Festival de Cannes every year welcomes a dozen young directors working on their first or second fiction feature film project, in two sessions lasting four and a half months (from October 1st to mid February, and from the end of February to mid July). Since its creation in 2000, the Résidence has welcomed more than seventy filmmakers from more than forty different countries. It makes available a place of residence in the heart of Paris, a personalized program accompanying the writing of their scripts, and a collective program of forums with film industry professionals.
http://www.cinefondation.com/en/generalinformation. Its selection for :
Las Herederas (The Heiresses) by Marcelo Martinessi (Paraguay). Presented in Toulouse by the director, Marcelo Martinessi, First feature of Marcelo Martinessi, who has directed the short film El Baldio. Marcelo has been selected by the Br Lab and by the new Paraguayan residency, Mua.
Todos Os Mortos (The Dead) by Caetano Gotardo and Marco Dutra (Brazil). Presented in Toulouse by the director Caetano Gotardo. Produced by Sara Silveira, the script is written and the film is going to be directed by two Brazilian talents.
Hablemos Del Tiempo (Small Talk) by Marcela Said (Chile). Presented in Toulouse by the director, Marcela Said, Second feature of Marcela who has directed The Summer of the Flying Fish (supported by Cinéma en Construction) and selected by La Quinzaine des Réalisateurs in May 2013.
Morelia Lab (Mexico)
The Morelia Lab Workshop, created by the Morelia International Film Fest (Ficm) in collaboration with the Instituto Mexicano de Cinematografía (Imcine), is proud to be the most important workshop for young producers in Latin America. As a result of its drive and continuity, it has created a fertile space for exploration, reflection and creation, offering young producers a special place to develop in their field.
http://moreliafilmfest.com/en/convocatoria-morelia-lab/ Its selection:
Las Tinieblas (The Darkness) by Daniel Zimbron Castro (Mexico). Presented in Toulouse by the producer, Pablo Zimbron, from the company Varios Lobos. This project is the second episode of a trilogy started by Tau, starring Brontis Jodorowksy, feature film premiered at Morelia Film Festival.
Br Lab (Brazil)
BrLab reaffirms itself as a reference point for Latin American projects’ development in Brazil, thanks to the constant work that allowed us to consolidate our place in the international calendar of similar initiatives. It is undeniable that encounters such as those promoted in the lab naturally foster opportunities for international cooperation and exchange between professionals, boosting different countries’ filmmaking and, in the same sense, encouraging the promotion of Brazilian audiovisual production abroad. BrLab has become a space where Latin American and European professionals spontaneously converge, with an interest in establishing contact with projects that are either fresh or under development – and this approach often results in invaluable partnerships.
http://www.lab-br.com.br/brlab/apresentacao/ Its selection:
Paterno (Paternal) by Marcelo Lordello (Brazil). Presented in Toulouse by Marcelo Lordello, director and producer. Third feature film of Marcelo Lordello, spotted in 2013 by Rotterdam Film Festival with his movie Eles Voltam.
- 4/12/2014
- by Sydney Levine
- Sydney's Buzz
The Moving Creatures by Caetano Gotardo was named best narrative fiction award as the Hollywood Brazilian Film Festival (HBRFest) climaxed on Aug 4.
Joel Pizzini’s Mr Sganzerla – The Signs Of Light was named best documentary while Ebb And Flow won the shorts category.
The fourth annual HBRFest ran from Jul 31-Aug 4. Programmers corralled more than 30 Los Angeles premieres of independent Brazilian cinema presented a night of gay films and showcased Portugal as Guest Country.
While My Guitar Gently Weeps by Anna Muylaert opened the festival and the filmmaker took part in a panel discussion with other Brazilian directors on Friday [2] when she cited Alfred Hitchcock as a formative influence on her career.
Other participating filmmakers included Daniel Aragão with Good Luck, Sweetheart, Allan Ribeiro with This Love That Consumes, Gabriel Mascaro with Housemaids, Michael Wahrmann with Avanti Popolo and Gotardo.
HBRFest was presented by Riofilme. Sponsors included One Digital and Copa Airlines, with cultural...
Joel Pizzini’s Mr Sganzerla – The Signs Of Light was named best documentary while Ebb And Flow won the shorts category.
The fourth annual HBRFest ran from Jul 31-Aug 4. Programmers corralled more than 30 Los Angeles premieres of independent Brazilian cinema presented a night of gay films and showcased Portugal as Guest Country.
