A producer on Alejandro Jodorowsky’s “Endless Poetry” is fighting to reclaim a $200,000 loan repayment as part of an ongoing legal dispute with the cult filmmaker’s Satori Films banner.
A Paris tribunal has directed Satori Films to pay Amir Abbas Nokhasteh, an executive producer on “Endless Poetry,” almost $200,000 in repayment of a loan from the producer that was used to make the 2016 film.
A March 2020 court order from the Judicial Tribunal of Paris, seen by Variety, required Satori Films to pay a provisional sum of $193,484.01 as repayment of a $200,000 loan on the film, plus $3,563 in legal costs. However, Satori Films, of which Jodorowsky owns 94%, filed for voluntary liquidation on July 23, according to filings on France’s Infogreffe registry, seen by Variety.
“I’m not looking for sympathy at all. It is more about shedding a light on something that is happening,” Nokhasteh tells Variety.
The origins of the dispute stretch back to 2015 when Jodorowsky,...
A Paris tribunal has directed Satori Films to pay Amir Abbas Nokhasteh, an executive producer on “Endless Poetry,” almost $200,000 in repayment of a loan from the producer that was used to make the 2016 film.
A March 2020 court order from the Judicial Tribunal of Paris, seen by Variety, required Satori Films to pay a provisional sum of $193,484.01 as repayment of a $200,000 loan on the film, plus $3,563 in legal costs. However, Satori Films, of which Jodorowsky owns 94%, filed for voluntary liquidation on July 23, according to filings on France’s Infogreffe registry, seen by Variety.
“I’m not looking for sympathy at all. It is more about shedding a light on something that is happening,” Nokhasteh tells Variety.
The origins of the dispute stretch back to 2015 when Jodorowsky,...
- 7/8/2020
- de Naman Ramachandran
- Variety Film + TV
With the psychedelic zaniness of “El Topo” and “The Holy Mountain,” Chilean-born director Alejandro Jodorowsky invented the concept of the midnight movie, but even the filmmaker’s most outrageous gambles weren’t weird-for-weirdness’ sake. His filmmaking matches its trippier elements with sensitive, even sensual, qualities, so it’s unsurprising that a director keen on burrowing inside his audience’s mind also fancies himself a therapist.
“Psychomagic, A Healing Art” is a wandering non-fiction collage of the shamanic service Jodorowsky has offered tortured souls for decades and allows the 91-year-old to make the case for his strange services. The result is , a dreamlike chronicle of human suffering for which Jodorowsky offers a wild solution on par with his craziest filmmaking conceits.
Jodorowsky has appeared in his own stories before, guiding audiences through autobiographical dramas “The Dance of Reality” and “Endless Poetry,” but in “Psychomagic” he’s less storyteller, more interdimensional reality show host.
“Psychomagic, A Healing Art” is a wandering non-fiction collage of the shamanic service Jodorowsky has offered tortured souls for decades and allows the 91-year-old to make the case for his strange services. The result is , a dreamlike chronicle of human suffering for which Jodorowsky offers a wild solution on par with his craziest filmmaking conceits.
Jodorowsky has appeared in his own stories before, guiding audiences through autobiographical dramas “The Dance of Reality” and “Endless Poetry,” but in “Psychomagic” he’s less storyteller, more interdimensional reality show host.
- 5/8/2020
- de Eric Kohn
- Indiewire
‘Psychomagic, a Healing Art’ Trailer: Alejandro Jodorowsky Explores the Wild World of Trauma Therapy
Sky-diving, live burial, and body paint are just a few of the wild images seen in the first trailer for “Psychomagic, a Healing Art,” the new film from Chilean director Alejandro Jodorowsky. IndieWire shares the trailer exclusively below, ahead of the film’s VOD release on August 7 via Alamo on Demand, Alamo Drafthouse’s new digital platform.
The movie’s distributor Abkco Films will drop a deluxe box set August 21 featuring 4K restorations of Jodorowsky classics such as “El Topo,” “Fando y Lis,” and “The Holy Mountain” supervised by the director using the original 35mm elements, as well as “Psychomagic, A Healing Art.” Here’s a synopsis:
“Psychomagic, A Healing Art” is an intimate exploration of the visionary director’s theory of trauma therapy. Jodorowsky’s unique concept of healing uses performance art as a vehicle to counter deep, debilitating psychic suffering with literal “acts of confrontation” in real world applications.
The movie’s distributor Abkco Films will drop a deluxe box set August 21 featuring 4K restorations of Jodorowsky classics such as “El Topo,” “Fando y Lis,” and “The Holy Mountain” supervised by the director using the original 35mm elements, as well as “Psychomagic, A Healing Art.” Here’s a synopsis:
“Psychomagic, A Healing Art” is an intimate exploration of the visionary director’s theory of trauma therapy. Jodorowsky’s unique concept of healing uses performance art as a vehicle to counter deep, debilitating psychic suffering with literal “acts of confrontation” in real world applications.
- 16/6/2020
- de Ryan Lattanzio
- Thompson on Hollywood
‘Psychomagic, a Healing Art’ Trailer: Alejandro Jodorowsky Explores the Wild World of Trauma Therapy
Sky-diving, live burial, and body paint are just a few of the wild images seen in the first trailer for “Psychomagic, a Healing Art,” the new film from Chilean director Alejandro Jodorowsky. IndieWire shares the trailer exclusively below, ahead of the film’s VOD release on August 7 via Alamo on Demand, Alamo Drafthouse’s new digital platform.
The movie’s distributor Abkco Films will drop a deluxe box set August 21 featuring 4K restorations of Jodorowsky classics such as “El Topo,” “Fando y Lis,” and “The Holy Mountain” supervised by the director using the original 35mm elements, as well as “Psychomagic, A Healing Art.” Here’s a synopsis:
“Psychomagic, A Healing Art” is an intimate exploration of the visionary director’s theory of trauma therapy. Jodorowsky’s unique concept of healing uses performance art as a vehicle to counter deep, debilitating psychic suffering with literal “acts of confrontation” in real world applications.
