Elaine Epstein’s Arrest The Midwife won the top prize at 25th edition of Hot Docs Forum after decision-makers, funders and filmmakers considered 20 pitches in the two-day event in Toronto.
The project, which looks at how the arrest of three midwives serving Amish and Mennonite communities encourages an unlikely group of activists to join the fight for reproductive rights, won Cad 20,000.
In total Hot Docs said more than Cad 47,000 was handed out at the festival’s international co-financing market event, including Cad 35,000 in first look Pitch Prizes, and the Cad 10,000 Cmf-Hot Docs Forum Canadian Pitch Prize, presented in partnership with the Canada Media Fund.
The project, which looks at how the arrest of three midwives serving Amish and Mennonite communities encourages an unlikely group of activists to join the fight for reproductive rights, won Cad 20,000.
In total Hot Docs said more than Cad 47,000 was handed out at the festival’s international co-financing market event, including Cad 35,000 in first look Pitch Prizes, and the Cad 10,000 Cmf-Hot Docs Forum Canadian Pitch Prize, presented in partnership with the Canada Media Fund.
- 5/2/2024
- ScreenDaily
The Hot Docs Forum, the festival’s industry centerpiece, wrapped Wednesday with its most lively awards announcements in recent memory—complete with flamenco guitar, song and dance courtesy of Spain, this year’s country in focus—as hundreds of industry delegates assembled under the sun in the courtyard of Toronto’s Hart House.
Elaine Epstein’s “Arrest the Midwife”—one of 20 projects presented to key funders and decision-makers as well as filmmakers, producers and other observers at the two-day Forum pitch event—won the First Look first prize of Can $20,000 cash. Produced through Epstein’s Underdog Films (U.S.), with producers Robin Hessman and Ruth Ann Harnisch, the film follows the arrest of three midwives serving Amish and Mennonite communities, which spurs an unlikely group of activists to join the fight for reproductive rights.
First Look is a curated access program for philanthropic supporters of and investors in documentary film.
Elaine Epstein’s “Arrest the Midwife”—one of 20 projects presented to key funders and decision-makers as well as filmmakers, producers and other observers at the two-day Forum pitch event—won the First Look first prize of Can $20,000 cash. Produced through Epstein’s Underdog Films (U.S.), with producers Robin Hessman and Ruth Ann Harnisch, the film follows the arrest of three midwives serving Amish and Mennonite communities, which spurs an unlikely group of activists to join the fight for reproductive rights.
First Look is a curated access program for philanthropic supporters of and investors in documentary film.
- 5/2/2024
- by Jennie Punter
- Variety Film + TV
Iair Said’s “Most People Die On Sundays” and Michael Fetter Nathansky’s “Mannequins” took two prizes each as Daniela Abad Lombana’s “These Were All Fields,” also triumphed Wednesday at San Sebastian Festival’s prize ceremony for winners at its main industry competitions: the Europe-Latin America Co-production Forum and Wip Latin America and Wip Europa pix-in-post showcases.
Also among winners at the Forum were two high-profile Argentine projects, Bárbara Sarasola-Day’s “Little War” and Lucila Mariani’s “The Days Off.”
Meanwhile, Naomi Pacifique’s “After the Night, the Night” headed home home with the trophy at San Sebastián’s development program Ikusmira Berriak, seen as a pivotal young talent residency in Spain.
Said’s second film uses a sweet and sour comedy tone to follow the vicissitudes of a young homosexual Jew when he has to go home to face his father’s last days. Prizes galore go to the winning film,...
Also among winners at the Forum were two high-profile Argentine projects, Bárbara Sarasola-Day’s “Little War” and Lucila Mariani’s “The Days Off.”
Meanwhile, Naomi Pacifique’s “After the Night, the Night” headed home home with the trophy at San Sebastián’s development program Ikusmira Berriak, seen as a pivotal young talent residency in Spain.
Said’s second film uses a sweet and sour comedy tone to follow the vicissitudes of a young homosexual Jew when he has to go home to face his father’s last days. Prizes galore go to the winning film,...
- 9/27/2023
- by Callum McLennan
- Variety Film + TV
Multi-prized Latin American directors Federico Veiroj, Theo Court, Alicia Scherson and Daniel Hendler head a muscular project lineup at September’s San Sebastian Europe-Latin America Co-Production Forum, the Spanish festival’s industry centerpiece which underscores this year a welling sea-change in the region’s filmmaking.