While My Guitar Gently Weeps by Anna Muylaert opened the festival and the filmmaker took part in a panel discussion with other Brazilian directors on Friday [2] when she cited Alfred Hitchcock as a formative influence on her career.
Other participating filmmakers included Daniel Aragão with Good Luck, Sweetheart, Allan Ribeiro with This Love That Consumes, Gabriel Mascaro with Housemaids, Michael Wahrmann with Avanti Popolo and Gotardo.
HBRFest was presented by Riofilme. Sponsors included One Digital and Copa Airlines, with cultural...
- 8/6/2013
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
The Guild Presentation: Focus on Diversity Programs panel and Director's Roundtable are scheduled during the Hollywood Brazilian Film Festival (July 31-August 4, Egyptian Theatre, Hollywood). Both panels will be held at the Arena Cinema - 1625 North Las Palmas Avenue (adjacent to the Egyptian Theatre).
There will be an informal cocktail reception following each panel. Please let us know if we can reserve you a seat. ------------------------------------------------------------------------
Thursday, August 1:
Guild Presentation - Focus on Diversity Programs
3:30pm - 4:30pm - Diversity Panel
4:30pm -5:00pm - Cocktails
HBRFest will present a panel discussion explaining the importance of the Diversity Committee from three of the most powerful guilds in Hollywood: DGA, WGA and PGA.
The mission of all three guilds is to promote diversity and inclusion in the entertainment industry. The DGA and WGA have a number of minority committees representing Hispanics, gays, women, blacks, and Asians. The DGA has only one committee, the Diversity Committee, where all the subgroups fall under.
For this goal, the Diversity Committee offers a number of programs and opportunities to members and non-members in education and networking. They all celebrate producers whose projects in film, TV, and the Web reflect their mission.
Panelists:
Producers Guild of America (PGA) - Deborah Calla
A writer/producer originally from Brazil. She is the Chair of the Producers Guild of America Diversity Committee as well as the Chair of the Media Access Awards and a member of the WGA.
Writers Guild of America (WGA) - Kimberly Myers
Myers served as Vice President of Program Development at Turner Network and Vice President of Movies and Mini Series at Fox. She was the producer of television films for NBC, CBS, Lifetime and TNT prior to joining the Writers Guild of America in 2007 as its Director of Diversity.
Directors Guild of America (DGA) - Regina Render
Before joining the DGA, Render was a Business Representative at the International Cinematographers Guild and later a Senior Representative at the Los Angeles County Federation of Labor, where she managed key organizational functions and coordinated labor initiatives on public policy issues, multi-union campaigns, and political action. Regina has a long history of civic engagement, including being appointed by Los Angeles Mayor Tom Bradley to the “Neighbor to Neighbor Program,” which developed community response programs and activities after the civil unrest of the 1992 riots.
Friday, August 2
Director's Roundtable - Focus on the Creative Process
3:00pm - 4:30pm - Director's Roundtable
4:30pm -5:00pm - Cocktails
Back by popular demand, attending filmmakers will participate in a special Filmmakers Roundtable moderated by Robert Koehler, former Variety critic and expert in Latin American cinema. This event will provide great insight into the current state of Brazilian filmmaking, trends and an opportunity to meet the rising talent of Brazil.
Special Guest: Laurence Reymond - Directors Fortnight short film programmer.
Moderator: Robert Koehler
Panelists:
Gabriela Amaral Almeida
Director “The Comforting Hand” 19’ – West-Coast Premiere (Documentary)
Sergio Andrade
Director “Jonathas´ Forest” 98’ – West-Coast Premiere (Narrative Feature)
Daniel Aragão
Director “Good Luck, Sweetheart” 95’ – West-Coast Premiere (Narrative Feature)
Marcelo Caetano
Director “By Your Side” 20’ – North-America Premiere (Short Film)
Caetano Gotardo
Director “The Moving Creatures” 97’ – West-Coast Premiere (Short Film)
Helvecio Marins
Director “The Song Of The Nightingale” 19’23” (Short Film)
Gabriel Mascaro
Director “Housemaids” 76’ – North-America Premiere (Documentary)
Anna Myulaert (HBRFest Guest of Honor)
Director – “While My Guitar Gently Weeps” 52’ -Opening Night Film (Narrative Feature) ; “Durval Records” 103’ - Closing Night Film (Narrative Feature)
Allan Ribeiro
Director “This Love That Consumes” 80’ – International Premiere (Narrative Feature)
Rafael Sampaio
Producer “The Package” 18’ – L.A. Premiere (Short Film)
Leonardo Sette
Co-director “Enraged Pigs” 10’ – West-Coast Premiere (Short Film)
Rafael Todeschini
Director “Eva Maria” 12’ – World Premiere (Short Film)
Michael Wahrmann
Director “Avanti Popolo” 72’ – West-Coast Premiere (Narrative Feature)
For additional details: http://hbrfest.com...