The movie’s distributor Abkco Films will drop a deluxe box set August 21 featuring 4K restorations of Jodorowsky classics such as “El Topo,” “Fando y Lis,” and “The Holy Mountain” supervised by the director using the original 35mm elements, as well as “Psychomagic, A Healing Art.” Here’s a synopsis:
“Psychomagic, A Healing Art” is an intimate exploration of the visionary director’s theory of trauma therapy. Jodorowsky’s unique concept of healing uses performance art as a vehicle to counter deep, debilitating psychic suffering with literal “acts of confrontation” in real world applications.
- 16/6/2020
- de Ryan Lattanzio
- Indiewire
Cult Chilean-French filmmaker Alejandro Jodorowsky’s new film, a documentary about trauma therapy titled “Psychomagic, A Healing Art,” is set to debut from Abkco Films via Alamo On Demand this summer. Alamo Drafthouse’s VOD platform will premiere the film August 7, preceded by a five-film retrospective of the “Holy Mountain” director’s best work beginning August 1. The five films included in the lineup are “Fando y Lis,” “El Topo,” “The Holy Mountain,” “The Dance of Reality,” and “Endless Poetry.” Additionally, the platform will host a virtual master class with Jodorowsky August 8.
Abkco Films will also drop a deluxe box set August 21 featuring 4K restorations of Jodorowsky classics, supervised by the director using the original 35mm elements, as well as “Psychomagic, A Healing Art.” Here’s a synopsis:
“‘Psychomagic, A Healing Art’ is an intimate exploration of the visionary director’s theory of trauma therapy. Jodorowsky’s unique concept of healing...
Abkco Films will also drop a deluxe box set August 21 featuring 4K restorations of Jodorowsky classics, supervised by the director using the original 35mm elements, as well as “Psychomagic, A Healing Art.” Here’s a synopsis:
“‘Psychomagic, A Healing Art’ is an intimate exploration of the visionary director’s theory of trauma therapy. Jodorowsky’s unique concept of healing...
- 13/6/2020
- de Ryan Lattanzio
- Indiewire
Chilean master cult filmmaker, and father of the “midnight movie,” Alejandro Jodorowsky’s latest film Psychomagic, A Healing Art will premiere in the U.S. and Canada on August 7 through an exclusive arrangement with Alamo Drafthouse‘s new VOD platform, Alamo On Demand.
Jodorowsky made two surreal classics in films of the 1970s, the spiritual western epic El Topo (1970), and The Holy Mountain (1973), which was partly funded by John Lennon. The Holy Mountain sparked controversy at the 1973 Cannes Film Festival due to its sacrilegious imagery. It also established Jodorowsky as an auteur of Surrealist Cinema. The documentary-form avant-garde movie Psychomagic, A Healing Art is being presented by Abkco Films. The ex-Beatle introduced Jodorowsky’s work to his then-manager Allen Klein, whose Abkco Music & Records houses catalogues from Sam Cooke, The Rolling Stones, Bobby Womack, The Kinks, and Marianne Faithfull. Klein had an interest in film, and would go on to produce Blindman,...
Jodorowsky made two surreal classics in films of the 1970s, the spiritual western epic El Topo (1970), and The Holy Mountain (1973), which was partly funded by John Lennon. The Holy Mountain sparked controversy at the 1973 Cannes Film Festival due to its sacrilegious imagery. It also established Jodorowsky as an auteur of Surrealist Cinema. The documentary-form avant-garde movie Psychomagic, A Healing Art is being presented by Abkco Films. The ex-Beatle introduced Jodorowsky’s work to his then-manager Allen Klein, whose Abkco Music & Records houses catalogues from Sam Cooke, The Rolling Stones, Bobby Womack, The Kinks, and Marianne Faithfull. Klein had an interest in film, and would go on to produce Blindman,...
- 13/6/2020
- de Alec Bojalad
- Den of Geek
In today’s film news roundup, a directors’s cut of “Everest” has been scheduled for release, “John Lewis: Good Trouble” has been set for international sales, RightsTrade hires Bill Lischak, Gerard Butler’s “Greenland” is scheduled and Alejandro Jodorowsky’s latest film gets a release.
Releases
MacGillivray Freeman Films has set a February release for a special director’s cut edition of the 1998 giant-screen documentary “Everest.”
The new version will be released in conjunction with the 25th anniversary of the historic 1996 storm on the world’s highest mountain. The original film is the highest-grossing giant-screen documentary of all time, earning more than $152 million in worldwide ticket sales.
Narrated by Liam Neeson, “Everest” centers on the team of four climbers who ascended Mount Everest just days after fellow
mountaineers and friends died in the 1996 disaster. Produced and directed by Greg MacGillivray, with co-directors Stephen Judson and David Breashears, the director...
Releases
MacGillivray Freeman Films has set a February release for a special director’s cut edition of the 1998 giant-screen documentary “Everest.”
The new version will be released in conjunction with the 25th anniversary of the historic 1996 storm on the world’s highest mountain. The original film is the highest-grossing giant-screen documentary of all time, earning more than $152 million in worldwide ticket sales.
Narrated by Liam Neeson, “Everest” centers on the team of four climbers who ascended Mount Everest just days after fellow
mountaineers and friends died in the 1996 disaster. Produced and directed by Greg MacGillivray, with co-directors Stephen Judson and David Breashears, the director...
- 12/6/2020
- de Dave McNary
- Variety Film + TV
The veteran director stars as a black-clad horseman on a bizarre desert quest with worrying Mansonesque overtones in his rereleased head trip of 1970
Now 90 and still a vigorously engaged public figure, the midnight-movie magus, comic-book artist and tarot enthusiast Alejandro Jodorowsky has become the touchstone for a certain kind of untamed cinema, the last survivor-practitioner of underground freaky radicalism, standing up to corporate blandness with his countercultural film-making. A remarkable late-flowering of creativity recently brought us his highly personal films The Dance of Reality (2013) and Endless Poetry (2016). Now we can see his 1970 breakthrough, El Topo (The Mole), which is on rerelease.
Influenced by Sergio Leone, Tod Browning, Luis Buñuel and (worryingly) Charles Manson, it’s a bizarre head-trip festival of occult psychedelia, heatstroke visuals, Age-of-Aquarius nude dancing and violence through poster-paint fake blood splattered about the place. After seeing El Topo in 1970, Jodorowsky superfan John Lennon famously promoted and yet...
