Janus Films has picked up North American rights to four of Mexican filmmaker Carlos Reygadas’ features including a restored version of Battle in Heaven ahead of its world premiere in Berlin’s Classics Special.
Other titles in the deal with Coproduction Office include the 2002 Camera d’Or-winning debut feature Japon, 2007 Cannes Jury prize-winning Silent Light whose restoration is planned for later in 2024, and 2012 Cannes best director award-winning Post Tenebras Lux.
Battle in Heaven will screen in 4K resolution with Dolby Atmos sound.
The provocative film is about a driver haunted by the kidnap of a child.
Why sellers are aiming...
Other titles in the deal with Coproduction Office include the 2002 Camera d’Or-winning debut feature Japon, 2007 Cannes Jury prize-winning Silent Light whose restoration is planned for later in 2024, and 2012 Cannes best director award-winning Post Tenebras Lux.
Battle in Heaven will screen in 4K resolution with Dolby Atmos sound.
The provocative film is about a driver haunted by the kidnap of a child.
Why sellers are aiming...
- 2/16/2024
- ScreenDaily
Mubi Podcast: Encuentros returns for a fifth season.The first episode features:Lois Patiño (Spain), visual artist and filmmaker. Her experimental and contemplative feature and short films have been screened at venues such as the Directors Fortnight, the New York Film Festival, and Ficunam. His debut feature Costa da morte won the award for Best Director in the Filmmakers of the Present competition at Locarno and, more recently, Samsara, his third feature, won the Special Jury Prize in the Encounters section at the Berlinale.Natalia López Gallardo (Bolivia-México), editor, actress and director. She has edited films such as Heli, by Amat Escalante; Jauja, by Lisandro Alonso, and Silent Light (Luz silenciosa) by Carlos Reygadas, for which she was nominated for an Ariel Award. She made her directorial debut in 2006 with her short film En el cielo como en la tierra, presented in Rotterdam, and 17 years later, her first feature film...
- 11/8/2023
- MUBI
Largely known as a film editor for having worked with partner Carlos Reygadas on 2007 masterwork Silent Light and with further collaborations with the likes Amat Escalante, Daniel Castro Zimbrón and Lisandro Alonso, it’s after several years in development (film market murmurs it was known as Supernova), Natalia López Gallardo unveiled her sensory-filled feature debut Robe of Gems (Manto de Gemas) at the 2022 Berlinale — where she walked away with the Jury Prize Silver Bear.
Per our review – Gallardo “focuses on how class, privilege and social status tend to evaporate when the women connecting her narrative dare to employ any real sense of agency, highlighting their often chilling relationship to a power structure which demands their complicity.…...
Per our review – Gallardo “focuses on how class, privilege and social status tend to evaporate when the women connecting her narrative dare to employ any real sense of agency, highlighting their often chilling relationship to a power structure which demands their complicity.…...
- 9/18/2023
- by Nicholas Bell
- IONCINEMA.com
The technology of cinematography has undergone some of the most seismic shifts in film history this century, with what began in the 2000s as an almost entirely photochemical process transforming into the digitally captured, manipulated, and projected images of today. The art of cinematography, however — using light, color, and texture to express ideas and elicit emotional reactions from the audience — remains intact.
In 2017, IndieWire made a list of the best shot feature films of the century thus far; the list was updated in 2020, and what follows is the third and most extensive version of the list. It’s also the first to be spearheaded by the IndieWire Craft team, which has grown considerably since this list was first published. Ranking cinematography is, in some ways, a fool’s errand given the broad variety of genres, resources, and intentions encompassed by the films below, but these are 60 titles that IndieWire believes...
In 2017, IndieWire made a list of the best shot feature films of the century thus far; the list was updated in 2020, and what follows is the third and most extensive version of the list. It’s also the first to be spearheaded by the IndieWire Craft team, which has grown considerably since this list was first published. Ranking cinematography is, in some ways, a fool’s errand given the broad variety of genres, resources, and intentions encompassed by the films below, but these are 60 titles that IndieWire believes...
- 5/3/2023
- by Jim Hemphill, Chris O'Falt, Bill Desowitz and Sarah Shachat
- Indiewire
This important film tells the story of a community battered by rape and patriarchal ideas, as a mainly female cast debate the repercussions of the brutality meted out to them
Sarah Polley’s sober, sombre ensemble picture stars Rooney Mara, Claire Foy, Jessie Buckley and Frances McDormand, among others, as traumatised female members of a remote, patriarchal religious colony, and it’s a heartfelt new engagement with the #MeToo debate, reminding us that the world of Margaret Atwood’s The Handmaid’s Tale really does exist more literally than you think. The movie thinks its way intuitively into the darkest spaces of violence and survival, and attempts to give women a voice where they had none; it is, as the opening title says, “an act of female imagination”. And if the result is just a little stagey and verbose, telling rather than showing the rage and the fear, it is also...
Sarah Polley’s sober, sombre ensemble picture stars Rooney Mara, Claire Foy, Jessie Buckley and Frances McDormand, among others, as traumatised female members of a remote, patriarchal religious colony, and it’s a heartfelt new engagement with the #MeToo debate, reminding us that the world of Margaret Atwood’s The Handmaid’s Tale really does exist more literally than you think. The movie thinks its way intuitively into the darkest spaces of violence and survival, and attempts to give women a voice where they had none; it is, as the opening title says, “an act of female imagination”. And if the result is just a little stagey and verbose, telling rather than showing the rage and the fear, it is also...
- 2/9/2023
- by Peter Bradshaw
- The Guardian - Film News
In an early scene in “Thunder” (“Foudre”), the camera soars around the Swiss Alps. Caught at first in daytime, as it glides down a grassy hillside, past a stream, it hovers over a high valley, up to rocky peaks and blue sky and around again in a final 360 degree circle. There it alights on Elisabeth, 17, a nun, as the sun sets behind a mountain in silhouette. Meanwhile, religious choir music swells on the soundtrack.
The shot is symptomatic of the muscular physical direction of Swiss writer-director Carmen Jaquier, whose feature debut world premieres at Toronto’s Platform, before segueing to San Sebastian’s main New Directors sidebar, where it weighs in as one of the buzziest titles in the section.
“Thunder” is set in 1900 when the church exercised an extraordinary grip over outward social life and Swiss hamlets were dirt poor. Elisabeth returns to her village after the mysterious death of her elder sister,...
The shot is symptomatic of the muscular physical direction of Swiss writer-director Carmen Jaquier, whose feature debut world premieres at Toronto’s Platform, before segueing to San Sebastian’s main New Directors sidebar, where it weighs in as one of the buzziest titles in the section.
“Thunder” is set in 1900 when the church exercised an extraordinary grip over outward social life and Swiss hamlets were dirt poor. Elisabeth returns to her village after the mysterious death of her elder sister,...
- 9/9/2022
- by John Hopewell
- Variety Film + TV
Supernova
It’s always a noteworthy point of interest when an artist who excels in one film department crosses over into the directors’ chair. Apart from a 2006 Rotterdam selected short (En el cielo como en la tierra), this is Natalia López feature film debut after editing such noteworthy titles as 2007’s Silent Light, 2012’s Post Tenebras Lux, 2013’s Heli, 2014’s Jauja, and 2016’s The Darkness – plus she appeared alongside her hubby Carlos Reygadas in Nuestro tiempo. We didn’t really take notice of the project when it was making the film coin rounds circa 2018, but it was among the projects selected for Venice Gap-Financing in 2020.…...
It’s always a noteworthy point of interest when an artist who excels in one film department crosses over into the directors’ chair. Apart from a 2006 Rotterdam selected short (En el cielo como en la tierra), this is Natalia López feature film debut after editing such noteworthy titles as 2007’s Silent Light, 2012’s Post Tenebras Lux, 2013’s Heli, 2014’s Jauja, and 2016’s The Darkness – plus she appeared alongside her hubby Carlos Reygadas in Nuestro tiempo. We didn’t really take notice of the project when it was making the film coin rounds circa 2018, but it was among the projects selected for Venice Gap-Financing in 2020.…...
- 1/8/2022
- by Eric Lavallée
- IONCINEMA.com
It says a lot about a project when the extremely fastidious cinematographer Alexis Zabé decides to embark on a given film. With a decade’s worth of short films (her 2015 short The Beast and 2016 short Rhonna & Donna both premiered at Telluride), the Croatian-born, London trained Daina O. Pusic launched her debut feature film this past summer with a cast comprised of Julia Louis-Dreyfus, Lola Petticrew, Arinzé Kene and Leah Harvey. Tuesday is a Cinereach funded, A24 distributed film that should be ready for 2022 — it sounds like a rather radical mother-daughter fairytale with plenty of dark matter and a Macaw parrot.…...
- 11/25/2021
- by Eric Lavallée
- IONCINEMA.com
The director talks taking inspiration from ‘Carrie’, Islam and motherhood.
Danish director Tea Lindeburg’s feature debut As In Heaven – which receives its European premiere in the main competition at San Sebastian Film Festival today (September 19) – provides an unflinching look at the brutality of motherhood, as told through the eyes of a young teenage girl named Lise (Flora Ofelia Hofmann Lindahl), living in Denmark’s countryside in the late 1800s.
Across the space of a single day, we see Lise’s life change forever when the girl, who is the eldest of a large brood of children, sees her mother...
Danish director Tea Lindeburg’s feature debut As In Heaven – which receives its European premiere in the main competition at San Sebastian Film Festival today (September 19) – provides an unflinching look at the brutality of motherhood, as told through the eyes of a young teenage girl named Lise (Flora Ofelia Hofmann Lindahl), living in Denmark’s countryside in the late 1800s.
Across the space of a single day, we see Lise’s life change forever when the girl, who is the eldest of a large brood of children, sees her mother...
- 9/19/2021
- by Mona Tabbara
- ScreenDaily
Praised for its immersive approach to mapping out a drummer’s confrontation with hearing loss, writer-director Darius Marder’s “Sound of Metal,” now contending for six Academy Awards, features a singularly story-driven use of sound.
Part of that sonic alchemy proudly bears a “Made in Mexico” stamp. The film is nominated for best sound, and three of the nominated artisans are Mexican re-recording mixers Jaime Baksht, Michelle Couttolenc, and Carlos Cortés Navarrete. Together they worked alongside fellow nominees Nicolas Becker and Phillip Bladh to fine-tune the sonic palette. The Mexican trio lent their seasoned skills, honed over many years working on homegrown productions and the occasional international job, across multiple stages of the film’s post-production journey.
Though all of them studied in Europe or the United States, given the limited availability of sound-focused education in their homeland during their formative period, they returned to Mexico to carve out their careers.
Part of that sonic alchemy proudly bears a “Made in Mexico” stamp. The film is nominated for best sound, and three of the nominated artisans are Mexican re-recording mixers Jaime Baksht, Michelle Couttolenc, and Carlos Cortés Navarrete. Together they worked alongside fellow nominees Nicolas Becker and Phillip Bladh to fine-tune the sonic palette. The Mexican trio lent their seasoned skills, honed over many years working on homegrown productions and the occasional international job, across multiple stages of the film’s post-production journey.
Though all of them studied in Europe or the United States, given the limited availability of sound-focused education in their homeland during their formative period, they returned to Mexico to carve out their careers.
- 3/23/2021
- by Carlos Aguilar
- Variety Film + TV
“There is no theme. Film whatever you want, however you want, with whomever you want.” This is the message that Egyptian filmmaker Sam Abbas sent to his favorite cinematographers as an invitation to contribute to the new film Erēmīta (Anthologies). Directors of photography from five countries––USA, France, Argentina, Italy, and the UK––answered the call and today we’re pleased to debut the exclusive trailer for the anthology project.
Featuring contributions from Abbas (Alia’s Birth, Marie, The Wedding), Alexis Zabe (The Florida Project, Silent Light, Post Tenebras Lux), Antoine Héberlé (A Son, My Favourite Fabric, GriGris), Ashley Connor (Madeline’s Madeline, The Miseducation of Cameron Post, The Death of Dick Long), Soledad Rodríguez (Pendular, Maternal, The Student), Stefano Falivene (Siberia, Pasolini, Mary), the zero-budget production will now get a release next month on VOD and Virtual Cinemas with all profits going entirely to a charity the team will choose.
Featuring contributions from Abbas (Alia’s Birth, Marie, The Wedding), Alexis Zabe (The Florida Project, Silent Light, Post Tenebras Lux), Antoine Héberlé (A Son, My Favourite Fabric, GriGris), Ashley Connor (Madeline’s Madeline, The Miseducation of Cameron Post, The Death of Dick Long), Soledad Rodríguez (Pendular, Maternal, The Student), Stefano Falivene (Siberia, Pasolini, Mary), the zero-budget production will now get a release next month on VOD and Virtual Cinemas with all profits going entirely to a charity the team will choose.
- 1/25/2021
- by Jordan Raup
- The Film Stage
In a move that dramatically changes the way the Oscars choose nominees in the Best International Feature Film category, an executive committee will not be selecting three films to go on the shortlist from which nominations in the category are made this year.
The shortlist will also be expanded from 10 to 15 films, allowing more films than ever before to move to a second round of voting.
The rule change, which was revealed to members of the committee on Friday, could alter the kind of films that move to the second round of Oscar voting in the category, hurting the more challenging films in favor of ones that appeal to a broader audience.
Under the former system, any member who views a minimum number of the eligible films could vote for during a preliminary round referred to as Phase 1. Those members make up the category’s “general committee” — and after their votes are tallied,...
The shortlist will also be expanded from 10 to 15 films, allowing more films than ever before to move to a second round of voting.
The rule change, which was revealed to members of the committee on Friday, could alter the kind of films that move to the second round of Oscar voting in the category, hurting the more challenging films in favor of ones that appeal to a broader audience.
Under the former system, any member who views a minimum number of the eligible films could vote for during a preliminary round referred to as Phase 1. Those members make up the category’s “general committee” — and after their votes are tallied,...
- 1/15/2021
- by Steve Pond
- The Wrap
Friend and supporter Christian Mungiu hails “meditation on the state of the world”.
Berlin-based Pluto Film has picked up world sales on Hilal Baydarov’s In Between Dying, which will receive its world premiere in competition at the 77th Venice Film Festival in September.