“The Moneychanger,” the latest film from Uruguay’s Veiroj, was selected for Toronto’s 2019 Platform; “White on White,” from Chile’s Court, won a best director Silver Lion at 2019’s Venice Horizons; Chile’s Alicia Scherson’s debut “Play” snagged new narrative director at Tribeca in 2005: multi-hyphenate Hendler, from Uruguay, scooped best director at Miami for “The Candidate” in 2017.
Also making the cut are Mexico’s Juan Pablo González and Ana Isabel Fernández, director and co-writer of 2022 Sundance Special Jury Prize winner “Dos Estaciones.” Ezequiel Yanco’s “La vida en común” took best documentary at the Biarritz Latin American Festival in 2019.
Mixing top cineasts...
“The Moneychanger,” the latest film from Uruguay’s Veiroj, was selected for Toronto’s 2019 Platform; “White on White,” from Chile’s Court, won a best director Silver Lion at 2019’s Venice Horizons; Chile’s Alicia Scherson’s debut “Play” snagged new narrative director at Tribeca in 2005: multi-hyphenate Hendler, from Uruguay, scooped best director at Miami for “The Candidate” in 2017.
Also making the cut are Mexico’s Juan Pablo González and Ana Isabel Fernández, director and co-writer of 2022 Sundance Special Jury Prize winner “Dos Estaciones.” Ezequiel Yanco’s “La vida en común” took best documentary at the Biarritz Latin American Festival in 2019.
Mixing top cineasts...
- 8/14/2023
- by John Hopewell and Emiliano De Pablos
- Variety Film + TV
Oh My Gómez! Films’ Ramiro Pavón, producer of Ana Katz’s Sundance title “El perro que no calla,” and Rocío Romero Quintana, behind 2016 Berlinale Generation 14+ winner “Las Plantas,” will both pitch their latest doc projects at this month’s Sanfic Industria, one of the biggest industry forums in South America.
Another project at its Documentary Lab is sourced from Paula Zyngierman at Argentina’s MaravillaCine, which backed “That Weekend” and “Marilyn.”
“This year we received a large number of applications from both directors and producers with large experience as well as projects by new talents,” Gabriela Sandoval, head of Sanfic Industria, told Variety, noting that some projects have been sourced from allied international industry platforms such as Industria Guadalajara, DocsMx, Fidba, Taller de productores de Panamá, Arca Residencia.
The 10 Documentary Lab projects will be presented in Santiago de Chile over August 23-26 with the final pitch on Aug. 26 before a live and online jury.
Another project at its Documentary Lab is sourced from Paula Zyngierman at Argentina’s MaravillaCine, which backed “That Weekend” and “Marilyn.”
“This year we received a large number of applications from both directors and producers with large experience as well as projects by new talents,” Gabriela Sandoval, head of Sanfic Industria, told Variety, noting that some projects have been sourced from allied international industry platforms such as Industria Guadalajara, DocsMx, Fidba, Taller de productores de Panamá, Arca Residencia.
The 10 Documentary Lab projects will be presented in Santiago de Chile over August 23-26 with the final pitch on Aug. 26 before a live and online jury.
- 8/8/2023
- by Holly Jones
- Variety Film + TV
Buenos Aires-based Compañía de Cine (“Lemebel”) has secured world sales rights for director M Sin Título’s absorbing queer documentary “The Way You See Me” (“Como Tú Me Ves”). A standout arthouse distribution outfit, the company will also step-in to co-produce the venture alongside auteur-focused peers Paula Zyngierman at Maravilla Cine (“Amando A Martha”) and Mexico’s Ojo de Vaca (“Say Goodbye”), expanding the depth of their offerings.
“‘ ’The Way You See Me’ came to us in a very organic way, at a time when we felt like getting involved from a more active place in creation,” Paulina Portela, managing director at Compañia de Cine, told Variety. “The film seemed pertinent, coherent and necessary.”
The acquisition comes ahead of the film’s Punto Genero pitch to industry leaders at Argentina’s premiere audiovisual market, Ventana Sur, which unspools Nov 28-Dec 2.
A documentary that seeks to demystify gender’s tight grasp on society,...
“‘ ’The Way You See Me’ came to us in a very organic way, at a time when we felt like getting involved from a more active place in creation,” Paulina Portela, managing director at Compañia de Cine, told Variety. “The film seemed pertinent, coherent and necessary.”