Now 90 and still a vigorously engaged public figure, the midnight-movie magus, comic-book artist and tarot enthusiast Alejandro Jodorowsky has become the touchstone for a certain kind of untamed cinema, the last survivor-practitioner of underground freaky radicalism, standing up to corporate blandness with his countercultural film-making. A remarkable late-flowering of creativity recently brought us his highly personal films The Dance of Reality (2013) and Endless Poetry (2016). Now we can see his 1970 breakthrough, El Topo (The Mole), which is on rerelease.
Influenced by Sergio Leone, Tod Browning, Luis Buñuel and (worryingly) Charles Manson, it’s a bizarre head-trip festival of occult psychedelia, heatstroke visuals, Age-of-Aquarius nude dancing and violence through poster-paint fake blood splattered about the place. After seeing El Topo in 1970, Jodorowsky superfan John Lennon famously promoted and yet...
- 9/1/2020
- de Peter Bradshaw
- The Guardian - Film News
Here are the best films that happened to land in 2017.
15. Columbus - Kogonada
This is not just about architecture, but about spaces, what it means to share one, and what it means when we leave them. Kogonada, known for his video essays on the work of the greats, never feels textbook; Columbus is only ever steered by its heart.
14. Endless Poetry (PoesÍa Sin Fin) - Alejandro Jodorowsky
Less hard-edged than its predecessor La Danza De La Realidad (The Dance Of Reality) and in turn less overall, Endless Poetry has been labeled Jodorowsky’s most accessible film. It’s still the work of a maestro, and you’ll see nothing else like it (except its superior antecedent).
13. Raw (Grave) - Julia Ducoarnau
Who knew cannibalism would be one of the most eloquent allegories for coming of age, for the hunger and desires your parents once had in youth and feared you might acquire too?...
15. Columbus - Kogonada
This is not just about architecture, but about spaces, what it means to share one, and what it means when we leave them. Kogonada, known for his video essays on the work of the greats, never feels textbook; Columbus is only ever steered by its heart.
14. Endless Poetry (PoesÍa Sin Fin) - Alejandro Jodorowsky
Less hard-edged than its predecessor La Danza De La Realidad (The Dance Of Reality) and in turn less overall, Endless Poetry has been labeled Jodorowsky’s most accessible film. It’s still the work of a maestro, and you’ll see nothing else like it (except its superior antecedent).
13. Raw (Grave) - Julia Ducoarnau
Who knew cannibalism would be one of the most eloquent allegories for coming of age, for the hunger and desires your parents once had in youth and feared you might acquire too?...
- 1/1/2018
- de [email protected] (Aaron Hunt)
- Cinelinx
The octogenarian director Alejandro Jodorowsky relives his troubled childhood in 1930s Chile in a film of carnivalesque exuberance
The Chilean visionary Alejandro Jodorowsky’s first feature since 1990’s disappointing The Rainbow Thief is a fantastical quasi-autobiographical romp in the manner of Fellini’s Amarcord, or perhaps Guy Maddin’s My Winnipeg. Adapted from Jodorowsky’s novel La Danza de la Realidad (with elements of El Niño del Jueves Negro), this is warmer than many of the director’s most revered works, yet not in the least constrained by its intimacy and affection. On the contrary, the phantasmagorial zest that first made El Topo and The Holy Mountain midnight-movie fixtures is very much to the fore, albeit tempered by a sense of resolution and resolve – the anarchic tranquillity of age.
Continue reading...
The Chilean visionary Alejandro Jodorowsky’s first feature since 1990’s disappointing The Rainbow Thief is a fantastical quasi-autobiographical romp in the manner of Fellini’s Amarcord, or perhaps Guy Maddin’s My Winnipeg. Adapted from Jodorowsky’s novel La Danza de la Realidad (with elements of El Niño del Jueves Negro), this is warmer than many of the director’s most revered works, yet not in the least constrained by its intimacy and affection. On the contrary, the phantasmagorial zest that first made El Topo and The Holy Mountain midnight-movie fixtures is very much to the fore, albeit tempered by a sense of resolution and resolve – the anarchic tranquillity of age.
Continue reading...
- 23/8/2015
- de Mark Kermode, Observer film critic
- The Guardian - Film News
On Wednesday, May 27th, Premios Platino's hosts Alessandra Rosaldo and Juan Carlos Arciniegas alongside actor Eugenio Derbez, as well as Elvi Cano (Director Egeda Us) and Gonzalo Elvira (Fipca Mexico) will announce the nominees for the Awards in Los Angeles, CA.
During the press conference Mexican actress Kate Del Castillo will announce the recipient of the Premio de Honor (Lifetime Achievement Award). In addition Rick Nicita, Chairman of the American Cinematheque, will accept a special Platino Award to The American Cinematheque for its contribution to Iberoamerican Cinema.
Produced by Egeda, in collaboration with Fipca, the Premios Platino of Iberoamerican Cinema was born with the vocation to establish itself as a major international ceremony, promoting Latin American cinema as a whole and transcending borders. It is one of the most important tools to promote and support our film industry and all the professionals who, day after day, put forth all their effort and commitment so that audiences can enjoy the best films.
The candidates for the 2nd Platino Awards (Premios Platino) were announced during the 18th Málaga Film Festival in Spain. 73 feature films and 18 Ibero- American countries compete for the final nominations in the 14 categories for this prestigious award. The competing films had to be commercially released or premiered in an A-List Film Festival during 2014. The final nominations will be announced tomorrow at the Andaz Hotel West Hollywood. The Premios Platino Award Ceremony will take place on July 18, 2015 at Starlite Marbella in Spain.
As part of the same event The Premios Platino has distinguished the Málaga Film Festival with a special award for its contribution to the circulation and promotion of Spanish and Ibero- American cinema.
Here is the list of preselected candidates in each category ahead of tomorrow's final nominations
Premio Platino for the Best Ibero-American Fictional Film
· "Cantinflas"
(Kenio Films) (Mexico).
· "Conducta" (Behavior)
(Instituto Cubano Del Arte E Industria Cinematográfica, Rtv Comercial) (Cuba).
