Iair Said’s first fiction feature, “Most People Die on Sundays,” will world premiere in this year’s Acid section at Cannes, although until recently, the filmmaker knew little about the platform.
“It was something new to me,” he told Variety in a recent interview when asked about being picked for this year’s lineup. “I’m not very informed about these kinds of industry things; I just make films to express myself.”
Although the Acid sidebar is new to Said, this isn’t his first time at Cannes. The director’s second short film, “Presente imperfecto,” screened in the festival’s main short film competition in 2015.
Loosely based on Said’s real-life experiences when his own father died, “Most People Die on Sunday” is the story of David, a chubby, promiscuous, gay, middle-class Jewish man from Buenos Aires in his 30s who lives in a state of arrested development.
“It was something new to me,” he told Variety in a recent interview when asked about being picked for this year’s lineup. “I’m not very informed about these kinds of industry things; I just make films to express myself.”
Although the Acid sidebar is new to Said, this isn’t his first time at Cannes. The director’s second short film, “Presente imperfecto,” screened in the festival’s main short film competition in 2015.
Loosely based on Said’s real-life experiences when his own father died, “Most People Die on Sunday” is the story of David, a chubby, promiscuous, gay, middle-class Jewish man from Buenos Aires in his 30s who lives in a state of arrested development.
- 5/17/2024
- by Jamie Lang
- Variety Film + TV
Iair Said’s debut feature Most People Die On Sundays has been acquired for France by distributor Jhr Films ahead of its world premiere in Cannes’ Acid programme.
The Argentinian comedy drama is already set for release in Latin America via Star+ (Disney+) and in Spain with A Contracorriente Films.
Said’s short Present Imperfect previously competed for the short film Palme d’Or.
Most People Die On Sundays centres on an overweight 30-something who returns to his native Argentina to reconnect with his mother and his Jewish family. There he embarks on a quest across Buenos Aires to quench his anxiety via driving lessons,...
The Argentinian comedy drama is already set for release in Latin America via Star+ (Disney+) and in Spain with A Contracorriente Films.
Said’s short Present Imperfect previously competed for the short film Palme d’Or.
Most People Die On Sundays centres on an overweight 30-something who returns to his native Argentina to reconnect with his mother and his Jewish family. There he embarks on a quest across Buenos Aires to quench his anxiety via driving lessons,...
- 4/29/2024
- ScreenDaily
Athens-based boutique film outfit Heretic has two titles in the Cannes Acid (Association for the International Distribution of Independent Cinemas) sidebar.
Heretic’s own Greek production, co-produced with North Macedonia’s List Production, “Kyuka Before Summer’s End,” by debut director Kostas Charamountanis, is the opening film of the Acid program. The film follows a family of three, a single father, Babis, and his twin children on the verge of adulthood, Konstantinos and Elsa, who sail to the island of Poros on the family boat for their holidays. In the midst of swimming, sunbathing and making new friends, Konstantinos and Elsa meet, unbeknownst to them, their birth mother Anna who abandoned them when they were babies. The encounter stirs up long-held feelings of resentment in Babis, resulting in a bittersweet coming-of-age journey.
“Kyuka Before Summer’s End” is produced by Danae Spathara, Giorgos Karnavas and Konstantinos Kontovrakis of Heretic, Greece...
Heretic’s own Greek production, co-produced with North Macedonia’s List Production, “Kyuka Before Summer’s End,” by debut director Kostas Charamountanis, is the opening film of the Acid program. The film follows a family of three, a single father, Babis, and his twin children on the verge of adulthood, Konstantinos and Elsa, who sail to the island of Poros on the family boat for their holidays. In the midst of swimming, sunbathing and making new friends, Konstantinos and Elsa meet, unbeknownst to them, their birth mother Anna who abandoned them when they were babies. The encounter stirs up long-held feelings of resentment in Babis, resulting in a bittersweet coming-of-age journey.
“Kyuka Before Summer’s End” is produced by Danae Spathara, Giorgos Karnavas and Konstantinos Kontovrakis of Heretic, Greece...
- 4/16/2024
- by Naman Ramachandran
- Variety Film + TV
Argentine director Paula Hernández’s “The Ravaging Wind,” toplined by Latin American star Alfredo Castro, will be the opening night film of Horizontes Latinos sidebar at the 71st edition of the San Sebastian Film Festival, which runs Sept. 22-30.
Carolina Markowicz’s “Toll,” whose producers include Brazilian giant Globo Filmes, will close the section, one of the biggest examples of San Sebastian’s long-term commitment to Latin American cinema.
In total, Horizontes will present this year 12 stories, set in Argentina, Chile, Mexico and Brazil.
Traditionally, the sidebar showcases feature films not yet released in Spain, either totally or partially produced in Latin America directed by Latino filmmakers or which are set against the backdrop or subject of Latino communities in the rest of the world.
The contenders list of the 2023 edition takes in two films who walked off with prizes at San Sebastian’s Latin American Work In Progress initiative...
Carolina Markowicz’s “Toll,” whose producers include Brazilian giant Globo Filmes, will close the section, one of the biggest examples of San Sebastian’s long-term commitment to Latin American cinema.
In total, Horizontes will present this year 12 stories, set in Argentina, Chile, Mexico and Brazil.
Traditionally, the sidebar showcases feature films not yet released in Spain, either totally or partially produced in Latin America directed by Latino filmmakers or which are set against the backdrop or subject of Latino communities in the rest of the world.
The contenders list of the 2023 edition takes in two films who walked off with prizes at San Sebastian’s Latin American Work In Progress initiative...
- 8/7/2023
- by Emiliano De Pablos
- Variety Film + TV
Twelve stories set in Argentina, Chile, Mexico and Brazil make up Horizontes Latinos, a selection of the year’s feature films, not yet released in Spain, from among all those totally or partially produced in Latin America, directed by moviemakers of Latino origin, or which are set against the backdrop or subject of Latino communities in the rest of the world. In the selection of titles competing for the Horizontes Award at San Sebastian’s 71st edition are two films to have carried off awards at the last Wip Latam –El castillo / The Castle and Estranho caminho / A Strange Path– and at the Europe-Latin America Co-Production Forum –Alemania–.
