Texas Congressman Joaquin Castro has nominated 27 Latino-driven films for inclusion in the National Film Registry. Among the suggestions are films that brought Oscar nominations to Latino actors and artists, including Salma Hayek, as Mexican artist Frida Kahlo in “Frida” (2002); Catalina Sandino Moreno, who portrayed a desperate undocumented pregnant immigrant in “Maria Full of Grace” (2004) and Demián Bichir, who played an undocumented worker in Los Angeles in “A Better Life” (2011). All were nominated for lead acting Oscars.
Other notable titles nominated by the congressman are Peter Sollett’s coming-of-age indie “Raising Victor Vargas,” Alfonso Arau’s romantic drama “Like Water for Chocolate (1992) and Darnell Martin’s “I Like It Like That” (1994), a story of a Puerto Rican family in the Bronx.
“Given the film industry’s continued exclusion of Latinos, we must make a special effort to ensure that Latino Americans’ contributions to American filmmaking are appropriately celebrated and included in the National Film Registry,...
Other notable titles nominated by the congressman are Peter Sollett’s coming-of-age indie “Raising Victor Vargas,” Alfonso Arau’s romantic drama “Like Water for Chocolate (1992) and Darnell Martin’s “I Like It Like That” (1994), a story of a Puerto Rican family in the Bronx.
“Given the film industry’s continued exclusion of Latinos, we must make a special effort to ensure that Latino Americans’ contributions to American filmmaking are appropriately celebrated and included in the National Film Registry,...
- 8/21/2023
- by Clayton Davis
- Variety Film + TV
Though Marvel has decided to consolidate all of its cinematic universe offerings onto Disney+, some outliers still live on for other streaming services. In May 2021, Hulu is set to premiere the latest non-canon Marvel series.
The animated comedy Marvel’s M.O.D.O.K. is set to premiere on May 21 and stars Patton Oswalt as the titular Marvel villain. Oswalt’s Modok is every bit the devious floating head that he’s depicted as in the comics. He’s also your every day family man and the show will take on the format of a workplace sitcom. Sounds kinda fun! It’s no wonder that M.O.D.O.K. is the last Hulu Marvel show standing.
In non-Marvel offerings this month, Shrill will debut its third and final season on May 7. This comedy based on Lindy West’s memoir and starring SNL‘s Aidy Bryant has been a consistently bright presence on the streaming scene since...
The animated comedy Marvel’s M.O.D.O.K. is set to premiere on May 21 and stars Patton Oswalt as the titular Marvel villain. Oswalt’s Modok is every bit the devious floating head that he’s depicted as in the comics. He’s also your every day family man and the show will take on the format of a workplace sitcom. Sounds kinda fun! It’s no wonder that M.O.D.O.K. is the last Hulu Marvel show standing.
In non-Marvel offerings this month, Shrill will debut its third and final season on May 7. This comedy based on Lindy West’s memoir and starring SNL‘s Aidy Bryant has been a consistently bright presence on the streaming scene since...
- 5/1/2021
- by Alec Bojalad
- Den of Geek
Exclusive: Outfest has unveiled their lineup for the 17th annual Outfest Fusion — or the more official title: Outfest 2020: Culture. Film. Music. Story. The fest will run March 6-10 and include screenings, performances, panels, galas, workshops, and world premieres in Los Angeles.
Outfest Fusion brings together one of the largest, inclusive and diverse cross-sections of the Lgbtq+ community and its allies. The fest is a space the next generation of storytellers and cultural ambassadors are discovered. This year, Outfest Fusion 2020 will feature more than 60 films, including 11 World Premieres, 4 North American Premieres, 12 West Coast Premieres, 13 Los Angeles Premieres and 1 International Premiere.
Films featured this year include El Principe (The Prince) directed by Sebastián Muñoz’s El Principe (The Prince) which won the Queer Lion at the 2019 Venice Film Festival. The fest will also feature the L.A. premiere of Andrew Ahn’s Driveways which stars Hong Chau and Golden...
Outfest Fusion brings together one of the largest, inclusive and diverse cross-sections of the Lgbtq+ community and its allies. The fest is a space the next generation of storytellers and cultural ambassadors are discovered. This year, Outfest Fusion 2020 will feature more than 60 films, including 11 World Premieres, 4 North American Premieres, 12 West Coast Premieres, 13 Los Angeles Premieres and 1 International Premiere.
Films featured this year include El Principe (The Prince) directed by Sebastián Muñoz’s El Principe (The Prince) which won the Queer Lion at the 2019 Venice Film Festival. The fest will also feature the L.A. premiere of Andrew Ahn’s Driveways which stars Hong Chau and Golden...
- 2/20/2020
- by Dino-Ray Ramos
- Deadline Film + TV
The Bordelons are back. Own has released the trailer for season two of its original drama series “Queen Sugar,” created by acclaimed filmmaker Ava DuVernay and executive produced by Oprah Winfrey. The series stars Rutina Wesley, Dawn-Lyen Gardner, and Kofi Siriboe as the estranged Bordelon siblings.
Read More: Agnès Varda, Ava DuVernay, Olivier Assayas and More Discuss the Need For a Global Film Community In the Trump Age — Watch
Season two finds the siblings striving to honor the legacy of their father, who passed away unexpectedly. Ralph-Angel is trying to rebuild his life after jail, and secure a better future for his young son. Meanwhile, tension in the family starts to build when Charley relocates with her teenage son Micah to Saint Josephine, Louisiana, to help run the family business, the 800-acre sugarcane farm Queen Sugar Mill.
Once again, DuVernay enlisted an all-female directing team, including Kat Candler (“12 Monkeys...
Read More: Agnès Varda, Ava DuVernay, Olivier Assayas and More Discuss the Need For a Global Film Community In the Trump Age — Watch
Season two finds the siblings striving to honor the legacy of their father, who passed away unexpectedly. Ralph-Angel is trying to rebuild his life after jail, and secure a better future for his young son. Meanwhile, tension in the family starts to build when Charley relocates with her teenage son Micah to Saint Josephine, Louisiana, to help run the family business, the 800-acre sugarcane farm Queen Sugar Mill.
Once again, DuVernay enlisted an all-female directing team, including Kat Candler (“12 Monkeys...
- 5/22/2017
- by Yoselin Acevedo
- Indiewire
August 12 Update: Sundance Institute and Time Warner Foundation announced on Tuesday the ten artists selected for the 2015 Sundance Institute | Time Warner Foundation Fellowship Program.
The initiative expanded this year to include support for Fellows working in new media, as well as continued support for Fellows in documentary and narrative film, theatre and film music as well as from the Institute’s Native American and Indigenous Program.