· "El Mudo" (The Mute)
(Maretazo Cine, Urban Factory) (Peru, Mexico).
· "El Niño"
(Vaca Films Studio, S.L., Telecinco Cinema, S.A., Ikiru Films, S.L., La Ferme! Productions, El Niño la película, A.I.E.) (Spain).
· "La Danza de la Realidad" (The Dance of Reality)
(Camera One, Pathe Y Le Soleil Films) (Chile).
· "La Dictadura Perfecta" (The Perfect Dictatorship)
(Imcine - Instituto Mexicano De Cinematografía, Estudios Churubusco Azteca, S.A., Bandidos Films, Fidecine, Eficine 226) (Mexico).
· "La Isla Mínima" (Marshland)
(Antena 3 Films, S.L., Atípica Films, S.L. y Sacromonte Films S.L.) (Spain).
· "Libertador" (The Liberator)
(Producciones Insurgentes, San Mateo Films) (Venezuela, Spain).
· "Matar a un Hombre" (To Kill a Man)
(Arizona Production, El Remanso Cine Ltda) (Chile).
· "Mr. Kaplan"
(Baobab 66 Films, S.L., Salado Media, Expresso Films) (Uruguay, Spain).
· "O Lobo Atrás da Porta" (A Wolf at the Door)
(Tc Filmes, Gullane Filmes) (Brazil).
· "Os gatos não têm vertigens" (Cats Don't Have Vertigo)
(Mgn Filmes) (Portugal).
· "Pelo Malo" (Bad Hair)
(Sudaca Films, Hanfgarn & Ufer Filmproduktion, Artefactos S.F., Imagen Latina, La Sociedad Post) (Venezuela Peru, Argentina).
· "Refugiado"
(Gale Cine, Burning Blue, El Campo Cine, Staron Films, Bellota Films, Río Rojo Contenidos) (Argentina, Colombia).
. "Relatos Salvajes" (Wild Tales)
(Kramer & Sigman Films, El Deseo P.C - S.A.) (Argentina, Spain).
Premio Platino for Best Directing
Alberto Rodríguez (Spain), for "La Isla Mínima." Alejandro Jodorowsky (Chile), for "La danza de la Realidad." Álvaro Brechner (Uruguay), for "Mr Kaplan." António-Pedro Vasconcelos (Portugal), for "Os gatos não têm vertigens." Claudia Pinto (Venezuela), for "La Distancia más Larga." Damián Szifron (Argentina), for "Relatos Salvajes." Daniel Monzón (Spain), for "El Niño." Daniel Vega (Peru) and Diego Vega (Peru), for "El Mudo." Ernesto Daranas (Cuba), for "Conducta." Fernando Coimbra (Brazil), for "O lobo atrás da porta." Fernando Pérez (Cuba), "La Pared de las Palabras." Luis Estrada (Mexico), for "La Dictadura Perfecta." Mariana Rondón (Venezuela), for "Pelo Malo." Miguel Cohan (Argentina), for "Betibú." Sebastián del Amo (Mexico), for "Cantinflas. "
Premio Platino for Best Actor
Benicio Del Toro (Puerto Rico), for Escobar. "Paraíso Perdido." Damián Alcázar (Mexico), for "La Dictadura Perfecta. Dani Rovira (Spain), for "Ocho Apellidos Vascos." Daniel Candia (Chile), for "Matar a un Hombre." Daniel Fanego (Argentina), for "Betibú." Edgar Ramírez (Venezuela), for "Libertador." Fernando Bacilio (Peru), "El Mudo." Ghilherme Lobo (Brazil), "The Way He Looks." Javier Gutiérrez (Spain), for "La Isla Mínima." Jorge Perugorría (Cuba), for "La Pared de las Palabras." Leonardo Sbaraglia (Argentina), for "Relatos Salvajes." Oscar Jaenada (Spain), by "Cantinflas." Salvador del Solar (Peru), for "El Elefante Desaparecido." Viggo Mortensen (USA), for "Jauja." Wagner Moura (Brazil), for "Futuro Beach" .
Premio Platino for Best Actress
Angie Cepeda (Colombia), for "El Elefante Desaparecido." Bárbara Lennie (Spain), by "Magical Girl." Carme Elías (Spain), for "La Distancia Más Larga." Elena Anaya (Spain), for "Todos Están Muertos." Érica Rivas (Argentina), for "Relatos Salvajes." Geraldine Chaplin (USA), for "Dólares de Arena." Isabel Santos (Cuba), for "La Pared de las Palabras." Julieta Díaz (Argentina), for "Refugiado." Laura de la Uz (Cuba), for "Vestido de Novia." Leandra Leal (Brazil), for "O Lobo Atrás da Porta." Maria do Céu Guerra (Portugal), for "Os gatos não têm vertigens." Martha Higareda (Mexico), for "Cásese Quien Pueda." Paulina García (Chile), for "Las Analfabetas." Samantha Castillo (Venezuela), for "Pelo Malo." Silvia Navarro (Mexico), for "La Dictadura Perfecta. "
Premio Platino for Best Original Score
Adán Jodorowsky (Chile), for "La Danza de la Realidad." Antonio Pinto (Brazil), for "Trash. A esperança vem do lixo." Edilio Paredes (Dominican Republic), Ramón Cordero (Dominican Republic), Benjamín de Menil (Dominican Republic), for "Dólares de Arena." Federico Jusid (Argentina), for "Betibú" Gustavo Dudamel (Venezuela), for "Libertador." Gustavo Santaolalla (Argentina), for "Relatos Salvajes." Juan A. Leyva (Cuba), Magda R. Galbán (Cuba), for "Conducta." Julio de la Rosa (Spain), for "La iIsla Mínima." Mikel Salas (Spain), for "Mr Kaplan." Pedro Subercaseaux (Chile), for "Crystal Fairy y el Cactus Mágico." Ricardo Cutz (Brazil), "O lobo atrás da porta." Roque Baños (Spain), for "El Niño." Ruy Folguera (Argentina), for" Olvidados." Selma Mutal (Peru), for "El Elefante Desaparecido." Vicent Barrière (France), for "La Distancia más Larga."
