Elena Anaya, Antonio Banderas, The Skin I Live In No Rest For The Wicked Tops, Pedro Almodóvar Empty-Handed: Goyas 2012 Winners Best Film La Piel que habito / The Skin I Live In, Pedro Almodóvar * No habrá paz para los malvados / No Rest for the Wicked, Enrique Urbizu La Voz dormida / The Sleeping Voice, Benito Zambrano Blackthorn. Sin destino / Blackthorn, Mateo Gil Best Foreign Film in the Spanish Language Boleto al paraíso (Cuba), Gerardo Chijona Miss Bala (Mexico), Gerardo Naranjo * Un cuento chino / Chinese Take-Away (Argentina), Sebastián Borensztein Violeta se fue a los cielos (Chile), Andrés Wood Best European Film Jane Eyre (United Kingdom), Cary Fukunaga Melancholia (Germany / Denmark / France), Lars von Trier * The Artist (France), Michel Hazanavicius Carnage (France), Roman Polanski Best Director Pedro Almodóvar, The Skin I Live In Benito Zambrano, The Sleeping Voice * Enrique Urbizu, No Rest for the Wicked Mateo Gil, Blackthorn Best New Director Paula Ortiz, De tu ventana a la mía...
- 2/20/2012
- by Steve Montgomery
- Alt Film Guide
The Skin I Live In (La piel que habito) and the other nominations for the 2012 Goya Awards (Premios Goyas) have been announced. The 26th Annual Goya Awards (Premios Goyas), presented by the Academia de las Artes y Ciencias Cinematográficas de España (Spanish Academy of Cinematographic Arts and Sciences), is “Spain’s main national film awards, considered by many in Spain, and internationally, to be the Spanish equivalent of the American Academy Awards.” The awards will be handed out on February 19, 2012 in Madrid, Spain.
The full listing of the 2012 Goya Awards (Premios Goyas) nominations is below.
Film
La piel que habito (The Skin I Live In), Pedro Almodovar
No habrá paz para los malvados (No Rest for the Wicked), Enrique Urbizu
La voz dormida (The Sleeping Voice), Benito Zambrano
Blackthorn. Sin destino (Blackthorn), Mateo Gil
Director
Pedro Almodovar, La piel que habito (The Skin I Live In)
Benito Zambrano, La voz dormida...
The full listing of the 2012 Goya Awards (Premios Goyas) nominations is below.
Film
La piel que habito (The Skin I Live In), Pedro Almodovar
No habrá paz para los malvados (No Rest for the Wicked), Enrique Urbizu
La voz dormida (The Sleeping Voice), Benito Zambrano
Blackthorn. Sin destino (Blackthorn), Mateo Gil
Director
Pedro Almodovar, La piel que habito (The Skin I Live In)
Benito Zambrano, La voz dormida...
- 1/11/2012
- by filmbook
- Film-Book
PARK CITY -- Argentine director Fabian Bielinsky follows up his critically acclaimed debut feature "Nine Queens" with "The Aura", a film in a similar mode but more elliptical. Crime is still the focus. But instead of a con game, we have a heist at the center of this story.
Yet Bielinsky's screenplay is at least as concerned with character nuances and the impact of an isolated rural environment on his people. The film is Argentina's submission for the foreign-language Oscar category.
The major point of similarity with "Nine Queens" is the jigsaw-puzzle nature of the story, where every piece will eventually fit by movie's end. The protagonist is an almost Borges-like character, a man who remembers everything he sees -- numbers on scraps of paper or snatches of a conversation that suddenly make sense. The man ("Nine Queen"'s star Ricardo Darin) has the potential to be a criminal mastermind. In his head, he often plans and executes robberies perfectly. Every contingency is anticipated and analyzed.
But only in his head. For our hero -- the man's name is never spoken -- is a shy, repressed and taxidermist. Simply starting a conversation is a chore. Oh, and one more thing: The man suffers from epilepsy. Just before attacks, he experiences an "aura," a feeling of both helplessness and, strangely, freedom. There is nothing he can do other than submit to the disorientation followed by a momentary blackout.