Fellows attend an annual Lab and receive ongoing support from the Institute, including mentoring, strategic granting, attendance at the Sundance Film Festival and participation in screenplay readings, work-in-progress screenings and related programs and events.
Since 2007, Time Warner Foundation has supported more than 54 artists through Sundance Institute, including Fruitvale Station writer-director Ryan Coogler and Mosquita y Mari writer-director Aurora Guerrero.
The 2015 Sundance Institute | Time Warner Foundation Fellows are: Cecilia Aldarondo (Documentary Film Program); Kathryn Bostic (Film Music Program); Christopher Nataanii Cegielski (Native American and Indigenous Program, Time Warner...
The initiative expanded this year to include support for Fellows working in new media, as well as continued support for Fellows in documentary and narrative film, theatre and film music as well as from the Institute’s Native American and Indigenous Program.
Fellows attend an annual Lab and receive ongoing support from the Institute, including mentoring, strategic granting, attendance at the Sundance Film Festival and participation in screenplay readings, work-in-progress screenings and related programs and events.
Since 2007, Time Warner Foundation has supported more than 54 artists through Sundance Institute, including Fruitvale Station writer-director Ryan Coogler and Mosquita y Mari writer-director Aurora Guerrero.
The 2015 Sundance Institute | Time Warner Foundation Fellows are: Cecilia Aldarondo (Documentary Film Program); Kathryn Bostic (Film Music Program); Christopher Nataanii Cegielski (Native American and Indigenous Program, Time Warner...
- 8/11/2015
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Sundance Institute and Time Warner Foundation announced on Tuesday the eight artists selected for the 2015 Sundance Institute | Time Warner Foundation Fellowship Program.
The initiative expanded this year to include support for Fellows working in new media, as well as continued support for Fellows in documentary and narrative film, theatre and film music as well as from the Institute’s Native American and Indigenous Program.
Fellows attend an annual Lab and receive ongoing support from the Institute, including mentoring, strategic granting, attendance at the Sundance Film Festival and participation in screenplay readings, work-in-progress screenings and related programs and events.
Since 2007, Time Warner Foundation has supported more than 54 artists through Sundance Institute, including Fruitvale Station writer-director Ryan Coogler and Mosquita y Mari writer-director Aurora Guerrero.
The 2015 Sundance Institute | Time Warner Foundation Fellows are: Cecilia Aldarondo (Documentary Film Program); Kathryn Bostic (Film Music Program); Christopher Chen (Theatre Program); Nia DaCosta (Feature Film Program); Yung Jake (New Frontier); Ciara Lacy (Native...
The initiative expanded this year to include support for Fellows working in new media, as well as continued support for Fellows in documentary and narrative film, theatre and film music as well as from the Institute’s Native American and Indigenous Program.
Fellows attend an annual Lab and receive ongoing support from the Institute, including mentoring, strategic granting, attendance at the Sundance Film Festival and participation in screenplay readings, work-in-progress screenings and related programs and events.
Since 2007, Time Warner Foundation has supported more than 54 artists through Sundance Institute, including Fruitvale Station writer-director Ryan Coogler and Mosquita y Mari writer-director Aurora Guerrero.
The 2015 Sundance Institute | Time Warner Foundation Fellows are: Cecilia Aldarondo (Documentary Film Program); Kathryn Bostic (Film Music Program); Christopher Chen (Theatre Program); Nia DaCosta (Feature Film Program); Yung Jake (New Frontier); Ciara Lacy (Native...
- 8/11/2015
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Two up-and-coming Native talents, Razelle Benally (Navajo/Oglala Lakota) and Randi LeClair (Pawnee) have been selected for the Sundance Institute Native Filmmakers Lab, where the two writers will receive grants for production and targeted support during a residential Lab to prepare for production of their short films.
The Lab takes place in Santa Fe, New Mexico July 10-14. The Lab is a highlight of the Institute’s year-round work with Native American and Indigenous filmmakers and is one of the 24 residential labs the Institute hosts each year to discover and foster the talent of emerging independent artists in film, theater, new media and more recently episodic content.
The Native Filmmakers Lab builds on the Institute’s former NativeLab to include grants to support production of the Fellows’ short films – a first for the Institute’s renowned independent artist Labs. The writers and directors serving as Creative Advisors for this year’s Lab include: Janicza Bravo ("Gregory Go Boom" and "Pauline Alone"), Beck Cole ( "Plains Empty" and "Here I Am" ), Sydney Freeland ("Drunktown's Finest" and "HoverBoard" ), Aurora Guerrero ( "Pura Lengua" and "Mosquita y Mari" ) and Lucas Leyva ( "#PostModem" and "Life and Freaky Times of Uncle Luke" ).
N. Bird Runningwater (Cheyenne/Mescalero Apache), director of the Sundance Institute Native American and Indigenous Program, said, “Our Native Filmmakers Lab responds to the unique need within our community to support Native American artists with grants and mentorship focusing on the crucial phase of producing their films. I am excited to embark on this creative journey with these two bright female directors as they begin the tactical phase of creating their films.”
The Native Filmmakers Lab will be followed by the inaugural Native Writers Workshop, jointly hosted by Sundance Institute and the Institute of American Indian Arts (Iaia). The Workshop will support six emerging Native storytellers who seek to share their voices in film and television: Gabe Abeyta (Taos Pueblo and Navajo from Santa Fe, Nm), Katie Avery (Iñupiaq from Los Angeles, CA), Kelly D'Angelo (Haudenosaunee from Los Angeles, CA), Felicia Nez (Navajo from Albuquerque, Nm), Blue Tarpalechee (Muscogee from Santa Fe, Nm) and Kaherawaks Thompson (St. Regis Mohawks of Akwesasne from Memphis, Tn).
They will be mentored by: Beck Cole (Writer, "Here I Am" and "Black Comedy" ), Jason Gavin (Writer, "Greek, "Friday Night Lights"), Derek Santos Olson (Writer, "Friday Night Lights" ), Sierra Ornelas (Writer, "Selfie" and "Happy Endings" ), Alex Rivera (Writer/Director, "Sleep Dealer" ) and Joan Tewkesbury (Writer, "Nashville" and "Thieves Like Us" ).
True to founder Robert Redford’s original vision, the Institute maintains a strong commitment to supporting Native and Indigenous filmmakers. The Native program has built and sustained a unique support cycle for Indigenous artists through grants, labs, mentorships, a fellowship program at the Sundance Film Festival, and screenings for Native communities to inspire new generations of storytellers. Currently operating programs in the United States, Canada, and formerly New Zealand and Australia, the Institute has established a rich legacy of work by supporting more than 300 Native and Indigenous filmmakers, including Taika Waititi, Chris Eyre, Sterlin Harjo, Billy Luther, Andrew Okpeaha MacLean, Aurora Guerrero, Sydney Freeland and Yolanda Cruz.