Premio Platino for Best Animated Film
"Até que a Sbórnia nos Separe" (Otto Desenhos Animados) (Brazil). "Dixie y la Rebelión Zombi" (Abra Prod. S.L.) (Spain) "El Ultimo Mago o Bilembambudín" (Fabula Producciones, Aleph Media S.A., Filmar Uno) (Argentina, Chile). "Historia de Cronopios y de Famas" (Prodarte) (Argentina). "La Leyenda de las Momias de Guanajuato" (Ánima Estudios, S.A. De C.V.) (Mexico). "La Tropa de Trapo en la Selva del Arcoíris" (Continental Producciones, S.L, Anera Films, S.L., Abano Producions, S.L. La Tropa De Trapo, S.L.) (Spain, Brazil). "Meñique" (Ficción Producciones, S.L., Estudios De Animación Icaic) (Cuba, Spain). "Mortadelo y Filemón Contra Jimmy el Cachondo" (Zeta Audiovisual y Películas Pendelton) (Spain). "The Boy and the World" (Filme de Papel) (Brazil). "Pichinguitos. Tgus, la Película" (Non Plus Ultra) (Mexico, Honduras). "Ritos de Passagem" (Liberato Produçoes Culturais) (Brazil).
Premio Platino for Best Documentary Film
• "¿Quién es Dayani Cristal?" (Canana Films, Pulse Films Limited) (Mexico).
"2014, Nacido en Gaza" (La Claqueta Pc, S.L.Contramedia Films) (Spain). "Avant" (Trivial Media Srl, Tarkio Film) (Uruguay, Argentina). "Buscando a Gastón" (Chiwake Films) (Peru). "E agora? Lémbra-me" (C.R.I.M. Produçoes, Presente Edições De Autor) (Portugal). "El Color que Cayó del Cielo" (K & S Films) (Argentina). "El Ojo del Tiburón" (Astronauta Films, Gema Films) (Argentina, Spain). "El Río que Nos Atraviesa" (Ochi Producciones, Maraisa Films Producciones) (Venezuela). "El Sueño de Todos" (S3d Films, Tridi Films) (Chile). "El Vals de los Inútiles" (La Pata De Juana, Cusicanqui Films) (Chile, Argentina). "Invasión" (Apertura Films, Ajimolido Films) (Panama, Argentina). "Maracaná" (Coral Cine, S.R.L., Tenfield S.A.) (Uruguay, Brazil). "The Salt of the Earth" (Decia Films) (Brazil) "Paco de Lucía. La búsqueda" (Ziggurat Films, S.L.) (Spain) "Pichuco" (Puente Films) (Argentina).
Premio Platino for Best Screenplay
Alberto Rodríguez (Spain), Rafael Cobos (Spain), for" La Isla Mínima." Alejandro Jodorowsky (Chile), for "La Danza de la Realidad." Álvaro Brechner (Uruguay), for "Mr. Kaplan." Anahí Berneri (Argentina), Javier Van Couter (Argentina), for "Aire Libre." Carlos Vermut (Spain), for "Magical Girl." Claudia Pinto (Venezuela), for "La Distancia Más Larga." Damián Szifron (Argentina), for "Relatos Salvajes." Daniel Ribeiro (Brazil), for "The Way He Looks." Daniel Vega (Peru), Diego Vega (Peru), for "El Mudo." Ernesto Daranas (Cuba), for "Conducta." Fernando Coimbra (Brazil), for "O lobo atrás da porta." Luis Arambilet (Dominican Republic), for "Código Paz." Luis Estrada (Mexico), Jaime Sampietro (Mexico), for "La Dictadura Perfecta." Mariana Rondón (Venezuela), for "Pelo Malo." Tiago Santos (Portugal) for "Os gatos não têm vertigens. "
Premio Platino for Best Ibero-American Fiction Debut
"10.000 Km," by Carlos Marqués- Marcet (Lastor Media, S.L., La Panda) (Spain). "23 segundos," by Dimitry Rudakov (Clever Producciones) (Uruguay). "Branco sai, preto fica," by Adirley Queirós (Cinco Da Norte Serviços Audiovisuais) (Brazil). "Ciencias Naturales," by Matías Lucchesi (Tarea Fina, Metaluna Productions) (Argentina). "Código Paz," by Pedro Urrutia (One Alliance Srl) (Dominican Republic). "Feriado" by Diego Araujo (Cepa Audiovisual S.R.L., Abacafilms, S.A., Lunafilms Audiovisual) (Ecuador, Argentina). Historias del Canal (Hypatia Films, Manglar Films, Tvn Films and Wp Films) (Panama). "La Distancia Más Larga," by Claudia Pinto (Castro Producciones Cinematograficas, S.L.U., Sin Rodeos Films C.A., Claudia Lepage) (Venezuela). "Las Vacas con Gafas," by Alex Santiago Pérez (Cozy Light Pictures) (Puerto Rico). "Luna de Cigarras," by Jorge Bedoya (Oima Films, Koreko Gua, S.R.L., Sabate Films) (Paraguay). "Mateo," by Maria Gamboa (Hangar Filmsdiafragma, Fabrica De Peliculas, Cine Sud Promotion) (Colombia). "Perro Guardian," by Bacha Caravedo, Chinón Higashionna (Señor Z)(Peru). "Vestido de Novia," by Marilyn Solaya (Icaic) (Cuba). "Visitantes," by Acan Coen (Sobrevivientes Films, Akira Producciones, Nodancingtoday) (Mexico). "Volantín Cortao," by Diego Ayala and Aníbal Jofré (Gallinazo Films) (Chile)...
During the press conference Mexican actress Kate Del Castillo will announce the recipient of the Premio de Honor (Lifetime Achievement Award). In addition Rick Nicita, Chairman of the American Cinematheque, will accept a special Platino Award to The American Cinematheque for its contribution to Iberoamerican Cinema.
Produced by Egeda, in collaboration with Fipca, the Premios Platino of Iberoamerican Cinema was born with the vocation to establish itself as a major international ceremony, promoting Latin American cinema as a whole and transcending borders. It is one of the most important tools to promote and support our film industry and all the professionals who, day after day, put forth all their effort and commitment so that audiences can enjoy the best films.