Having shown one of her previous movies in Horizontes Latinos, Los sonámbulos / The Sleepwalkers (2019), Paula Hernández returns to the section she will open with El viento que arrasa / A Ravaging Wind, a cinematic adaptation of Selva Almada’s homonymous novel. Alfredo Castro,...
Having shown one of her previous movies in Horizontes Latinos, Los sonámbulos / The Sleepwalkers (2019), Paula Hernández returns to the section she will open with El viento que arrasa / A Ravaging Wind, a cinematic adaptation of Selva Almada’s homonymous novel. Alfredo Castro,...
- 8/3/2023
- by Movies Martin Cid Magazine
- Martin Cid Magazine - Movies
Film Factory Entertainment has acquired sales rights to “Blondi,” the feature debut of Argentina’s Dolores Fonzi, star of Santiago Mitre’s Cannes Critics’ Week winner “Paulina.”
Amazon’s Prime Video has licensed “Blondi” for VOD in the U.S. and Latin America. Mitre, whose “Argentina, 1985” is being talked up as an international feature Oscar frontrunner, produces “Blondi.”
The film, now in post-production, will be brought onto the market by Film Factory at this week’s American Film Market.
“We are delighted to be part of Fonzi’s first adventure as a director. The script is moving and I am sure the film will leave no one indifferent”, Film Factory’s general director Vicente Canales told Variety.
Further producers are Agustina Llambi Campbell and Santiago Carabante at La Unión de los Ríos, Mark Johnson and Tom Williams from Gran Via Productions and Fernanda del Nido at Setembro Cine (“Una Mujer...
Amazon’s Prime Video has licensed “Blondi” for VOD in the U.S. and Latin America. Mitre, whose “Argentina, 1985” is being talked up as an international feature Oscar frontrunner, produces “Blondi.”
The film, now in post-production, will be brought onto the market by Film Factory at this week’s American Film Market.
“We are delighted to be part of Fonzi’s first adventure as a director. The script is moving and I am sure the film will leave no one indifferent”, Film Factory’s general director Vicente Canales told Variety.
Further producers are Agustina Llambi Campbell and Santiago Carabante at La Unión de los Ríos, Mark Johnson and Tom Williams from Gran Via Productions and Fernanda del Nido at Setembro Cine (“Una Mujer...
- 11/1/2022
- by John Hopewell
- Variety Film + TV
Organized alongside the Annecy International Animation Film Festival and its MIFA market, Ventana Sur’s Animation! has announced the five Latin American titles that will comprise its 2022 Works in Progress strand, unspooling Nov. 28-Dec. 2 in Buenos Aires.
The section curates feature-length animation projects from Latin America and, since 2020, has expanded its platform, hosting productions from Spain and Portugal.
Brazen animation auteur Brazil’s Otto Guerra and co-director Tania Anaya will present buzz title “The Son Of A Bitch.” Guerra is no stranger to the event: His feature project “City Of Pirates” was an Annecy Works in Progress selection in 2017. “The Son Of A Bitch” stands as the most provocative of the bunch, promising to push the boundaries, something Guerra does well.
Another anticipated selection is “Sultana’s Dream” from Spanish director Isabel Herguera (“La Gallina Ciega”), named a talent to track by Variety in 2017. Galician producer-turned-director Chelo Loureiro, who recently...
The section curates feature-length animation projects from Latin America and, since 2020, has expanded its platform, hosting productions from Spain and Portugal.
Brazen animation auteur Brazil’s Otto Guerra and co-director Tania Anaya will present buzz title “The Son Of A Bitch.” Guerra is no stranger to the event: His feature project “City Of Pirates” was an Annecy Works in Progress selection in 2017. “The Son Of A Bitch” stands as the most provocative of the bunch, promising to push the boundaries, something Guerra does well.
Another anticipated selection is “Sultana’s Dream” from Spanish director Isabel Herguera (“La Gallina Ciega”), named a talent to track by Variety in 2017. Galician producer-turned-director Chelo Loureiro, who recently...
- 10/31/2022
- by Holly Jones
- Variety Film + TV
Available today on DVD and Digital, we have an exclusive clip and character posters from Shadow of the Cat!
"Gato lives on a remote farm with his teenage daughter Emma where without even basic communications tools they’re entirely cut off from the outside world. But once Emma comes into possession of a phone, she’s contacted by a party claiming to be working on behalf of her mother, who her father claimed abandoned her at birth. Infuriated, Emma heads off on a journey of self-discovery to reconnect with her mother, all the while Gato and his best pal Sombra (Danny Trejo) race to rescue her from the grim fate she’s unknowingly heading towards.
Directed by Jose Maria Cicala and written by Cicala, Griselda Sanchez and Gustavo Lencina, Shadow of the Cat also boasts a supporting cast of Latinx talent, including Lanata, Zapata, Rita Cortese, Mónica Antonópulos, Miguel Ángel Solá,...
"Gato lives on a remote farm with his teenage daughter Emma where without even basic communications tools they’re entirely cut off from the outside world. But once Emma comes into possession of a phone, she’s contacted by a party claiming to be working on behalf of her mother, who her father claimed abandoned her at birth. Infuriated, Emma heads off on a journey of self-discovery to reconnect with her mother, all the while Gato and his best pal Sombra (Danny Trejo) race to rescue her from the grim fate she’s unknowingly heading towards.
Directed by Jose Maria Cicala and written by Cicala, Griselda Sanchez and Gustavo Lencina, Shadow of the Cat also boasts a supporting cast of Latinx talent, including Lanata, Zapata, Rita Cortese, Mónica Antonópulos, Miguel Ángel Solá,...
- 6/14/2022
- by Jonathan James
- DailyDead
Exclusive: Gravitas Ventures has acquired worldwide rights to Lance Kawas’ thriller Good Thief, also claiming North American rights to Sonny Mallhi’s Hurt and Phil Harding’s The Reunion. The Red Arrow Studios company will release the first title on Tvod and digital platforms on November 30, with the second debuting in select theaters and on internet, cable, and satellite platforms on December 10, and the third arriving on all Tvod and digital platforms in February.
Good Thief follows a pair of thieves (played by Peter Donahue and newcomer Shomari Giles) on the outskirts of Detroit who rob a neighborhood pawnbroker (Jimmy Doom) of his valuable baseball card collection, only to find out they’ve unleashed something far more sinister. Aaron Sizemore penned the script for the film, which also stars Melanie Mahanna and Bobby Laenen. Kawas produced with Hicham Benkirane’s company, Hbk F.C. Myriad Pictures is handling international sales.