There are the two artists/projects selected for the 2015 Native Filmmakers Lab:
"I Am Thy Weapon"
Razelle Benally (Navajo/Oglala Lakota)
A young artistic Navajo woman relives memories of her deceased sister, that in turn help her heal and battle against the modern-day adversities of reservation life.
Razelle Benally is of Oglala Lakota and Navajo blood. Benally’s firsthand experience while filming and traveling with renowned skateboard company Apache Skateboards has helped her hone a self-developed style of editing and directing. She most notably gained acclaim for her short documentary "The Humble," and six-minute experimental piece "Love is a Losing Game." Benally is one of five young women featured in the 2011 documentary, "Apache Chronicle."
She has shown in galleries in Long Beach, CA and in Phoenix, Az. Her films have been shown nationally and internationally at select screenings in Portland, Winnipeg Manitoba Canada, and Sweden. She earned a third place award in the 2007 Aihec Film Festival, and is the 2010 Santa Fe Indian Market jury-awarded winner for Best Documentary in Swaia’s Classification X. Benally is an alumna of the 2012 Sundance Institute Native Filmmakers Lab.
"The Other Side of the Bridge"
Randi LeClair (Pawnee)
After two high school football stars are found dead, decade’s long racial tensions sizzle in a small-town diner.
Randi LeClair is an enrolled member of the Pawnee Nation of Oklahoma. She graduated from Oklahoma State University with a BA in English (Creative Writing) and is currently a graduate student in the University of Oklahoma’s Master of Professional Writing program. Recently, Randi and her husband, Todd, signed an option agreement for the screen adaptation of Todd’s book, "60 Feet Six Inches and Other Distances from Home: The (Baseball) Life of Mose YellowHorse," which follows the story of Pittsburg Pirates pitcher Mose YellowHorse, the first full-blood American Indian in the major leagues.
In addition to screenwriting, Randi also engages her love of literary fiction and is currently working on a collection of short stories. As well, she also serves as co-editor for "Out of the Stars: An Anthology of Pawnee Writing, Stories, and Art." Her dream is to help bring Native Cinema to the mainstream. She is an alumna of the 2010 Sundance Institute Native Filmmakers Lab.
The Lab takes place in Santa Fe, New Mexico July 10-14. The Lab is a highlight of the Institute’s year-round work with Native American and Indigenous filmmakers and is one of the 24 residential labs the Institute hosts each year to discover and foster the talent of emerging independent artists in film, theater, new media and more recently episodic content.
The Native Filmmakers Lab builds on the Institute’s former NativeLab to include grants to support production of the Fellows’ short films – a first for the Institute’s renowned independent artist Labs. The writers and directors serving as Creative Advisors for this year’s Lab include: Janicza Bravo ("Gregory Go Boom" and "Pauline Alone"), Beck Cole ( "Plains Empty" and "Here I Am" ), Sydney Freeland ("Drunktown's Finest" and "HoverBoard" ), Aurora Guerrero ( "Pura Lengua" and "Mosquita y Mari" ) and Lucas Leyva ( "#PostModem" and "Life and Freaky Times of Uncle Luke" ).
N. Bird Runningwater (Cheyenne/Mescalero Apache), director of the Sundance Institute Native American and Indigenous Program, said, “Our Native Filmmakers Lab responds to the unique need within our community to support Native American artists with grants and mentorship focusing on the crucial phase of producing their films. I am excited to embark on this creative journey with these two bright female directors as they begin the tactical phase of creating their films.”
The Native Filmmakers Lab will be followed by the inaugural Native Writers Workshop, jointly hosted by Sundance Institute and the Institute of American Indian Arts (Iaia). The Workshop will support six emerging Native storytellers who seek to share their voices in film and television: Gabe Abeyta (Taos Pueblo and Navajo from Santa Fe, Nm), Katie Avery (Iñupiaq from Los Angeles, CA), Kelly D'Angelo (Haudenosaunee from Los Angeles, CA), Felicia Nez (Navajo from Albuquerque, Nm), Blue Tarpalechee (Muscogee from Santa Fe, Nm) and Kaherawaks Thompson (St. Regis Mohawks of Akwesasne from Memphis, Tn).
They will be mentored by: Beck Cole (Writer, "Here I Am" and "Black Comedy" ), Jason Gavin (Writer, "Greek, "Friday Night Lights"), Derek Santos Olson (Writer, "Friday Night Lights" ), Sierra Ornelas (Writer, "Selfie" and "Happy Endings" ), Alex Rivera (Writer/Director, "Sleep Dealer" ) and Joan Tewkesbury (Writer, "Nashville" and "Thieves Like Us" ).
True to founder Robert Redford’s original vision, the Institute maintains a strong commitment to supporting Native and Indigenous filmmakers. The Native program has built and sustained a unique support cycle for Indigenous artists through grants, labs, mentorships, a fellowship program at the Sundance Film Festival, and screenings for Native communities to inspire new generations of storytellers. Currently operating programs in the United States, Canada, and formerly New Zealand and Australia, the Institute has established a rich legacy of work by supporting more than 300 Native and Indigenous filmmakers, including Taika Waititi, Chris Eyre, Sterlin Harjo, Billy Luther, Andrew Okpeaha MacLean, Aurora Guerrero, Sydney Freeland and Yolanda Cruz.
There are the two artists/projects selected for the 2015 Native Filmmakers Lab:
"I Am Thy Weapon"
Razelle Benally (Navajo/Oglala Lakota)
A young artistic Navajo woman relives memories of her deceased sister, that in turn help her heal and battle against the modern-day adversities of reservation life.
Razelle Benally is of Oglala Lakota and Navajo blood. Benally’s firsthand experience while filming and traveling with renowned skateboard company Apache Skateboards has helped her hone a self-developed style of editing and directing. She most notably gained acclaim for her short documentary "The Humble," and six-minute experimental piece "Love is a Losing Game." Benally is one of five young women featured in the 2011 documentary, "Apache Chronicle."
She has shown in galleries in Long Beach, CA and in Phoenix, Az. Her films have been shown nationally and internationally at select screenings in Portland, Winnipeg Manitoba Canada, and Sweden. She earned a third place award in the 2007 Aihec Film Festival, and is the 2010 Santa Fe Indian Market jury-awarded winner for Best Documentary in Swaia’s Classification X. Benally is an alumna of the 2012 Sundance Institute Native Filmmakers Lab.