The candidates for the 2nd Platino Awards (Premios Platino) were announced during the 18th Málaga Film Festival in Spain. 73 feature films and 18 Ibero- American countries compete for the final nominations in the 14 categories for this prestigious award. The competing films had to be commercially released or premiered in an A-List Film Festival during 2014. The final nominations will be announced tomorrow at the Andaz Hotel West Hollywood. The Premios Platino Award Ceremony will take place on July 18, 2015 at Starlite Marbella in Spain.
As part of the same event The Premios Platino has distinguished the Málaga Film Festival with a special award for its contribution to the circulation and promotion of Spanish and Ibero- American cinema.
Here is the list of preselected candidates in each category ahead of tomorrow's final nominations
Premio Platino for the Best Ibero-American Fictional Film
· "Cantinflas"
(Kenio Films) (Mexico).
· "Conducta" (Behavior)
(Instituto Cubano Del Arte E Industria Cinematográfica, Rtv Comercial) (Cuba).
· "El Mudo" (The Mute)
(Maretazo Cine, Urban Factory) (Peru, Mexico).
· "El Niño"
(Vaca Films Studio, S.L., Telecinco Cinema, S.A., Ikiru Films, S.L., La Ferme! Productions, El Niño la película, A.I.E.) (Spain).
· "La Danza de la Realidad" (The Dance of Reality)
(Camera One, Pathe Y Le Soleil Films) (Chile).
· "La Dictadura Perfecta" (The Perfect Dictatorship)
(Imcine - Instituto Mexicano De Cinematografía, Estudios Churubusco Azteca, S.A., Bandidos Films, Fidecine, Eficine 226) (Mexico).
· "La Isla Mínima" (Marshland)
(Antena 3 Films, S.L., Atípica Films, S.L. y Sacromonte Films S.L.) (Spain).
· "Libertador" (The Liberator)
(Producciones Insurgentes, San Mateo Films) (Venezuela, Spain).
· "Matar a un Hombre" (To Kill a Man)
(Arizona Production, El Remanso Cine Ltda) (Chile).
· "Mr. Kaplan"
(Baobab 66 Films, S.L., Salado Media, Expresso Films) (Uruguay, Spain).
· "O Lobo Atrás da Porta" (A Wolf at the Door)
(Tc Filmes, Gullane Filmes) (Brazil).
· "Os gatos não têm vertigens" (Cats Don't Have Vertigo)
(Mgn Filmes) (Portugal).
· "Pelo Malo" (Bad Hair)
(Sudaca Films, Hanfgarn & Ufer Filmproduktion, Artefactos S.F., Imagen Latina, La Sociedad Post) (Venezuela Peru, Argentina).
· "Refugiado"
(Gale Cine, Burning Blue, El Campo Cine, Staron Films, Bellota Films, Río Rojo Contenidos) (Argentina, Colombia).
. "Relatos Salvajes" (Wild Tales)
(Kramer & Sigman Films, El Deseo P.C - S.A.) (Argentina, Spain).
Premio Platino for Best Directing
Alberto Rodríguez (Spain), for "La Isla Mínima." Alejandro Jodorowsky (Chile), for "La danza de la Realidad." Álvaro Brechner (Uruguay), for "Mr Kaplan." António-Pedro Vasconcelos (Portugal), for "Os gatos não têm vertigens." Claudia Pinto (Venezuela), for "La Distancia más Larga." Damián Szifron (Argentina), for "Relatos Salvajes." Daniel Monzón (Spain), for "El Niño." Daniel Vega (Peru) and Diego Vega (Peru), for "El Mudo." Ernesto Daranas (Cuba), for "Conducta." Fernando Coimbra (Brazil), for "O lobo atrás da porta." Fernando Pérez (Cuba), "La Pared de las Palabras." Luis Estrada (Mexico), for "La Dictadura Perfecta." Mariana Rondón (Venezuela), for "Pelo Malo." Miguel Cohan (Argentina), for "Betibú." Sebastián del Amo (Mexico), for "Cantinflas. "
Premio Platino for Best Actor
Benicio Del Toro (Puerto Rico), for Escobar. "Paraíso Perdido." Damián Alcázar (Mexico), for "La Dictadura Perfecta. Dani Rovira (Spain), for "Ocho Apellidos Vascos." Daniel Candia (Chile), for "Matar a un Hombre." Daniel Fanego (Argentina), for "Betibú." Edgar Ramírez (Venezuela), for "Libertador." Fernando Bacilio (Peru), "El Mudo." Ghilherme Lobo (Brazil), "The Way He Looks." Javier Gutiérrez (Spain), for "La Isla Mínima." Jorge Perugorría (Cuba), for "La Pared de las Palabras." Leonardo Sbaraglia (Argentina), for "Relatos Salvajes." Oscar Jaenada (Spain), by "Cantinflas." Salvador del Solar (Peru), for "El Elefante Desaparecido." Viggo Mortensen (USA), for "Jauja." Wagner Moura (Brazil), for "Futuro Beach" .
Premio Platino for Best Actress
Angie Cepeda (Colombia), for "El Elefante Desaparecido." Bárbara Lennie (Spain), by "Magical Girl." Carme Elías (Spain), for "La Distancia Más Larga." Elena Anaya (Spain), for "Todos Están Muertos." Érica Rivas (Argentina), for "Relatos Salvajes." Geraldine Chaplin (USA), for "Dólares de Arena." Isabel Santos (Cuba), for "La Pared de las Palabras." Julieta Díaz (Argentina), for "Refugiado." Laura de la Uz (Cuba), for "Vestido de Novia." Leandra Leal (Brazil), for "O Lobo Atrás da Porta." Maria do Céu Guerra (Portugal), for "Os gatos não têm vertigens." Martha Higareda (Mexico), for "Cásese Quien Pueda." Paulina García (Chile), for "Las Analfabetas." Samantha Castillo (Venezuela), for "Pelo Malo." Silvia Navarro (Mexico), for "La Dictadura Perfecta. "
Premio Platino for Best Original Score
Adán Jodorowsky (Chile), for "La Danza de la Realidad." Antonio Pinto (Brazil), for "Trash. A esperança vem do lixo." Edilio Paredes (Dominican Republic), Ramón Cordero (Dominican Republic), Benjamín de Menil (Dominican Republic), for "Dólares de Arena." Federico Jusid (Argentina), for "Betibú" Gustavo Dudamel (Venezuela), for "Libertador." Gustavo Santaolalla (Argentina), for "Relatos Salvajes." Juan A. Leyva (Cuba), Magda R. Galbán (Cuba), for "Conducta." Julio de la Rosa (Spain), for "La iIsla Mínima." Mikel Salas (Spain), for "Mr Kaplan." Pedro Subercaseaux (Chile), for "Crystal Fairy y el Cactus Mágico." Ricardo Cutz (Brazil), "O lobo atrás da porta." Roque Baños (Spain), for "El Niño." Ruy Folguera (Argentina), for" Olvidados." Selma Mutal (Peru), for "El Elefante Desaparecido." Vicent Barrière (France), for "La Distancia más Larga."