Good Thief follows a pair of thieves (played by Peter Donahue and newcomer Shomari Giles) on the outskirts of Detroit who rob a neighborhood pawnbroker (Jimmy Doom) of his valuable baseball card collection, only to find out they’ve unleashed something far more sinister. Aaron Sizemore penned the script for the film, which also stars Melanie Mahanna and Bobby Laenen. Kawas produced with Hicham Benkirane’s company, Hbk F.C. Myriad Pictures is handling international sales.
- 11/5/2021
- by Matt Grobar
- Deadline Film + TV
It looks like no coincidence that two of the biggest announcements concerning celebrated Argentine movie directors and producers this year were their moves into drama series creation. In February, Netflix announced that K & S, producers of “Wild Tales,” “The Clan” and “El Angel,” will produce a series adaptation of legendary Argentine sci-fi graphic novel “El Eternauta,” with Bruno Stagnaro directing.
In March, El Estudio announced two series with another founding father of the New Argentine Cinema, Pablo Trapero: a U.S. series remake
of his movie “Carancho” and bio-series “Galimberti.”
Appointed president of Argentina’s film agency Incaa in December, director Luis Puenzo does enjoy government backing, but he faces a perfect storm.
Even before Covid-19 struck, Argentina sustained crippling inflation: 50% last year and in 2018, plus a plunging peso, which lost 77% of its dollar value from April 2018 and studios’ lock on prime exhibition slots.
Last month, coronavirus had halted some 30 shoots,...
In March, El Estudio announced two series with another founding father of the New Argentine Cinema, Pablo Trapero: a U.S. series remake
of his movie “Carancho” and bio-series “Galimberti.”
Appointed president of Argentina’s film agency Incaa in December, director Luis Puenzo does enjoy government backing, but he faces a perfect storm.
Even before Covid-19 struck, Argentina sustained crippling inflation: 50% last year and in 2018, plus a plunging peso, which lost 77% of its dollar value from April 2018 and studios’ lock on prime exhibition slots.
Last month, coronavirus had halted some 30 shoots,...
- 5/11/2020
- by John Hopewell
- Variety Film + TV
Business continues after strong response to The Sleepwalkers and Chilean drama Los Fuertes.
Buenos Aires-based boutique sales agency Meikincine has announced key Asian deals on its slate trio of When You No Longer Love Me, Delfín, and Witch.
The company led by Lucia Meik and Julia Meik licensed Japanese rights during Toronto International Film Festival (Tiff) to Interfilm Co on Marcelo Páez Cubells’ Witch (Bruja). After the festival it struck deals with Benchmark Films for Taiwan on Igor Legarreta’s drama When You No Longer Love Me (Cuando Dejes De Quererme), and Beijing Hualu Newmedia for China on Gaspar Scheuer’s Delfín.
Buenos Aires-based boutique sales agency Meikincine has announced key Asian deals on its slate trio of When You No Longer Love Me, Delfín, and Witch.
The company led by Lucia Meik and Julia Meik licensed Japanese rights during Toronto International Film Festival (Tiff) to Interfilm Co on Marcelo Páez Cubells’ Witch (Bruja). After the festival it struck deals with Benchmark Films for Taiwan on Igor Legarreta’s drama When You No Longer Love Me (Cuando Dejes De Quererme), and Beijing Hualu Newmedia for China on Gaspar Scheuer’s Delfín.
- 9/20/2019
- by Jeremy Kay
- ScreenDaily
Rita Cortese from Wild Tales, Valeria Lois to star.
Argentinian director Paula Hernández, in Tiff for her Platform selection The Sleepwalkers (Los Sonámbulos), has outlined details of her next film, Las Siameses.
Like The Sleepwalkers, the upcoming project also trains its sights on maternal relations. “It’s about a mother and daughter who take a trip to the beach,” Hernández told Screen, although she promises there will be “much more humour” in her new film.
Rita Cortese from Wild Tales and Hernández’s 2001 drama Inheritance will star opposite Valeria Lois from The Sleepwalkers as the daughter.
Juan Pablo Miller’s Argentinian Tarea Fina is producing,...
Argentinian director Paula Hernández, in Tiff for her Platform selection The Sleepwalkers (Los Sonámbulos), has outlined details of her next film, Las Siameses.
Like The Sleepwalkers, the upcoming project also trains its sights on maternal relations. “It’s about a mother and daughter who take a trip to the beach,” Hernández told Screen, although she promises there will be “much more humour” in her new film.
Rita Cortese from Wild Tales and Hernández’s 2001 drama Inheritance will star opposite Valeria Lois from The Sleepwalkers as the daughter.
Juan Pablo Miller’s Argentinian Tarea Fina is producing,...
- 9/7/2019
- by Jeremy Kay
- ScreenDaily
The following article was produced as part of the 2018 Locarno Critics Academy, a workshop for aspiring film critics that took place during the Locarno Film Festival.
The annual Filmmakers Academy at the Locarno Festival in Switzerland selects some of the most promising talents in contemporary film from around the world, offering them vital networking opportunities, screenings at the festival for their existing short films, and masterclasses with a line-up of guest directors. This year’s talks from established filmmakers included musings from Bruno Dumont and festival jurors Jia Zhangke and Sean Baker.
During the festival, five participants spoke about their work to date, their aspirations, how the conditions for filmmaking in their home countries have informed their career progress so far, and what they expect to do next.
Carolina Markowicz
Based in and originally from São Paulo, Brazil, Carolina Markowicz has written and directed five short films to date. “Tatuapé...
The annual Filmmakers Academy at the Locarno Festival in Switzerland selects some of the most promising talents in contemporary film from around the world, offering them vital networking opportunities, screenings at the festival for their existing short films, and masterclasses with a line-up of guest directors. This year’s talks from established filmmakers included musings from Bruno Dumont and festival jurors Jia Zhangke and Sean Baker.
During the festival, five participants spoke about their work to date, their aspirations, how the conditions for filmmaking in their home countries have informed their career progress so far, and what they expect to do next.