"The Other Side of the Bridge"
Randi LeClair (Pawnee)
After two high school football stars are found dead, decade’s long racial tensions sizzle in a small-town diner.
Randi LeClair is an enrolled member of the Pawnee Nation of Oklahoma. She graduated from Oklahoma State University with a BA in English (Creative Writing) and is currently a graduate student in the University of Oklahoma’s Master of Professional Writing program. Recently, Randi and her husband, Todd, signed an option agreement for the screen adaptation of Todd’s book, "60 Feet Six Inches and Other Distances from Home: The (Baseball) Life of Mose YellowHorse," which follows the story of Pittsburg Pirates pitcher Mose YellowHorse, the first full-blood American Indian in the major leagues.
In addition to screenwriting, Randi also engages her love of literary fiction and is currently working on a collection of short stories. As well, she also serves as co-editor for "Out of the Stars: An Anthology of Pawnee Writing, Stories, and Art." Her dream is to help bring Native Cinema to the mainstream. She is an alumna of the 2010 Sundance Institute Native Filmmakers Lab.
- 7/13/2015
- by Sydney Levine
- Sydney's Buzz
There’s an alive indie American-Iranian cinema movement in the Us, and if the Keshavarz name rings a bell it’s because the indie film fest circuit is home to siblings Maryam and Hossein. Maryam, now going by what we imagine is her married name Azadi, broke out in Park City with 2011 Sundance Audience Award Winner Circumstance, and before she made her mark it was her brother who received the limelight with 2011′s Dog Sweat, the “Someone to Watch” Film Independent Spirit Award nominated film that received its premiere at 2010′s Laff. Shot in New York City, his sophomore film, Pebble of Love in the Shoe of My Life was actually shot in the summer of 2013, and has been on a slow, but steady pace towards a ’15 premiere. Benefitting from some Kickstarter coin, Tribeca All Access awards funds, this was recently invited to the Us in Progress Champs-Élysées Film Festival...
- 11/13/2014
- by Eric Lavallee
- IONCINEMA.com
Ifp announced its 2014 slate of 133 new films in development and works in progress selected for its esteemed Project Forum at Independent Film Week. This one-of-a-kind event brings the international film and media community to New York City to advance new projects by nurturing the work of both emerging and established independent artists and filmmakers. Through the Project Forum, creatives connect with financiers, executives, influencers and decision-makers in film, television, new media and cross-platform storytelling that can help them complete their latest works and connect with audiences. Under the curatorial leadership of Deputy Director/Head of Programming Amy Dotson & Senior Director of Programming Milton Tabbot, this one-of-a-kind event takes place September 14-18, 2014 at Lincoln Center supporting bold new content from a wide variety of domestic and international artists.
“As we set to embark on our 36th Independent Film Week, we are impressed by the outstanding slate of both U.S. and international projects selected for this year’s Project Forum,” said Joana Vicente, Executive Director of Ifp. “We know that the industry will be as excited as we are with the accomplished storytellers and their diverse and boundary pushing films.”
Featured works at the 2014 Independent Film Week include filmmakers and content creators from a variety of backgrounds and experiences. From documentarians Tony Gerber ("Full Battle Rattle"), Pamela Yates ("Granito: How To Nail A Dictator"), and Penny Lane ("Our Nixon") to Michelangelo Frammartino ("Quattro Volte") and Alexis Dos Santos ("Unmade Beds"), as well as new work from critically acclaimed artists and directors Aurora Guerrero ("Mosquita y Mari"), Barry Jenkins ("Medicine for Melancholy"), Travis Matthews ("Interior. Leather. Bar") and Yen Tan ("Pit Stop").
Independent Film Week brings the international film and media community to New York City to advance new documentary and narrative works-in-progress and support the future of storytelling. The program nurtures the work of both emerging and established independent artists and filmmakers through the facilitation of over 3,500+ custom, one-to-one meetings with the financiers, executives, influencers and decision-makers in film, television, new media and cross-platform storytelling that can help them complete their latest works and connect with audiences. In recent years, it has also played a vital role in launching the first films of many of today’s rising stars on the independent scene including Rama Burshtein ("Fill The Void"), Derek Cianfrance ("Blue Valentine"), Marshall Curry ("If A Tree Falls: A Story of the Earth LIberation Front"), Laura Poitras ("The Oath"), Denis Villeneuve ("Incendies") and Benh Zeitlin ("Beasts of the Southern Wild").
For the full 2014 Project Forum slate visit Here
New For 2014
Evenly split between documentary and narrative features, selected projects hail from throughout the U.S., Europe and Canada, as well Africa, Asia, South America, and the Middle East. New this year, Ifp will be including web series in it programming, as well as spotlighting Latin & Central American artists and content with 15 projects featured across all programs in the Forum.
In a joint effort to recognize the importance of career and creative sustainability, Ifp and Durga Entertainment have partnered on a new $20,000 filmmaker grant for an alumnus of Ifp. The grant is intended for active, working filmmakers who are also balancing a filmmaking career with parenting. The grant provides a $20,000 unrestricted prize to encourage the recipient to continue on her or his career path of making quality independent films. American directors or screenwriters working in narrative film who have participated in the Ifp Filmmaker Labs or Ifp Independent Film Week's Emerging Storytellers or No-Borders International Co-Production market are encouraged to apply by the deadline of August 8, 2014.
Narrative Feature Highlights
Narrative features and webseries in Rbc’s Emerging Storytellers and No Borders International Co-Production Market sections highlight new work from top emerging and established creative visionaries on the U.S. and international independent scene.
This year’s slate includes new feature scripts featuring directors Dev Benegal ("Road, Movie"), Alexis Dos Santos ("Unmade Beds"), Jason Cortlund and Julia Halperin ("Now, Forager"), Michelangelo Frammartino ("Le Quattro Volte"),Terry George ("Hotel Rwanda"), Rashaad Ernesto Green ("Gun Hill Road"), Aurora Guerrero ("Mosquita Y Mari"), Barry Jenkins ("Medicine for Melancholy"),Alison Klayman ("Ai Weiwei: Never Sorry"), Travis Mathews ("Interior. Leather Bar"), Stacie Passon ("Concussion"), Yen Tan ("Pit Stop"), as well as up-an-coming actor/directors Karrie Crouse ("Land Ho!") and Peter Vack ("Fort Tilden""I Believe in Unicorns").
Producers and executive producers of note attached to participating projects include Jennifer Dubin and Cora Olson ("Good Dick"), Jonathan Duffy and Kelly Williams ("Hellion"),Laura Heberton ("Gayby"), Dan Janvey ("Beasts of the Southern Wild"), Kishori Rajan ("Gimme the Loot"), Adele Romanski ("The Myth of the American Sleepover"), Kim Sherman ("A Teacher"), Susan Stover ("High Art"), and Alicia Van Couvering ("Tiny Furniture").