When a casual acquaintance (Alejandro Awada) invites him on a hunting trip in the Patagonian forest -- it's more a challenge than an invitation -- a series of highly unexpected events thrust the taxidermist into an unusual situation. First a casino in the area is closing that weekend so all the hotels are fully booked. This forces the two men to stay in a rustic cabin in the forest run by an old coot and his young and much too beautiful wife (Dolores Fonzi).
She has a sullen younger brother (Nahuel Perez Biscayart) and we surmise the marriage is an unhappy one. Then the taxidermist's companion is unexpectedly called home. And then two tough-looking characters (Pablo Cedron and Jorge D'Elia) turn up at the forest camp.
Without giving away too many surprises, let's say the astute and most observant man soon realizes that the absent husband, the two toughs and perhaps even the sullen brother are involved in a scheme to commit a major robbery. Without meaning to, the "criminal mastermind" finds himself in the midst of one of his fantasies -- only this one is real and he must outwit everyone including his accomplices.
Like his hero, Bielinsky is a meticulous craftsman. Every moment has a payoff. A car stalls so two characters can have a conversation. Our hero happens by a window at just the right moment. There is even a perfectly reasonable explanation for why cell phones work so well in this remote area.
Bielinsky also is a most expressive director, achieving considerable nuances and depths of emotion with characters' looks, gestures, body language and silences. Darin brings subtle complexity to this very quiet role while Fonzi paints a finely detailed portrait in stoic resignation.
Cinematographer Checo Varese mutes his colors, layering a grayness over both forest and a rude nearby town that ideally suits this environment. The story's rising tensions are further underscored by Lucio Godoy's score of ominous low chords and an occasional melancholy piano. What Bielinsky achieves here is an aura of palpable tension.
THE AURA
Patagonik Film Group/Tornasol Films/Davis Films Prods.
Credits:
Screenwriter-director: Fabian Bielinsky
Producers: Pablo Bossi, Samuel Hadida, Gerardo Herrero, Mariela Besuievsky
Executive producers: Cecilia Bossi, Victor Hadida, Ariel Saul
Director of photography: Checo Varese
Art director: Mercedes Alfonsin
Music: Lucio Godoy
Costumes: Marisa Urruti
Editors: Alejandro Carrillo Penovi, Fernando Pardo
Cast:
Taxidermist: Ricardo Darin
Diana: Delores Fonzi
Sontag: Alejandro Awada
Sosa: Pablo Cedron
Urien: Jorge D'Elia
Julio: Nahuel Perez Biscayart
No MPAA rating
Running time -- 134 minutes...
Yet Bielinsky's screenplay is at least as concerned with character nuances and the impact of an isolated rural environment on his people. The film is Argentina's submission for the foreign-language Oscar category.
The major point of similarity with "Nine Queens" is the jigsaw-puzzle nature of the story, where every piece will eventually fit by movie's end. The protagonist is an almost Borges-like character, a man who remembers everything he sees -- numbers on scraps of paper or snatches of a conversation that suddenly make sense. The man ("Nine Queen"'s star Ricardo Darin) has the potential to be a criminal mastermind. In his head, he often plans and executes robberies perfectly. Every contingency is anticipated and analyzed.
But only in his head. For our hero -- the man's name is never spoken -- is a shy, repressed and taxidermist. Simply starting a conversation is a chore. Oh, and one more thing: The man suffers from epilepsy. Just before attacks, he experiences an "aura," a feeling of both helplessness and, strangely, freedom. There is nothing he can do other than submit to the disorientation followed by a momentary blackout.
When a casual acquaintance (Alejandro Awada) invites him on a hunting trip in the Patagonian forest -- it's more a challenge than an invitation -- a series of highly unexpected events thrust the taxidermist into an unusual situation. First a casino in the area is closing that weekend so all the hotels are fully booked. This forces the two men to stay in a rustic cabin in the forest run by an old coot and his young and much too beautiful wife (Dolores Fonzi).
She has a sullen younger brother (Nahuel Perez Biscayart) and we surmise the marriage is an unhappy one. Then the taxidermist's companion is unexpectedly called home. And then two tough-looking characters (Pablo Cedron and Jorge D'Elia) turn up at the forest camp.