Carolina Markowicz
Based in and originally from São Paulo, Brazil, Carolina Markowicz has written and directed five short films to date. “Tatuapé...
- 8/18/2018
- by Josh Slater-Williams
- Indiewire
Chicago – Road rage, parking fines and weddings are unlikely subjects designed to showcase criminal inhumanity, but “Wild Tales” – from Argentina – takes those common themes and provides some lessons on the breakdown of our civilizaton, in a momentous prologue and five stellar stories.
Rating: 5.0/5.0
Personally, this is the nominated film that should have won the Best Foreign Language Film, because of its commonality and recognizable expression. After the audacious prologue, the titles are shown over animals in the wild, which in actuality we still are, and still inhabit. The five “wild tales” (“Relatos salvajes” in its native title) highlight murder, deception, betrayal, ignorance and the bliss of “civilization” that results from all of these societal ills. Yet as a whole it’s not a downer, because writer/director Damián Szifrón adds the spice of dark humor and a strange hope at the end. We are the sum of all our parts,...
Rating: 5.0/5.0
Personally, this is the nominated film that should have won the Best Foreign Language Film, because of its commonality and recognizable expression. After the audacious prologue, the titles are shown over animals in the wild, which in actuality we still are, and still inhabit. The five “wild tales” (“Relatos salvajes” in its native title) highlight murder, deception, betrayal, ignorance and the bliss of “civilization” that results from all of these societal ills. Yet as a whole it’s not a downer, because writer/director Damián Szifrón adds the spice of dark humor and a strange hope at the end. We are the sum of all our parts,...
- 3/1/2015
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Wild Tales (Relatos salvajes) Sony Pictures Classics Reviewed for Shockya by Harvey Karten. Data-based on Rotten Tomatoes. Grade: A- Director: Damiàn Szifrón Screenwriter: Damiàn Szifrón Cast: Ricardo Darín, Oscar Martínez, Leonardo Sbaraglia, Èrica, Rivas, Rita Cortese, Julieta Zylberberg, Darío Grandinetti Screened at: Sony, NYC, 10/21/14 Opens: February 20, 2015 Ever since the playwright Aeschylus entertained us by dramatizing the legend of Agamemnon—who gets his comeuppance from his wife Clytemnestra because of his affair with Cassandra—audiences have loved stories of revenge. But the Greek tragedians were humorless. Not so Damian Szifrón, who delights us with six stories, one more darkly comic than the other. The Argentine writer-director’s “Wild Tales” is of [ Read More ]
The post Wild Tales Movie Review appeared first on Shockya.com.
The post Wild Tales Movie Review appeared first on Shockya.com.
- 2/15/2015
- by Harvey Karten
- ShockYa
#1. "Maps to the Stars" (Feb 27)(Film Page) Director: David Cronenberg Cast: Julianne Moore, Mia Wasikowska, John Cusack, Evan Bird, Robert Pattinson, Olivia Williams Distributor: Focus World Criticwire Average: B Why is it a "Must See"? Cronenberg's followup to 2012's "Cosmopolis" (and the first project by the Canadian director shot in the United States) does a far better job of skewing capitalism's discontents by exploring their manifestations in the American movie business. Every missive hits its target hard with a comedy-horror combo aimed squarely at the kind of commercial stupidity that Cronenberg has avoided throughout his 45-year career. Now we know why. #2. "Wild Tales" (Feb 20) (Film Page) Director: Damian Szifron Cast: Ricardo Darin, Oscar Martinez, Leonardo Sbaraglia, Erica Rivas, Rita Cortese, Julieta Zylberberg, Dario Grandinetti Distributor: Sony Pictures Classics Criticwire Average: A- Why is it a "Must See"?...
- 2/2/2015
- by Indiewire
- Indiewire
The Santa Barbara International Film Festival has unveiled its 2015 line-up which includes films representing 54 countries, 23 world premieres and 53 U.S. premieres. The U.S. premiere of Niki Caro’s McFarland USA will close out the 30th fest. Based on the 1987 true story and starring Kevin Costner and Maria Bello, the film follows novice runners from McFarland, an economically challenged town in California’s farm-rich Central Valley, as they give their all to build a cross-country team under the direction of Coach Jim White (Costner), a newcomer to their predominantly Latino high school. The unlikely band of runners overcomes the odds to forge not only a championship cross-country team but an enduring legacy as well.
The festival runs from January 27-February 7.
Below is the list of World and U.S. Premiere films followed by the list of titles by sidebar categories.
World Premieres
A Better You, USA
Directed by Matt Walsh
Cast: Brian Huskey,...
The festival runs from January 27-February 7.
Below is the list of World and U.S. Premiere films followed by the list of titles by sidebar categories.
World Premieres
A Better You, USA
Directed by Matt Walsh
Cast: Brian Huskey,...
- 1/8/2015
- by The Deadline Team
- Deadline
A self-acknowledged "showcase for Academy Award frontrunners," the Santa Barbara International Film Festival is often overlooked for the actual films that earn it festival status. An amalgamation of international discoveries and ’merica’s circuit highlights, the Sbiff curates a week of best-of-the-best to pair with their star-praising. The 2015 edition offers another expansive selection, bookended by two films that aren’t on any radars just yet. Sbiff will open with "Desert Dancer," producer Richard Raymond’s directorial debut. Starring Reece Ritchie and Frieda Pinto, the drama follows a group of friends who wave off the harsh political climate of Iran’s 2009 presidential election in favor of forming a dance team, picking up moves from Michael Jackson, Gene Kelly and Rudolf Nureyev thanks to the magic of YouTube. The festival will close with "McFarland, USA," starring Kevin Costner and Maria Bello. Telling the 1987 true story of a Latino high school’s underdog cross-country team,...
- 1/8/2015
- by Matt Patches
- Hitfix
Argentina was the only Latin American country to have a film in the Official Competition in the Cannes Film Festival in 2014, eligible for the Palme d'Or. In the press conference announcing the selection, Thierry Fremaux, General Delegate of the festival, described it as “a surreal and controversial film which looks set to divide the waters in Cannes.” It also played Toronto and Telluride. It is the official selection of Argentina for consideration for the Academy Award Competition for Best Foreign Language Film.