Web Storytellers Highlights
For the first time this year, Ifp presents a dedicated spotlight within the Rbc’s Emerging Storytellers program for creators developing episodic content for digital platforms. The inaugural slate for the Web Storytellers spotlight includes new works from filmmakers Desiree Akhavan ("Appropriate Behavior", HBO’s Girls), Calvin Reeder ("The Rambler"), and Gregory Bayne ("Person of Interest"), as well as producers Elisabeth Holm ("Obvious Child"), Susan Leber ( "Down to the Bone"), and Amanda Warman ("The Outs,"Whatever This Is"). Two of the series participating are currently in post-production, and will be making their online debut in the coming months – Rachel Morgan’s Middle Americans, starring Scott Thompson, Carlen Altman, and Alex Rennie, and Daniel Zimbler and Elisabeth Gray’s Understudies, starring Richard Kind and David Rasche. [p Spotlight On Documentaries Highlights
The documentary selection includes new work from seasoned non-fiction directors such as Emmy winners Robert Bahar andAlmudena Carracedo ("Made in La"), Pamela Yates ("Granito: How to Nail a Dictator"),Ramona Diaz ("Imelda," "Don’t Stop Believin’") Gini Reticker ("Pray the Devil Back to Hell") Tony Gerber ("Full Battle Rattle"); from producers such as Court 13’s Benh Zeitlin and Dan Janvey ("Beasts of the Southern Wild"), Liran Atzmor ("The Law in These Parts"), Tim Williams ("Once In A Lifetime") and Hilla Medalia ("Web Junkie"), and follow-up second features from recent doc world “breakouts”Steve Hoover ("Blood Brother") Penny Lane ("Our Nixon"), Michael Collins ("Give Up Tomorrow"), and Michael Nichols and Christopher Walker ("Flex is Kings").
Exciting new work from debut documentary directors previously known for fiction films include Alex Sichel ("All over Me") with her personal doc The Movie about Anna, Lisa Cortés (producer, "Precious") with "Mothership: The Untold Story of Women and Hip Hop," and Daniel Patrick Carbone ("Hide Your Smiling Faces") with Phantom Cowboys.
Sponsors
Independent Film Week’s Premier sponsors are Royal Bank of Canada (Rbc) and HBO. Gold sponsors are A&E IndieFilms and SAGIndie. Silver sponsors are Durga Entertainment, Eastman Kodak Company, National Film & Video Foundation of South Africa and Telefilm Canada. Official Independent Film Week Partner is Film Society of Lincoln Center. Independent Film Week is supported, in part, by funds provided by the Ford Foundation, New York City Department of Cultural Affairs, New York State Council for the Arts and Time Warner Foundation.
About Ifp
The Independent Filmmaker Project (Ifp) champions the future of storytelling by connecting artists with essential resources at all stages of development and distribution. The organization fosters a vibrant and sustainable independent storytelling community through its year-round programs, which include Independent Film Week, Filmmaker Magazine, the Gotham Independent Film Awards and the Made in NY Media Center by Ifp, a new incubator space developed with the Mayor’s Office of Media and Entertainment. Ifp represents a growing network of 10,000 storytellers around the world, and plays a key role in developing 350 new feature and documentary works each year. During its 35-year history, Ifp has supported over 8,000 projects and offered resources to more than 20,000 filmmakers, including Debra Granik, Miranda July, Michael Moore, Dee Rees, and Benh Zeitlin. More info at www.ifp.org.
“As we set to embark on our 36th Independent Film Week, we are impressed by the outstanding slate of both U.S. and international projects selected for this year’s Project Forum,” said Joana Vicente, Executive Director of Ifp. “We know that the industry will be as excited as we are with the accomplished storytellers and their diverse and boundary pushing films.”
Featured works at the 2014 Independent Film Week include filmmakers and content creators from a variety of backgrounds and experiences. From documentarians Tony Gerber ("Full Battle Rattle"), Pamela Yates ("Granito: How To Nail A Dictator"), and Penny Lane ("Our Nixon") to Michelangelo Frammartino ("Quattro Volte") and Alexis Dos Santos ("Unmade Beds"), as well as new work from critically acclaimed artists and directors Aurora Guerrero ("Mosquita y Mari"), Barry Jenkins ("Medicine for Melancholy"), Travis Matthews ("Interior. Leather. Bar") and Yen Tan ("Pit Stop").
Independent Film Week brings the international film and media community to New York City to advance new documentary and narrative works-in-progress and support the future of storytelling. The program nurtures the work of both emerging and established independent artists and filmmakers through the facilitation of over 3,500+ custom, one-to-one meetings with the financiers, executives, influencers and decision-makers in film, television, new media and cross-platform storytelling that can help them complete their latest works and connect with audiences. In recent years, it has also played a vital role in launching the first films of many of today’s rising stars on the independent scene including Rama Burshtein ("Fill The Void"), Derek Cianfrance ("Blue Valentine"), Marshall Curry ("If A Tree Falls: A Story of the Earth LIberation Front"), Laura Poitras ("The Oath"), Denis Villeneuve ("Incendies") and Benh Zeitlin ("Beasts of the Southern Wild").
For the full 2014 Project Forum slate visit Here
New For 2014
Evenly split between documentary and narrative features, selected projects hail from throughout the U.S., Europe and Canada, as well Africa, Asia, South America, and the Middle East. New this year, Ifp will be including web series in it programming, as well as spotlighting Latin & Central American artists and content with 15 projects featured across all programs in the Forum.
In a joint effort to recognize the importance of career and creative sustainability, Ifp and Durga Entertainment have partnered on a new $20,000 filmmaker grant for an alumnus of Ifp. The grant is intended for active, working filmmakers who are also balancing a filmmaking career with parenting. The grant provides a $20,000 unrestricted prize to encourage the recipient to continue on her or his career path of making quality independent films. American directors or screenwriters working in narrative film who have participated in the Ifp Filmmaker Labs or Ifp Independent Film Week's Emerging Storytellers or No-Borders International Co-Production market are encouraged to apply by the deadline of August 8, 2014.
Narrative Feature Highlights
Narrative features and webseries in Rbc’s Emerging Storytellers and No Borders International Co-Production Market sections highlight new work from top emerging and established creative visionaries on the U.S. and international independent scene.
