Exclusive: Plan B Entertainment has started a new micro budget film finance initiative to produce and finance lower cost films which will be led by newly hired Caddy Vanasirikul. The veteran film producer and acquisition and production executive will manage Plan B’s forthcoming slate in this sector.
The first film under this new initiative is Mexican filmmaker Fernando Eimbcke’s Olmo, which recently completed shooting in New Mexico under an interim agreement. Co-written with Vanesa Garnica and directed by Eimbcke, and produced with Erendira Nunez LariosEréndira Núñez Larios and Michel Franco’s Teorema, the bilingual story is about 14 year-old Olmo, who must take care of his bedridden father who has Multiple Sclerosis. But when Olmo’s goddess neighbor Nina Sandoval invites him to a party, his world is turned upside down.
Eimbcke’s feature directorial debut Temporada de patos (Duck Season) premiered at the Cannes Film Festival and won...
The first film under this new initiative is Mexican filmmaker Fernando Eimbcke’s Olmo, which recently completed shooting in New Mexico under an interim agreement. Co-written with Vanesa Garnica and directed by Eimbcke, and produced with Erendira Nunez LariosEréndira Núñez Larios and Michel Franco’s Teorema, the bilingual story is about 14 year-old Olmo, who must take care of his bedridden father who has Multiple Sclerosis. But when Olmo’s goddess neighbor Nina Sandoval invites him to a party, his world is turned upside down.
Eimbcke’s feature directorial debut Temporada de patos (Duck Season) premiered at the Cannes Film Festival and won...
- 12/1/2023
- by Anthony D'Alessandro
- Deadline Film + TV
Duck Season (2004), Lake Tahoe (2008) and Club Sandwich (2013) Mexican filmmaker Fernando Eimbcke is set to move further up the border with his return to feature fiction filmmaking. Eimbcke has mounted a coming-of-age film that is set in 80’s New Jersey and goes by the titular Olmo. Vanesa Garnica is a co-writer.
Plan B Entertainment’s Academy Award winning producers Dede Gardner and Jeremy Kleiner teamed up with Eréndira Núñez Larios (who we just mentioned might be working on a new Michel Franco project) to produce the mount the project which was originally being eyed for a July shoot but instead will focus on September (possibly further delayed by the strike).…...
Plan B Entertainment’s Academy Award winning producers Dede Gardner and Jeremy Kleiner teamed up with Eréndira Núñez Larios (who we just mentioned might be working on a new Michel Franco project) to produce the mount the project which was originally being eyed for a July shoot but instead will focus on September (possibly further delayed by the strike).…...
- 7/18/2023
- by Eric Lavallée
- IONCINEMA.com
In today’s TV news roundup, SiriusXM revealed Gayle King will host a weekly call-in show, and Rob Schneider announced his first-ever Netflix comedy special, “Asian Momma, Mexican Kids.”
Dates
Fox News Channel will debut “Harris Faulkner Presents: The Fight for America,“ a program about the current American conversations surrounding race, on July 19. The one-hour special will feature anchor Harris Faulkner as well as a variety of guests, including Mark Cuban and Sen. Tim Scott of South Carolina. Faulkner and others will discuss ongoing topics such as the Black Lives Matter movement and the removal of certain statues.
Rob Schneider took to social media to announce that his newest comedy special, “Asian Momma, Mexican Kids,” will premiere worldwide Aug. 11 on Netflix. His first special on the platform will explore his personal life through comedic storytelling and include a musical duet with his daughter, Elle King, who is known for her...
Dates
Fox News Channel will debut “Harris Faulkner Presents: The Fight for America,“ a program about the current American conversations surrounding race, on July 19. The one-hour special will feature anchor Harris Faulkner as well as a variety of guests, including Mark Cuban and Sen. Tim Scott of South Carolina. Faulkner and others will discuss ongoing topics such as the Black Lives Matter movement and the removal of certain statues.