In Between Dying tells the love story of Davud, a young man trying to find his “real” family, who completes his life cycle in a single day. When he does find love, it’s in the place he has always lived. But it may be too late.
Baydarov, a former student of Béla Tarr’s Sarajevo-based film.
Berlin-based Pluto Film has picked up world sales on Hilal Baydarov’s In Between Dying, which will receive its world premiere in competition at the 77th Venice Film Festival in September.
In Between Dying tells the love story of Davud, a young man trying to find his “real” family, who completes his life cycle in a single day. When he does find love, it’s in the place he has always lived. But it may be too late.
Baydarov, a former student of Béla Tarr’s Sarajevo-based film.
- 7/28/2020
- by 36¦Jeremy Kay¦54¦
- ScreenDaily
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
Walls are ever-morphing canvases in the ghastly realm of “The Wolf House” (“La casa lobo”), a mind-blowing stop-motion animated feature concerning how allegorical storytelling is exploited for fear and psychological manipulation. Chilean co-directors Joaquín Cociña and Cristóbal León graduate their uncanny yarns of sentient rooms and macabre beings from the short format into a full-length nightmare.
In the film, which opens on VOD and virtual cinema on May 15, viewers are asked to interpret the piece as an old production created by the Colony, an actual German community that lived in the countryside of southern Chile mostly isolated from sinful modernity — similar to the Amish of Pennsylvania or the Mennonites in Carlos Reygadas’ northern Mexico-set “Silent Light.”
A male voice, the Wolf (Rainer Krause), leader or spokesperson, asserts in accented Spanish that the filmmakers have restored the movie as a publicity move to mitigate the dark rumors surrounding the group. Outsiders...
In the film, which opens on VOD and virtual cinema on May 15, viewers are asked to interpret the piece as an old production created by the Colony, an actual German community that lived in the countryside of southern Chile mostly isolated from sinful modernity — similar to the Amish of Pennsylvania or the Mennonites in Carlos Reygadas’ northern Mexico-set “Silent Light.”
A male voice, the Wolf (Rainer Krause), leader or spokesperson, asserts in accented Spanish that the filmmakers have restored the movie as a publicity move to mitigate the dark rumors surrounding the group. Outsiders...
- 5/15/2020
- by Carlos Aguilar
- The Wrap
The Academy of Motion Picture Arts and Sciences has dramatically expanded the second round of voting for its Best International Feature Film award, the category formerly known as Best Foreign Language Film.
In emails that went to three different groups of members on Thursday, AMPAS announced that for the first time, all Academy members will be able to cast ballots to narrow down the 10 shortlisted films to five nominees, provided they have seen all 10 films on the shortlist.
In addition, members will be able to view those 10 films by streaming them on the Academy’s secure members’ website. This is a dramatic change in a category that until now had insisted that voters see films in a theater in the nominating round.
The change could allow far more voters to participate in choosing the five nominees. It could also dramatically...
In emails that went to three different groups of members on Thursday, AMPAS announced that for the first time, all Academy members will be able to cast ballots to narrow down the 10 shortlisted films to five nominees, provided they have seen all 10 films on the shortlist.
In addition, members will be able to view those 10 films by streaming them on the Academy’s secure members’ website. This is a dramatic change in a category that until now had insisted that voters see films in a theater in the nominating round.
The change could allow far more voters to participate in choosing the five nominees. It could also dramatically...
- 10/31/2019
- by Steve Pond
- The Wrap
IndieWire recently named Barry Jenkins’ “Moonlight” the best movie of the decade, but what film would the writer-director name as the standout of the 21st Century? The answer can be found in a filmmaker survey published by The Guardian in which several of the world’s best working directors make their pick for the best movie of the 21st Century. For Jenkins, it’s Carlos Reygadas’ 2007 Cannes-winner “Silent Light.”
“The purest cinema,” Jenkins said of the film. “Thinking of it gives me the same feeling I had when the credits rolled on my first viewing of it over a decade ago. I wonder how many other films on this list were in competition at the 2007 Cannes? What an astounding year for cinema.”
Reygadas’ drama won the Jury Prize at Cannes and is indeed far from the only Cannes winner on the list. Terrence Malick’s Palme d’Or winner “The Tree of Life...
“The purest cinema,” Jenkins said of the film. “Thinking of it gives me the same feeling I had when the credits rolled on my first viewing of it over a decade ago. I wonder how many other films on this list were in competition at the 2007 Cannes? What an astounding year for cinema.”
Reygadas’ drama won the Jury Prize at Cannes and is indeed far from the only Cannes winner on the list. Terrence Malick’s Palme d’Or winner “The Tree of Life...
- 9/13/2019
- by Zack Sharf
- Indiewire
From Mike Leigh to Richard Linklater, Joanna Hogg and Michael Winterbottom, here are some of the century’s greatest films, chosen by some of the directors whose own films feature in our top 100
Silent Light (2007)
The purest cinema. Thinking of it gives me the same feeling I had when the credits rolled on my first viewing of it over a decade ago. (I wonder how many other films on this list were in competition at the 2007 Cannes? What an astounding year for cinema.)...
Silent Light (2007)
The purest cinema. Thinking of it gives me the same feeling I had when the credits rolled on my first viewing of it over a decade ago. (I wonder how many other films on this list were in competition at the 2007 Cannes? What an astounding year for cinema.)...
- 9/13/2019
- The Guardian - Film News
With Carlos Reygadas‘ admirably bold, intimate new drama Our Time now in theaters and his first three films now streaming on The Criterion Channel (along with a recent extensive conversation), it’s thankfully easier than ever to catch up on the poetic works of the Mexican director. To celebrate, today we’re taking a look at his favorite films of all-time.
As voted on in the latest Sight & Sound poll, the influences of the ten selections can be seen throughout this work, most notably in the spiritual ruminations of Andrei Tarkovsky and Ingmar Bergman, the non-professional acting collaborations of Robert Bresson, as well as the striking patience of Béla Tarr. Speaking to one selection, Aleksandr Sokurov’s Mother and Son, Reygadas has said it would be the one film he’d show an alien if they came to our planet. Surprisingly, however, for those who have seen Silent Light, there is no Ordet.
As voted on in the latest Sight & Sound poll, the influences of the ten selections can be seen throughout this work, most notably in the spiritual ruminations of Andrei Tarkovsky and Ingmar Bergman, the non-professional acting collaborations of Robert Bresson, as well as the striking patience of Béla Tarr. Speaking to one selection, Aleksandr Sokurov’s Mother and Son, Reygadas has said it would be the one film he’d show an alien if they came to our planet. Surprisingly, however, for those who have seen Silent Light, there is no Ordet.
- 6/25/2019
- by Jordan Raup
- The Film Stage
"This is the best place on Earth, Juan." Monument has debuted an official Us trailer for the film Our Time, also known as Nuestro Tiempo, the latest from acclaimed Mexican filmmaker Carlos Reygadas. This initially premiered at the prestigious Venice and Toronto Film Festivals last year to much discussion - some think it's a masterpiece, others not so much, but at least people are talking about Reygadas again. The film is about a family that lives in the Mexican countryside raising fighting bulls. Esther is in charge of running the ranch, while her husband Juan, a renowned poet, raises the beasts. When Esther becomes infatuated with a horse-breaker, Juan seems incapable to reach his own expectations about himself. Indeed a "soul-searching" drama about life and humanity. Starring Carlos Reygadas as Juan, with Natalia López, Natalia López, Maria Hagerman, and Yago Martínez. Definitely worth a watch. Here's the new official Us...
- 5/30/2019
- by Alex Billington
- firstshowing.net
After wowing audiences with his scorching and personal dramas “Post Tenebras Lux” and “Silent Light,” lauded Mexican auteur Carlos Reygadas returns with his most intimate work yet: a film about a crumbling marriage which stars the filmmaker and his own wife, Natalia López, as a couple dealing with the pain of an unfolding affair. The film also features the couple’s three children, starring as the kids of their characters, bull-breaker Juan and his whipsmart wife Esther.
Per the film’s official synopsis, it follows “a family [that] lives in the Mexican countryside raising fighting bulls. Esther is in charge of running the ranch, while her husband Juan, a world-renowned poet, raises and selects the beasts. When Esther becomes infatuated with a horse-breaker, Juan seems incapable to reach his own expectations about himself.”
The film premiered last year at the Venice Film Festival, and went on to screen at Tiff, Havana,...
Per the film’s official synopsis, it follows “a family [that] lives in the Mexican countryside raising fighting bulls. Esther is in charge of running the ranch, while her husband Juan, a world-renowned poet, raises and selects the beasts. When Esther becomes infatuated with a horse-breaker, Juan seems incapable to reach his own expectations about himself.”
The film premiered last year at the Venice Film Festival, and went on to screen at Tiff, Havana,...
- 5/30/2019
- by Kate Erbland
- Indiewire
Carlos Reygadas's Battle in Heaven (2005) and Silent Light (2007) are showing April and May, 2019 on Mubi in the United States as part of the series What Is an Auteur?Battle in HeavenEmerging six years after Post Tenebras Lux (2012), Our Time, the latest film from Mexican auteur Carlos Reygadas, offers an unsparing account of a marriage in crisis. Starring the director and his real-life spouse Natalia López (and their children), the film depicts a couple navigating the difficult terrain of an open relationship. Characteristically, Our Time disavows many of the conventions of cinema, adopting an approach that mirrors non-fiction filmmaking to capture the beauty and intimacy of the daily life of the couple and their clan. Shifting his gaze from the human drama at the center of the narrative to the rich environment of the family’s ranch and its surroundings, the director asks challenging questions about the nature of romantic...
- 4/21/2019
- MUBI
Madrid — New York-based independent distributor Monument Releasing has secured North American distribution rights to “Our Time,” from Mexico’s Carlos Reygadas, winner of Cannes Jury (“Silent Light”) and Director (“Post Tenebras Lux”) prizes.
Monument Releasing will open “Our Time” in cinema theaters in North America in June 2019, followed by a VOD and home entertainment release.
Struck with Michael Weber’s The Match Factory, the sales agent on the film, as well as one of its co-producers, the deal will give more outlets to a title which world premiered at last year’s Venice Festival, after Reygadas’ first four main features played Cannes.
“Our Time” turns on a couple who live on a ranch in , central Mexico, raising fighting bulls. Esther runs the ranch, Juan, a renown poet, raises the bulls. They have an open relationship, but Juan’s world is thrown out of kilter when Esther becomes infatuated with the estate’s horse trainer.
Monument Releasing will open “Our Time” in cinema theaters in North America in June 2019, followed by a VOD and home entertainment release.
Struck with Michael Weber’s The Match Factory, the sales agent on the film, as well as one of its co-producers, the deal will give more outlets to a title which world premiered at last year’s Venice Festival, after Reygadas’ first four main features played Cannes.
“Our Time” turns on a couple who live on a ranch in , central Mexico, raising fighting bulls. Esther runs the ranch, Juan, a renown poet, raises the bulls. They have an open relationship, but Juan’s world is thrown out of kilter when Esther becomes infatuated with the estate’s horse trainer.
- 1/14/2019
- by John Hopewell
- Variety Film + TV
The camera flies over the plains of the Mexican countryside. After crossing a series of clouds, it happens upon a monumental city. The sound tells us that we observe it from an airplane. As this stunning vision reveals itself, Esther (Natalia López), a rancher and mother of three, reads in voice over a statement of her intimate world to Juan (Carlos Reygadas), her husband, a renowned poet lost in a vortex of jealousy because his wife has fallen in love with Phil (Phil Burgers), an American horse trainer. While we experience the airplane’s ordinary landing, a sensory manifestation happens, through a masterful use of sound and image. Of what? Of feelings itself. As in this sequence, the controversial Mexican auteur Carlos Reygadas takes us into the intimate, sentimental and psychological universe of his characters in his most recent feature film, Our Time. His epic fifth feature film is more...
- 10/6/2018
- MUBI
At least based of its original title of Where Life is Born, director Carlos Reygadas’ fifth feature film from the outset seemed to promise the ultimate realization of his festival-approved Transcendental Vision. Yet what we finally received instead six years after his last feature is a three-hour cuckold drama that’s thankfully at least a little closer in spirit to the lizard-brained surrealism of Post Tenebras Lux as opposed to his banalization of Dreyer (and still art-house calling card) Silent Light. One almost wants to describe it as admirably awkward; the feeling of both watching a train-wreck unfold in (very) slow-motion and a work of art that very boldly and genuinely seeks to please no one.
In his first misstep, Reygadas casts himself and his wife, Natalia Lopez, in the lead roles of Juan and Esther, respectively, a wealthy couple living on a ranch in the countryside outside Mexico City.
In his first misstep, Reygadas casts himself and his wife, Natalia Lopez, in the lead roles of Juan and Esther, respectively, a wealthy couple living on a ranch in the countryside outside Mexico City.
- 9/17/2018
- by Ethan Vestby
- The Film Stage
Ever since he shook the cinematic world with the release of his visionary first feature, “Japón,” and then followed that up with his mesmerizing magnum opus “Silent Light,” director Carlos Reygadas struggled to find the same kind of universal acclaim with his polarizing and mystical 2012 film “Post Tenebras Lux” (a beautifully maddening picture which many adore or loathe in equal measure).
Continue reading ‘Our Time’: Carlos Reygadas Offers A Beautiful, But Deeply Distancing Meta-Experience [Tiff Review] at The Playlist.
Continue reading ‘Our Time’: Carlos Reygadas Offers A Beautiful, But Deeply Distancing Meta-Experience [Tiff Review] at The Playlist.
- 9/14/2018
- by Jordan Ruimy
- The Playlist
Our Time stars Carlos Reygadas and his wife Natalia López as Juan and Ester, a married couple whose definitely fictional open relationship in no way bears any resemblance to the performers. Even the Tiff write-up barely pretends to believe in this author-vs-character divide: “It’s fascinating when you realize that the director is effectively filming himself secretly watching his real wife’s affair.” Setting this aside (at least until someone asks Reygadas about it in an interview), the premise isn’t a huge change of pace: for all its Dreyer trappings, Silent Light is an adulterous love triangle, and Reygadas’s manic peak Post Tenebras Lux made one […]...