This year’s slate includes new feature scripts featuring directors Dev Benegal ("Road, Movie"), Alexis Dos Santos ("Unmade Beds"), Jason Cortlund and Julia Halperin ("Now, Forager"), Michelangelo Frammartino ("Le Quattro Volte"),Terry George ("Hotel Rwanda"), Rashaad Ernesto Green ("Gun Hill Road"), Aurora Guerrero ("Mosquita Y Mari"), Barry Jenkins ("Medicine for Melancholy"),Alison Klayman ("Ai Weiwei: Never Sorry"), Travis Mathews ("Interior. Leather Bar"), Stacie Passon ("Concussion"), Yen Tan ("Pit Stop"), as well as up-an-coming actor/directors Karrie Crouse ("Land Ho!") and Peter Vack ("Fort Tilden""I Believe in Unicorns").
Producers and executive producers of note attached to participating projects include Jennifer Dubin and Cora Olson ("Good Dick"), Jonathan Duffy and Kelly Williams ("Hellion"),Laura Heberton ("Gayby"), Dan Janvey ("Beasts of the Southern Wild"), Kishori Rajan ("Gimme the Loot"), Adele Romanski ("The Myth of the American Sleepover"), Kim Sherman ("A Teacher"), Susan Stover ("High Art"), and Alicia Van Couvering ("Tiny Furniture").
Web Storytellers Highlights
For the first time this year, Ifp presents a dedicated spotlight within the Rbc’s Emerging Storytellers program for creators developing episodic content for digital platforms. The inaugural slate for the Web Storytellers spotlight includes new works from filmmakers Desiree Akhavan ("Appropriate Behavior", HBO’s Girls), Calvin Reeder ("The Rambler"), and Gregory Bayne ("Person of Interest"), as well as producers Elisabeth Holm ("Obvious Child"), Susan Leber ( "Down to the Bone"), and Amanda Warman ("The Outs,"Whatever This Is"). Two of the series participating are currently in post-production, and will be making their online debut in the coming months – Rachel Morgan’s Middle Americans, starring Scott Thompson, Carlen Altman, and Alex Rennie, and Daniel Zimbler and Elisabeth Gray’s Understudies, starring Richard Kind and David Rasche. [p Spotlight On Documentaries Highlights
The documentary selection includes new work from seasoned non-fiction directors such as Emmy winners Robert Bahar andAlmudena Carracedo ("Made in La"), Pamela Yates ("Granito: How to Nail a Dictator"),Ramona Diaz ("Imelda," "Don’t Stop Believin’") Gini Reticker ("Pray the Devil Back to Hell") Tony Gerber ("Full Battle Rattle"); from producers such as Court 13’s Benh Zeitlin and Dan Janvey ("Beasts of the Southern Wild"), Liran Atzmor ("The Law in These Parts"), Tim Williams ("Once In A Lifetime") and Hilla Medalia ("Web Junkie"), and follow-up second features from recent doc world “breakouts”Steve Hoover ("Blood Brother") Penny Lane ("Our Nixon"), Michael Collins ("Give Up Tomorrow"), and Michael Nichols and Christopher Walker ("Flex is Kings").
Exciting new work from debut documentary directors previously known for fiction films include Alex Sichel ("All over Me") with her personal doc The Movie about Anna, Lisa Cortés (producer, "Precious") with "Mothership: The Untold Story of Women and Hip Hop," and Daniel Patrick Carbone ("Hide Your Smiling Faces") with Phantom Cowboys.
Sponsors
Independent Film Week’s Premier sponsors are Royal Bank of Canada (Rbc) and HBO. Gold sponsors are A&E IndieFilms and SAGIndie. Silver sponsors are Durga Entertainment, Eastman Kodak Company, National Film & Video Foundation of South Africa and Telefilm Canada. Official Independent Film Week Partner is Film Society of Lincoln Center. Independent Film Week is supported, in part, by funds provided by the Ford Foundation, New York City Department of Cultural Affairs, New York State Council for the Arts and Time Warner Foundation.
About Ifp
The Independent Filmmaker Project (Ifp) champions the future of storytelling by connecting artists with essential resources at all stages of development and distribution. The organization fosters a vibrant and sustainable independent storytelling community through its year-round programs, which include Independent Film Week, Filmmaker Magazine, the Gotham Independent Film Awards and the Made in NY Media Center by Ifp, a new incubator space developed with the Mayor’s Office of Media and Entertainment. Ifp represents a growing network of 10,000 storytellers around the world, and plays a key role in developing 350 new feature and documentary works each year. During its 35-year history, Ifp has supported over 8,000 projects and offered resources to more than 20,000 filmmakers, including Debra Granik, Miranda July, Michael Moore, Dee Rees, and Benh Zeitlin. More info at www.ifp.org.
- 7/25/2014
- by Peter Belsito
- Sydney's Buzz
The Champs Elysees Film Festival's in partnership with U.S. in Progress awarded the U.S. in Progress Prize to "Creative Control" Director and the film's star, Benjamin Dickinson, and Producers Craig Shilowich, Melody Roscher, Zachary Mortensen and Mark de Pace. Dickenson's first feature film "First Winter" premiered at the 2012 Tribeca Film Festival.
"Creative Control", a dark sci-fi comedy is the near-future story of four Brooklynites whose tech-obsessed lifestyles get the better of them. Anxious, ambitious ad executive starts a chain reaction of destruction when he becomes obsessed with his best friend's free-spirited girlfriend while working on a campaign for a new generation of Augmented Reality Glasses. The life-like avatar he creates of her becomes too life-like as the blurred boundary between reality and fantasy spreads into an out-of-control space where everyone's public, private and imaginary lives implode.
Benjamin Dickenson grew up in Wheaton, Illinois and moved to New York in 1999 to attend Nyu's undergraduate film program. After graduation he and some friends from school started Waverly Films in a warehouse in Bushwick, Brooklyn. Benjamin started directing music videos for Dfa record artists such as LCD Soundsystem, The Rapture and the Juan Maclean. He has since made videos for Q-Tip and Reggie Watts, the "disinformationist" who c is currently appearing on the IFC television series "Comedy Bang! Bang" which began airing on June 8, 2012 and was renewed for a third season which will premiere in 2014. He has also directed commercials for Google, The Ford Motor Corporation, BMW, MTV and Guitar Hero.
Producer Marc de Pace is a partner at Ghost Robot, another Bushwick production company. In 2011 Mark produced Benjamin's "First Winter"released by Film Movement. He exec produced Michael Cera's short film "Brazzaville Teen-Ager" and Joey Garfield's feature film "A Love Letter for You". HIs producing credits also include music videos for Bjork, The Rapture and Grizzly Bear and ads for Google, Toshiba and At&T.