It is a production of Argentina’s Kramer & Sigman Films and Spain’s El Deseo (Almodóvar’s production company), co-produced by Telefe, Argentina’s federal television station. It was written and directed by Damian Szifrón and stars Ricardo Darin, Leonardo Sbaraglia, Erica Rivas, Oscar Martínez, Darío Grandinetti, Rita Cortese and Julieta Zylberberg, In Argentina, it grossed $17.2 million through November 2 thus helping to push Argentina’s 2014 local film market share toward 16%-17%, according to Lucrecia Cardoso, President of Argentina’s national film body Incaa.
It is being sold internationally by Film Factory. At its entry into the marketplace at Afm in 2013, it presold to Greece -Spentzos Film Sa, So. Korea -Doki Entertainment, Taiwan -Creative Century Entertainment Co., Ltd., Latin America -Palmera International, and for parts of Europe to Warner Bros. Entertainment Europe.
In Cannes it sold to Sony Pictures Classics for No. America; Warner Bros picked up French rights and Cinéart took Benelux rights. Since then it has also sold to Mozinet for Hungary,Prokino Filmverleih for Germany, Lucky Red for Italy and Gutek Film for Poland. As of press time, it has also sold to Metropole and Mongrel for Canada, Lev Films (Shani) for Israel, Actonfilm for Norway, Pris Audiovisuais for Portugal, Cinema Prestige for Russia and Artificial Eye for U.K.
"Wild Tales" is structured in six stories of different genres. As the first story opens, the mark of Almovodor is very strong and recognizable as the characters, passengers of an airplane, discover the most outrageous coincidences as they discuss events they were part of with one specific (and the same) individual. The absurdities of civilized conversation of this segment become increasingly degraded and the ending story takes the audience on a wildly Bunuel-escapade at what is described as a Jewish Wedding. Told with such an accelerated glee, the humor of the tales is finally accepted with joy, though getting to that point only comes after some equally grueling nightmarish stories of macho madness – but oh so wickedly funny!
Perhaps more aptly titled, Savage Tales, the people in these short stories are not like wild animals as much as they are like savages in the most primitive and barbaric ways. The thin veneer of civilization quickly cracks under the pressures of the worst aspects of modern existence today in our super capitalistic societies. The inner reserves of patience and perseverance have been depleted.
We recognize ourselves in these tales and want to hide our eyes as our own savage selves are revealed. Damian Szifron’s own statement on the film attests to this.
He says,
"These tales spring from the most unrestrained corners of the imagination. While I was working to develop other projects – often dispirited by the fact that they were impossible to realize – I began writing a series of short stories to vent my frustrations. When I put them together in one volume, I realized that they were connected by a series of themes that provided unity and coherence: They were all about catharsis, vengeance and destruction. And the undeniable pleasure of losing control.
I frequently think of Western capitalist society as a sort of transparent cage that reduces our sensitivity and distorts our bonds with others. “Wild Tales” presents a group of individuals who live within this cage without being aware of its existence. But at that point where most of us would repress – or get depressed – these people shift into gear."
I watched this with a friend (Tara Fass who blogs for Huffington Post) and am hereby stealing her very apt observation, that all theses stories are told “from within”. Not only are the settings “from within”: “Pasternak” is in an airplane, “The Rats” within a kitchen which is within a restaurant, “Road to Hell” within a car, “Bombita” is an exception, although it ends within a prison, “The Deal” I have already forgotten, and “Til Death Do Us Part” takes place within a wedding hall except when the bride escapes to the roof. On a parallel track, they take place from within the psyche and burst forth explosively into the reality of existence. Sometimes horrifying and sometimes hilarious and always the dark human element gaining the upper hand, this is a movie about people experiencing a reality as it shifts and becomes unpredictable causing them to cross the thin line dividing civilization and barbarism. Everyday encounters drive these characters to madness as they cede to the undeniable pleasure of losing control.
Will it get the Academy Award? No, and I predict it will not be nominated either because it does not fit the “Academy” tastes for serious drama, and the format is less appealing than a full blown feature film that satisfies the arc of characters and plot. But it is an unforgettable experience which I hope many people will pay to see. It reminds me of “Divorce Italiian Style”. This is a wild ride, an excruciatingly delectable trip.
It is a production of Argentina’s Kramer & Sigman Films and Spain’s El Deseo (Almodóvar’s production company), co-produced by Telefe, Argentina’s federal television station. It was written and directed by Damian Szifrón and stars Ricardo Darin, Leonardo Sbaraglia, Erica Rivas, Oscar Martínez, Darío Grandinetti, Rita Cortese and Julieta Zylberberg, In Argentina, it grossed $17.2 million through November 2 thus helping to push Argentina’s 2014 local film market share toward 16%-17%, according to Lucrecia Cardoso, President of Argentina’s national film body Incaa.
It is being sold internationally by Film Factory. At its entry into the marketplace at Afm in 2013, it presold to Greece -Spentzos Film Sa, So. Korea -Doki Entertainment, Taiwan -Creative Century Entertainment Co., Ltd., Latin America -Palmera International, and for parts of Europe to Warner Bros. Entertainment Europe.
In Cannes it sold to Sony Pictures Classics for No. America; Warner Bros picked up French rights and Cinéart took Benelux rights. Since then it has also sold to Mozinet for Hungary,Prokino Filmverleih for Germany, Lucky Red for Italy and Gutek Film for Poland. As of press time, it has also sold to Metropole and Mongrel for Canada, Lev Films (Shani) for Israel, Actonfilm for Norway, Pris Audiovisuais for Portugal, Cinema Prestige for Russia and Artificial Eye for U.K.
"Wild Tales" is structured in six stories of different genres. As the first story opens, the mark of Almovodor is very strong and recognizable as the characters, passengers of an airplane, discover the most outrageous coincidences as they discuss events they were part of with one specific (and the same) individual. The absurdities of civilized conversation of this segment become increasingly degraded and the ending story takes the audience on a wildly Bunuel-escapade at what is described as a Jewish Wedding. Told with such an accelerated glee, the humor of the tales is finally accepted with joy, though getting to that point only comes after some equally grueling nightmarish stories of macho madness – but oh so wickedly funny!
Perhaps more aptly titled, Savage Tales, the people in these short stories are not like wild animals as much as they are like savages in the most primitive and barbaric ways. The thin veneer of civilization quickly cracks under the pressures of the worst aspects of modern existence today in our super capitalistic societies. The inner reserves of patience and perseverance have been depleted.