- 9/7/2018
- by Vadim Rizov
- Filmmaker Magazine-Director Interviews
Our Time stars Carlos Reygadas and his wife Natalia López as Juan and Ester, a married couple whose definitely fictional open relationship in no way bears any resemblance to the performers. Even the Tiff write-up barely pretends to believe in this author-vs-character divide: “It’s fascinating when you realize that the director is effectively filming himself secretly watching his real wife’s affair.” Setting this aside (at least until someone asks Reygadas about it in an interview), the premise isn’t a huge change of pace: for all its Dreyer trappings, Silent Light is an adulterous love triangle, and Reygadas’s manic peak Post Tenebras Lux made one […]...
- 9/7/2018
- by Vadim Rizov
- Filmmaker Magazine - Blog
To know Carlos Reygadas is to be perplexed; it’s hard to say exactly what happens in his films, or even if they’re enjoyable. His most recent, “Post Tenebras Lux,” earned him Best Director laurels at Cannes even as it divided everyone who wasn’t on the jury. That elliptical, two-hour exploration of the family unit encompassed everything from an anatomically correct Satan to a little girl getting lost in a field. However, the film also contained moments of great beauty amid the willful abstraction.
“Nuestro tiempo” (“Our Time”), which runs 173 character-building minutes, is likely to be received as another fans-only proposition that converts few but pleases those already inclined to enjoy his work. Those who don’t will sigh to learn that it’s set on a bull ranch (the animals in Reygadas’ films have as difficult a time as the humans), and is another family drama in which the director casts himself,...
“Nuestro tiempo” (“Our Time”), which runs 173 character-building minutes, is likely to be received as another fans-only proposition that converts few but pleases those already inclined to enjoy his work. Those who don’t will sigh to learn that it’s set on a bull ranch (the animals in Reygadas’ films have as difficult a time as the humans), and is another family drama in which the director casts himself,...
- 9/5/2018
- by Michael Nordine
- Indiewire
Award-winning multi-hyphenate Phil Burgers spent half his life traveling the world, living abroad in South America and Europe, before training at the prestigious French clown school, Ecole Philippe Gaulier — a workshop that has also trained Sacha Baron Cohen and Roberto Benigni. Acclaimed filmmaker Carlos Reygadas took note of Burgers’ work, and cast him in his latest opus, “Nuestro Tiempo,” which focuses on a Mexican family living in the country raising fighting bulls. The pic debuts at the Venice Film Festival. Burgers spoke with Variety about stepping in front of the camera for Reygadas, his background in comedy and what he has in store for the future.
How did you get involved with “Nuestro Tiempo”?
Carlos had seen a television special I did in the U.K. with Channel 4, and because I’m not a classically trained actor, and that’s what Carlos looks for when he does his casting...
How did you get involved with “Nuestro Tiempo”?
Carlos had seen a television special I did in the U.K. with Channel 4, and because I’m not a classically trained actor, and that’s what Carlos looks for when he does his casting...
- 9/1/2018
- by Nick Clement
- Variety Film + TV
Larry Karaszewski and Diane Weyermann have been named co-chairs of the Oscars’ Foreign Language Film Award Executive Committee, replacing longtime committee chair Mark Johnson, the Academy of Motion Picture Arts and Sciences confirmed to TheWrap on Wednesday night.
Johnson had headed the committee for 17 of the last 18 years and was one of the driving forces behind the current three-step process of selecting nominees. An Oscar winner for “Rain Man” and a member of the Academy’s Board of Governors from the Producers Branch, he opted not to return after a year in which significant changes were made to the process, an individual with knowledge of his decision told TheWrap.
Academy President John Bailey, who has been an enthusiastic participant in foreign-language voting for years, choose Karaszewski, an Academy governor from the Writers Branch, and Weyermann, the president of documentary film and television at Participant Media.
Johnson headed the committee every...
Johnson had headed the committee for 17 of the last 18 years and was one of the driving forces behind the current three-step process of selecting nominees. An Oscar winner for “Rain Man” and a member of the Academy’s Board of Governors from the Producers Branch, he opted not to return after a year in which significant changes were made to the process, an individual with knowledge of his decision told TheWrap.
Academy President John Bailey, who has been an enthusiastic participant in foreign-language voting for years, choose Karaszewski, an Academy governor from the Writers Branch, and Weyermann, the president of documentary film and television at Participant Media.
Johnson headed the committee every...
- 8/23/2018
- by Steve Pond
- The Wrap
Followers of this column will need no introduction to the work of Sam Smith, whom I’ve written about a number of times since I first discovered his work in 2009. Over the past year Sam has been busy touring as a musician, traveling widely (he recently launched his design brand called Sammy—“imaginative art & design for children and the child inside”—with an exhibition in Japan) and broadcasting his essential monthly movie poster podcast The Poster Boys with his good friend and fellow designer Brandon Schaefer. But it has been a while since we’ve seen a new poster from Sam. So it was a treat to find out that he has been working on a poster for the new film by Carlos Reygadas which will premiere in competition at the Venice Film Festival at the end of next month. Originally announced as Where Life is Born, now titled Nuestro Tiempo or Our Time,...
- 7/27/2018
- MUBI
Terrence Malick is one of the most influential filmmakers alive, with everyone from Christopher Nolan and David Gordon Green to John Hillcoat and Andrew Dominik citing him as an inspiration. To show the extent to which the “Badlands,” “The Thin Red Line,” and “The Tree of Life” director has left his mark on a generation of directors, Vimeo user Jacob T. Swinney made a video called “Not Directed by Terrence Malick” made up of shots from other filmmakers whose work bears a distinct resemblance to Malick’s. Watch below.
Read More:Terrence Malick-Produced ‘Awaken’ Trailer: Awe-Inspiring Doc Follows Humans’ Relationship With Technology — Watch
Borrowing the music that graced the trailer for “To the Wonder,” the strikingly made video cuts between Malickian footage from a range of films: “Ain’t Them Bodies Saints,” “George Washington,” even “Man of Steel” (whose first teaser had a heavy Malick influence that was sorely lacking from...
Read More:Terrence Malick-Produced ‘Awaken’ Trailer: Awe-Inspiring Doc Follows Humans’ Relationship With Technology — Watch
Borrowing the music that graced the trailer for “To the Wonder,” the strikingly made video cuts between Malickian footage from a range of films: “Ain’t Them Bodies Saints,” “George Washington,” even “Man of Steel” (whose first teaser had a heavy Malick influence that was sorely lacking from...
- 12/31/2017
- by Michael Nordine
- Indiewire
With “The Florida Project,” director Sean Baker (“Tangerine”) and Mexican cinematographer Alexis Zabe (“Silent Light”) turned a unique coming-of-age movie about kids living on the fringe of Orlando’s Disney World into “blueberry ice cream with a sour twist.” The movie is a freewheeling “pop verité” of broken dreams built around a cast of mostly non-professionals, and set in a makeshift purple motel appropriately called “The Magic Castle.” But it’s the push-pull between rambunctious six-year-old newcomer Brooklynn Prince and tenderhearted hotel manager Willem Dafoe that propels the drama.
Pop Goes the Verité
And 35mm anamorphic film was the perfect choice to evoke the soft, creamy, imperfect aesthetic Baker was after. “There are fewer and fewer opportunities to work on 35 and I really treasure it,” said Zabe, who shot with the Panavision Millennium xl2 and old E series lenses. “It changes the whole dynamic on set and it plays better...
Pop Goes the Verité
And 35mm anamorphic film was the perfect choice to evoke the soft, creamy, imperfect aesthetic Baker was after. “There are fewer and fewer opportunities to work on 35 and I really treasure it,” said Zabe, who shot with the Panavision Millennium xl2 and old E series lenses. “It changes the whole dynamic on set and it plays better...
- 10/9/2017
- by Bill Desowitz
- Indiewire
In an interview in March, Paul Schrader questioned the ongoing usefulness of Slow Cinema. “It had a real interesting moment in the last 10 years, but now the novelty has worn off, and people are not as mesmerized as they were when the slowness was really being used as a new concept of film time,” he said. “It’s a dead end. […] There are still bits of transcendental style. It was a precursor to slow cinema, but it’s not really that slow. A terrific film like Silent Light is closer to transcendental style than slow cinema, but they lump it in […]...
- 8/30/2017
- by Vadim Rizov
- Filmmaker Magazine - Blog
Looking back on this still-young century makes clear that 2007 was a major time for cinematic happenings — and, on the basis of this retrospective, one we’re not quite through with ten years on. One’s mind might quickly flash to a few big titles that will be represented, but it is the plurality of both festival and theatrical premieres that truly surprises: late works from old masters, debuts from filmmakers who’ve since become some of our most-respected artists, and mid-career turning points that didn’t necessarily announce themselves as such at the time. Join us as an assembled team, many of whom were coming of age that year, takes on their favorites.
“Amen” is the first word uttered in Silent Light — an appropriate and reverent punctuation to follow the glory that director Carlos Reygadas unveils in the film’s opening minutes. Beginning in a milky, celestial darkness that then...
“Amen” is the first word uttered in Silent Light — an appropriate and reverent punctuation to follow the glory that director Carlos Reygadas unveils in the film’s opening minutes. Beginning in a milky, celestial darkness that then...
- 4/25/2017
- by The Film Stage
- The Film Stage
It’s just a few weeks until this year’s Oscars, which means the Hollywood machine is running out of steam to provide “new angles” on various awards season campaigns and Oscar bloggers are trying to squeeze traffic out of last-minute prediction shifts. It’s fitting, then, that around this time every year we get a rather substantial update of one of the most comprehensive polls on the greatest films of all-time, not simply the November/December releases with the biggest marketing budget come Academy Awards time.
That’s right, They Shoot Pictures, Don’t They? has now published their 2017 edition of 1,000 Greatest Films, culled together from an exhaustive list of major publications and critics. Still topped by Citizen Kane, I often find the most interesting portion to be those films that have most moved around, for better or worse, especially those with newfound critical admiration. This year, Terrence Malick...
That’s right, They Shoot Pictures, Don’t They? has now published their 2017 edition of 1,000 Greatest Films, culled together from an exhaustive list of major publications and critics. Still topped by Citizen Kane, I often find the most interesting portion to be those films that have most moved around, for better or worse, especially those with newfound critical admiration. This year, Terrence Malick...
- 2/13/2017
- by Jordan Raup
- The Film Stage
Exclusive: Svod service adds six titles, including Berlin Panorama opener I, Olga and Mathieu Amalric drama; theatrical, UK and Us deals among haul.
Ambitious Svod service Mubi has secured world digital rights to two titles and UK theatrical and digital rights on four more.
Mubi has secured all UK and Ireland rights for Berlinale Panorama opener I, Olga, Tomas Weinreb and Petr Kazda’s intense re-telling of the Czech murderess Olga Hepnarova, set in 1970s Prague.
Mubi will premiere the feature in cinemas and on the service in the coming months.
Mubi has secured rights in Us, UK and Ireland for Rachel Lang’s feature length debut, Baden Baden, and also rights in the UK and Ireland for Eugène Green’s latest feature, Son Of Joseph. They will both premiere in cinemas and on the service later this year.
The company has inked global digital rights on Luis Lopez-Carrasco’s experimental 80s-set Locarno 2013 title El Futuro...
Ambitious Svod service Mubi has secured world digital rights to two titles and UK theatrical and digital rights on four more.
Mubi has secured all UK and Ireland rights for Berlinale Panorama opener I, Olga, Tomas Weinreb and Petr Kazda’s intense re-telling of the Czech murderess Olga Hepnarova, set in 1970s Prague.
Mubi will premiere the feature in cinemas and on the service in the coming months.
Mubi has secured rights in Us, UK and Ireland for Rachel Lang’s feature length debut, Baden Baden, and also rights in the UK and Ireland for Eugène Green’s latest feature, Son Of Joseph. They will both premiere in cinemas and on the service later this year.
The company has inked global digital rights on Luis Lopez-Carrasco’s experimental 80s-set Locarno 2013 title El Futuro...
- 4/5/2016
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
Exclusive: Alfonso Cuarón & Alejandro G. Iñárritu Endorse Emiliano Rocha Minter's 'We Are The Flesh'
The next generation of Mexican filmmakers, Julio Chavezmontes of Piano Films, and Moises Cosio of Detalle Films, executive producer of Atom Egoyan’s “Remember," Jodorowsky’s “The Dance of Reality,” and Apichatpong Weersethaku’s “Cemetery of Splendor,” are premiering "We Are The Flesh” ("Tenemos la carne") in Iff Rotterdam’s Bright Future Section.
The directorial debut by 25-year-old Emiliano Rocha Minter has the support of Academy Award-winning directors Alejandro González Iñárritu (“Amores Perros”) and Alfonso Cuarón (“Gravity), with Cannes-winning director Carlos Reygadas ("Silent Light", "Post Tenebras Lux”) involved as a co-producer. This makes "Tenemos la carne"/ "We are the Flesh" the first Mexican film, let alone a feature debut, to receive the endorsement of three of the most important directors working today. That is a film to see! It will also be on offer at the Berlinale’s Efm by its international sales agent, Reel Suspects.
In addition to Reygadas, Mexican director Sebastian Hofmann, of the Sundance New Frontier film "Halley," Yann Gonzalez, French director director of Cannes Critics’ Week Special Screening “You and the Night,” and Splendor Omnia’s Natalia Lopez, are co-producers of the film. Mexican associate producers are Simplemente’s Rune Hansen, Monica Reina and Celia Iturraga. "We Are The Flesh" was supported by the Mexican Film Institute's (Imcine) Foprocine fund.
"We Are the Flesh" takes place in a post-apocalyptic Mexico in which a brother and sister find their way into one of the last remaining buildings after years of wandering. Inside, they find a man who makes them a dangerous offer to survive in the outside world. You can view the trailer below:...
