New additions include El Ardor [pictured] by Pablo Fendrik starring Cannes jury member Gael Garcia Bernal, and a film starring Catherine Deneuve based on the mysterious disappearance of French casino heiress Agnès Le Roux.
The Cannes Film Festival (May 14-25) has added six titles to its Official Selection in the Out of Competition, Un Certain Regard and Special Screenings strands.
L’Homme qu’on aimait trop (In the Name of my Daughter), directed by André Téchiné, will feature in the Out of Competition line-up. Elle Driver handles international sales.
The 71-year-old French director has been in the running for the Palme d’Or six times and while the big prize eluded him he won best director in 1985 with erotic drama Rendez-vous.
His new film stars Guillaume Canet, Catherine Deneuve and Adèle Haenel in a drama inspired by Agnès Le Roux case that has remained a mystery since 1977. Le Roux was a young, glamorous heiress...
The Cannes Film Festival (May 14-25) has added six titles to its Official Selection in the Out of Competition, Un Certain Regard and Special Screenings strands.
L’Homme qu’on aimait trop (In the Name of my Daughter), directed by André Téchiné, will feature in the Out of Competition line-up. Elle Driver handles international sales.
The 71-year-old French director has been in the running for the Palme d’Or six times and while the big prize eluded him he won best director in 1985 with erotic drama Rendez-vous.
His new film stars Guillaume Canet, Catherine Deneuve and Adèle Haenel in a drama inspired by Agnès Le Roux case that has remained a mystery since 1977. Le Roux was a young, glamorous heiress...
- 4/30/2014
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Participant was founded in 2004 by Jeff Skoll to focus on feature films, television, publishing and digital content that inspire social change. Participant's more than 40 films include Good Night, And Good Luck, Syriana, An Inconvenient Truth, Food, Inc., Waiting For Superman, The Help, Contagion and Lincoln. Participant’s social action campaigns and digital network TakePart.com continue the conversation and connect audiences to a wealth of content and actions. Its new millennial television network Pivot, this summer in 40 million-plus homes, is TV for The New Greatest Generation.
Launching earlier this year, Participant PanAmerica is an initiative to develop and finance 10-12 films over five years for and from Latin America with Mexico’s Canana (Sin Nombre, Miss Bala), Chile’s Fabula (Young and Wild, Gloria) and Colombia’s Dynamo (Undertow, The Hidden Face). Its first film, El Ardor starring Gael García Bernal and Alice Braga to shoot in Argentina.
Participant Media is reteaming with No star Gael García Bernal for the first film under their recently-launched Participant PanAmerica initiative, the Western-inspired action adventure El Ardor. Co-starring Alice Braga (Elysium, I Am Legend), El Ardor has begun filming in Argentina under the direction of Pablo Fendrik (Blood Appears, The Mugger), who wrote the screenplay.
García Bernal portrays a mysterious man who emerges from the Argentinean rainforest to rescue the kidnapped daughter (Braga) of a poor farmer after mercenaries murder her father and take over his property.
Juan Pablo Gugliotta and Nathalia Videla Peña and García Bernal serve as the film’s producers, with Participant’s Jeff Skoll and Jonathan King, Canana’s Pablo Cruz and Telefe`s Axel Kuschevatzky as executive producers.
An Argentinean/Brazilian/French co-production being financed through Participant PanAmerica, the film’s co-producers are Magma Cine (Argentina), Bananeira Filmes (Brazil) and Manny Films (France). Magma’s Argentinian partners are Aleph Media and Telefe International. Bac Films is handling international sales outside North American and Latin American territories.
Participant CEO Jim Berk said, “After our terrific experience on No, we’re excited to be reuniting with Gael and Canana for our first Participant PanAmerica film and to be expanding our footprint into this important segment of the global marketplace.”
Jonathan King, Participant Evp of Production said, “Pablo Fendrik and his partners at Magma Cine are exactly the kinds of ambitious young filmmakers we are hoping to work with through PanAmerica. And it's always great to be in business with our friends at Canana."
Added Magma Cine Partner Juan Pablo Gugliotta, “We are truly glad to be shooting this project which represents the emergence of our main talent, Pablo Fendrik, as well as his comeback to the big screen and we are also really grateful for the support of all our associates at local, regional and international level. Magma Cine is proud to be part of the first film by Participant PanAmerica. We are absolutely positive that El Ardor will be on par with the expectations of all those who have granted us their trust.”
Pablo Cruz, Partner at Canana said, "Pablo Fendrik is perhaps one of the most interesting directors out of his generation, we met him years ago when his film El Asaltante was playing at the Critics Week in Cannes, we immediately wanted to work with him. It’s been a fantastic process and I know Gael has had the necessary time to develop with him an unforgettable character. We can't wait to see this film on the screen."
About Magma Cine
Magma Cine was set up by Juan Pablo Gugliotta, Pablo Fendrik and Nathalia Videla Peña in 2006.
Magma Cine is a production company that has produced 9 films over the past 7 years including many of the award winning films of what can be labeled as the “New Argentine Cinema,” films that, thanks to their continuing participation in the international scene, keep growing in number and garnering recognition.