The acquisition comes ahead of the film’s Punto Genero pitch to industry leaders at Argentina’s premiere audiovisual market, Ventana Sur, which unspools Nov 28-Dec 2.
A documentary that seeks to demystify gender’s tight grasp on society,...
- 11/28/2022
- by Holly Jones
- Variety Film + TV
Intimate Queer Coming of Age Stories, Sci-Fi and the Supernatural: Ventana Sur’s Punto Genero Lineup
“The Marriage,” the feature-length fiction debut from Brazilian documentary filmmaker Maíra Bühler (“Let It Burn”), and a pair of intimate and revelatory queer films “The Way You See Me,” and buzz-title “Diamond,” backed by Argentina’s Maravilla Cine (“That Weekend”), are among the selections set for Ventana Sur’s 2022 Punto Genero Pitching Sessions.
They’re joined by mystical, lore-centered projects like Julia Rotundi’s “A Woman Gazed At The Night Sky,” sci-fi-laced “I’ve Held This Sadness For So Long That My Chest Will Explode,” by Mexico’s Nicolasa Ruiz Mendoza and dystopian thriller, “Kill To Marilyn,” by Chilean director Alejandra Gonzalez Painemal.
In keeping with tradition, this year’s films push boundaries, set to pull in viewers from varied demographics, shining a light on Latin American cinema, spanning the whole of the continent and centering communities whose narratives discuss wholly human issues with passion and textured perspectives.
“We care about equity,...
They’re joined by mystical, lore-centered projects like Julia Rotundi’s “A Woman Gazed At The Night Sky,” sci-fi-laced “I’ve Held This Sadness For So Long That My Chest Will Explode,” by Mexico’s Nicolasa Ruiz Mendoza and dystopian thriller, “Kill To Marilyn,” by Chilean director Alejandra Gonzalez Painemal.
In keeping with tradition, this year’s films push boundaries, set to pull in viewers from varied demographics, shining a light on Latin American cinema, spanning the whole of the continent and centering communities whose narratives discuss wholly human issues with passion and textured perspectives.
“We care about equity,...
- 11/14/2022
- by Holly Jones
- Variety Film + TV
Buenos Aires-based Maravilla Cine, producer of 2018 Berlin Panorama player “Marilyn” and San Sebastian 2020 New Directors’ hit “That Weekend,” has boarded “Diamond” (“Diamante”), the first fiction feature from Bolivia’s Yashira Jordán which is shaping up as one of the standout titles at this year’s Locarno Open Doors.
Maravilla Cine joins “Diamond” lead producer Empatia Cinema, rapidly consolidating as a production hub for Bolivian auteurs. Recent credits include Martín Boulocq’s “The Visitor” which premiered at June’s Tribeca Festival and Alejandro Quiroga’s Western “Los de abajo,” a Sanfic Industria pix-in-post winner in March 2021.
Empatia Cinema and Maravilla Cine have jointly applied for a development grant from the Ibermedia regional film fund for Latin America, Spain and Portugal. The incentives will be announced in late November, said Empatia’s Alvaro Olmos Torrico.
“Diamond” taps into two trends powering ever more of the best cinema coming out of Spain and...
Maravilla Cine joins “Diamond” lead producer Empatia Cinema, rapidly consolidating as a production hub for Bolivian auteurs. Recent credits include Martín Boulocq’s “The Visitor” which premiered at June’s Tribeca Festival and Alejandro Quiroga’s Western “Los de abajo,” a Sanfic Industria pix-in-post winner in March 2021.
Empatia Cinema and Maravilla Cine have jointly applied for a development grant from the Ibermedia regional film fund for Latin America, Spain and Portugal. The incentives will be announced in late November, said Empatia’s Alvaro Olmos Torrico.
“Diamond” taps into two trends powering ever more of the best cinema coming out of Spain and...
- 8/1/2022
- by John Hopewell
- Variety Film + TV
Sundance Institute’s Documentary Film Program has set its latest cohort of 20 films receiving Documentary Fund Grants, doling out a total of $600,000 in unrestricted support to projects in varying stages of production and distribution, including eight in development, eight in production, three in post-production, and one in post-production and impact.