Rob Schneider took to social media to announce that his newest comedy special, “Asian Momma, Mexican Kids,” will premiere worldwide Aug. 11 on Netflix. His first special on the platform will explore his personal life through comedic storytelling and include a musical duet with his daughter, Elle King, who is known for her...
- 7/16/2020
- by Eli Countryman
- Variety Film + TV
Courteney Cox has found her new TV husband: Greg Kinnear (House of Cards, Rake) will star opposite the Friends vet in the Starz horror-comedy pilot Shining Vale, our sister site Deadline reports.
The potential series is about a dysfunctional family that moves into a small-town house “in which terrible atrocities have taken place. But no one seems to notice except for Pat (played by Cox), who’s convinced she’s either depressed or possessed — turns out, the symptoms are exactly the same.” Kinnear will portray Pat’s sweet, sensitive husband.
More from TVLineRatings: First Daytime Emmys Telecast Since 2015 Draws 3 Million...
The potential series is about a dysfunctional family that moves into a small-town house “in which terrible atrocities have taken place. But no one seems to notice except for Pat (played by Cox), who’s convinced she’s either depressed or possessed — turns out, the symptoms are exactly the same.” Kinnear will portray Pat’s sweet, sensitive husband.
More from TVLineRatings: First Daytime Emmys Telecast Since 2015 Draws 3 Million...
- 7/15/2020
- by Vlada Gelman
- TVLine.com
As the global film industry faced dire circumstances in recent months, Mexican filmmakers contended with a more specific threat. In early April, the country’s president attempted to eliminate critical funding that has supported generations of acclaimed Mexican filmmakers. The pushback culminated in a dramatic confrontation, with filmmakers such as Guillermo del Toro, Alejandro G. Iñarritu, and Alfonso Cuarón taking a stand to salvage these resources. Their successful efforts — for now, at least — cast light on a community reliant on national support.
Mexico’s film industry has seen astounding growth over the last two decades, in quantity and quality. The defining catalyst remains the creation of two government funds, Forprocine and Fidecine, in the late ‘90s. For several decades prior to these funds, Mexican cinema stagnated, producing less than 10 films per year. Last year, 200 completed features set a new record.
The success of these financing mechanisms is undeniable. Not only...
Mexico’s film industry has seen astounding growth over the last two decades, in quantity and quality. The defining catalyst remains the creation of two government funds, Forprocine and Fidecine, in the late ‘90s. For several decades prior to these funds, Mexican cinema stagnated, producing less than 10 films per year. Last year, 200 completed features set a new record.
The success of these financing mechanisms is undeniable. Not only...
- 5/30/2020
- by Carlos Aguilar
- Indiewire
The second installment of Infinite Fest, a monthly column by festival programmer and film critic Eric Allen Hatch, author of the recent “Why I Am Hopeful” article for Filmmaker Magazine, tackling the state of cinema as expressed by North American film festivalsPorfirioAs I prepare for my annual pilgrimage to Toronto, I’m thinking about all the great films I’ve seen at Tiff that have vanished.No, I’m not talking about Vincent Gallo’s Promises Written in Water, although we can go there for a minute. Thanks to Tiff 2010, I can count myself among the small number of folks who’ve actually seen it, and will happily verify that it not only exists but also happens to be a stark, deranged, and diabolically solipsistic masterpiece… as, in a way, was the derisive email Gallo wrote in response to my festival invite for the film in the spring of 2011, before...
- 9/5/2018
- MUBI
Yes, it's been 10 years since Brazilian soccer player Ronaldo was part of the Real Madrid team, Xbox's Halo dominated the videogame world, and Fernando Eimbcke premiered his first feature length effort Duck Season (Temporada de Patos). It was on October 22, 2004 when this black-and-white comedy about a couple of teens without anything to do on a Sunday arrived to Mexican cinemas. And exactly 10 years later, on October 22, 2014, Morelia screened the new remastered version of this little film that introduced a new voice in Mexican cinema. Eimbcke, now close to turn 45 and with two other awarded films on his resume (2008's Lake Tahoe and 2013's Club Sandwich), returned to Morelia and immediately witnessed the influence of Duck Season. Curiously, hours before...