We recognize ourselves in these tales and want to hide our eyes as our own savage selves are revealed. Damian Szifron’s own statement on the film attests to this.
He says,
"These tales spring from the most unrestrained corners of the imagination. While I was working to develop other projects – often dispirited by the fact that they were impossible to realize – I began writing a series of short stories to vent my frustrations. When I put them together in one volume, I realized that they were connected by a series of themes that provided unity and coherence: They were all about catharsis, vengeance and destruction. And the undeniable pleasure of losing control.
I frequently think of Western capitalist society as a sort of transparent cage that reduces our sensitivity and distorts our bonds with others. “Wild Tales” presents a group of individuals who live within this cage without being aware of its existence. But at that point where most of us would repress – or get depressed – these people shift into gear."
I watched this with a friend (Tara Fass who blogs for Huffington Post) and am hereby stealing her very apt observation, that all theses stories are told “from within”. Not only are the settings “from within”: “Pasternak” is in an airplane, “The Rats” within a kitchen which is within a restaurant, “Road to Hell” within a car, “Bombita” is an exception, although it ends within a prison, “The Deal” I have already forgotten, and “Til Death Do Us Part” takes place within a wedding hall except when the bride escapes to the roof. On a parallel track, they take place from within the psyche and burst forth explosively into the reality of existence. Sometimes horrifying and sometimes hilarious and always the dark human element gaining the upper hand, this is a movie about people experiencing a reality as it shifts and becomes unpredictable causing them to cross the thin line dividing civilization and barbarism. Everyday encounters drive these characters to madness as they cede to the undeniable pleasure of losing control.
Will it get the Academy Award? No, and I predict it will not be nominated either because it does not fit the “Academy” tastes for serious drama, and the format is less appealing than a full blown feature film that satisfies the arc of characters and plot. But it is an unforgettable experience which I hope many people will pay to see. It reminds me of “Divorce Italiian Style”. This is a wild ride, an excruciatingly delectable trip.
- 12/8/2014
- by Sydney Levine
- Sydney's Buzz
Title: Wild Tales (Relatos Salvajes) Director: Damián Szifrón Starring: Ricardo Darín, Óscar Martínez, Leonardo Sbaraglia, Érica Rivas, Rita Cortese, Julieta Zylbergberg, Darío Grandinetti. ‘Wild Tales’ (Relatos Salvajes) is a beautifully cynical Argentine black comedy drama, that has been selected as the Argentine entry for the Best Foreign Language Film at the 87th Academy Awards. The movie can boast the blessing of producers Pedro and Agustín Almldóvar, who teamed up with co-producers Hugo Sigman, Matías Mosteirín, Esther García, Claudio Belocopitt, Gerardo Rozín. The cast (Ricardo Darín, Óscar Martínez, Leonardo Sbaraglia, Érica Rivas, Rita Cortese, Julieta Zylbergberg, Darío Grandinetti), is absolutely brilliant in giving life to the wildest and darkest sides of [ Read More ]
The post Wild Tales (Relatos Salvajes) Movie Review appeared first on Shockya.com.
The post Wild Tales (Relatos Salvajes) Movie Review appeared first on Shockya.com.
- 12/5/2014
- by Chiara Spagnoli Gabardi
- ShockYa
"It's socially committed, it's fun and it's massive"
The Argentine film "Wild Tales" (Relatos Salvajes) was part of this year's Cannes Official Selection. Here is piece on the film's recent press conference in its home country published by Filming in Argentina.
By Benjamín Harguindey
"Wild Tales" (Relatos Salvajes) is easily the most hyped movie of the year: an international big-budget co-production signed by Pedro Almodóvar, scored by Academy Award winner Gustavo Santaolalla, directed by the immensely popular TV showrunner Damián Szifron (in a comeback no less) and featuring a star-studded cast of A-list actors such as Ricardo Darín, Leonardo Sbaraglia, Oscar Martínez , Julieta Zylberberg, Rita Cortese, Erica Rivas and Darío Grandinetti . You haven’t seen a crowd-pleaser this big since "The Secret in Their Eyes."
The film is composed of a series of segments that are thematically related by everyday “slice of life” spiraling out of control and usually into the realm of dark comedy. Following a press screening, the director and his leading cast gathered around for a conference at Hoyts Abasto. They were joined by producers Axel Kuschevatzky and Hugo Sigman.
Actress Érica Rivas and writer/director Damián Szifron.
A lot of the stories in the movie are linked by the motif of social violence. Is that a comment on actuality? There’re those that refer to this social malaise. Did you mean to address it?
Szifron : I must’ve meant something by it, but I think the movie expresses so much more than just the stuff I consciously decided to address. I’m more interested in your view of the movie than mine. Regarding this “malaise”, one evidently becomes a sort of antenna that goes around picking up what’s happening in your surroundings. That happens to anybody dedicated to any form of artistic discipline. You feed on reality, and what you put up on that big screen feeds reality back. For as long as I have memory I’ve experienced this social malaise you talk about. I’ve seen it in many countries. But yes, the movie casts a critical eye on society and the distortion of social behavior.
Left to right: producer Hugo Sigman, actors Ricardo Darín, Oscar Martínez, Julieta Zylberberg, Leonardo Sbaraglia, Érica Rivas, Darío Grandinetti, Rita Cortese, writer/director Damián Szifron and producer Axel Kuschevatzky.
How did you go about putting up this “dream team” for the making of this movie?
Sigman : The actors and actresses were enormously generous in taking part of the project, their collaboration was extraordinary and I’m not just talking about their performances. We saw the finished movie at the Warner Bros. studios in Spain, with Agustín and Pedro Almodóvar. When the screening ended, the Warner CEO said “This doesn’t feel like a Spanish or a Latin American movie”. We always dreamt of doing a movie this big. Our objectives were to do a movie with [social] content, to make it fun and to make it massive. To have such a wonderful writer and director like Damián [Szifron] as well as this group of exceptional professionals is what made it possible.
Left to right: actors Julieta Zylberberg, Darío Grandinetti and Érica Rivas.
The press questions started veering towards the cast and working with Damián Szifron.