Without giving away too many surprises, let's say the astute and most observant man soon realizes that the absent husband, the two toughs and perhaps even the sullen brother are involved in a scheme to commit a major robbery. Without meaning to, the "criminal mastermind" finds himself in the midst of one of his fantasies -- only this one is real and he must outwit everyone including his accomplices.
Like his hero, Bielinsky is a meticulous craftsman. Every moment has a payoff. A car stalls so two characters can have a conversation. Our hero happens by a window at just the right moment. There is even a perfectly reasonable explanation for why cell phones work so well in this remote area.
Bielinsky also is a most expressive director, achieving considerable nuances and depths of emotion with characters' looks, gestures, body language and silences. Darin brings subtle complexity to this very quiet role while Fonzi paints a finely detailed portrait in stoic resignation.
Cinematographer Checo Varese mutes his colors, layering a grayness over both forest and a rude nearby town that ideally suits this environment. The story's rising tensions are further underscored by Lucio Godoy's score of ominous low chords and an occasional melancholy piano. What Bielinsky achieves here is an aura of palpable tension.
THE AURA
Patagonik Film Group/Tornasol Films/Davis Films Prods.
Credits:
Screenwriter-director: Fabian Bielinsky
Producers: Pablo Bossi, Samuel Hadida, Gerardo Herrero, Mariela Besuievsky
Executive producers: Cecilia Bossi, Victor Hadida, Ariel Saul
Director of photography: Checo Varese
Art director: Mercedes Alfonsin
Music: Lucio Godoy
Costumes: Marisa Urruti
Editors: Alejandro Carrillo Penovi, Fernando Pardo
Cast:
Taxidermist: Ricardo Darin
Diana: Delores Fonzi
Sontag: Alejandro Awada
Sosa: Pablo Cedron
Urien: Jorge D'Elia
Julio: Nahuel Perez Biscayart
No MPAA rating
Running time -- 134 minutes...
- 1/24/2006
- The Hollywood Reporter - Movie News
PARK CITY -- Argentine director Fabian Bielinsky follows up his critically acclaimed debut feature "Nine Queens" with "The Aura", a film in a similar mode but more elliptical. Crime is still the focus. But instead of a con game, we have a heist at the center of this story.
Yet Bielinsky's screenplay is at least as concerned with character nuances and the impact of an isolated rural environment on his people. The film is Argentina's submission for the foreign-language Oscar category.
The major point of similarity with "Nine Queens" is the jigsaw-puzzle nature of the story, where every piece will eventually fit by movie's end. The protagonist is an almost Borges-like character, a man who remembers everything he sees -- numbers on scraps of paper or snatches of a conversation that suddenly make sense. The man ("Nine Queen"'s star Ricardo Darin) has the potential to be a criminal mastermind. In his head, he often plans and executes robberies perfectly. Every contingency is anticipated and analyzed.
But only in his head. For our hero -- the man's name is never spoken -- is a shy, repressed and taxidermist. Simply starting a conversation is a chore. Oh, and one more thing: The man suffers from epilepsy. Just before attacks, he experiences an "aura," a feeling of both helplessness and, strangely, freedom. There is nothing he can do other than submit to the disorientation followed by a momentary blackout.
When a casual acquaintance (Alejandro Awada) invites him on a hunting trip in the Patagonian forest -- it's more a challenge than an invitation -- a series of highly unexpected events thrust the taxidermist into an unusual situation. First a casino in the area is closing that weekend so all the hotels are fully booked. This forces the two men to stay in a rustic cabin in the forest run by an old coot and his young and much too beautiful wife (Dolores Fonzi).
She has a sullen younger brother (Nahuel Perez Biscayart) and we surmise the marriage is an unhappy one. Then the taxidermist's companion is unexpectedly called home. And then two tough-looking characters (Pablo Cedron and Jorge D'Elia) turn up at the forest camp.
Without giving away too many surprises, let's say the astute and most observant man soon realizes that the absent husband, the two toughs and perhaps even the sullen brother are involved in a scheme to commit a major robbery. Without meaning to, the "criminal mastermind" finds himself in the midst of one of his fantasies -- only this one is real and he must outwit everyone including his accomplices.