Recently they’ve released Mala, Israel Adrián Caetano’s latest feature film distributed commercially in Latin America by Buena Vista-The Walt Disney Company.
It has also produced several documentary miniseries for Argentine TV and the multi-awarded horror film The Second Death, which has been showcased in the top genre film festivals in the world.
About Canana
Canana, founded in 2005 by Diego Luna, Gael Garcia Bernal, Pablo Cruz, and most recently joined by partner and CEO Julián Levin, is a pioneer of bringing Latin American talent to a global stage. Over the past 7 years, Canana has produced over twenty films including Abel, Luna's first feature length film, Sin Nombre, Miss Bala, directed by Gerardo Naranjo, and most recently, the English language film, Chavez, directed by Luna and based on the life of Mexican-American labor union organizer César E. Chávez. In 2012, Canana expanded its operations in the U.S. with Canana L.A., bridging the talent pool between Latin America and the U.S. with such projects as A Man Must Die, a political thriller produced in collaboration with Focus Features, with Naranjo set to direct. Canana’s television arm produced Soy Tu Fan, starring Ana Claudia Talancón, Niño Santo, which is production of its second season. The partners’ passion for film has also reflected through Documental Ambulante, a traveling documentary festival that has taken over 200 documentaries to communities across México, is in its 9th installment. Most recently, Canana has joined forces with Im Global to create a sales company focusing on the sales of Latin American films.
Launching earlier this year, Participant PanAmerica is an initiative to develop and finance 10-12 films over five years for and from Latin America with Mexico’s Canana (Sin Nombre, Miss Bala), Chile’s Fabula (Young and Wild, Gloria) and Colombia’s Dynamo (Undertow, The Hidden Face). Its first film, El Ardor starring Gael García Bernal and Alice Braga to shoot in Argentina.
Participant Media is reteaming with No star Gael García Bernal for the first film under their recently-launched Participant PanAmerica initiative, the Western-inspired action adventure El Ardor. Co-starring Alice Braga (Elysium, I Am Legend), El Ardor has begun filming in Argentina under the direction of Pablo Fendrik (Blood Appears, The Mugger), who wrote the screenplay.
García Bernal portrays a mysterious man who emerges from the Argentinean rainforest to rescue the kidnapped daughter (Braga) of a poor farmer after mercenaries murder her father and take over his property.
Juan Pablo Gugliotta and Nathalia Videla Peña and García Bernal serve as the film’s producers, with Participant’s Jeff Skoll and Jonathan King, Canana’s Pablo Cruz and Telefe`s Axel Kuschevatzky as executive producers.
An Argentinean/Brazilian/French co-production being financed through Participant PanAmerica, the film’s co-producers are Magma Cine (Argentina), Bananeira Filmes (Brazil) and Manny Films (France). Magma’s Argentinian partners are Aleph Media and Telefe International. Bac Films is handling international sales outside North American and Latin American territories.
Participant CEO Jim Berk said, “After our terrific experience on No, we’re excited to be reuniting with Gael and Canana for our first Participant PanAmerica film and to be expanding our footprint into this important segment of the global marketplace.”
Jonathan King, Participant Evp of Production said, “Pablo Fendrik and his partners at Magma Cine are exactly the kinds of ambitious young filmmakers we are hoping to work with through PanAmerica. And it's always great to be in business with our friends at Canana."
Added Magma Cine Partner Juan Pablo Gugliotta, “We are truly glad to be shooting this project which represents the emergence of our main talent, Pablo Fendrik, as well as his comeback to the big screen and we are also really grateful for the support of all our associates at local, regional and international level. Magma Cine is proud to be part of the first film by Participant PanAmerica. We are absolutely positive that El Ardor will be on par with the expectations of all those who have granted us their trust.”
Pablo Cruz, Partner at Canana said, "Pablo Fendrik is perhaps one of the most interesting directors out of his generation, we met him years ago when his film El Asaltante was playing at the Critics Week in Cannes, we immediately wanted to work with him. It’s been a fantastic process and I know Gael has had the necessary time to develop with him an unforgettable character. We can't wait to see this film on the screen."
About Magma Cine
Magma Cine was set up by Juan Pablo Gugliotta, Pablo Fendrik and Nathalia Videla Peña in 2006.
Magma Cine is a production company that has produced 9 films over the past 7 years including many of the award winning films of what can be labeled as the “New Argentine Cinema,” films that, thanks to their continuing participation in the international scene, keep growing in number and garnering recognition.
Recently they’ve released Mala, Israel Adrián Caetano’s latest feature film distributed commercially in Latin America by Buena Vista-The Walt Disney Company.
It has also produced several documentary miniseries for Argentine TV and the multi-awarded horror film The Second Death, which has been showcased in the top genre film festivals in the world.