Premio Platino for Best Animated Film
"Até que a Sbórnia nos Separe" (Otto Desenhos Animados) (Brazil). "Dixie y la Rebelión Zombi" (Abra Prod. S.L.) (Spain) "El Ultimo Mago o Bilembambudín" (Fabula Producciones, Aleph Media S.A., Filmar Uno) (Argentina, Chile). "Historia de Cronopios y de Famas" (Prodarte) (Argentina). "La Leyenda de las Momias de Guanajuato" (Ánima Estudios, S.A. De C.V.) (Mexico). "La Tropa de Trapo en la Selva del Arcoíris" (Continental Producciones, S.L, Anera Films, S.L., Abano Producions, S.L. La Tropa De Trapo, S.L.) (Spain, Brazil). "Meñique" (Ficción Producciones, S.L., Estudios De Animación Icaic) (Cuba, Spain). "Mortadelo y Filemón Contra Jimmy el Cachondo" (Zeta Audiovisual y Películas Pendelton) (Spain). "The Boy and the World" (Filme de Papel) (Brazil). "Pichinguitos. Tgus, la Película" (Non Plus Ultra) (Mexico, Honduras). "Ritos de Passagem" (Liberato Produçoes Culturais) (Brazil).
Premio Platino for Best Documentary Film
• "¿Quién es Dayani Cristal?" (Canana Films, Pulse Films Limited) (Mexico).
"2014, Nacido en Gaza" (La Claqueta Pc, S.L.Contramedia Films) (Spain). "Avant" (Trivial Media Srl, Tarkio Film) (Uruguay, Argentina). "Buscando a Gastón" (Chiwake Films) (Peru). "E agora? Lémbra-me" (C.R.I.M. Produçoes, Presente Edições De Autor) (Portugal). "El Color que Cayó del Cielo" (K & S Films) (Argentina). "El Ojo del Tiburón" (Astronauta Films, Gema Films) (Argentina, Spain). "El Río que Nos Atraviesa" (Ochi Producciones, Maraisa Films Producciones) (Venezuela). "El Sueño de Todos" (S3d Films, Tridi Films) (Chile). "El Vals de los Inútiles" (La Pata De Juana, Cusicanqui Films) (Chile, Argentina). "Invasión" (Apertura Films, Ajimolido Films) (Panama, Argentina). "Maracaná" (Coral Cine, S.R.L., Tenfield S.A.) (Uruguay, Brazil). "The Salt of the Earth" (Decia Films) (Brazil) "Paco de Lucía. La búsqueda" (Ziggurat Films, S.L.) (Spain) "Pichuco" (Puente Films) (Argentina).
Premio Platino for Best Screenplay
Alberto Rodríguez (Spain), Rafael Cobos (Spain), for" La Isla Mínima." Alejandro Jodorowsky (Chile), for "La Danza de la Realidad." Álvaro Brechner (Uruguay), for "Mr. Kaplan." Anahí Berneri (Argentina), Javier Van Couter (Argentina), for "Aire Libre." Carlos Vermut (Spain), for "Magical Girl." Claudia Pinto (Venezuela), for "La Distancia Más Larga." Damián Szifron (Argentina), for "Relatos Salvajes." Daniel Ribeiro (Brazil), for "The Way He Looks." Daniel Vega (Peru), Diego Vega (Peru), for "El Mudo." Ernesto Daranas (Cuba), for "Conducta." Fernando Coimbra (Brazil), for "O lobo atrás da porta." Luis Arambilet (Dominican Republic), for "Código Paz." Luis Estrada (Mexico), Jaime Sampietro (Mexico), for "La Dictadura Perfecta." Mariana Rondón (Venezuela), for "Pelo Malo." Tiago Santos (Portugal) for "Os gatos não têm vertigens. "
Premio Platino for Best Ibero-American Fiction Debut
"10.000 Km," by Carlos Marqués- Marcet (Lastor Media, S.L., La Panda) (Spain). "23 segundos," by Dimitry Rudakov (Clever Producciones) (Uruguay). "Branco sai, preto fica," by Adirley Queirós (Cinco Da Norte Serviços Audiovisuais) (Brazil). "Ciencias Naturales," by Matías Lucchesi (Tarea Fina, Metaluna Productions) (Argentina). "Código Paz," by Pedro Urrutia (One Alliance Srl) (Dominican Republic). "Feriado" by Diego Araujo (Cepa Audiovisual S.R.L., Abacafilms, S.A., Lunafilms Audiovisual) (Ecuador, Argentina). Historias del Canal (Hypatia Films, Manglar Films, Tvn Films and Wp Films) (Panama). "La Distancia Más Larga," by Claudia Pinto (Castro Producciones Cinematograficas, S.L.U., Sin Rodeos Films C.A., Claudia Lepage) (Venezuela). "Las Vacas con Gafas," by Alex Santiago Pérez (Cozy Light Pictures) (Puerto Rico). "Luna de Cigarras," by Jorge Bedoya (Oima Films, Koreko Gua, S.R.L., Sabate Films) (Paraguay). "Mateo," by Maria Gamboa (Hangar Filmsdiafragma, Fabrica De Peliculas, Cine Sud Promotion) (Colombia). "Perro Guardian," by Bacha Caravedo, Chinón Higashionna (Señor Z)(Peru). "Vestido de Novia," by Marilyn Solaya (Icaic) (Cuba). "Visitantes," by Acan Coen (Sobrevivientes Films, Akira Producciones, Nodancingtoday) (Mexico). "Volantín Cortao," by Diego Ayala and Aníbal Jofré (Gallinazo Films) (Chile)...