Like his hero, Bielinsky is a meticulous craftsman. Every moment has a payoff. A car stalls so two characters can have a conversation. Our hero happens by a window at just the right moment. There is even a perfectly reasonable explanation for why cell phones work so well in this remote area.
Bielinsky also is a most expressive director, achieving considerable nuances and depths of emotion with characters' looks, gestures, body language and silences. Darin brings subtle complexity to this very quiet role while Fonzi paints a finely detailed portrait in stoic resignation.
Cinematographer Checo Varese mutes his colors, layering a grayness over both forest and a rude nearby town that ideally suits this environment. The story's rising tensions are further underscored by Lucio Godoy's score of ominous low chords and an occasional melancholy piano. What Bielinsky achieves here is an aura of palpable tension.
THE AURA
Patagonik Film Group/Tornasol Films/Davis Films Prods.
Credits:
Screenwriter-director: Fabian Bielinsky
Producers: Pablo Bossi, Samuel Hadida, Gerardo Herrero, Mariela Besuievsky
Executive producers: Cecilia Bossi, Victor Hadida, Ariel Saul
Director of photography: Checo Varese
Art director: Mercedes Alfonsin
Music: Lucio Godoy
Costumes: Marisa Urruti
Editors: Alejandro Carrillo Penovi, Fernando Pardo
Cast:
Taxidermist: Ricardo Darin
Diana: Delores Fonzi
Sontag: Alejandro Awada
Sosa: Pablo Cedron
Urien: Jorge D'Elia
Julio: Nahuel Perez Biscayart
No MPAA rating
Running time -- 134 minutes...
Yet Bielinsky's screenplay is at least as concerned with character nuances and the impact of an isolated rural environment on his people. The film is Argentina's submission for the foreign-language Oscar category.
The major point of similarity with "Nine Queens" is the jigsaw-puzzle nature of the story, where every piece will eventually fit by movie's end. The protagonist is an almost Borges-like character, a man who remembers everything he sees -- numbers on scraps of paper or snatches of a conversation that suddenly make sense. The man ("Nine Queen"'s star Ricardo Darin) has the potential to be a criminal mastermind. In his head, he often plans and executes robberies perfectly. Every contingency is anticipated and analyzed.
But only in his head. For our hero -- the man's name is never spoken -- is a shy, repressed and taxidermist. Simply starting a conversation is a chore. Oh, and one more thing: The man suffers from epilepsy. Just before attacks, he experiences an "aura," a feeling of both helplessness and, strangely, freedom. There is nothing he can do other than submit to the disorientation followed by a momentary blackout.
When a casual acquaintance (Alejandro Awada) invites him on a hunting trip in the Patagonian forest -- it's more a challenge than an invitation -- a series of highly unexpected events thrust the taxidermist into an unusual situation. First a casino in the area is closing that weekend so all the hotels are fully booked. This forces the two men to stay in a rustic cabin in the forest run by an old coot and his young and much too beautiful wife (Dolores Fonzi).
She has a sullen younger brother (Nahuel Perez Biscayart) and we surmise the marriage is an unhappy one. Then the taxidermist's companion is unexpectedly called home. And then two tough-looking characters (Pablo Cedron and Jorge D'Elia) turn up at the forest camp.
Without giving away too many surprises, let's say the astute and most observant man soon realizes that the absent husband, the two toughs and perhaps even the sullen brother are involved in a scheme to commit a major robbery. Without meaning to, the "criminal mastermind" finds himself in the midst of one of his fantasies -- only this one is real and he must outwit everyone including his accomplices.
Like his hero, Bielinsky is a meticulous craftsman. Every moment has a payoff. A car stalls so two characters can have a conversation. Our hero happens by a window at just the right moment. There is even a perfectly reasonable explanation for why cell phones work so well in this remote area.
Bielinsky also is a most expressive director, achieving considerable nuances and depths of emotion with characters' looks, gestures, body language and silences. Darin brings subtle complexity to this very quiet role while Fonzi paints a finely detailed portrait in stoic resignation.
Cinematographer Checo Varese mutes his colors, layering a grayness over both forest and a rude nearby town that ideally suits this environment. The story's rising tensions are further underscored by Lucio Godoy's score of ominous low chords and an occasional melancholy piano. What Bielinsky achieves here is an aura of palpable tension.