[Read the whole post on twitchfilm.com...]...
[Read the whole post on twitchfilm.com...]...
- 10/29/2014
- Screen Anarchy
At the screening of his newest film, Club Sandwich, when asked about his aesthetic choices Mexican filmmaker, Fernando Eimbcke, rejected the notion that his films have a particular look. “It’s not a style. I don’t want to think too much about style.” His preference is to focus on the actors’ performances and the story. But even a lack of style, is a style. It’s a deliberate choice.
Eimbcke’s filmmaking is distinct; the camera stays still to capture intimate moments and conversations. His quiet, dialogue-driven films were selected to be part of the Emerging Artists sidebar at the Lincoln Center’s illustrious film event of the year, the New York Film Festival. The spotlight on directors in the beginning of their career is intended to showcase their entire body of work. For Eimbcke this includes screenings of his award-winning opera prima, Temporada de Patos (Duck Season), his second film Lake Tahoe, and his most recent project Club Sandwich.
The delicately balanced tone of Club Sandwich relies on a simple premise. Hector, a boy on the verge of manhood, is on vacation with his mother. She is young, has an eyebrow ring, and at first seems more like an older sister than his mom. They spend their days in lounge chairs sunbathing by the hotel pool, listening to their iPods. Hector’s mom, Paloma, is listening to Prince. “Why do you like Prince?” he asks her. “Because he’s a great musician and he is sexy,” she replies. “Am I sexy?” he asks. She responds just like a mom should, “Yes. You are. You are sexy in your own way.”
Hector’s budding sexuality and impending puberty come up against one obstacle. He has never met his father and his mother is his best friend. He has to learn how to be a man on his own. When he notices that he starts to smell bad, he has no choice but to use his mom’s flowery-scented deodorant. When he shaves his faint mustache for the first time he uses his mom’s pink disposable razor. Small moments like the pink razor gliding over his face elicit laughter from the audience. There are no jokes but there are laughs. They come from long awkward silences and short awkward conversations.
Teenaged Jazmin is staying at the hotel with her parents. She and Hector quickly become friends. Hector is slowly pulling away from his mom. The crux of the film is in this painful moment when Paloma must learn to let go, to let her little boy grow up. Emotions are understated, communicated mostly in glances and gestures. The interactions often banal, the hot, sticky weather a favorite topic of conversation. The faint buzzing of a powerful fan acts as the soundtrack. Paloma has confronted the inevitable, her son is becoming a man. But at night lying in bed with the lights out things remain the same. “I love you,” she tells him. He replies, “me too.”...
Eimbcke’s filmmaking is distinct; the camera stays still to capture intimate moments and conversations. His quiet, dialogue-driven films were selected to be part of the Emerging Artists sidebar at the Lincoln Center’s illustrious film event of the year, the New York Film Festival. The spotlight on directors in the beginning of their career is intended to showcase their entire body of work. For Eimbcke this includes screenings of his award-winning opera prima, Temporada de Patos (Duck Season), his second film Lake Tahoe, and his most recent project Club Sandwich.
The delicately balanced tone of Club Sandwich relies on a simple premise. Hector, a boy on the verge of manhood, is on vacation with his mother. She is young, has an eyebrow ring, and at first seems more like an older sister than his mom. They spend their days in lounge chairs sunbathing by the hotel pool, listening to their iPods. Hector’s mom, Paloma, is listening to Prince. “Why do you like Prince?” he asks her. “Because he’s a great musician and he is sexy,” she replies. “Am I sexy?” he asks. She responds just like a mom should, “Yes. You are. You are sexy in your own way.”
Hector’s budding sexuality and impending puberty come up against one obstacle. He has never met his father and his mother is his best friend. He has to learn how to be a man on his own. When he notices that he starts to smell bad, he has no choice but to use his mom’s flowery-scented deodorant. When he shaves his faint mustache for the first time he uses his mom’s pink disposable razor. Small moments like the pink razor gliding over his face elicit laughter from the audience. There are no jokes but there are laughs. They come from long awkward silences and short awkward conversations.