U.S. in Progress Paris took place during the third edition of the Champs Elysées Film Festival in Paris, on June 11-12 2014. The program presented 4 U.S. indie films in post-production to European sales agents, distributors and festival programmers in order to achieve completion and to foster the circulation and distribution of American indie films in Europe. The event has doubled the amount of submissions this year and is quickly achieving a winning track record.
The trajectories of the directing/ writing/ producing/ acting teams of the other three contenders are all trending distinctively upward:
Writer/director Matthew Lessner and producer David Henry Gerson presented "Automatic at Sea". Their short film "Chapel Perilous" previously won the 2014 Audience Award at Sundance. Matthew's previous feature "The Woods", distributed by Film Movement, premiered in the New Frontier Program at the Sundance Film Festival in 2011 and was shortlisted for Independent Spirit and Gotham Awards. The San Francisco Film Society has awarded him two grants for his upcoming feature "Terror Tuesday". Producer David Henry Gerson also starred and to my eye and in my opinion is one of the few mature (adult vs. boy-type) male leads in this new generation of actors. Manly, threatening and aloof in his role, in life he is also smart (a graduate of Colombia University with a bachelor's degree in English Literature and currently attending the American Film Institute) and engaged, as shown in the shorts he wrote and directed "Broken Badge" about a NYPD officer and American Standard about a veteran returning home from Afghanistan to his illegal immigrant girlfriend.
"Eugenia and John" directed by Hossein Keshavarz whose film "Dog Sweat" was released by Indiepix to critical acclaim in 2011 and which the New York Times called "polished; the young actors warmly believable" and NPR called "astonishingly gutsy" screened his second film, "Eugenia and John", produced by Mryam Azadi, Chad Burris and Amy Durning, stars Wesley Tunison and Venecia Troncoso who has the distinction of having starred in the Sundance hit, "Mosquita y Mari".
"Winning Dad" was written, directed and produced by Arthur Allen with producers Julia Bruk and Case Barden. This Lgbt romance is the debut feature of a young man whose career path after graduating St. John's College in Maryland, is as entertaining as his film. After supporting himself for several years in the Seattle Theater Community (and washing windows at the Space Needle), in 2008 he joined the United States Merchant Marines where he wrote "winning Dad" aboard the Usns Gilliland. On leaving, he was recruited by the Washington United for Marriage Coalition as part of its Speaker's Bureau to campaign for marriage equality in Washington State. In 2012 he began working for an Arabic translation company and represented the United States at the second Baghdad International Translation conference in Baghdad, Iraq.
If these four films are not quality enough to show the success of U.S. in Progress, the paths of the other films they have shown over the three years included Sundance film 2013's winning film "Ping Pong Summer" directed by Michael Tully and starring Susan Sarandon, Amy Sedaris, John Hannah, Judah Friedlander, and Lea Thompson was picked up for domestic distribution by Millennium and Gravitas and is currently in release theatrically in U.S. The premium international sales agent, Films Boutique, has sold it to France, Germany and Russia.
The former U.S. in Progress films, "Ping Pong Summer", "Sun Belt Express", Summer of Blood" by Onur Tukel whose film "Richard's Wedding" also showed in U.S. in Progress, are also showing at the Champs-Elysees Film Festival, the only film festival in Paris. This year Ceff is also hosting The Paris Coproduction Village with 12 feature films in development from Italy, U.S., Israel, The Philippines, Romania, Sri Lanka and U.S., Germany, Chile and Argentina, Thailand, Turkey, Italy and Canada, and Australia. It is also hosting the four-month Paris residents of the Cannes Film Festival's Cinefondation, a dozen young directors whose selection is based on the quality of their shorts or first feature film and on the merits of their project currenlty in development their motivation.
The Champs Elysees is alive with the energy infused by the top level of fresh new talent, meeting for cocktails if not over dinner and lunch every evening in the terrace of Publicis at the top the the Champs Elysees, overlooking the Arc de Triumph. ...
"Creative Control", a dark sci-fi comedy is the near-future story of four Brooklynites whose tech-obsessed lifestyles get the better of them. Anxious, ambitious ad executive starts a chain reaction of destruction when he becomes obsessed with his best friend's free-spirited girlfriend while working on a campaign for a new generation of Augmented Reality Glasses. The life-like avatar he creates of her becomes too life-like as the blurred boundary between reality and fantasy spreads into an out-of-control space where everyone's public, private and imaginary lives implode.
Benjamin Dickenson grew up in Wheaton, Illinois and moved to New York in 1999 to attend Nyu's undergraduate film program. After graduation he and some friends from school started Waverly Films in a warehouse in Bushwick, Brooklyn. Benjamin started directing music videos for Dfa record artists such as LCD Soundsystem, The Rapture and the Juan Maclean. He has since made videos for Q-Tip and Reggie Watts, the "disinformationist" who c is currently appearing on the IFC television series "Comedy Bang! Bang" which began airing on June 8, 2012 and was renewed for a third season which will premiere in 2014. He has also directed commercials for Google, The Ford Motor Corporation, BMW, MTV and Guitar Hero.
Producer Marc de Pace is a partner at Ghost Robot, another Bushwick production company. In 2011 Mark produced Benjamin's "First Winter"released by Film Movement. He exec produced Michael Cera's short film "Brazzaville Teen-Ager" and Joey Garfield's feature film "A Love Letter for You". HIs producing credits also include music videos for Bjork, The Rapture and Grizzly Bear and ads for Google, Toshiba and At&T.
U.S. in Progress Paris took place during the third edition of the Champs Elysées Film Festival in Paris, on June 11-12 2014. The program presented 4 U.S. indie films in post-production to European sales agents, distributors and festival programmers in order to achieve completion and to foster the circulation and distribution of American indie films in Europe. The event has doubled the amount of submissions this year and is quickly achieving a winning track record.
The trajectories of the directing/ writing/ producing/ acting teams of the other three contenders are all trending distinctively upward:
Writer/director Matthew Lessner and producer David Henry Gerson presented "Automatic at Sea". Their short film "Chapel Perilous" previously won the 2014 Audience Award at Sundance. Matthew's previous feature "The Woods", distributed by Film Movement, premiered in the New Frontier Program at the Sundance Film Festival in 2011 and was shortlisted for Independent Spirit and Gotham Awards. The San Francisco Film Society has awarded him two grants for his upcoming feature "Terror Tuesday". Producer David Henry Gerson also starred and to my eye and in my opinion is one of the few mature (adult vs. boy-type) male leads in this new generation of actors. Manly, threatening and aloof in his role, in life he is also smart (a graduate of Colombia University with a bachelor's degree in English Literature and currently attending the American Film Institute) and engaged, as shown in the shorts he wrote and directed "Broken Badge" about a NYPD officer and American Standard about a veteran returning home from Afghanistan to his illegal immigrant girlfriend.