THE AURA
Patagonik Film Group/Tornasol Films/Davis Films Prods.
Credits:
Screenwriter-director: Fabian Bielinsky
Producers: Pablo Bossi, Samuel Hadida, Gerardo Herrero, Mariela Besuievsky
Executive producers: Cecilia Bossi, Victor Hadida, Ariel Saul
Director of photography: Checo Varese
Art director: Mercedes Alfonsin
Music: Lucio Godoy
Costumes: Marisa Urruti
Editors: Alejandro Carrillo Penovi, Fernando Pardo
Cast:
Taxidermist: Ricardo Darin
Diana: Delores Fonzi
Sontag: Alejandro Awada
Sosa: Pablo Cedron
Urien: Jorge D'Elia
Julio: Nahuel Perez Biscayart
No MPAA rating
Running time -- 134 minutes...
- 1/22/2006
- The Hollywood Reporter - Movie News
PARK CITY -- Argentine director Fabian Bielinsky follows up his critically acclaimed debut feature "Nine Queens" with "The Aura", a film in a similar mode but more elliptical. Crime is still the focus. But instead of a con game, we have a heist at the center of this story.
Yet Bielinsky's screenplay is at least as concerned with character nuances and the impact of an isolated rural environment on his people. The film is Argentina's submission for the foreign-language Oscar category.
The major point of similarity with "Nine Queens" is the jigsaw-puzzle nature of the story, where every piece will eventually fit by movie's end. The protagonist is an almost Borges-like character, a man who remembers everything he sees -- numbers on scraps of paper or snatches of a conversation that suddenly make sense. The man ("Nine Queen"'s star Ricardo Darin) has the potential to be a criminal mastermind. In his head, he often plans and executes robberies perfectly. Every contingency is anticipated and analyzed.
But only in his head. For our hero -- the man's name is never spoken -- is a shy, repressed and taxidermist. Simply starting a conversation is a chore. Oh, and one more thing: The man suffers from epilepsy. Just before attacks, he experiences an "aura," a feeling of both helplessness and, strangely, freedom. There is nothing he can do other than submit to the disorientation followed by a momentary blackout.
When a casual acquaintance (Alejandro Awada) invites him on a hunting trip in the Patagonian forest -- it's more a challenge than an invitation -- a series of highly unexpected events thrust the taxidermist into an unusual situation. First a casino in the area is closing that weekend so all the hotels are fully booked. This forces the two men to stay in a rustic cabin in the forest run by an old coot and his young and much too beautiful wife (Dolores Fonzi).
She has a sullen younger brother (Nahuel Perez Biscayart) and we surmise the marriage is an unhappy one. Then the taxidermist's companion is unexpectedly called home. And then two tough-looking characters (Pablo Cedron and Jorge D'Elia) turn up at the forest camp.
Without giving away too many surprises, let's say the astute and most observant man soon realizes that the absent husband, the two toughs and perhaps even the sullen brother are involved in a scheme to commit a major robbery. Without meaning to, the "criminal mastermind" finds himself in the midst of one of his fantasies -- only this one is real and he must outwit everyone including his accomplices.
Like his hero, Bielinsky is a meticulous craftsman. Every moment has a payoff. A car stalls so two characters can have a conversation. Our hero happens by a window at just the right moment. There is even a perfectly reasonable explanation for why cell phones work so well in this remote area.
Bielinsky also is a most expressive director, achieving considerable nuances and depths of emotion with characters' looks, gestures, body language and silences. Darin brings subtle complexity to this very quiet role while Fonzi paints a finely detailed portrait in stoic resignation.
Cinematographer Checo Varese mutes his colors, layering a grayness over both forest and a rude nearby town that ideally suits this environment. The story's rising tensions are further underscored by Lucio Godoy's score of ominous low chords and an occasional melancholy piano. What Bielinsky achieves here is an aura of palpable tension.
THE AURA
Patagonik Film Group/Tornasol Films/Davis Films Prods.