Teenaged Jazmin is staying at the hotel with her parents. She and Hector quickly become friends. Hector is slowly pulling away from his mom. The crux of the film is in this painful moment when Paloma must learn to let go, to let her little boy grow up. Emotions are understated, communicated mostly in glances and gestures. The interactions often banal, the hot, sticky weather a favorite topic of conversation. The faint buzzing of a powerful fan acts as the soundtrack. Paloma has confronted the inevitable, her son is becoming a man. But at night lying in bed with the lights out things remain the same. “I love you,” she tells him. He replies, “me too.”...
- 10/9/2013
- by Vanessa Erazo
- Sydney's Buzz
Last week we featured some of Mexico’s young filmmakers who have emerged as part of a recent revival in Mexican cinema. These new directors have pushed out the old guard and persevere in difficult situations, using public funding and micro-budgets to create films which take aim at Mexico’s social ills, broach difficult subjects, and take stylistic risks. These original and innovative artists are carving out a space for Mexican films in the international art house market. Here we continue to highlight even more directors from Generation Mex.
Gerardo Naranjo
Probably the most buzzed about Mexican director of late, Naranjo’s fourth feature Miss Bala (Isa:tcf) premiered at Cannes, went on to play festivals in Toronto and Los Angeles and was selected as Mexico’s official submission for Best Foreign Language Film Oscar. Loosely inspired by real events it tells the story of Laura, a young woman who aspires to compete in the Miss Baja beauty pageant. Instead she finds herself amidst narcos as an unwilling participant in Mexico’s drug war. Using long takes and very few cuts Naranjo accomplishes the difficult, a melancholy thriller and pensive allegory punctuated by intense moments of violent but often quiet action. 20th Century Fox released the film in limited theaters late last year. In his previous films Voy a explotar (I’m Gonna Explode) (Isa:Elle Driver), Drama/Mex, and Malachance he experimented stylistically but they all reflect his signature, emotionally resonant and sensitive depictions of characters on the edge.
Yulene Olaizola
Having only recently graduated from the Centro de Capacitación Cinematográfica (Ccc), one of the two major film schools in Mexico, she has already directed three feature-length films. Her thesis project, the award-winning documentary Intimidades de Shakespeare y Victor Hugo (Intimacies of Shakespeare and Victor Hugo) (Isa:Interior13 Cine) traces her grandmother Rosa's friendship with Jorge Riosse, her young, troubled tenant. Paraísos Artificiales (Artificial Paradises) (Isa: Interior13 Cine), named after an anthology by the 19th century French poet Baudelaire, was her impressive fiction debut. It’s dreamy, serene, and breathtaking landscapes of the lush seaside hills of Veracruz, Mexico provide the backdrop, as a young woman addicted to heroin tries to free herself from the compulsive need for a fix while staying at a beach resort. Her newest film Fogo is days away from its world premiere at The Directors’ Fortnight in Cannes. In a departure from her previous projects, she chose to make a film in English focusing on the deterioration of a small community in Fogo Island, located off the coast Canada.
Pedro González-Rubio
In an effort to create an intimate environment for his second film Alamar (Isa: MK2 Diffusion), he wrote, directed, shot and edited the picture himself. Set in a small house on stilts that sits above the crystal-clear blue waters of the Yucatan Peninsula, it explores the bond between a father and son as they share a fishing trip together. When asked whether Alamar is a documentary or fiction at a festival screening he defiantly answered, “It’s a film.” Having invented parts of the story but documenting real events, he seamlessly blends reality and fiction in a picturesque and introspective cinematic meditation that at times almost becomes a photographic essay. Film Movement acquired the theatrical and DVD rights in North America. His directorial debut, Toro Negro, an unflinching look at an alcoholic bullfighter, won prizes at Havana, San Sebastian and Morelia Film Festivals.