There will be an informal cocktail reception following each panel. Please let us know if we can reserve you a seat. ------------------------------------------------------------------------
Thursday, August 1:
Guild Presentation - Focus on Diversity Programs
3:30pm - 4:30pm - Diversity Panel
4:30pm -5:00pm - Cocktails
HBRFest will present a panel discussion explaining the importance of the Diversity Committee from three of the most powerful guilds in Hollywood: DGA, WGA and PGA.
The mission of all three guilds is to promote diversity and inclusion in the entertainment industry. The DGA and WGA have a number of minority committees representing Hispanics, gays, women, blacks, and Asians. The DGA has only one committee, the Diversity Committee, where all the subgroups fall under.
For this goal, the Diversity Committee offers a number of programs and opportunities to members and non-members in education and networking. They all celebrate producers whose projects in film, TV, and the Web reflect their mission.
Panelists:
Producers Guild of America (PGA) - Deborah Calla
A writer/producer originally from Brazil. She is the Chair of the Producers Guild of America Diversity Committee as well as the Chair of the Media Access Awards and a member of the WGA.
Writers Guild of America (WGA) - Kimberly Myers
Myers served as Vice President of Program Development at Turner Network and Vice President of Movies and Mini Series at Fox. She was the producer of television films for NBC, CBS, Lifetime and TNT prior to joining the Writers Guild of America in 2007 as its Director of Diversity.
Directors Guild of America (DGA) - Regina Render
Before joining the DGA, Render was a Business Representative at the International Cinematographers Guild and later a Senior Representative at the Los Angeles County Federation of Labor, where she managed key organizational functions and coordinated labor initiatives on public policy issues, multi-union campaigns, and political action. Regina has a long history of civic engagement, including being appointed by Los Angeles Mayor Tom Bradley to the “Neighbor to Neighbor Program,” which developed community response programs and activities after the civil unrest of the 1992 riots.
Friday, August 2
Director's Roundtable - Focus on the Creative Process
3:00pm - 4:30pm - Director's Roundtable
4:30pm -5:00pm - Cocktails
Back by popular demand, attending filmmakers will participate in a special Filmmakers Roundtable moderated by Robert Koehler, former Variety critic and expert in Latin American cinema. This event will provide great insight into the current state of Brazilian filmmaking, trends and an opportunity to meet the rising talent of Brazil.
Special Guest: Laurence Reymond - Directors Fortnight short film programmer.
Moderator: Robert Koehler
Panelists:
Gabriela Amaral Almeida
Director “The Comforting Hand” 19’ – West-Coast Premiere (Documentary)
Sergio Andrade
Director “Jonathas´ Forest” 98’ – West-Coast Premiere (Narrative Feature)
Daniel Aragão
Director “Good Luck, Sweetheart” 95’ – West-Coast Premiere (Narrative Feature)
Marcelo Caetano
Director “By Your Side” 20’ – North-America Premiere (Short Film)
Caetano Gotardo
Director “The Moving Creatures” 97’ – West-Coast Premiere (Short Film)
Helvecio Marins
Director “The Song Of The Nightingale” 19’23” (Short Film)
Gabriel Mascaro
Director “Housemaids” 76’ – North-America Premiere (Documentary)
Anna Myulaert (HBRFest Guest of Honor)
Director – “While My Guitar Gently Weeps” 52’ -Opening Night Film (Narrative Feature) ; “Durval Records” 103’ - Closing Night Film (Narrative Feature)
Allan Ribeiro
Director “This Love That Consumes” 80’ – International Premiere (Narrative Feature)
Rafael Sampaio
Producer “The Package” 18’ – L.A. Premiere (Short Film)
Leonardo Sette
Co-director “Enraged Pigs” 10’ – West-Coast Premiere (Short Film)
Rafael Todeschini
Director “Eva Maria” 12’ – World Premiere (Short Film)
Michael Wahrmann
Director “Avanti Popolo” 72’ – West-Coast Premiere (Narrative Feature)
For additional details: http://hbrfest.com...
- 7/29/2013
- by Sydney Levine
- Sydney's Buzz
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