The directorial debut by 25-year-old Emiliano Rocha Minter has the support of Academy Award-winning directors Alejandro González Iñárritu (“Amores Perros”) and Alfonso Cuarón (“Gravity), with Cannes-winning director Carlos Reygadas ("Silent Light", "Post Tenebras Lux”) involved as a co-producer. This makes "Tenemos la carne"/ "We are the Flesh" the first Mexican film, let alone a feature debut, to receive the endorsement of three of the most important directors working today. That is a film to see! It will also be on offer at the Berlinale’s Efm by its international sales agent, Reel Suspects.
In addition to Reygadas, Mexican director Sebastian Hofmann, of the Sundance New Frontier film "Halley," Yann Gonzalez, French director director of Cannes Critics’ Week Special Screening “You and the Night,” and Splendor Omnia’s Natalia Lopez, are co-producers of the film. Mexican associate producers are Simplemente’s Rune Hansen, Monica Reina and Celia Iturraga. "We Are The Flesh" was supported by the Mexican Film Institute's (Imcine) Foprocine fund.
"We Are the Flesh" takes place in a post-apocalyptic Mexico in which a brother and sister find their way into one of the last remaining buildings after years of wandering. Inside, they find a man who makes them a dangerous offer to survive in the outside world. You can view the trailer below:...
- 2/2/2016
- by Sydney Levine
- Sydney's Buzz
Essential Killing: Inarritu’s Remarkable New Thanksgiving Film
After winning a trio of Academy Awards last year for Birdman (which took home Best Picture, Director, and Screenplay), Alejandro Gonzalez Inarritu returns in surprising succession with another English language masterpiece, The Revenant. Based loosely on a 2002 novel by Michael Punke, which documents a near mythical 1820’s cross country trek by fur trapper and frontiersman Hugh Glass, it’s perhaps most important to note Inarritu’s ‘looseness’ in adapting an already embellished ‘true account.’ Grueling, impressively detailed, and beautifully shot by Inarritu’s returning DoP Emmanuel Lubezki, it’s a ragged portrait of the American frontier, a period and time often glorified for the white, European perspective. Though the film sees a theatrical release during the high tide of awards season zenith, one wishes it had been ready in time to open on Thanksgiving weekend due to its barbed depiction of historical American gang wars,...
After winning a trio of Academy Awards last year for Birdman (which took home Best Picture, Director, and Screenplay), Alejandro Gonzalez Inarritu returns in surprising succession with another English language masterpiece, The Revenant. Based loosely on a 2002 novel by Michael Punke, which documents a near mythical 1820’s cross country trek by fur trapper and frontiersman Hugh Glass, it’s perhaps most important to note Inarritu’s ‘looseness’ in adapting an already embellished ‘true account.’ Grueling, impressively detailed, and beautifully shot by Inarritu’s returning DoP Emmanuel Lubezki, it’s a ragged portrait of the American frontier, a period and time often glorified for the white, European perspective. Though the film sees a theatrical release during the high tide of awards season zenith, one wishes it had been ready in time to open on Thanksgiving weekend due to its barbed depiction of historical American gang wars,...
- 12/5/2015
- by Nicholas Bell
- IONCINEMA.com
Countries around the world have slowly begun announcing their official submissions for the Best Foreign Language Film Academy Award or shortlists of films that are being considered for the distinction. In the case of Mexico there is no clear candidate for the Mexican Academy to select this year, which leaves an open field of diverse films from the art house and commercial realms.
Undoubtedly, the best Mexican film audiences around the world, and in Mexico itself, have had the chance to see in 2015 is Alonso Ruiz Palacios “Güeros,” and some have even speculated that the black-and-white love letter to Mexico City could become the country’s Oscar candidate and even be among the favorites. Unfortunately, the film doesn’t qualify because it was considered to become the official entry last year, when it lost the opportunity to represent Mexico to the financially successful biopic “Cantinflas.” Ruiz Palacios' film would go on to win five Ariel Awards (Mexican Academy Awards) including Best Film and Best Director. It’s in fact the best choice, yet it simply can’t be anymore.
Each year the Mexican Academy sends out a call for entries for filmmakers and producers to submit their films. The organization will only consider those films that are entered by their respective creators, which means that even if a film qualifies if it’s not submitted it won’t be considered. The submission period is over now and the Mexican Academy will announce a list of films competing to represent the nation at the Oscars and the Spanish Goya’s in the upcoming days. Even without a gem like “Güeros” there are still other likely choices and many others that don’t stand a chance against the world-class works that will be send from across the globe. Commercial successes like “A la Mala,” “Tiempos Felices” or “Visitantes” will have a hard time finding support, but I wouldn’t be surprised if they are entered to be in the running anyway.
After looking carefully at release dates, festivals, last year’s films in competition, and having seen several of them, here is a list of 15 films that look like reasonable choices to represent the Mexican film industry at Hollywood’s most prestigious award show. Let’s see how many of these are actually on the official list.
"600 Millas" (600 Miles)
Dir. Gabriel Ripstein
Winner of the Best First Feature at this year’s Berlinale and starring Tim Roth, Gabriel Ripstein’s gun trafficking drama is a gritty and powerful statement about one of the numerous complex issues afflicting both Mexico and the U.S. However, giving the duality it deals with, the film is partially in English, which could become a tricky problem when deciding if it can compete as a foreign language work or not. Furthermore, “600 Miles” hasn’t had a theatrical release in Mexico yet, something that AMPAS requires for a film to qualify. If selected a one-week qualifying run would be mandatory.
"Alicia en el País de Maria" (Alice in Marialand)
Dir. Jesús Magaña Vázquez
Starring Stephanie Sigman ("Spectre") and Uruguayan-born actress Barbara Mori, this highly stylized romantic fantasy follows a love triangle between reality and a strange dreamland. This is Magaña Vázquez highest profile film to date and premiered at the Guadalajara International Film Festival earlier this year. It’s non-linear narrative and the fact that it hasn’t screen much outside its homeland might play against it, but it’s still appears to be an interesting choice. The film opens August 28 in Mexico.
"Carmín Tropical"
Dir. Rigoberto Pérezcano
A personal favorite from what I’ve seen and one of the strongest candidates on this list, “Carmin Tropical” tells the story of Mabel, a “muxe” or physical male who lives as a woman, who returns to her hometown to investigate the death of her estranged best friend, also a "muxe." After winning the highest award at the Morelia International Film Festival, the film has gone to screen in festivals around the world including Outfest Los Angeles and the Sarajevo Film Festival. Added to this, Pérezcano’s work earned him the Ariel Award for Best Original Screenplay at this year’s ceremony. Its relevant ideas regarding gender identity and hate crimes could give it some traction.
"Club Sandwich"
Dir. Fernando Eimbcke
While Fernando Eimbcke’s most recent indie has been around since 2013 in the festival circuit, the film was not considered last year to become the country’s entry as it only open theatrically in Mexico last November. Given these facts this delightful comedy technically qualifies, though it’s hard to say if the filmmaker will pursue the candidacy. “Club Sandwich” uses deadpan charm to explore the relationship between a teenage boy and his mother while on vacation yo a beachside town. The film screened during last year’s Los Angeles Film Festival.
"Las Elegidas" (The Chosen Ones)
Dir. David Pablos
This is the obvious heavyweight at least on paper. In recent years Mexican films that were selected to participate in the Cannes Film Festival have become ideal selections for Oscar consideration. Carlos Reygadas “Silent Light,” Gerardo Naranjo’s “Miss Bala,” Michel Franco’s “After Lucia,” and Amat Escalante’s “Heli,” represented the country in their respective years. Despite being highly regarded internationally, these type of hyperrealist art house films have failed to garner a nomination from AMPAS, which could mean the Mexican Academy might want to look towards more commercial projects like they did last year. Pablos' film is similar to some of the aforementioned titles in terms of the crude realities they depict. Reviews were mostly positive and the film could definitely continue with the Cannes-to-Oscar pattern, but might prove another hard sale for Academy voters. “Las Elegidas” still hasn’t open theatrically in Mexico.
"Elvira, Te Dariá Mi Vida Pero La Estoy Usando" (Elvira, I'd Give You My Life But I'm Using It)
Dir. Manolo Caro
A sophisticated romantic dramedy starring two of Mexico’s most prolific actors Cecilia Suarez and Luis Gerardo Mendez (Netflix’ “Club de Cuervos”), the film represents a departure for filmmaker Manolo Caro from the more conventional romantic comedies he’s done in the past. When Elvira’s husband goes missing she embarks on a search to find him, even if the outcome of her quest is not what she expects her devotion is unwavering. The film had its U.S. premiere at the Los Angeles Film Festival in June and it’s opening in Mexico this weekend.
"Estrellas Solitarias" (Lonely Stars)
Dir. Fernando Urdapilleta
By far the most unconventional choice, this irreverent comedy about dreams of stardom focuses on a pair of transvestites hoping to get their big break while working in a dingy and unglamorous bar. Music plays a big role in Fernando Urdapilleta’s sophomore feature, which shines a light on characters rarely seen in Mexican cinema. Produced by the Centro de Capacitación Cinematográfica the film has screened around the country and competed for the Maguey Award to Lgbt films at the 30th edition of Guadalajara International Film Festival (Ficg).
"Gloria"
Dir. Christian Keller
Working from a screenplay by Sabina Berman, Swiss filmmaker Christian Keller crafted a searing biopic about one of Mexico’s most iconic pop stars, Gloria Trevi, and her tumultuous career. The film took audiences and critics by surprise mainly because of the authenticity brought to it by the young actress Sofia Espinosa, who truly embodied Trevi’s outrageous personality and commanding stage presence. “Gloria” opened in Mexico back in February and it screened at SXSW in Austin last March. It’s also the only film in the list that has already had a U.S. theatrical release, which has handled by Picturehouse. This would definitely be a divisive selection given that Gloria is not widely known in the English-speaking world.
"La Guerra de Manuela Jankovic" (Manuela Jankovic's War)
Dir. Diana Cardozo
Nominated for 3 Ariel Awards including Best Actress and Best Supporting Actress this year, this peculiar drama opened late last year and hasn’t travel much internationally. Set in the early 90s the film deals with Manuela, a middle-aged woman who must take care of her bitter Serbian grandmother who escaped to Mexico during World War II. Beautifully executed and acted the film is a sleeper that could actually be an ideal choice given its unique premise and approach. Stories about the Eastern European community in Mexico have rarely been explored in film.
"Hilda"
Dir. Andres Clariond
Dealing with classicism within Mexican society, this Audience Award-winning film at the last Morelia Film Festival paints a disturbing picture about the divide between the elite and the working class. Starring Veronica Langer as Mrs. Le Marchand, a wealthy woman depressed due to her unfulfilled ambitions, the film is a psychological drama with darkly comedic undertones. When Hilda (Adriana Paz) a new housemaid is hired, Le Marchand’s obsessive behavior unravels. Andres Clariond’s debut feature is based on a French play by Marie Ndiaye, the filmmaker certainly found parallels between the playwright’s work and his homeland. “Hilda” will open in Mexico in early September.
"Las Horas Contigo" (The Hours With You)
Dir. Catalina Aguilar Mastretta
This endearing dram about a young woman coming to terms with her grandmother’s imminent death has been a quiet success since it’s premiere at the 2014 Ficg where it won the Best Director award for debutant Catalina Aguilar Mastretta. “Las Horas Contigo” was nominated for three Ariel Awards winning the Best Supporting Actress statuette for veteran thespian Isela Vega. The film’s U.S. premiere took place during the 4th edition of Ficg in La and was also part of the Latin Cinema section at the Palm Springs International Film Festival. It’s a well-made film that offers a handful of moving moments that could resonate with voters, though in my opinion it’s a bit slight.
"Manto Acuífero" ( The Well)
Dir. Michael Rowe
Australian filmmaker Michael Rowe, who has made a career working in Mexico, received great acclaim and accolades for his debut feature “Año Bisiesto,” including the Camera d’Or prize at the Cannes Film Festival. “Manto Acuífero,” his sophomore effort, premiered at the Rome Film Festival in 2013 and was produced by Gael Garcia Bernal and Diego Luna’s Canana. Centered on a young girl dealing with troubling situations at home, the film also screened at the Morelia Film Festival. Its theatrical release didn’t happen until November of last year, which based on AMPAS rules qualifies it for consideration. “Manto Acuífero” was not considered last year.
"El Más Buscasdo" (Mexican Gangster)
Dir. José Manuel Cravioto
By far the most commercial and most expensive-looking film on the list, this action tale revolves around a bank robber whose alter ego is a mysterious masked singer. Jose Manuel Cravioto’s narrative debut stars Tenoch Huerta (“Güeros”) as skillful criminal Alfredo Rios Galeana and as al El Charro Misterioso, the elusive and talented performer. Set in the 1980s “El Más Buscado” showcases costumes, production design, and music from that period in a Robin Hood-like story of a unique antihero. The film screened in L.A. as part of the Hola Mexico Film Festival back in May but other than that lacks noticeable international presence.
"Las Oscuras Primaveras" (The Obscure Spring)
Dir. Ernesto Contreras
Moody and darkly sensual, this intense drama from director Ernesto Contreras won the Knight Competition Grand Jury Prize as well as the Best Performance Grand Jury Prize and the Miami International Film Festival. Cecilia Suarez and Jose Maria Yazpik star as a childless married couple whose relationship is threaten when he starts having a steamy affair with a lonely single mother in need of companionship. “Las Oscuras Primaveras” also received three Ariel Awards at the most recent ceremony for Best Editing, Best Sound, and Best Original Score.
"La Tirisia" (Perpetual Sadness)
Dir. Jorge Pérez Solano
Last but definitely not least, the one film that, in this writer’s opinion, is the best opinion from the pack. Jose Perez Solano’s poetic feature follows two women in a remote community who have to choose between their children and their partner in a chauvinist society. The beauty and authenticity of “La Tirisia” have connected with audiences and juries from diverse backgrounds. Karlovy Vary, Palm Springs, Thessaloniki, Chicago, and Guadalajara were a few of the festivals that screened the film where it often was awarded prizes for its director and cast. Actress Adriana Paz (“Hilda”) won the Ariel Award for Best Actress for her work in the film, while Noé Hernandez took home the award for Best Supporting Actor. It’s art house roots and segmented narrative might work against it, but if voters at the Mexican Academy can look past that, this might be the one to bet on.