Fernando Eimbcke
He had film festivals, critics and distributors clamoring for his attention after his black-and-white directorial debut, Temporada de Patos (Duck Season) (Isa: Traction Media) premiered at Cannes in 2004. It won prizes at AFI Fest and Guadalajara Film Festival and later several Ariel Awards (the Mexican equivalent of the Oscars.) The comedy-drama about two teenage boys who must entertain themselves after a power outage went on to play more than 70 festivals and was sold in more than 30 countries. He followed up this smashing success with Lake Tahoe, a minimalist quiet film in which teenaged Juan crashes his family's car into a pole and then scours the streets searching for someone to help him fix it. Eimbcke studied film in Mexico City at the Centro Universitario de Estudios Cinematográficos (Cuec).
Gerardo Naranjo
Probably the most buzzed about Mexican director of late, Naranjo’s fourth feature Miss Bala (Isa:tcf) premiered at Cannes, went on to play festivals in Toronto and Los Angeles and was selected as Mexico’s official submission for Best Foreign Language Film Oscar. Loosely inspired by real events it tells the story of Laura, a young woman who aspires to compete in the Miss Baja beauty pageant. Instead she finds herself amidst narcos as an unwilling participant in Mexico’s drug war. Using long takes and very few cuts Naranjo accomplishes the difficult, a melancholy thriller and pensive allegory punctuated by intense moments of violent but often quiet action. 20th Century Fox released the film in limited theaters late last year. In his previous films Voy a explotar (I’m Gonna Explode) (Isa:Elle Driver), Drama/Mex, and Malachance he experimented stylistically but they all reflect his signature, emotionally resonant and sensitive depictions of characters on the edge.
Yulene Olaizola
Having only recently graduated from the Centro de Capacitación Cinematográfica (Ccc), one of the two major film schools in Mexico, she has already directed three feature-length films. Her thesis project, the award-winning documentary Intimidades de Shakespeare y Victor Hugo (Intimacies of Shakespeare and Victor Hugo) (Isa:Interior13 Cine) traces her grandmother Rosa's friendship with Jorge Riosse, her young, troubled tenant. Paraísos Artificiales (Artificial Paradises) (Isa: Interior13 Cine), named after an anthology by the 19th century French poet Baudelaire, was her impressive fiction debut. It’s dreamy, serene, and breathtaking landscapes of the lush seaside hills of Veracruz, Mexico provide the backdrop, as a young woman addicted to heroin tries to free herself from the compulsive need for a fix while staying at a beach resort. Her newest film Fogo is days away from its world premiere at The Directors’ Fortnight in Cannes. In a departure from her previous projects, she chose to make a film in English focusing on the deterioration of a small community in Fogo Island, located off the coast Canada.
Pedro González-Rubio
In an effort to create an intimate environment for his second film Alamar (Isa: MK2 Diffusion), he wrote, directed, shot and edited the picture himself. Set in a small house on stilts that sits above the crystal-clear blue waters of the Yucatan Peninsula, it explores the bond between a father and son as they share a fishing trip together. When asked whether Alamar is a documentary or fiction at a festival screening he defiantly answered, “It’s a film.” Having invented parts of the story but documenting real events, he seamlessly blends reality and fiction in a picturesque and introspective cinematic meditation that at times almost becomes a photographic essay. Film Movement acquired the theatrical and DVD rights in North America. His directorial debut, Toro Negro, an unflinching look at an alcoholic bullfighter, won prizes at Havana, San Sebastian and Morelia Film Festivals.
Fernando Eimbcke
He had film festivals, critics and distributors clamoring for his attention after his black-and-white directorial debut, Temporada de Patos (Duck Season) (Isa: Traction Media) premiered at Cannes in 2004. It won prizes at AFI Fest and Guadalajara Film Festival and later several Ariel Awards (the Mexican equivalent of the Oscars.) The comedy-drama about two teenage boys who must entertain themselves after a power outage went on to play more than 70 festivals and was sold in more than 30 countries. He followed up this smashing success with Lake Tahoe, a minimalist quiet film in which teenaged Juan crashes his family's car into a pole and then scours the streets searching for someone to help him fix it. Eimbcke studied film in Mexico City at the Centro Universitario de Estudios Cinematográficos (Cuec).