Sbaraglia : Damián is a very precise director about what he wants, absolutely precise. He always directs you with the spectator in mind. He says “I’d like the audience to think this here, I’d like the audience to feel this there”. Sure enough, once you see the movie with an audience you realize how every little tweak adds up to that one effect he was going for.
Grandinetti : It was my first time working with him, and I was pleased to find a man that knew full well what he wanted and created a very good workplace atmosphere. When we actors find a director in whom we can trust, there’s nothing we like more than letting him direct us, letting him tell us what to do. That doesn’t happen a lot. You’re thankful when that happens.
Szifron : I could speak just as gratefully about them. They say it was easy for them, but for me it was even easier because they’d come and perform excellently since take one. We bui
Left to right: actors Ricardo Darín and Oscar Martínez.
Then there was some talk about the movie’s successful stint at the Cannes Film Festival earlier this year.
Szifron : We spent hours filling the entry application, trying to figure out what genre it belonged to. It has humor, but I wouldn’t say it’s a comedy. It has drama, but I wouldn’t call it drama either, there’s a lot of laughter. One of our producers suggested the term “catastrophe movie”. I thought that sounded good. It’s about characters that go through a process of unleashing themselves. And people can relate to that pleasure of losing yourself in something.
MartÍNez : People were laughing and stomping all throughout the eve of the premiere, in every single segment. They would applaud gestures, punchlines, endings, jokes, characters’ exit… Almodóvar himself was sitting right next to me that evening and he told me that this kind of reaction was uncommon in that kind of audience, who tend to express themselves more economically. It was a wonderful night. It felt like we were watching the movie back in a theater in Argentina.
"Wild Tales" premieres August 14th in Argentina; September 17th in France, Spain and Poland and October 30th in the Netherlands.
The Argentine film "Wild Tales" (Relatos Salvajes) was part of this year's Cannes Official Selection. Here is piece on the film's recent press conference in its home country published by Filming in Argentina.
By Benjamín Harguindey
"Wild Tales" (Relatos Salvajes) is easily the most hyped movie of the year: an international big-budget co-production signed by Pedro Almodóvar, scored by Academy Award winner Gustavo Santaolalla, directed by the immensely popular TV showrunner Damián Szifron (in a comeback no less) and featuring a star-studded cast of A-list actors such as Ricardo Darín, Leonardo Sbaraglia, Oscar Martínez , Julieta Zylberberg, Rita Cortese, Erica Rivas and Darío Grandinetti . You haven’t seen a crowd-pleaser this big since "The Secret in Their Eyes."
The film is composed of a series of segments that are thematically related by everyday “slice of life” spiraling out of control and usually into the realm of dark comedy. Following a press screening, the director and his leading cast gathered around for a conference at Hoyts Abasto. They were joined by producers Axel Kuschevatzky and Hugo Sigman.
Actress Érica Rivas and writer/director Damián Szifron.
A lot of the stories in the movie are linked by the motif of social violence. Is that a comment on actuality? There’re those that refer to this social malaise. Did you mean to address it?
Szifron : I must’ve meant something by it, but I think the movie expresses so much more than just the stuff I consciously decided to address. I’m more interested in your view of the movie than mine. Regarding this “malaise”, one evidently becomes a sort of antenna that goes around picking up what’s happening in your surroundings. That happens to anybody dedicated to any form of artistic discipline. You feed on reality, and what you put up on that big screen feeds reality back. For as long as I have memory I’ve experienced this social malaise you talk about. I’ve seen it in many countries. But yes, the movie casts a critical eye on society and the distortion of social behavior.
Left to right: producer Hugo Sigman, actors Ricardo Darín, Oscar Martínez, Julieta Zylberberg, Leonardo Sbaraglia, Érica Rivas, Darío Grandinetti, Rita Cortese, writer/director Damián Szifron and producer Axel Kuschevatzky.
How did you go about putting up this “dream team” for the making of this movie?
Sigman : The actors and actresses were enormously generous in taking part of the project, their collaboration was extraordinary and I’m not just talking about their performances. We saw the finished movie at the Warner Bros. studios in Spain, with Agustín and Pedro Almodóvar. When the screening ended, the Warner CEO said “This doesn’t feel like a Spanish or a Latin American movie”. We always dreamt of doing a movie this big. Our objectives were to do a movie with [social] content, to make it fun and to make it massive. To have such a wonderful writer and director like Damián [Szifron] as well as this group of exceptional professionals is what made it possible.
Left to right: actors Julieta Zylberberg, Darío Grandinetti and Érica Rivas.
The press questions started veering towards the cast and working with Damián Szifron.
Sbaraglia : Damián is a very precise director about what he wants, absolutely precise. He always directs you with the spectator in mind. He says “I’d like the audience to think this here, I’d like the audience to feel this there”. Sure enough, once you see the movie with an audience you realize how every little tweak adds up to that one effect he was going for.
Grandinetti : It was my first time working with him, and I was pleased to find a man that knew full well what he wanted and created a very good workplace atmosphere. When we actors find a director in whom we can trust, there’s nothing we like more than letting him direct us, letting him tell us what to do. That doesn’t happen a lot. You’re thankful when that happens.
Szifron : I could speak just as gratefully about them. They say it was easy for them, but for me it was even easier because they’d come and perform excellently since take one. We bui
Left to right: actors Ricardo Darín and Oscar Martínez.
Then there was some talk about the movie’s successful stint at the Cannes Film Festival earlier this year.
Szifron : We spent hours filling the entry application, trying to figure out what genre it belonged to. It has humor, but I wouldn’t say it’s a comedy. It has drama, but I wouldn’t call it drama either, there’s a lot of laughter. One of our producers suggested the term “catastrophe movie”. I thought that sounded good. It’s about characters that go through a process of unleashing themselves. And people can relate to that pleasure of losing yourself in something.
MartÍNez : People were laughing and stomping all throughout the eve of the premiere, in every single segment. They would applaud gestures, punchlines, endings, jokes, characters’ exit… Almodóvar himself was sitting right next to me that evening and he told me that this kind of reaction was uncommon in that kind of audience, who tend to express themselves more economically. It was a wonderful night. It felt like we were watching the movie back in a theater in Argentina.
"Wild Tales" premieres August 14th in Argentina; September 17th in France, Spain and Poland and October 30th in the Netherlands.