Grantees currently at the development stage include Aída Bueno Sarduy’s Anna Borges do Sacramento, Ricardo Ruales’ The Broken R, Damon Davis’ Chain of Rocks, Khoroldorj Choijoovanchig’s Colors of White Rock, Gerardo del Valle’s The Past is Waiting Up Ahead, Set Hernandez Rongkilyo’s unseen, and Farid Ahmad’s Waiting For Winter.
Recipients at the production stage include Pascale Appora-Gnekindy and Ningyi Sun’s Eat Bitter, Chan Hau Chun and Chui Chi Yin’s Heatroom, Basel Al Adarra, Yuval Abraham, Hamdan Balal, and Rachel Shor’s No Other Land, Kit Vincent’s Red Herring (working title), Weichao Xu...
Grantees currently at the development stage include Aída Bueno Sarduy’s Anna Borges do Sacramento, Ricardo Ruales’ The Broken R, Damon Davis’ Chain of Rocks, Khoroldorj Choijoovanchig’s Colors of White Rock, Gerardo del Valle’s The Past is Waiting Up Ahead, Set Hernandez Rongkilyo’s unseen, and Farid Ahmad’s Waiting For Winter.
Recipients at the production stage include Pascale Appora-Gnekindy and Ningyi Sun’s Eat Bitter, Chan Hau Chun and Chui Chi Yin’s Heatroom, Basel Al Adarra, Yuval Abraham, Hamdan Balal, and Rachel Shor’s No Other Land, Kit Vincent’s Red Herring (working title), Weichao Xu...
- 10/27/2021
- by Matt Grobar
- Deadline Film + TV
Threatened that she has to pay off the money she owes or face the consequences, Julia, a singer, leaves the restaurant where she’s performed and drives to her former home in a leafy working class tenement block in Posadas, northern Argentina, on the sweeping Paraná river.
There she plans to reclaim the stash of money she’s made from a scam she pulled off years before in her district as well as sign a document to allow her near-17-year old daughter Clara to move from Argentina to Paraguay to live with her father.
Yet, during Julia’s years of absence, Clara has grown up, has a passion, music, friends and a stable relationship with a girlfriend and doesn’t want to move at all. But Clara will need Julia’s hidden cash if she wants to stay in Posadas….
Argentina’s Mara Pescio, a screenwriter whose credits include...
There she plans to reclaim the stash of money she’s made from a scam she pulled off years before in her district as well as sign a document to allow her near-17-year old daughter Clara to move from Argentina to Paraguay to live with her father.
Yet, during Julia’s years of absence, Clara has grown up, has a passion, music, friends and a stable relationship with a girlfriend and doesn’t want to move at all. But Clara will need Julia’s hidden cash if she wants to stay in Posadas….
Argentina’s Mara Pescio, a screenwriter whose credits include...
- 3/23/2021
- by John Hopewell
- Variety Film + TV
The miraculous prospects of international funding initiatives and the opportunities and pitfalls offered by streaming platforms were among the topics discussed by leading Argentine producers during an online Ventana Sur panel on Thursday.
Diego Dubcovsky of Varsovia Films, Santiago Gallelli of Rei Cine and Paula Zyngierman of Maravillacine also looked back at the dynamic New Argentine Cinema wave that characterized the 1990s, and addressed the role of state funding for the sector, and the silver lining of the Covid-19 crisis.
Already racked by crippling inflation and a plunging peso, the Argentine film industry has been hit hard by the pandemic, which has led to a sharp decline in the cinema admissions and TV advertising that fund the country’s Instituto Nacional de Cinematografia y las Artes Audiovisuals (Incaa).
Dubcovsky, whose credits include “The Motorcycle Diaries,” Daniel Burman films like “Lost Embrace” and “Empty Nest,” as well as such recent pics...
Diego Dubcovsky of Varsovia Films, Santiago Gallelli of Rei Cine and Paula Zyngierman of Maravillacine also looked back at the dynamic New Argentine Cinema wave that characterized the 1990s, and addressed the role of state funding for the sector, and the silver lining of the Covid-19 crisis.
Already racked by crippling inflation and a plunging peso, the Argentine film industry has been hit hard by the pandemic, which has led to a sharp decline in the cinema admissions and TV advertising that fund the country’s Instituto Nacional de Cinematografia y las Artes Audiovisuals (Incaa).
Dubcovsky, whose credits include “The Motorcycle Diaries,” Daniel Burman films like “Lost Embrace” and “Empty Nest,” as well as such recent pics...