Undoubtedly, the best Mexican film audiences around the world, and in Mexico itself, have had the chance to see in 2015 is Alonso Ruiz Palacios “Güeros,” and some have even speculated that the black-and-white love letter to Mexico City could become the country’s Oscar candidate and even be among the favorites. Unfortunately, the film doesn’t qualify because it was considered to become the official entry last year, when it lost the opportunity to represent Mexico to the financially successful biopic “Cantinflas.” Ruiz Palacios' film would go on to win five Ariel Awards (Mexican Academy Awards) including Best Film and Best Director. It’s in fact the best choice, yet it simply can’t be anymore.
Each year the Mexican Academy sends out a call for entries for filmmakers and producers to submit their films. The organization will only consider those films that are entered by their respective creators, which means that even if a film qualifies if it’s not submitted it won’t be considered. The submission period is over now and the Mexican Academy will announce a list of films competing to represent the nation at the Oscars and the Spanish Goya’s in the upcoming days. Even without a gem like “Güeros” there are still other likely choices and many others that don’t stand a chance against the world-class works that will be send from across the globe. Commercial successes like “A la Mala,” “Tiempos Felices” or “Visitantes” will have a hard time finding support, but I wouldn’t be surprised if they are entered to be in the running anyway.
After looking carefully at release dates, festivals, last year’s films in competition, and having seen several of them, here is a list of 15 films that look like reasonable choices to represent the Mexican film industry at Hollywood’s most prestigious award show. Let’s see how many of these are actually on the official list.
"600 Millas" (600 Miles)
Dir. Gabriel Ripstein
Winner of the Best First Feature at this year’s Berlinale and starring Tim Roth, Gabriel Ripstein’s gun trafficking drama is a gritty and powerful statement about one of the numerous complex issues afflicting both Mexico and the U.S. However, giving the duality it deals with, the film is partially in English, which could become a tricky problem when deciding if it can compete as a foreign language work or not. Furthermore, “600 Miles” hasn’t had a theatrical release in Mexico yet, something that AMPAS requires for a film to qualify. If selected a one-week qualifying run would be mandatory.
"Alicia en el País de Maria" (Alice in Marialand)
Dir. Jesús Magaña Vázquez
Starring Stephanie Sigman ("Spectre") and Uruguayan-born actress Barbara Mori, this highly stylized romantic fantasy follows a love triangle between reality and a strange dreamland. This is Magaña Vázquez highest profile film to date and premiered at the Guadalajara International Film Festival earlier this year. It’s non-linear narrative and the fact that it hasn’t screen much outside its homeland might play against it, but it’s still appears to be an interesting choice. The film opens August 28 in Mexico.
"Carmín Tropical"
Dir. Rigoberto Pérezcano
A personal favorite from what I’ve seen and one of the strongest candidates on this list, “Carmin Tropical” tells the story of Mabel, a “muxe” or physical male who lives as a woman, who returns to her hometown to investigate the death of her estranged best friend, also a "muxe." After winning the highest award at the Morelia International Film Festival, the film has gone to screen in festivals around the world including Outfest Los Angeles and the Sarajevo Film Festival. Added to this, Pérezcano’s work earned him the Ariel Award for Best Original Screenplay at this year’s ceremony. Its relevant ideas regarding gender identity and hate crimes could give it some traction.
"Club Sandwich"
Dir. Fernando Eimbcke
While Fernando Eimbcke’s most recent indie has been around since 2013 in the festival circuit, the film was not considered last year to become the country’s entry as it only open theatrically in Mexico last November. Given these facts this delightful comedy technically qualifies, though it’s hard to say if the filmmaker will pursue the candidacy. “Club Sandwich” uses deadpan charm to explore the relationship between a teenage boy and his mother while on vacation yo a beachside town. The film screened during last year’s Los Angeles Film Festival.
"Las Elegidas" (The Chosen Ones)
Dir. David Pablos
This is the obvious heavyweight at least on paper. In recent years Mexican films that were selected to participate in the Cannes Film Festival have become ideal selections for Oscar consideration. Carlos Reygadas “Silent Light,” Gerardo Naranjo’s “Miss Bala,” Michel Franco’s “After Lucia,” and Amat Escalante’s “Heli,” represented the country in their respective years. Despite being highly regarded internationally, these type of hyperrealist art house films have failed to garner a nomination from AMPAS, which could mean the Mexican Academy might want to look towards more commercial projects like they did last year. Pablos' film is similar to some of the aforementioned titles in terms of the crude realities they depict. Reviews were mostly positive and the film could definitely continue with the Cannes-to-Oscar pattern, but might prove another hard sale for Academy voters. “Las Elegidas” still hasn’t open theatrically in Mexico.
"Elvira, Te Dariá Mi Vida Pero La Estoy Usando" (Elvira, I'd Give You My Life But I'm Using It)
Dir. Manolo Caro
A sophisticated romantic dramedy starring two of Mexico’s most prolific actors Cecilia Suarez and Luis Gerardo Mendez (Netflix’ “Club de Cuervos”), the film represents a departure for filmmaker Manolo Caro from the more conventional romantic comedies he’s done in the past. When Elvira’s husband goes missing she embarks on a search to find him, even if the outcome of her quest is not what she expects her devotion is unwavering. The film had its U.S. premiere at the Los Angeles Film Festival in June and it’s opening in Mexico this weekend.
"Estrellas Solitarias" (Lonely Stars)
Dir. Fernando Urdapilleta
By far the most unconventional choice, this irreverent comedy about dreams of stardom focuses on a pair of transvestites hoping to get their big break while working in a dingy and unglamorous bar. Music plays a big role in Fernando Urdapilleta’s sophomore feature, which shines a light on characters rarely seen in Mexican cinema. Produced by the Centro de Capacitación Cinematográfica the film has screened around the country and competed for the Maguey Award to Lgbt films at the 30th edition of Guadalajara International Film Festival (Ficg).
"Gloria"
Dir. Christian Keller
Working from a screenplay by Sabina Berman, Swiss filmmaker Christian Keller crafted a searing biopic about one of Mexico’s most iconic pop stars, Gloria Trevi, and her tumultuous career. The film took audiences and critics by surprise mainly because of the authenticity brought to it by the young actress Sofia Espinosa, who truly embodied Trevi’s outrageous personality and commanding stage presence. “Gloria” opened in Mexico back in February and it screened at SXSW in Austin last March. It’s also the only film in the list that has already had a U.S. theatrical release, which has handled by Picturehouse. This would definitely be a divisive selection given that Gloria is not widely known in the English-speaking world.
"La Guerra de Manuela Jankovic" (Manuela Jankovic's War)
Dir. Diana Cardozo
Nominated for 3 Ariel Awards including Best Actress and Best Supporting Actress this year, this peculiar drama opened late last year and hasn’t travel much internationally. Set in the early 90s the film deals with Manuela, a middle-aged woman who must take care of her bitter Serbian grandmother who escaped to Mexico during World War II. Beautifully executed and acted the film is a sleeper that could actually be an ideal choice given its unique premise and approach. Stories about the Eastern European community in Mexico have rarely been explored in film.
"Hilda"
Dir. Andres Clariond
Dealing with classicism within Mexican society, this Audience Award-winning film at the last Morelia Film Festival paints a disturbing picture about the divide between the elite and the working class. Starring Veronica Langer as Mrs. Le Marchand, a wealthy woman depressed due to her unfulfilled ambitions, the film is a psychological drama with darkly comedic undertones. When Hilda (Adriana Paz) a new housemaid is hired, Le Marchand’s obsessive behavior unravels. Andres Clariond’s debut feature is based on a French play by Marie Ndiaye, the filmmaker certainly found parallels between the playwright’s work and his homeland. “Hilda” will open in Mexico in early September.
"Las Horas Contigo" (The Hours With You)
Dir. Catalina Aguilar Mastretta
This endearing dram about a young woman coming to terms with her grandmother’s imminent death has been a quiet success since it’s premiere at the 2014 Ficg where it won the Best Director award for debutant Catalina Aguilar Mastretta. “Las Horas Contigo” was nominated for three Ariel Awards winning the Best Supporting Actress statuette for veteran thespian Isela Vega. The film’s U.S. premiere took place during the 4th edition of Ficg in La and was also part of the Latin Cinema section at the Palm Springs International Film Festival. It’s a well-made film that offers a handful of moving moments that could resonate with voters, though in my opinion it’s a bit slight.
"Manto Acuífero" ( The Well)
Dir. Michael Rowe
Australian filmmaker Michael Rowe, who has made a career working in Mexico, received great acclaim and accolades for his debut feature “Año Bisiesto,” including the Camera d’Or prize at the Cannes Film Festival. “Manto Acuífero,” his sophomore effort, premiered at the Rome Film Festival in 2013 and was produced by Gael Garcia Bernal and Diego Luna’s Canana. Centered on a young girl dealing with troubling situations at home, the film also screened at the Morelia Film Festival. Its theatrical release didn’t happen until November of last year, which based on AMPAS rules qualifies it for consideration. “Manto Acuífero” was not considered last year.
"El Más Buscasdo" (Mexican Gangster)
Dir. José Manuel Cravioto
By far the most commercial and most expensive-looking film on the list, this action tale revolves around a bank robber whose alter ego is a mysterious masked singer. Jose Manuel Cravioto’s narrative debut stars Tenoch Huerta (“Güeros”) as skillful criminal Alfredo Rios Galeana and as al El Charro Misterioso, the elusive and talented performer. Set in the 1980s “El Más Buscado” showcases costumes, production design, and music from that period in a Robin Hood-like story of a unique antihero. The film screened in L.A. as part of the Hola Mexico Film Festival back in May but other than that lacks noticeable international presence.
"Las Oscuras Primaveras" (The Obscure Spring)
Dir. Ernesto Contreras
Moody and darkly sensual, this intense drama from director Ernesto Contreras won the Knight Competition Grand Jury Prize as well as the Best Performance Grand Jury Prize and the Miami International Film Festival. Cecilia Suarez and Jose Maria Yazpik star as a childless married couple whose relationship is threaten when he starts having a steamy affair with a lonely single mother in need of companionship. “Las Oscuras Primaveras” also received three Ariel Awards at the most recent ceremony for Best Editing, Best Sound, and Best Original Score.
"La Tirisia" (Perpetual Sadness)
Dir. Jorge Pérez Solano
Last but definitely not least, the one film that, in this writer’s opinion, is the best opinion from the pack. Jose Perez Solano’s poetic feature follows two women in a remote community who have to choose between their children and their partner in a chauvinist society. The beauty and authenticity of “La Tirisia” have connected with audiences and juries from diverse backgrounds. Karlovy Vary, Palm Springs, Thessaloniki, Chicago, and Guadalajara were a few of the festivals that screened the film where it often was awarded prizes for its director and cast. Actress Adriana Paz (“Hilda”) won the Ariel Award for Best Actress for her work in the film, while Noé Hernandez took home the award for Best Supporting Actor. It’s art house roots and segmented narrative might work against it, but if voters at the Mexican Academy can look past that, this might be the one to bet on.
- 8/20/2015
- by Carlos Aguilar
- Sydney's Buzz
“So one thing from another rises ever; and in fee-simple life is given to none, but unto all mere usufruct.” – Lucretius, On the Nature of Things, Book III
The above quote was once used by great Italian documentarian Franco Piavoli to open his masterful 1982 film, The Blue Planet. In that instance, it is deftly applied to the fragility of mother nature; her various granting and reclaiming of life, but can just as easily be applied to the figures followed by Roberto Minervini, an Italian based in the United States whose acclaimed Texas Trilogy – The Passage, Low Tide and Stop the Pounding Heart – was followed up at Cannes this year by The Other Side, which shifts the director’s gaze slightly eastward to the state of Louisiana. One must assume that Minervini, despite blazing his own trail that has led him through the Philippines and Spain en route to America’s Southern states,...
The above quote was once used by great Italian documentarian Franco Piavoli to open his masterful 1982 film, The Blue Planet. In that instance, it is deftly applied to the fragility of mother nature; her various granting and reclaiming of life, but can just as easily be applied to the figures followed by Roberto Minervini, an Italian based in the United States whose acclaimed Texas Trilogy – The Passage, Low Tide and Stop the Pounding Heart – was followed up at Cannes this year by The Other Side, which shifts the director’s gaze slightly eastward to the state of Louisiana. One must assume that Minervini, despite blazing his own trail that has led him through the Philippines and Spain en route to America’s Southern states,...
- 6/8/2015
- by Nicholas Page
- SoundOnSight
The new issue of Artforum features Hito Steyerl and Laura Poitras in conversation, J. Hoberman on Jack Smith and Amy Taubin on Crystal Moselle's The Wolfpack. Also in today's roundup: Glenn Kenny and Farran Smith Nehme discuss Alfred Hitchcock's The Paradine Case; Jonathan Rosenbaum on Abbas Kiarostami; Adrian Martin on horror; Alyssa Rosenberg on The Wire and Baltimore; Geoffrey O'Brien on Jean-Pierre Melville's Le silence de la mer; Thomas Vinterberg on taking Ingmar Bergman's advice; Ian Tan on Carlos Reygadas's Silent Light and Carl Theodor Dreyer's Ordet; Erich Kuersten on John Carpenter's Escape from New York, Mathieu Kassovitz's La Haine twenty years on—and more. » - David Hudson...
- 5/4/2015
- Fandor: Keyframe
The new issue of Artforum features Hito Steyerl and Laura Poitras in conversation, J. Hoberman on Jack Smith and Amy Taubin on Crystal Moselle's The Wolfpack. Also in today's roundup: Glenn Kenny and Farran Smith Nehme discuss Alfred Hitchcock's The Paradine Case; Jonathan Rosenbaum on Abbas Kiarostami; Adrian Martin on horror; Alyssa Rosenberg on The Wire and Baltimore; Geoffrey O'Brien on Jean-Pierre Melville's Le silence de la mer; Thomas Vinterberg on taking Ingmar Bergman's advice; Ian Tan on Carlos Reygadas's Silent Light and Carl Theodor Dreyer's Ordet; Erich Kuersten on John Carpenter's Escape from New York, Mathieu Kassovitz's La Haine twenty years on—and more. » - David Hudson...