- 5/16/2012
- by Vanessa Erazo
- Sydney's Buzz
MEXICO CITY -- Temporada de Patos (Duck Season), a black-and-white comedy made on a shoestring budget, swept the 47th Ariel Awards ceremony, winning 11 of Mexico's top film prizes, including best picture and director. Tuesday night's event at Mexico City's Palace of Fine Arts belonged to Duck Season director Fernando Eimbcke, who also walked away with awards for best first work and original screenplay. Eimbcke co-wrote the story about three teens battling boredom in a Mexico City apartment. Cine Pantera and Lulu co-produced the picture, which cost slightly less than $1 million. Duck Season also claimed prizes for best actor, Enrique Arreola, and actress, Danny Perea. Last year the movie won a record seven awards at the Guadalajara Film Festival and walked away with the Grand Jury Prize at the AFI fest. Producer Christian Valdelievre said he is still shopping for a distribution deal in the U.S. market.
- 3/30/2005
- The Hollywood Reporter - Movie News
MEXICO CITY -- Indie film Temporada de Patos (Duck Season) and war picture Voces Inocentes (Innocent Voices) emerged as this year's front-runners for Mexico's top movie prize, capturing 12 and 10 Ariel nominations, respectively. The two films, plus Jose Buil's thriller Manos Libres, will contend for best picture and director honors at the 47th Ariel Awards, which will take place March 29 at Mexico City's Palace of Fine Arts. The relatively unknown Manos Libres, which is yet to be released commercially, racked up nine nominations.
- 2/18/2005
- The Hollywood Reporter - Movie News
MEXICO CITY -- The Mexican film academy has selected Luis Mandoki's Voces Inocentes (Innocent Voices) as its foreign-language submission for the 77th Academy Awards, while indie picture Temporada de Patos (Duck Season) will contend for a Goya nomination in Spain. Innocent Voices, an Altavista Films-Lawrence Bender production, tells the story of a boy growing up in war-torn El Salvador in the 1980s. Twentieth Century Fox will distribute the film in Mexico; Lions Gate is handling stateside distribution. The project marks helmer Mandoki's return to Spanish-language filmmaking after he worked in Hollywood for about 17 years. Among his English-language movies are Angel Eyes and Message in a Bottle. Innocent Voices will hit screens here in January, said distributor Fox Mexico.
- 10/1/2004
- The Hollywood Reporter - Movie News
LONDON -- U.K. independent distributor Optimum Releasing and BBC digital channel BBC Four have acquired U.K. rights to the Mexican coming-of-age comedy Duck Season, the parties said Tuesday. The film has been snapped up through the duo's joint venture, dubbed Discoveries Film Program. Through the venture, organizers of the Edinburgh International Film Festival provide a slot in the festival for any movie selected through the partnership. No financial details were given. Directed by Fernando Eimbcke, Duck Season will unspool at the upcoming Edinburgh event, which kicks off Aug. 18. The movie screened this year at the Festival de Cannes sidebar Critics Week.
- 8/11/2004
- The Hollywood Reporter - Movie News
MEXICO CITY -- Mexican distributor Gussi has acquired rights to Temporada de Patos (Duck Season), an indie film widely considered the nation's biggest surprise of the year after it won a record-breaking seven awards at Mexico's top movie showcase and recently participated in the Festival de Cannes' Critics Week sidebar. Gussi, also known as Artecinema plans to release the comedy Oct. 22 in Mexico with 40-50 copies, said the distributor's assistant general director, Alejandro Lebrija. Patos, shot entirely in black and white, tells the story of two teens whose afternoon plans to play video games at home are interrupted by the harsh reality of a blackout. Helmer Fernando Eimbcke penned the script.
- 6/15/2004
- The Hollywood Reporter - Movie News
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