About Canana
Canana, founded in 2005 by Diego Luna, Gael Garcia Bernal, Pablo Cruz, and most recently joined by partner and CEO Julián Levin, is a pioneer of bringing Latin American talent to a global stage. Over the past 7 years, Canana has produced over twenty films including Abel, Luna's first feature length film, Sin Nombre, Miss Bala, directed by Gerardo Naranjo, and most recently, the English language film, Chavez, directed by Luna and based on the life of Mexican-American labor union organizer César E. Chávez. In 2012, Canana expanded its operations in the U.S. with Canana L.A., bridging the talent pool between Latin America and the U.S. with such projects as A Man Must Die, a political thriller produced in collaboration with Focus Features, with Naranjo set to direct. Canana’s television arm produced Soy Tu Fan, starring Ana Claudia Talancón, Niño Santo, which is production of its second season. The partners’ passion for film has also reflected through Documental Ambulante, a traveling documentary festival that has taken over 200 documentaries to communities across México, is in its 9th installment. Most recently, Canana has joined forces with Im Global to create a sales company focusing on the sales of Latin American films.
- 5/22/2013
- by Sydney Levine
- Sydney's Buzz
Magma Cine
The Argentine drama The Mugger is a suspenseful slice of cinematic microfiction. Clocking in at less than 70 minutes, the film follows a 60ish man's day of crime in Buenos Aires, using minimal dialogue and strong performances to full impact. The camera so closely shadows the title character on his unlikely rounds that the viewer becomes, in a sense, an accessory to the crime. The feature was a selection of the Festival de Cannes' Critics' Week and is in competition at AFI Fest.
Arturo Goetz (Family Law) is compelling every step of the way as the man whose real name we learn only in the film's final minutes. His uncertain identity draws in the viewer from the opening scene, when he enters an elementary school in tweed sports coat and tie, with the distinguished air of a well-to-do father but the darting, measuring gaze of an interloper.
Introducing himself as Alejandro Williams, who has come to enroll 5-year-old Junior, he makes quick work of sticking up a friendly administrator, Patricia (Maya Lesca), for the school's cash coffer. Wielding a 9mm revolver that, he likes to point out, is equipped with a silencer, he directs Patricia in a tense performance (Give me a smile) as they walk the corridors to the strongbox. Director of photography Cobi Migliora's handheld camera makes the edgy escape along with the protagonist, from bus to cab to ATM. He calls his wife; he calls a buddy about a soccer game -- all is genial, calm, perfectly ordinary, except that he's just deposited thousands of dollars into his bank account, money he stole for an unknown reason.
Things start to go wrong when a sullen, distracted cafe waitress (Barbara Lombardo) scalds his hand with hot water. Although he finds a helpful pharmacist who becomes his way station for the day, he gradually loses his composure, with impatience and cruelty rising to the fore. From a smooth businessman he transforms into someone scruffy and wild before recovering a basic sense of decency and compassion.
First-time feature writer-director Pablo Fendrik and Goetz peel away the character's facade layer by layer but never "solve" the mystery of his behavior with simple answers, instead raising provocative questions about middle-class desperation -- or boredom -- and white-collar crime. Shot in a fleet nine days, Mugger uses spare dialogue, Buenos Aires locations and Leandro de Loredo's ambient sound design to create a powerful sense of immediacy.
The Argentine drama The Mugger is a suspenseful slice of cinematic microfiction. Clocking in at less than 70 minutes, the film follows a 60ish man's day of crime in Buenos Aires, using minimal dialogue and strong performances to full impact. The camera so closely shadows the title character on his unlikely rounds that the viewer becomes, in a sense, an accessory to the crime. The feature was a selection of the Festival de Cannes' Critics' Week and is in competition at AFI Fest.
Arturo Goetz (Family Law) is compelling every step of the way as the man whose real name we learn only in the film's final minutes. His uncertain identity draws in the viewer from the opening scene, when he enters an elementary school in tweed sports coat and tie, with the distinguished air of a well-to-do father but the darting, measuring gaze of an interloper.
Introducing himself as Alejandro Williams, who has come to enroll 5-year-old Junior, he makes quick work of sticking up a friendly administrator, Patricia (Maya Lesca), for the school's cash coffer. Wielding a 9mm revolver that, he likes to point out, is equipped with a silencer, he directs Patricia in a tense performance (Give me a smile) as they walk the corridors to the strongbox. Director of photography Cobi Migliora's handheld camera makes the edgy escape along with the protagonist, from bus to cab to ATM. He calls his wife; he calls a buddy about a soccer game -- all is genial, calm, perfectly ordinary, except that he's just deposited thousands of dollars into his bank account, money he stole for an unknown reason.
Things start to go wrong when a sullen, distracted cafe waitress (Barbara Lombardo) scalds his hand with hot water. Although he finds a helpful pharmacist who becomes his way station for the day, he gradually loses his composure, with impatience and cruelty rising to the fore. From a smooth businessman he transforms into someone scruffy and wild before recovering a basic sense of decency and compassion.
First-time feature writer-director Pablo Fendrik and Goetz peel away the character's facade layer by layer but never "solve" the mystery of his behavior with simple answers, instead raising provocative questions about middle-class desperation -- or boredom -- and white-collar crime. Shot in a fleet nine days, Mugger uses spare dialogue, Buenos Aires locations and Leandro de Loredo's ambient sound design to create a powerful sense of immediacy.
- 11/7/2007
- The Hollywood Reporter - Movie News
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.