- 5/4/2015
- Keyframe
It's early morning. We begin with a lush landscape. The camera slowly pans to reveal more tranquil greenery. The opening of Parabellum reminds you of the opening scene of Carlos Reygada's Silent Light, except for an imposing beat of electro music. You know something's gonna go down. Then a firebomb strikes down from the sky and the earth shakes, setting up the mood for the rest of the film. In Lukas Valenta Rinner's Parabellum, the world is in turmoil - there are constant reminders of natural disasters, civil unrest on TV newscast and airwaves- "A tragic situation is developing in Argentina." We focus on an unnamed man preparing for a journey: he quits his white color office job, drops off his cat at the pet...
[Read the whole post on twitchfilm.com...]...
[Read the whole post on twitchfilm.com...]...
- 3/21/2015
- Screen Anarchy
Have you ever wondered what are the films that inspire the next generation of visionary filmmakers? As part of our monthly Ioncinephile profile, we ask the filmmaker the incredibly arduous task of identifying their top ten favorite films of all time. As is the case with some of our previous profiled folks, sometimes we don’t receive a set ten, in this case, Lance Edmands‘ (his feature debut Bluebird gets released theatrically today via the Factory 25 Folks) delivered a hard eight. Here are Lance’s top eight, in his own words…
Making a list of my top ten films of all time is a next-to-impossible task for me. That list is constantly growing, shifting, evolving, and is probably closer to a hundred films than to ten. For me, it’s probably more relevant to list the films that inspired Bluebird specifically. That said, many of these films are also on my list of all-time favorites,...
Making a list of my top ten films of all time is a next-to-impossible task for me. That list is constantly growing, shifting, evolving, and is probably closer to a hundred films than to ten. For me, it’s probably more relevant to list the films that inspired Bluebird specifically. That said, many of these films are also on my list of all-time favorites,...
- 2/28/2015
- by Eric Lavallee
- IONCINEMA.com
In this Golden Glut of TV drama, it's hard for any new drama to break through and find an audience, because there are so many options out there (not to mention easy access to most of the great dramas of the previous 50 years). It's harder still for a show that has an audience and loses it to get those people back, no matter how good it becomes. Case in point: FX's "The Bridge," the current belt-holder for Best Show You're Not Watching. In season 1, the ratings weren't huge, but they were decent enough for FX to order a second season. The problem is that the original batch of episodes — translating the Scandinavian series "Broen" from the Denmark/Sweden border to the one dividing the U.S. and Mexico, complete with a relatively faithful rendering of that show's serial killer story — wound up turning a lot of viewers off as the season went along.
- 9/10/2014
- by Alan Sepinwall
- Hitfix
Early predictions have emerged for most Academy Award categories. As the studios reveal their hopeful offers to be released in the final months of the year, the speculation increases. But despite all the information available on the centerpiece awards, other more obscure races remain a complete mystery at this point. Among these, the Best Foreign Language Film Oscar is almost certainly the most complex to prognosticate. The lengthy process that precedes the announcement of the final nominees makes for a competition that begins months in advance in nations around the globe.
Having the opportunity to submit only one film, each country must carry out its own selection process. Once these decisions have been made, their chosen works will compete to make it to the nine-film shortlist, and eventually into the final five slots. Although this procedure allows for a certain degree of democracy, it also excludes all those other films that were left behind in their homelands. This, in turn, gives us a narrow view of what is being produced abroad.
Therefore, after lots of research and arduous educated guessing to put it together, the list below offers a more insightful look at this race before the actual individual selections are announced. For the sake of time, the amount of films is limited to five per country, but in some cases the choices are scarcer and less films are listed. While trying to speculate is always an uncertain endeavor, the factors taken into account to determine which are some of this year’s most important films in each country and their prospects of being chosen as their representative at the Academy Awards, were varied. Festival exposure, release date, the country’s previous submissions, and even the thematic elements of a few of them were considered to create this piece.
Clearly nothing is definitive at this point, but at the very least, this compilation will provide a sense of what the film industries in these territories are putting out and sharing with the world.
It is important to note that several of the films mentioned below are being handled by Mundial, a joint venture between Im Gobal and Canana, including "Gueros," "A Wolf at the Door," and "The Liberator."
Here is the first list dedicated to the Americas
Argentina
With four films presented at Cannes and several others receiving praise in festivals around the world, Argentina has several interesting options this year. Unfortunately, Lisandro Alonso’s period piece “Jauja” will almost certainly be ineligible due to its November release date, unless a qualifying one-week run is scheduled. That scenario seems unlikely. Screening in the Directors’ Forthnight, Diego Lerman’s “Refugee” (Refugiado) will open on October 3rd, also a few days after the deadline. That leaves the Almodovar-produced “Wild Tales” as the undisputed favorite. Acclaimed films such as “Natural Sciences," “The Third Side of the River”, “El Ardor“ (staring Gael Garcia Bernal), and “La Paz” are longer shots but still viable choices.
1. "Wild Tales" (Relatos Salvajes)
2. "Natural Sciences" (Ciencias Naturales)
3."The Ardor" (El Ardor)
4."The Third Side of the River" (La Tercera Orilla)
5."La Paz"
Bolivia
The last time the landlocked country submitted a film was back in 2009. However, this year offers several possibilities for the Bolivian film industry. Given its production value and historical theme, it is likely that - if they choose to send a film - it will be Mexican director Carlos Bolado’s “Forgotten” (Olvidados), which deals with the 70s Operation Condor. Another likely choice is “Yvy Maraey,” which highlights the mysticism of the country’s indigenous people and is the latest work by Juan Carlos Valdivia, whose films have represented Bolivia in 3 out of the 6 occasions they’ve participated. A long delayed road trip flick (“Once Upon a Time in Bolivia”) and a unique documentary (“Apricot”) round up the list of contenders.
1. "Forgotten" (Olvidados)
2. "Yvy Maraey: Land Without Evil" (Yvy Maraey: Tierra Sin Mal)
3. "Once Upon a Time in Bolivia" (Erase una vez en Bolivia)
4. "Apricot" (Durazno)
Brazil
Producing an impressive amount of films per year, the Brazilian film industry is seeing incredible progress recently. Particularly this year, the quality of works was exceptional across the board. Having such an overflow of great material could make it difficult to select just one. However, there are a few films that standout amongst the crowd. Fernando Coimbra’s debut feature “A Wolf at the Door” is undoubtedly the one to beat after receiving rave reviews and touring some of the most important international festivals. Its biggest competitors are the quiet character study “The Man of the Crowd” and the adorable coming-of-age tale “The Way He Looks.” Rounding up the top five are locally acclaimed “Runriver” and powerful Lgbt drama “Futuro Beach.”
1. "A Wolf at the Door" (O Lobo atrás da Porta)
2. "The Man of the Crowd" (O Homem das Multidões)
3. "The Way He Looks" (Hoje Eu Quero Voltar Sozinho)
4. "Riverrun" (Riocorrente)
5. "Futuro Beach" (Praia do Futuro)
Canada
This definitely seems like Xavier Dolan’s year. After sharing an award with New Wave patriarch Jean-Luc Godard in Cannes, the 25-year-old prodigy is almost a safe bet having two films that could represent his country. While “Mommy” is the clear favorite, it will have to go against “An Eye for Beauty, ” the latest film from Oscar-winner Denys Arcand. Both films will screen at Tiff in the upcoming weeks, just as time runs out for Canada to nominate a film by the end of September. Less probable but still great options are Dolan’s own “Tom at the Farm,” quirky black-and-white dramedy “Tu Dors Nicole,” and the well-received rural family drama “The Auction. ”
1. "Mommy"
2. "An Eye for Beauty" (Le Règne de la Beauté)
3. "Tom at the Farm" (Tom à la ferme)
4. "You's Sleeping Nicole" (Tu Dors Nicole)
5. "The Auction" (Le démantèlement)
Chile
Here is one of the few countries in the region with a very clear choice, but which sadly might decide to miss that opportunity. Alejandro Fernández Almendras ‘“To Kill a Man” won at Sundance, Rotterdam, Berlin, Cartagena amongst several other festivals and has received extremely positive reactions from critics and audiences. Yet, its opening date in its homeland (October 16th) might prevent it from being selected, which would be a regrettable mistake. A one-week run or an earlier release date would be a worthwhile investment. If they decide to leave it behind for next year, this great film would definitely miss its chance. If that is the case, the South American nation, which in recent years has garnered incredible success with films like “No” and “Gloria,” might decide to go with “The Dance of Reality,” the first film in over 20 years by veteran auteur Alejandro Jodorowsky. Other plausible candidates include “Illiterate” (starring Paulina Garcia), Marcela Said’s remarkable “The Summer of Flying Fish,” and historical biopic “Neruda.”
1. "To Kill a Man" (Matar a un Hombre)
2. "The Dance of Reality" (La Danza de la Realidad)
3. "Illiterate" (Las Analfabetas)
4. "The Summer of Flying Fish" (El Verano de los Peces Voladores)
5. "Neruda"
Colombia
Being forced to resort to mainstream cartel-themed fare in past occasions, this year has fortunately seen a fantastic reemergence of auteur-driven works in the country. Cartagena winner “Dust on the Tongue” is by far the most promising Colombian offer of the year with a thought-provoking premise. Next in line is “Mateo” about a young man struggling to pursue his passion for theater while living in a crime-ridden community. Other films include the touching “Catching Fireflies,” apocalyptic comedy “Chronicle of the End of the World,” and music-infused romance “Ciudad Delirio.” Franco Lolli’s award-winning “Gente de Bien” doesn’t have a release date yet, but will probably be in the running next year.
1. "Dust on the Tongue" (Tierra en la Lengua)
2. "Mateo"
3. "Chasing Fireflies" (Cazando Luciernagas)
4. "Chronicle of the End of the World" (Crónica del Fin del Mundo)
5. "Ciudad Delirio"
Costa Rica
Having three great films eligible for consideration, Costa Rica will likely enter the Oscar race for what would be only the third time in its history. Without a doubt, the country is spearheading Central America in terms of increased film production. Lauded throughout multiple festivals, “Red Princesses,” about a girl growing up in the Sandinista-era, is the most notable work. “Port Father,” a coming-of-age drama set in a coastal town and the comedy “All About the Feathers” are the other two that could be picked. Regardless of which one is selected, they all serve as an encouraging sign of growth for the Costa Rican industry.
1. "Red Princesses" (Princesas Rojas)
2. "Port Father" (Puerto Padre)
3. "All About the Feathers" (Por las Plumas)
Cuba
Hosting the Havana International Film Festival and its consistent investment in local talent make Cuba a unique place for film in the Caribbean. In spite of this, only a few national productions have reached cinemas this year. The three notable titles revolve around personal stories of survival and the struggles associated with living on the island. Winner of several international awards, “Behavior” is the clear favorite. “Melaza,” another local drama dealing with the economic challenges Cubans face and the gay love story “The Last Match,” complete the trio.
1. "Behavior" (Conducta)
2."Melaza"
3. "The Last Match" (La Partida)
Dominican Republic
For its size, this island nation has an impressive working industry that steadily produces films in diverse genres. The Dominican Republic will almost certainly participate again with one of the works by its homegrown talent. Screening in Toronto last year, crime romance “Cristo Rey” has the highest probability of being chosen. In second place is the documentary “The Mountain,” which centers on a unique expedition to Mount Everest by a Dominican team. Passionate road trip story “To the South of Innocence” and psychological thriller “Despertar ” conform the list of options.
1. "Cristo Rey"
2. "The Mountain"(La Montaña)
3. "To the South of Innocence" (Al Sur de la Inocencia)
4. "Despertar"
Ecuador
Seemingly dormant for many decades, the Ecuadorian film industry has recently exploded. Even though they have only submitted three times in the past, it appears they plan to make their presence more consistent moving forward. What is even more surprising, are the numerous alternatives they have to make their selection. At the top of the list is “Holiday,” which premiered in Berlin and has received considerable praise. Two other art house offers, “Silence in Dreamland” and “Saudade,” could be serious contenders. “Girl Without Fear,” a gritty crime film and “The Facilitator,” a politically charged work, have less chances but are still interesting offers.
1. "Holiday" (Feriado)
2. "Silence in Dreamland" (El Silencio en la Tierra de los Sueños)
3. "Saudade"
4. "Girl With No Fear" (Ciudad Sin Sombra)
5. "The Facilitator" (El Facilitador)
El Salvador
Sporadically producing feature length works due to the lack of initiatives that facilitate their funding, El Salvador has never entered the race. Nevertheless, there are three films that could potentially be submitted: Supernatural horror film "The Supreme Book," romantic comedy "The Re-Search," and the more viable choice, " The Four Cardinal Points," a documentary about the diverse lifestyles throughout the tiny country. The latter was exhibited commercially as part of Ambulante El Salvador for about a week, which could possibly make it eligible. But in all honesty, it is hard to think they’ll feel so inclined as to participate.
1. "El Salvador: The Four Cardinal Points" (El Salvador: Cuatro Puntos Cardinales)
2. "The Re-Search" (La ReBusqueda)
3. "The Supreme Book" (El Libro Supremo)
Guatemala
With only one submission under their belt back in 1994 and several missed opportunities in recent years, Guatemala might opt to remain out of the spotlight once again. If, however, they change their mind, there are three films that qualify to be entered. Focusing on the indigenous Maya‘s beliefs and legends, “Where the Sun is Born” is surely the most authentic and visually powerful of these films. Then there is “Pol,” a story about two teenage friends and their mishaps. Lastly, there is “12 Seconds,” a sort of slasher flick set in the countryside. It’s been 20 years since their last try, it wouldn’t hurt to see them make the effort once again.
1. "Where the Sun is Born" (Donde Nace el Sol)
2. "Pol"
3. "12 Seconds" (12 Segundos)
Honduras
Although they have never submitted an entry, the Central American country is showing signs of progress in terms of its film industry. With only two local, low budget films released this year, it is highly unlikely they will enter. Nevertheless, they do have an eligible film “11 Cipotes,” a sports comedy about a soccer team in a small town. The other film, “The Zwickys,” is surprisingly ineligible because it is mostly in English.