- 12/4/2020
- by Ed Meza
- Variety Film + TV
In a last-minute deal inked at Ventana Sur, Breaking Glass Pictures (Bgp) snapped up North American rights to gay-trans drama “Marilyn,” the feature debut of Argentine helmer-scribe Martin Rodríguez Redondo.
The Philadelphia-based company has been on a mini-buying spree, having previously snagged threesome drama “We Are Three” at the Buenos Aires confab. Bgp has bought an average of one title per edition in previous years.
Breaking Glass CEO Rich Wolff and Vicente Canales of film sales company Film Factory cobbled the deal at the confab. The film is slated for a North American release in the 2nd Quarter of 2019.
Based on a true story, “Marilyn” turns on Marcos, a gay-trans youth in rural Argentina where his non-conformity lands him in dire trouble. Marcos lives with his family on a ranch where his father and brother do most of the caretaking work while he stays at home with his mother. Marcos...
The Philadelphia-based company has been on a mini-buying spree, having previously snagged threesome drama “We Are Three” at the Buenos Aires confab. Bgp has bought an average of one title per edition in previous years.
Breaking Glass CEO Rich Wolff and Vicente Canales of film sales company Film Factory cobbled the deal at the confab. The film is slated for a North American release in the 2nd Quarter of 2019.
Based on a true story, “Marilyn” turns on Marcos, a gay-trans youth in rural Argentina where his non-conformity lands him in dire trouble. Marcos lives with his family on a ranch where his father and brother do most of the caretaking work while he stays at home with his mother. Marcos...
- 12/14/2018
- by Anna Marie de la Fuente
- Variety Film + TV
Toronto International Film Festival
TORONTO -- Poor Gael Garcia Bernal. Being a real-world sex object is burden enough, without having to deal with the string of fictional obsessive lovers in The Past, a film that finds it hard to imagine a fully sane female. Sex appeal and the name of director Hector Babenco may draw some to the art house, but with mixed critical response the crowd will likely be modest.
Adapting a novel by Argentinean writer Alan Pauls, the script sees through the eyes of a man whose flow from relationship to relationship is more seamless than decorum would dictate. At the story's beginning, Rimini is leaving Sofia, his wife of 12 years. The break (his idea, evidently) is amicable, with Sofia even finding him a great new apartment. As they finish establishing separate residences, all Sofia asks (beyond a continuing friendship) is that Rimini come over to sort through the couple's old snapshots to decide which memories he wants to keep.
A different kind of photograph immediately intrudes: A fashion shoot on the street, in which model Vera poses in lingerie, catches his eye, and soon they're meeting at a disco. Despite Vera's bizarre, first-date outburst of jealousy, and her proprietary attitude in dates to come -- not very convincingly drawn by either the script or actress Moro Anghileri -- he soon makes her his second wife.
Then there's Carmen, an old schoolmate who becomes Rimini's colleague as he segues from authoring Spanish subtitles for old movies to providing in-person translation for academic and business conferences. He develops a crush on her, and after a bit of presto-changeo melodrama, she's bride No. 3.
During all of this, first wife Sofia hangs frighteningly on the periphery, threatening to become Glenn Close. As it turns out, she has launched a sad little club, inspired by Truffaut's film The Story of Adele H., for women clinging to the hope of reuniting with men who have spurned them. When not urging lonely women to pursue their delusions, she's having psychotic episodes that conveniently derail Rimini's relationships.
Babenco could have helped viewers digest all this by providing some filmic cues to the passage of time. Bernal's hairstyle changes slightly a time or two, but if the screenplay didn't have the occasional line like "I'm his wife," we'd think most of this story happened over the course of a few weeks, not years.
Beyond that lies the hard to accept romantic dynamic of the film. Rimini is a cipher, showing so little self-direction in his love life that it's difficult to hold him accountable for callousness. He's passive in ways that make no sense, and takes action -- as when he throws a violent tantrum at the end of a casual fling -- when the least is at stake. The film's final act is unbelievable, even if we ascribe hidden motivations to uncharacteristic behavior.
It may be that the script, which keeps bringing up those boxes of old pictures, just wants to convince us that our histories have a stronger hold on us than we think. Here, that pull looks less like irresistible gravity and more like an unpaid library fine -- albeit one enforced by an awfully motivated librarian.