Credits:
Screenwriter-director: Fabian Bielinsky
Producers: Pablo Bossi, Samuel Hadida, Gerardo Herrero, Mariela Besuievsky
Executive producers: Cecilia Bossi, Victor Hadida, Ariel Saul
Director of photography: Checo Varese
Art director: Mercedes Alfonsin
Music: Lucio Godoy
Costumes: Marisa Urruti
Editors: Alejandro Carrillo Penovi, Fernando Pardo
Cast:
Taxidermist: Ricardo Darin
Diana: Delores Fonzi
Sontag: Alejandro Awada
Sosa: Pablo Cedron
Urien: Jorge D'Elia
Julio: Nahuel Perez Biscayart
No MPAA rating
Running time -- 134 minutes...
Yet Bielinsky's screenplay is at least as concerned with character nuances and the impact of an isolated rural environment on his people. The film is Argentina's submission for the foreign-language Oscar category.
The major point of similarity with "Nine Queens" is the jigsaw-puzzle nature of the story, where every piece will eventually fit by movie's end. The protagonist is an almost Borges-like character, a man who remembers everything he sees -- numbers on scraps of paper or snatches of a conversation that suddenly make sense. The man ("Nine Queen"'s star Ricardo Darin) has the potential to be a criminal mastermind. In his head, he often plans and executes robberies perfectly. Every contingency is anticipated and analyzed.
But only in his head. For our hero -- the man's name is never spoken -- is a shy, repressed and taxidermist. Simply starting a conversation is a chore. Oh, and one more thing: The man suffers from epilepsy. Just before attacks, he experiences an "aura," a feeling of both helplessness and, strangely, freedom. There is nothing he can do other than submit to the disorientation followed by a momentary blackout.
When a casual acquaintance (Alejandro Awada) invites him on a hunting trip in the Patagonian forest -- it's more a challenge than an invitation -- a series of highly unexpected events thrust the taxidermist into an unusual situation. First a casino in the area is closing that weekend so all the hotels are fully booked. This forces the two men to stay in a rustic cabin in the forest run by an old coot and his young and much too beautiful wife (Dolores Fonzi).
She has a sullen younger brother (Nahuel Perez Biscayart) and we surmise the marriage is an unhappy one. Then the taxidermist's companion is unexpectedly called home. And then two tough-looking characters (Pablo Cedron and Jorge D'Elia) turn up at the forest camp.
Without giving away too many surprises, let's say the astute and most observant man soon realizes that the absent husband, the two toughs and perhaps even the sullen brother are involved in a scheme to commit a major robbery. Without meaning to, the "criminal mastermind" finds himself in the midst of one of his fantasies -- only this one is real and he must outwit everyone including his accomplices.
Like his hero, Bielinsky is a meticulous craftsman. Every moment has a payoff. A car stalls so two characters can have a conversation. Our hero happens by a window at just the right moment. There is even a perfectly reasonable explanation for why cell phones work so well in this remote area.
Bielinsky also is a most expressive director, achieving considerable nuances and depths of emotion with characters' looks, gestures, body language and silences. Darin brings subtle complexity to this very quiet role while Fonzi paints a finely detailed portrait in stoic resignation.
Cinematographer Checo Varese mutes his colors, layering a grayness over both forest and a rude nearby town that ideally suits this environment. The story's rising tensions are further underscored by Lucio Godoy's score of ominous low chords and an occasional melancholy piano. What Bielinsky achieves here is an aura of palpable tension.
THE AURA
Patagonik Film Group/Tornasol Films/Davis Films Prods.
Credits:
Screenwriter-director: Fabian Bielinsky
Producers: Pablo Bossi, Samuel Hadida, Gerardo Herrero, Mariela Besuievsky
Executive producers: Cecilia Bossi, Victor Hadida, Ariel Saul
Director of photography: Checo Varese
Art director: Mercedes Alfonsin
Music: Lucio Godoy
Costumes: Marisa Urruti
Editors: Alejandro Carrillo Penovi, Fernando Pardo
Cast:
Taxidermist: Ricardo Darin
Diana: Delores Fonzi
Sontag: Alejandro Awada
Sosa: Pablo Cedron
Urien: Jorge D'Elia
Julio: Nahuel Perez Biscayart
No MPAA rating
Running time -- 134 minutes...
- 1/20/2006
- The Hollywood Reporter - Movie News
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