- 8/5/2014
- by Sydney Levine
- Sydney's Buzz
The 39th Toronto International Film Festival has announced its initial slate of galas and special presentations, which includes 37 world premieres and several films with Oscar ambitions. The Judge, which stars Robert Downey Jr. as a big-city lawyer who reluctantly returns home and ends up defending his revered father (Robert Duvall) against criminal charges, will have its world premiere in Toronto. His Avengers pal, Chris Evans, will unveil his own directorial debut in Toronto, titled Before We Go.
Also noteworthy: James Gandolfini’s final film, The Drop, which also stars Tom Hardy and Noomi Rapace; another Jason Reitman Toronto world premiere,...
Also noteworthy: James Gandolfini’s final film, The Drop, which also stars Tom Hardy and Noomi Rapace; another Jason Reitman Toronto world premiere,...
- 7/22/2014
- by Jeff Labrecque
- EW - Inside Movies
The Toronto International Film Festival announced its initial wave of 2014 premieres and galas this morning and it features some familiar awards titles, some big stars and some unexpected studio titles. Among the major studio films, David Dobkin's "The Judge" with Robert Downey Jr. and Antoine Fuqua's "The Equalizer" each received gala slots and should premiere over the festival's opening weekend. Other announced galas so far include Bennett Miller's acclaimed "Foxcatcher," which debuted at Cannes, and Mike Binder's "Black and White" starring Kevin Costner, Octavia Spencer and Anthony Mackie. Toronto has also scheduled special gala screenings for David Cronenberg's "Map to the Stars" with Julianne Moore and Robert Pattinson, François Ozon's "The New Girlfriend," Ed Zwick's "Pawn Sacrifice" with Tobey Maguire, Lone Scherfig's "The Riot Club," Jean-Marc Vallée's "Wild," Olivier Nakache and Eric Toledano's "Samba" and Shawn Levy's "This is Where I Leave You...
- 7/22/2014
- by Gregory Ellwood
- Hitfix
Cannes -- As I was standing in line last night outside the Salle Debussy, it was obvious that things were out of the control of the people running the festival. For those unfamiliar with the way badge hierarchy works at these events, Cannes has a carefully segregated caste system. If you have a white badge or a pink badge, the world is your oyster. You are able to walk in first, and you are given your choice of location. If you have a blue badge, you have to wait until white and pink have all been seated. And then beyond that, there are at least two more colors that have to wait even longer, and there's a good chance many of those people don't even make it inside. I'm rocking a blue badge this year, somewhere in the middle of the pecking order, which means I need to spend some...
- 5/17/2014
- by Drew McWeeny
- Hitfix
Sony Pictures Classics has snapped up buzzed about competition contender Wild Tales for North America, Australia and New Zealand.
The film, sold by Film Factory, receives its premiere in Cannes today.
Wild Tales is coproduced by Pedro and Agustín Almodóvar’s El Deseo in Spain and Hugo Sigman’s Kramer & Sigman in Argentina and directed by Damián Szifron.
The film is made up of six separate stories. It’s billed as “a darkly comic story of tragedy, love, deception, the past, and the violence lurking beneath the surface of the everyday. The characters of Wild Tales are pushed toward the abyss and into the undeniable pleasure of losing control, crossing the thin line that divides civilization from brutality.”
The cast is led by Ricardo Darín (The Secret in Their Eyes), Óscar Martínez (Empty Nest), Leonardo Sbaraglia (Red Lights), Rita Cortese (Brother and Sister), Julieta Zylberberg (A Boyfriend for My Wife), Erica Rivas (Lock Charmer) and Darío Grandinetti ([link...
The film, sold by Film Factory, receives its premiere in Cannes today.
Wild Tales is coproduced by Pedro and Agustín Almodóvar’s El Deseo in Spain and Hugo Sigman’s Kramer & Sigman in Argentina and directed by Damián Szifron.
The film is made up of six separate stories. It’s billed as “a darkly comic story of tragedy, love, deception, the past, and the violence lurking beneath the surface of the everyday. The characters of Wild Tales are pushed toward the abyss and into the undeniable pleasure of losing control, crossing the thin line that divides civilization from brutality.”
The cast is led by Ricardo Darín (The Secret in Their Eyes), Óscar Martínez (Empty Nest), Leonardo Sbaraglia (Red Lights), Rita Cortese (Brother and Sister), Julieta Zylberberg (A Boyfriend for My Wife), Erica Rivas (Lock Charmer) and Darío Grandinetti ([link...
- 5/16/2014
- by geoffrey@macnab.demon.co.uk (Geoffrey Macnab)
- ScreenDaily
Among the 18 feature films competing for the Palme d’Or at this year’s Cannes Film Festival, Jean-Luc Godard is presenting his 19th film at the Cannes Film Festival, Adieu au Langage (Goodbye to Language).
Adieu au Langage (Goodbye to Language): Godard’s first film to compete at Cannes was Cleo de 5 a 7, which premiered at the 1962 Cannes Film Festival. Since then, 18 of his films have been screened at the festival, though not all in competition. Goodbye to Language is Godard’s first film in competition in over 10 years.
Nsfw:
Captive (The Captive): Atom Egoyan directs this Canadian thriller starring Ryan Reynolds, Rosario Dawson, Mireille Enos and Scott Speedman. This will be Egoyan’s fifth film in competition at the Cannes Film Festival; the writer/director won the Grand Jury Prize for The Sweet Hereafter in 1997.
Deux Jours, Une Nuit (Two Days, One Night): Directors and brothers...
Adieu au Langage (Goodbye to Language): Godard’s first film to compete at Cannes was Cleo de 5 a 7, which premiered at the 1962 Cannes Film Festival. Since then, 18 of his films have been screened at the festival, though not all in competition. Goodbye to Language is Godard’s first film in competition in over 10 years.
Nsfw:
Captive (The Captive): Atom Egoyan directs this Canadian thriller starring Ryan Reynolds, Rosario Dawson, Mireille Enos and Scott Speedman. This will be Egoyan’s fifth film in competition at the Cannes Film Festival; the writer/director won the Grand Jury Prize for The Sweet Hereafter in 1997.
Deux Jours, Une Nuit (Two Days, One Night): Directors and brothers...
- 5/13/2014
- Uinterview
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