THE PAST
No Distributor
K&S Films / HB Filmes
Credits:
Director: Hector Babenco
Writers: Marta Goes, Hector Babenco
Based on the novel by Alan Pauls
Producers: Oscar Kramer, Hugo Sigman, Hector Babenco
Executive producers: Paula Zyngierman, Pola Zito, Andrea Ramalho
Director of photography: Ricardo Della Rosa
Production designer: Sebastian Orgambide
Music: Ivan Wyszogrod
Co-producer: Petrobas
Costume designer: Julio Suarez
Editor: Gustavo Giani
Cast:
Rimini: Gael Garcia Bernal
Sofia: Analia Couceyro
Vera: Moro Anghileri
Carmen: Ana Celentano
Nancy: Mimi Ardu
Running time -- 112 minutes
No MPAA rating...
TORONTO -- Poor Gael Garcia Bernal. Being a real-world sex object is burden enough, without having to deal with the string of fictional obsessive lovers in The Past, a film that finds it hard to imagine a fully sane female. Sex appeal and the name of director Hector Babenco may draw some to the art house, but with mixed critical response the crowd will likely be modest.
Adapting a novel by Argentinean writer Alan Pauls, the script sees through the eyes of a man whose flow from relationship to relationship is more seamless than decorum would dictate. At the story's beginning, Rimini is leaving Sofia, his wife of 12 years. The break (his idea, evidently) is amicable, with Sofia even finding him a great new apartment. As they finish establishing separate residences, all Sofia asks (beyond a continuing friendship) is that Rimini come over to sort through the couple's old snapshots to decide which memories he wants to keep.
A different kind of photograph immediately intrudes: A fashion shoot on the street, in which model Vera poses in lingerie, catches his eye, and soon they're meeting at a disco. Despite Vera's bizarre, first-date outburst of jealousy, and her proprietary attitude in dates to come -- not very convincingly drawn by either the script or actress Moro Anghileri -- he soon makes her his second wife.
Then there's Carmen, an old schoolmate who becomes Rimini's colleague as he segues from authoring Spanish subtitles for old movies to providing in-person translation for academic and business conferences. He develops a crush on her, and after a bit of presto-changeo melodrama, she's bride No. 3.
During all of this, first wife Sofia hangs frighteningly on the periphery, threatening to become Glenn Close. As it turns out, she has launched a sad little club, inspired by Truffaut's film The Story of Adele H., for women clinging to the hope of reuniting with men who have spurned them. When not urging lonely women to pursue their delusions, she's having psychotic episodes that conveniently derail Rimini's relationships.
Babenco could have helped viewers digest all this by providing some filmic cues to the passage of time. Bernal's hairstyle changes slightly a time or two, but if the screenplay didn't have the occasional line like "I'm his wife," we'd think most of this story happened over the course of a few weeks, not years.
Beyond that lies the hard to accept romantic dynamic of the film. Rimini is a cipher, showing so little self-direction in his love life that it's difficult to hold him accountable for callousness. He's passive in ways that make no sense, and takes action -- as when he throws a violent tantrum at the end of a casual fling -- when the least is at stake. The film's final act is unbelievable, even if we ascribe hidden motivations to uncharacteristic behavior.
It may be that the script, which keeps bringing up those boxes of old pictures, just wants to convince us that our histories have a stronger hold on us than we think. Here, that pull looks less like irresistible gravity and more like an unpaid library fine -- albeit one enforced by an awfully motivated librarian.
THE PAST
No Distributor
K&S Films / HB Filmes
Credits:
Director: Hector Babenco
Writers: Marta Goes, Hector Babenco
Based on the novel by Alan Pauls
Producers: Oscar Kramer, Hugo Sigman, Hector Babenco
Executive producers: Paula Zyngierman, Pola Zito, Andrea Ramalho
Director of photography: Ricardo Della Rosa
Production designer: Sebastian Orgambide
Music: Ivan Wyszogrod
Co-producer: Petrobas
Costume designer: Julio Suarez
Editor: Gustavo Giani
Cast:
Rimini: Gael Garcia Bernal
Sofia: Analia Couceyro
Vera: Moro Anghileri
Carmen: Ana Celentano
Nancy: Mimi Ardu
Running time -- 112 minutes
No MPAA rating...
- 9/13/2007
- The Hollywood Reporter - Movie News
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.