1. "11 Kids" (11 Cipotes)
Mexico
Now that the Mexican Academy has announced their shortlist - which strangely and inexplicably includes titles that have no scheduled release dates or that will be released after AMPAS' deadline (September 30th, 2014) - the landscape has dramatically changed. Three of the original selections mentioned here (“The Empty Hours,” “Potosi,” and “ Club Sandwich”) are not included among the finalists. It is important to note that films need to be submitted by the filmmakers in order to be considered by the Mexican Academy. One can assume that these films, though they qualify, decided not to participate. The 21 films listed include several documentaries such as “Purgatorio: A Journey Into the Heart of the Border,” “Disrupted” (Quebranto), “Eufrosina’s Revolution” (La Revolución de los Alcatraces), and “H2Omx" among others. But even if many of these are outstanding films, it is highly unlikely that the Academy will decide to go with a documentary over a narrative given their track record and the other options available. Comedic offers like the charming “Paraíso” by Mariana Chenillo, "Flying Low" (Volando Bajo), and "The Last Call" (Tercera Llamada) also made it in. Just like last year with “Instructions Not Included,” most people could assume that the film with the most commercial prospects would make for a good candidate for Oscar consideration, in this case that would be the biopic “Cantinflas," which was also listed. Fortunately, however, the selection committee often prefers to bet on films honored internationally regardless of their controversial content (“Heli,” “After Lucia,” “Silent Light,” “The Crime of Father Amaro”).
With the new additions, the possibilities have shifted. On the top spot is Alonso Ruiz Palacios’ black and white debut “Güeros,” which won in Berlin and Tribeca, and screened at Karlovy Vary. The festival pedigree will definitely help this unique road trip film set in Mexico City during the late 90s. The runner up is Luis Urquiza’s “Perfect Obedience,” though it did not have any festival exposure or a highly profitable theatrical run, the local critics praised the compelling portrayal of a depraved Catholic priest with satirical undertones. It would definitely make for a great contender if the Academy were willing to run the risk given its controversial subject matter. At number three we have Christian Diaz Pardo’s “Gonzalez,” an intriguing drama about a man looking to change his destiny by joining a for profit evangelical church. Dark comedy “ Workers,” by Salvadoran filmmaker Jose Luis Valle, comes in at number four. Lastly, there is Luis Estrada’s long awaited new film “The Perfect Dictatorship,” which made the cut despite having an October 16th release date. The film could definitely come into play; however, voters should consider the fact that its premise and humor might be too specific to the Mexican political idiosyncrasies to connect with foreign voters. Two other films that might be in the race next year are “Perpetual Sadness” (La Tirisia) and “ The Well” (Manto Acuifero)
1."Güeros"
2. "Perfect Obedience" (Obediencia Perfecta)
3. "Gonzalez"
4. "Workers"
5. "The Perfect Dictatorship" (La Dictadura Perfecta)
Nicaragua
With three submissions in over 30 years (1982, 1988, 2010), Nicaragua is the Central American nation with the most attempts at Oscar glory. More astonishing perhaps, is the fact that their first ever entry, “Alsino and the Condor,” earned them a nomination. These days production is almost non-existent. Still, the country’s most prolific filmmaker Florence Jaugey, responsible for their last submission “La Yuma,” made a small documentary titled “Class Days." It is just over 50 minutes long but actually had a theatrical run. Though eligible, it’s probable they’ll decide to skip this year. On the other hand, Jaugey has just finished a new narrative new feature, “The Naked Screen” (La Pantalla Desnuda), which will surely be part of the conversation next year.
1. "Class Days" (Dias de Clase)
Panama
An unprecedented amount of national productions were scheduled to premier in Panama during 2014. All of those four films - which by the country’s standards is an exceptional number - are documentaries. However, only two of them will be eligible given their set release dates. Out of those two, the top choice would certainly be Abner Benaim’s “Invasion” which uses reenactments in lieu of archive footage to revisit the American military intervention in the Central American country in 1989. The runner-up, “Majesty,” deals with the more lighthearted subject of carnival queens. In any case, should Panama decide to submit a film, this would be their first ever appearance.
1. "Invasion"
2. "Majesty" (Reinas)
Paraguay
Disappointed after missing the chance to submit last year's surprise hit “7 Boxes”due to the lack of a selection committee, Paraguayan authorities have stressed their wish to send a film to compete this time around. Unfortunately, it appears that their two best options might be scheduled to open theatrically past the Academy’s deadline. The documentary “Cloudy Times,” a Swiss co-production, has garnered positive reactions internationally and would be their best shot. A second choice could be the crime flick “Filthy Luck,” which sports a decent production value. But if neither of them manages to qualify, then the country’s only other option is yet another crime film “End of the Line.” In any case, hopefully they follow through with their intentions and participate for the first time.
1. "Cloudy Times" (El Tiempo Nublado)
2. "Filthy Luck" (Luna de Cigarras)
3. "End of the Line" (Fin de Linea)
Peru
The eclectic collection of Peruvian films released this year speaks of the great development the medium is experiencing in that country. The five films mentioned here represent the array of genres and stories coming out of Peru today. Given its incredible reception abroad, dark comedy “The Mute” by Daniel Vega Vidal & Diego Vega Vidal is undoubtedly the frontrunner. Behind it comes the intriguing thriller “Guard Dog” starring Peruvian star Carlos Alcántara, multi-narrative drama “The Gospel of the Flesh,” romantic tearjerker “Trip to Timbuktu,” and “Old Friends” about a group of elderly men on a mission. Definitely a though decision needs to be made.
1. "The Mute" (El Mudo)
2. "Guard Dog" (Perro Guardian)
3. "The Gospel of the Flesh" (El Evangelio de la Carne)
4. "Trip to Timbuktu" (Viaje a Tombuctu)
5. "Old Friends" (Viejos Amigos)
Uruguay
Last year the country decided to take a chance and submit the adorable animated film “Anina,” which despite not getting a nomination has become a great success. This time they have “The Militant,” a serious contender about a man retuning to his late father’s hometown. Empowered by a positive festival run, this seems to be their most ideal option. “23 Seconds,” a drama about an unlikely connection between two people and “Mr. Kaplan,” a buddy comedy by Álvaro Brechner - whose previous film “A Bad Day to Go Fishing” was selected a few years back - are the next best choices. The remaining film “At 60 km/h” is a documentary about a unique journey around the world.
1. "The Militant" (El Lugar del Hijo)
2. "23 Seconds" (23 Segundos)
3. "Mr. Kaplan"
4. "At 60 Km/h" (A 60 Km/h)
Venezuela
Dubbed as “the most expensive film ever made in Latin America” and focusing on the accomplishments of the country’s most important historical figure, selecting “The Liberator” is simply a no-brainer. Added to those qualities, the film is actually an elegantly achieved period piece that really showcases the sizable budget and director Alberto Arvelo’s talent. Two of his previous films have also represented his country in the past. On the other hand, this has been a monumental year for Venezuelan films. Festival darling “Bad Hair” would be the perfect choice if it weren’t going against the imposing major production. Other important films that could figure in the mix but have much less prospects are the emotional road-trip film “The Longest Distance,” the women-centered drama “Liz in September,” and the acclaimed thriller “Solo.”
1. "The Liberator" (El Libertador)
2. "Bad Hair" (Pelo Malo)
3. "The Longest Distance" (La Distnacia Mas Larga)
4. "Liz in September" (Liz en Septiembre)
5. "Solo"...
Having the opportunity to submit only one film, each country must carry out its own selection process. Once these decisions have been made, their chosen works will compete to make it to the nine-film shortlist, and eventually into the final five slots. Although this procedure allows for a certain degree of democracy, it also excludes all those other films that were left behind in their homelands. This, in turn, gives us a narrow view of what is being produced abroad.
Therefore, after lots of research and arduous educated guessing to put it together, the list below offers a more insightful look at this race before the actual individual selections are announced. For the sake of time, the amount of films is limited to five per country, but in some cases the choices are scarcer and less films are listed. While trying to speculate is always an uncertain endeavor, the factors taken into account to determine which are some of this year’s most important films in each country and their prospects of being chosen as their representative at the Academy Awards, were varied. Festival exposure, release date, the country’s previous submissions, and even the thematic elements of a few of them were considered to create this piece.
Clearly nothing is definitive at this point, but at the very least, this compilation will provide a sense of what the film industries in these territories are putting out and sharing with the world.
It is important to note that several of the films mentioned below are being handled by Mundial, a joint venture between Im Gobal and Canana, including "Gueros," "A Wolf at the Door," and "The Liberator."
Here is the first list dedicated to the Americas
Argentina
With four films presented at Cannes and several others receiving praise in festivals around the world, Argentina has several interesting options this year. Unfortunately, Lisandro Alonso’s period piece “Jauja” will almost certainly be ineligible due to its November release date, unless a qualifying one-week run is scheduled. That scenario seems unlikely. Screening in the Directors’ Forthnight, Diego Lerman’s “Refugee” (Refugiado) will open on October 3rd, also a few days after the deadline. That leaves the Almodovar-produced “Wild Tales” as the undisputed favorite. Acclaimed films such as “Natural Sciences," “The Third Side of the River”, “El Ardor“ (staring Gael Garcia Bernal), and “La Paz” are longer shots but still viable choices.
1. "Wild Tales" (Relatos Salvajes)
2. "Natural Sciences" (Ciencias Naturales)
3."The Ardor" (El Ardor)
4."The Third Side of the River" (La Tercera Orilla)
5."La Paz"
Bolivia
The last time the landlocked country submitted a film was back in 2009. However, this year offers several possibilities for the Bolivian film industry. Given its production value and historical theme, it is likely that - if they choose to send a film - it will be Mexican director Carlos Bolado’s “Forgotten” (Olvidados), which deals with the 70s Operation Condor. Another likely choice is “Yvy Maraey,” which highlights the mysticism of the country’s indigenous people and is the latest work by Juan Carlos Valdivia, whose films have represented Bolivia in 3 out of the 6 occasions they’ve participated. A long delayed road trip flick (“Once Upon a Time in Bolivia”) and a unique documentary (“Apricot”) round up the list of contenders.
1. "Forgotten" (Olvidados)
2. "Yvy Maraey: Land Without Evil" (Yvy Maraey: Tierra Sin Mal)
3. "Once Upon a Time in Bolivia" (Erase una vez en Bolivia)
4. "Apricot" (Durazno)
Brazil
Producing an impressive amount of films per year, the Brazilian film industry is seeing incredible progress recently. Particularly this year, the quality of works was exceptional across the board. Having such an overflow of great material could make it difficult to select just one. However, there are a few films that standout amongst the crowd. Fernando Coimbra’s debut feature “A Wolf at the Door” is undoubtedly the one to beat after receiving rave reviews and touring some of the most important international festivals. Its biggest competitors are the quiet character study “The Man of the Crowd” and the adorable coming-of-age tale “The Way He Looks.” Rounding up the top five are locally acclaimed “Runriver” and powerful Lgbt drama “Futuro Beach.”
1. "A Wolf at the Door" (O Lobo atrás da Porta)
2. "The Man of the Crowd" (O Homem das Multidões)
3. "The Way He Looks" (Hoje Eu Quero Voltar Sozinho)
4. "Riverrun" (Riocorrente)
5. "Futuro Beach" (Praia do Futuro)
Canada
This definitely seems like Xavier Dolan’s year. After sharing an award with New Wave patriarch Jean-Luc Godard in Cannes, the 25-year-old prodigy is almost a safe bet having two films that could represent his country. While “Mommy” is the clear favorite, it will have to go against “An Eye for Beauty, ” the latest film from Oscar-winner Denys Arcand. Both films will screen at Tiff in the upcoming weeks, just as time runs out for Canada to nominate a film by the end of September. Less probable but still great options are Dolan’s own “Tom at the Farm,” quirky black-and-white dramedy “Tu Dors Nicole,” and the well-received rural family drama “The Auction. ”
1. "Mommy"
2. "An Eye for Beauty" (Le Règne de la Beauté)
3. "Tom at the Farm" (Tom à la ferme)
4. "You's Sleeping Nicole" (Tu Dors Nicole)
5. "The Auction" (Le démantèlement)
Chile
Here is one of the few countries in the region with a very clear choice, but which sadly might decide to miss that opportunity. Alejandro Fernández Almendras ‘“To Kill a Man” won at Sundance, Rotterdam, Berlin, Cartagena amongst several other festivals and has received extremely positive reactions from critics and audiences. Yet, its opening date in its homeland (October 16th) might prevent it from being selected, which would be a regrettable mistake. A one-week run or an earlier release date would be a worthwhile investment. If they decide to leave it behind for next year, this great film would definitely miss its chance. If that is the case, the South American nation, which in recent years has garnered incredible success with films like “No” and “Gloria,” might decide to go with “The Dance of Reality,” the first film in over 20 years by veteran auteur Alejandro Jodorowsky. Other plausible candidates include “Illiterate” (starring Paulina Garcia), Marcela Said’s remarkable “The Summer of Flying Fish,” and historical biopic “Neruda.”
1. "To Kill a Man" (Matar a un Hombre)
2. "The Dance of Reality" (La Danza de la Realidad)
3. "Illiterate" (Las Analfabetas)
4. "The Summer of Flying Fish" (El Verano de los Peces Voladores)
5. "Neruda"
Colombia
Being forced to resort to mainstream cartel-themed fare in past occasions, this year has fortunately seen a fantastic reemergence of auteur-driven works in the country. Cartagena winner “Dust on the Tongue” is by far the most promising Colombian offer of the year with a thought-provoking premise. Next in line is “Mateo” about a young man struggling to pursue his passion for theater while living in a crime-ridden community. Other films include the touching “Catching Fireflies,” apocalyptic comedy “Chronicle of the End of the World,” and music-infused romance “Ciudad Delirio.” Franco Lolli’s award-winning “Gente de Bien” doesn’t have a release date yet, but will probably be in the running next year.