- 26/5/2015
- de Sydney Levine
- Sydney's Buzz
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"...
- 22/8/2014
- de Carlos Aguilar
- Sydney's Buzz
When we first meet the young-boy version of Alejandro Jodorowsky in his new "imaginary autobiography" The Dance with Reality (aka La Danza de la Realidad), he is wearing a long blond wig and watching in terror as his dad brawls with two effeminate clowns under a colorful big top. So yes, anyone who worried that the Chilean master of surrealism might be dealing with "reality" in the objective sense of the word this time needn't have. Instead, Jodorowsky delivers a sprawling account of his formative years growing up in Chile that is weird, funny, brutal and ultimately, quite touching. It's The 400 Blows filtered through Voltaire and Fellini, with Jodorowsky's singularly bizarre sensibility keeping it anchored in a world removed any we've entered before (save...
[Read the whole post on twitchfilm.com...]...
[Read the whole post on twitchfilm.com...]...
- 22/5/2014
- Screen Anarchy
In 1974, the Chilean-born filmmaker Alejandro Jodorowsky was coming off the dual successes of his films El Topo and The Holy Mountain. The former, a violent Spaghetti Western, pioneered the concept of the midnight movie in the U.S.; the latter was a surreal tale full of tarot-card imagery that was a huge box office hit in Europe. (Deacdes later, Kanye West would claim The Holy Mountain was the inspiration for the look of his Yeezus tour.) Sensing that Jodorowsky was not just an artist but a visionary, French producer and...
- 19/3/2014
- Rollingstone.com
"The darkness... is swallowing everything!" Abkco has debuted the Us trailer for Alejandro Jodorowsky's first new film in 23 years, titled The Dance of Reality, a sort of oddly whimsical biographical look back at his own upbringing in Chile. For those unfamiliar, Jodorowksy is a Chilean filmmaker behind El Topo and Holy Mountain and is the subject of the outstanding doc Jodorowsky's Dune. He is back with his first film in over 20 years and it's very, very weird (I saw it in Cannes last year) and yet endearing in only the ways Jodo can deliver. This trailer might not make much sense, but oddly I think that is the point. Give it a shot. Here's the first trailer for Jodorowsky's The Dance of Reality, or La danza de la realidad, via YouTube: "Having broken away from my illusory self, I was desperately seeking a path and a meaning to life.
- 7/2/2014
- de Alex Billington
- firstshowing.net
Screening in tandem with Jodorowsky's Dune is the cult director's first film in 23 years, and although it never reaches the fullblown mystical madness of his '70s heyday, La Danza De La Realidad is definitely like nothing else in the festival. Alejandro Jodorowsky himself describes the film as “an imaginary autobiography”, charting his childhood years in the small Chilean town of Tocopilla, and its surreal flourishes, not to mention a 130-minute running time, will make this a tough watch for all but the most excitable Jodorowsky fans. Jodorowsky's son Brontis plays the lead – his grandfather (and the director's father) Jaime – as the director digs back into his roots. Now a shop-owner, Jaime is an immigrant former prize-fighter who toured with a circus. The first scenes prompted a walkout after just five minutes, with the arrival of a man dressed as a transvestite carrot. But although it has many moments of...
- 20/5/2013
- EmpireOnline
The Past (Asghar Farhadi, France)
Competition
I had forgotten what had rubbed me the wrong way about Farhadi's A Separation, but it didn't take The Past more than five minutes before a single cut jolted my memory of the writer-director's schematic, super-literal style of filming his scripts. For such an actor-based approach—the last three films of Farhadi's being heated, nearly claustrophobic personal encounters in small spaces—The Past's lack of a sense of the cinematic freedom one can get from forming a film around the actors (rather than the other way around) is disheartening. The deliberateness of every gesture and prop, every feeling, thought and subtext spoken out loud seems a kind of humanist-realism version of Haneke's relentlessly obvious cinema. It is minus Haneke's chiding, of course, but is certainly didactic, cloaked in the “unfolding” of “drama” (in the Classical Hollywood sense of invisible form, rather than Haneke's clinical-analytic...
Competition
I had forgotten what had rubbed me the wrong way about Farhadi's A Separation, but it didn't take The Past more than five minutes before a single cut jolted my memory of the writer-director's schematic, super-literal style of filming his scripts. For such an actor-based approach—the last three films of Farhadi's being heated, nearly claustrophobic personal encounters in small spaces—The Past's lack of a sense of the cinematic freedom one can get from forming a film around the actors (rather than the other way around) is disheartening. The deliberateness of every gesture and prop, every feeling, thought and subtext spoken out loud seems a kind of humanist-realism version of Haneke's relentlessly obvious cinema. It is minus Haneke's chiding, of course, but is certainly didactic, cloaked in the “unfolding” of “drama” (in the Classical Hollywood sense of invisible form, rather than Haneke's clinical-analytic...
- 20/5/2013
- de Daniel Kasman
- MUBI
Well, here's one name we didn't expect to figure so prominently at Cannes this year -- Alejandro Jodorowksy. The 84-year-old director will not only have his first feature in over twenty years unveiled, but he will also be the subject of a documentary that is sure to get cinephiles very, very excited. The Cannes Directors' Fortnight have unveiled their slate and it should be a rewarding experience for those looking for some adventurous cinema. Like we said, Jodorowsky features twice, with his "La Danza De La Realidad" (aka "The Dance Of Reality") -- based on his own autobiography -- making its debut. Meanwhile Frank Pavich's "Jodorowsky's Dune" -- which has been in the works for a few years now -- is completed, and will explore the filmmaker's aborted version of "Dune" that would have included the artistic talents of Salvador Dali, Douglas Trumbull, Michel Seydoux, Pink Floyd, Moebius, Dan O’Bannon and H.R. Giger.
- 23/4/2013
- de Kevin Jagernauth
- The Playlist
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