1. "Dust on the Tongue" (Tierra en la Lengua)
2. "Mateo"
3. "Chasing Fireflies" (Cazando Luciernagas)
4. "Chronicle of the End of the World" (Crónica del Fin del Mundo)
5. "Ciudad Delirio"
Costa Rica
Having three great films eligible for consideration, Costa Rica will likely enter the Oscar race for what would be only the third time in its history. Without a doubt, the country is spearheading Central America in terms of increased film production. Lauded throughout multiple festivals, “Red Princesses,” about a girl growing up in the Sandinista-era, is the most notable work. “Port Father,” a coming-of-age drama set in a coastal town and the comedy “All About the Feathers” are the other two that could be picked. Regardless of which one is selected, they all serve as an encouraging sign of growth for the Costa Rican industry.
1. "Red Princesses" (Princesas Rojas)
2. "Port Father" (Puerto Padre)
3. "All About the Feathers" (Por las Plumas)
Cuba
Hosting the Havana International Film Festival and its consistent investment in local talent make Cuba a unique place for film in the Caribbean. In spite of this, only a few national productions have reached cinemas this year. The three notable titles revolve around personal stories of survival and the struggles associated with living on the island. Winner of several international awards, “Behavior” is the clear favorite. “Melaza,” another local drama dealing with the economic challenges Cubans face and the gay love story “The Last Match,” complete the trio.
1. "Behavior" (Conducta)
2."Melaza"
3. "The Last Match" (La Partida)
Dominican Republic
For its size, this island nation has an impressive working industry that steadily produces films in diverse genres. The Dominican Republic will almost certainly participate again with one of the works by its homegrown talent. Screening in Toronto last year, crime romance “Cristo Rey” has the highest probability of being chosen. In second place is the documentary “The Mountain,” which centers on a unique expedition to Mount Everest by a Dominican team. Passionate road trip story “To the South of Innocence” and psychological thriller “Despertar ” conform the list of options.
1. "Cristo Rey"
2. "The Mountain"(La Montaña)
3. "To the South of Innocence" (Al Sur de la Inocencia)
4. "Despertar"
Ecuador
Seemingly dormant for many decades, the Ecuadorian film industry has recently exploded. Even though they have only submitted three times in the past, it appears they plan to make their presence more consistent moving forward. What is even more surprising, are the numerous alternatives they have to make their selection. At the top of the list is “Holiday,” which premiered in Berlin and has received considerable praise. Two other art house offers, “Silence in Dreamland” and “Saudade,” could be serious contenders. “Girl Without Fear,” a gritty crime film and “The Facilitator,” a politically charged work, have less chances but are still interesting offers.
1. "Holiday" (Feriado)
2. "Silence in Dreamland" (El Silencio en la Tierra de los Sueños)
3. "Saudade"
4. "Girl With No Fear" (Ciudad Sin Sombra)
5. "The Facilitator" (El Facilitador)
El Salvador
Sporadically producing feature length works due to the lack of initiatives that facilitate their funding, El Salvador has never entered the race. Nevertheless, there are three films that could potentially be submitted: Supernatural horror film "The Supreme Book," romantic comedy "The Re-Search," and the more viable choice, " The Four Cardinal Points," a documentary about the diverse lifestyles throughout the tiny country. The latter was exhibited commercially as part of Ambulante El Salvador for about a week, which could possibly make it eligible. But in all honesty, it is hard to think they’ll feel so inclined as to participate.
1. "El Salvador: The Four Cardinal Points" (El Salvador: Cuatro Puntos Cardinales)
2. "The Re-Search" (La ReBusqueda)
3. "The Supreme Book" (El Libro Supremo)
Guatemala
With only one submission under their belt back in 1994 and several missed opportunities in recent years, Guatemala might opt to remain out of the spotlight once again. If, however, they change their mind, there are three films that qualify to be entered. Focusing on the indigenous Maya‘s beliefs and legends, “Where the Sun is Born” is surely the most authentic and visually powerful of these films. Then there is “Pol,” a story about two teenage friends and their mishaps. Lastly, there is “12 Seconds,” a sort of slasher flick set in the countryside. It’s been 20 years since their last try, it wouldn’t hurt to see them make the effort once again.
1. "Where the Sun is Born" (Donde Nace el Sol)
2. "Pol"
3. "12 Seconds" (12 Segundos)
Honduras
Although they have never submitted an entry, the Central American country is showing signs of progress in terms of its film industry. With only two local, low budget films released this year, it is highly unlikely they will enter. Nevertheless, they do have an eligible film “11 Cipotes,” a sports comedy about a soccer team in a small town. The other film, “The Zwickys,” is surprisingly ineligible because it is mostly in English.
1. "11 Kids" (11 Cipotes)
Mexico
Now that the Mexican Academy has announced their shortlist - which strangely and inexplicably includes titles that have no scheduled release dates or that will be released after AMPAS' deadline (September 30th, 2014) - the landscape has dramatically changed. Three of the original selections mentioned here (“The Empty Hours,” “Potosi,” and “ Club Sandwich”) are not included among the finalists. It is important to note that films need to be submitted by the filmmakers in order to be considered by the Mexican Academy. One can assume that these films, though they qualify, decided not to participate. The 21 films listed include several documentaries such as “Purgatorio: A Journey Into the Heart of the Border,” “Disrupted” (Quebranto), “Eufrosina’s Revolution” (La Revolución de los Alcatraces), and “H2Omx" among others. But even if many of these are outstanding films, it is highly unlikely that the Academy will decide to go with a documentary over a narrative given their track record and the other options available. Comedic offers like the charming “Paraíso” by Mariana Chenillo, "Flying Low" (Volando Bajo), and "The Last Call" (Tercera Llamada) also made it in. Just like last year with “Instructions Not Included,” most people could assume that the film with the most commercial prospects would make for a good candidate for Oscar consideration, in this case that would be the biopic “Cantinflas," which was also listed. Fortunately, however, the selection committee often prefers to bet on films honored internationally regardless of their controversial content (“Heli,” “After Lucia,” “Silent Light,” “The Crime of Father Amaro”).
With the new additions, the possibilities have shifted. On the top spot is Alonso Ruiz Palacios’ black and white debut “Güeros,” which won in Berlin and Tribeca, and screened at Karlovy Vary. The festival pedigree will definitely help this unique road trip film set in Mexico City during the late 90s. The runner up is Luis Urquiza’s “Perfect Obedience,” though it did not have any festival exposure or a highly profitable theatrical run, the local critics praised the compelling portrayal of a depraved Catholic priest with satirical undertones. It would definitely make for a great contender if the Academy were willing to run the risk given its controversial subject matter. At number three we have Christian Diaz Pardo’s “Gonzalez,” an intriguing drama about a man looking to change his destiny by joining a for profit evangelical church. Dark comedy “ Workers,” by Salvadoran filmmaker Jose Luis Valle, comes in at number four. Lastly, there is Luis Estrada’s long awaited new film “The Perfect Dictatorship,” which made the cut despite having an October 16th release date. The film could definitely come into play; however, voters should consider the fact that its premise and humor might be too specific to the Mexican political idiosyncrasies to connect with foreign voters. Two other films that might be in the race next year are “Perpetual Sadness” (La Tirisia) and “ The Well” (Manto Acuifero)
1."Güeros"
2. "Perfect Obedience" (Obediencia Perfecta)
3. "Gonzalez"
4. "Workers"
5. "The Perfect Dictatorship" (La Dictadura Perfecta)
Nicaragua
With three submissions in over 30 years (1982, 1988, 2010), Nicaragua is the Central American nation with the most attempts at Oscar glory. More astonishing perhaps, is the fact that their first ever entry, “Alsino and the Condor,” earned them a nomination. These days production is almost non-existent. Still, the country’s most prolific filmmaker Florence Jaugey, responsible for their last submission “La Yuma,” made a small documentary titled “Class Days." It is just over 50 minutes long but actually had a theatrical run. Though eligible, it’s probable they’ll decide to skip this year. On the other hand, Jaugey has just finished a new narrative new feature, “The Naked Screen” (La Pantalla Desnuda), which will surely be part of the conversation next year.
1. "Class Days" (Dias de Clase)
Panama
An unprecedented amount of national productions were scheduled to premier in Panama during 2014. All of those four films - which by the country’s standards is an exceptional number - are documentaries. However, only two of them will be eligible given their set release dates. Out of those two, the top choice would certainly be Abner Benaim’s “Invasion” which uses reenactments in lieu of archive footage to revisit the American military intervention in the Central American country in 1989. The runner-up, “Majesty,” deals with the more lighthearted subject of carnival queens. In any case, should Panama decide to submit a film, this would be their first ever appearance.
1. "Invasion"
2. "Majesty" (Reinas)
Paraguay
Disappointed after missing the chance to submit last year's surprise hit “7 Boxes”due to the lack of a selection committee, Paraguayan authorities have stressed their wish to send a film to compete this time around. Unfortunately, it appears that their two best options might be scheduled to open theatrically past the Academy’s deadline. The documentary “Cloudy Times,” a Swiss co-production, has garnered positive reactions internationally and would be their best shot. A second choice could be the crime flick “Filthy Luck,” which sports a decent production value. But if neither of them manages to qualify, then the country’s only other option is yet another crime film “End of the Line.” In any case, hopefully they follow through with their intentions and participate for the first time.
1. "Cloudy Times" (El Tiempo Nublado)
2. "Filthy Luck" (Luna de Cigarras)
3. "End of the Line" (Fin de Linea)
Peru
The eclectic collection of Peruvian films released this year speaks of the great development the medium is experiencing in that country. The five films mentioned here represent the array of genres and stories coming out of Peru today. Given its incredible reception abroad, dark comedy “The Mute” by Daniel Vega Vidal & Diego Vega Vidal is undoubtedly the frontrunner. Behind it comes the intriguing thriller “Guard Dog” starring Peruvian star Carlos Alcántara, multi-narrative drama “The Gospel of the Flesh,” romantic tearjerker “Trip to Timbuktu,” and “Old Friends” about a group of elderly men on a mission. Definitely a though decision needs to be made.
1. "The Mute" (El Mudo)
2. "Guard Dog" (Perro Guardian)
3. "The Gospel of the Flesh" (El Evangelio de la Carne)
4. "Trip to Timbuktu" (Viaje a Tombuctu)
5. "Old Friends" (Viejos Amigos)
Uruguay
Last year the country decided to take a chance and submit the adorable animated film “Anina,” which despite not getting a nomination has become a great success. This time they have “The Militant,” a serious contender about a man retuning to his late father’s hometown. Empowered by a positive festival run, this seems to be their most ideal option. “23 Seconds,” a drama about an unlikely connection between two people and “Mr. Kaplan,” a buddy comedy by Álvaro Brechner - whose previous film “A Bad Day to Go Fishing” was selected a few years back - are the next best choices. The remaining film “At 60 km/h” is a documentary about a unique journey around the world.
1. "The Militant" (El Lugar del Hijo)
2. "23 Seconds" (23 Segundos)
3. "Mr. Kaplan"
4. "At 60 Km/h" (A 60 Km/h)
Venezuela
Dubbed as “the most expensive film ever made in Latin America” and focusing on the accomplishments of the country’s most important historical figure, selecting “The Liberator” is simply a no-brainer. Added to those qualities, the film is actually an elegantly achieved period piece that really showcases the sizable budget and director Alberto Arvelo’s talent. Two of his previous films have also represented his country in the past. On the other hand, this has been a monumental year for Venezuelan films. Festival darling “Bad Hair” would be the perfect choice if it weren’t going against the imposing major production. Other important films that could figure in the mix but have much less prospects are the emotional road-trip film “The Longest Distance,” the women-centered drama “Liz in September,” and the acclaimed thriller “Solo.”
1. "The Liberator" (El Libertador)
2. "Bad Hair" (Pelo Malo)
3. "The Longest Distance" (La Distnacia Mas Larga)
4. "Liz in September" (Liz en Septiembre)
5. "Solo"...
- 8/22/2014
- by Carlos Aguilar
- Sydney's Buzz
What makes films about religion so interesting is the way some manage to tread a line between support and criticism, while some are vehemently anti-religion or pro-religion. When all is said and done, it’s up to the audience to decide whether or not the film (or the faith portrayed) is a respectful or perceptive study on faith and the dogmatic principles that may or may not surround it. Not every religious film is uplifting. In fact, there are plenty of non-religious films that do a better job of building viewers’ faith. But that’s another list for another time.
30. Beyond the Hills (2012)
Directed by Cristian Mingiu
Five years after his punishing 4 Months, 3 Weeks and 2 Days, Christian Mingiu delivered an interesting look at a lifelong friendship formed at an orphanage. Beyond the Hills tells the story of two women, based on non-fiction novels by Tatiana Niculescu Bran: Alina (Cristina Flutur) has fled to Germany,...
30. Beyond the Hills (2012)
Directed by Cristian Mingiu
Five years after his punishing 4 Months, 3 Weeks and 2 Days, Christian Mingiu delivered an interesting look at a lifelong friendship formed at an orphanage. Beyond the Hills tells the story of two women, based on non-fiction novels by Tatiana Niculescu Bran: Alina (Cristina Flutur) has fled to Germany,...
- 4/7/2014
- by Joshua Gaul
- SoundOnSight
Mexican director Carlos Reygadas (Japón, Silent Light) had critics divided with his latest, Post Tenebras Lux (the title is a Latin phrase meaning “after darkness, light”). Met with boos following its premiere at Cannes last year (although it went on to win the Best Director prize), Post Tenebras Lux represents the director’s attempt to make a personal work. This week we sit down and discuss its many unforgettable and ominous images. After we take time to also discuss Terence Malick’s beautiful, compassionate, tragic and transcendent To The Wonder – also booed at Cannes. Joining us this week is Sound On Sight contributor Zachary Lewis – also of In Review Online.
Playlist:
Andy Quin – “Awakening”
Chapel – “Satan’s Rock n Roll
Please give us a rating on iTunes. It would be very much appreciated!
Listen on iTunes
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Follow Simon...
Playlist:
Andy Quin – “Awakening”
Chapel – “Satan’s Rock n Roll
Please give us a rating on iTunes. It would be very much appreciated!
Listen on iTunes
Like us on Facebook
Follow Ricky on Twitter
Follow Josh on Twitter
Follow Simon...
- 2/7/2014
- by Sound On Sight Podcast
- SoundOnSight
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