"Eugenia and John" directed by Hossein Keshavarz whose film "Dog Sweat" was released by Indiepix to critical acclaim in 2011 and which the New York Times called "polished; the young actors warmly believable" and NPR called "astonishingly gutsy" screened his second film, "Eugenia and John", produced by Mryam Azadi, Chad Burris and Amy Durning, stars Wesley Tunison and Venecia Troncoso who has the distinction of having starred in the Sundance hit, "Mosquita y Mari".
"Winning Dad" was written, directed and produced by Arthur Allen with producers Julia Bruk and Case Barden. This Lgbt romance is the debut feature of a young man whose career path after graduating St. John's College in Maryland, is as entertaining as his film. After supporting himself for several years in the Seattle Theater Community (and washing windows at the Space Needle), in 2008 he joined the United States Merchant Marines where he wrote "winning Dad" aboard the Usns Gilliland. On leaving, he was recruited by the Washington United for Marriage Coalition as part of its Speaker's Bureau to campaign for marriage equality in Washington State. In 2012 he began working for an Arabic translation company and represented the United States at the second Baghdad International Translation conference in Baghdad, Iraq.
If these four films are not quality enough to show the success of U.S. in Progress, the paths of the other films they have shown over the three years included Sundance film 2013's winning film "Ping Pong Summer" directed by Michael Tully and starring Susan Sarandon, Amy Sedaris, John Hannah, Judah Friedlander, and Lea Thompson was picked up for domestic distribution by Millennium and Gravitas and is currently in release theatrically in U.S. The premium international sales agent, Films Boutique, has sold it to France, Germany and Russia.
The former U.S. in Progress films, "Ping Pong Summer", "Sun Belt Express", Summer of Blood" by Onur Tukel whose film "Richard's Wedding" also showed in U.S. in Progress, are also showing at the Champs-Elysees Film Festival, the only film festival in Paris. This year Ceff is also hosting The Paris Coproduction Village with 12 feature films in development from Italy, U.S., Israel, The Philippines, Romania, Sri Lanka and U.S., Germany, Chile and Argentina, Thailand, Turkey, Italy and Canada, and Australia. It is also hosting the four-month Paris residents of the Cannes Film Festival's Cinefondation, a dozen young directors whose selection is based on the quality of their shorts or first feature film and on the merits of their project currenlty in development their motivation.
The Champs Elysees is alive with the energy infused by the top level of fresh new talent, meeting for cocktails if not over dinner and lunch every evening in the terrace of Publicis at the top the the Champs Elysees, overlooking the Arc de Triumph. ...
- 6/14/2014
- by Sydney Levine
- Sydney's Buzz
We asked a few LatinoBuzz amigos to get their Robinson Crusoe on and pick a film, an album, a book and a companion from the movies to join them in their shenanigans were they to be stuck on a deserted island (and before anyone nitpicks, filmmakers are resourceful, so of course they built solar powered entertainment centers made from bamboos, coconuts and grass to watch movies and listen to baby making slow jams). We figured we'd start with the narrative filmmakers since they probably sit around thinking about this kinda stuff anyway.
Film: Choosing desert island items may mean sacrificing taste and/or reason, thinking about those items that you wouldn’t forgive yourself for not bringing them as your company, it´s like choosing the woman of your life. Here it goes: Hiroshima Mon Amour; there might be others I fancy as much as or more than (La Dolce Vita, Vertigo, M , some Lubitsch or Preminger), but I can think of no other as unique. I wouldn’t be able to choose any other without feeling Hiroshima’s absence - the best love film, the best movie about war, the best motion picture regarding the memory and its consequences. I can spend my whole life learning about film and the world because of Hiroshima...'.
Album: “Los Preludios de Debussy” by Claudio Arrau. These were so important to my life (I'm referring to my childhood of course) and I think no one does it better than Arrau. Same thing: it is endless. I think I could never tire of this and I could still wake up each and every morning amazed by it.
Book: “Sentimental Education”, by Flaubert. Similar to “Hiroshima”, a book that changed my outlook on literature and the world and I am certain it will keep transforming it forever.
Companion: Susie Diamond (Michelle Pfeiffer in 'The fabulous Baker Boys'). Since I saw the film (which I liked very much!) in the provincial movie theater of my childhood, I felt as Jack Baker´s relative and I loved Susie. If we had a piano, it would all be all be perfect. - Santiago Palavecino (Algunas chicas/Some Girls)
Film: This is a tricky question. I've always said that on a deserted island you should bring some porn. You could use that more than regular movies. But since I've got to pick a film I guess it'd be Jaws. Why? Because it's one of my favorites (I could also go with The Good, the Bad and the Ugly). But being on a deserted island, Jaws will remind me all the time what'll happen to me for sure if I try to get away!
Album: “ Appetite for Destruction” (Guns N' Roses). Hey, I was 13 when this came out. I listen to it every day while I work, anyways. My favorite, by far.
A Book: I'm going to cheat on this one: 'The Complete Works' by Jorge Luis Borges. The best writer, and enough labyrinths to get lost on endless nights.
Companion: Sherlock Holmes. He's always been my favorite, and also, since my guess is he'll be pretty useless in a deserted island, every time we fail to get out because of him I can get to tell him "Is that the best you can do, Sherlock? - Alejandro Brugués (Juan of the Dead)
Film: Los Olvidados- this is punk rock and Pachuco. Mexico City style before the bombed out bunkers of Sid & Nancy. Bunuel is a hero and I wanna buy Jaibo a beer and milk for the old poetic man!
Album: The Blade Runner album. I can play it over and over, get cranked up or mellow with Blade Runner Blues and the constant rain.
Book: '20 years of Joda' - poems of Jose Montoya, my pop. Epic stuff! 'Ran with Miguel Pinero in the Lower Eastside!”
Companion: Michael Corleone cause he's Mack in my book! Jaibo gets an honorable mention. - Richard Montoya (Water & Power )
Film: I´d choose Misery because a year can go by and I can watch it again eagerly. It's simple and the director (Rob Reiner) and Stephen King are both masters of suspense.
Album: I know this may be considered cheating but it would have to be 'The Best of David Bowie'. That way I have 2 CD's with nearly 40 songs!
Companion: There's many great people who I would to live with but on a deserted Island? It would have to be Mary Poppins for obvious reasons.
Book: And finally the book would be 'Blood Meridian' by Cormac McCarthy because it's one I haven't read yet. Analeine Cal y Mayor - (The Boy Who Smells Like Fish)
Film: I would say White Chicks. I’m going to need some humor! White Chicks is the movie that I put on when I need a good laugh. It does it for me every time. I grew up with characters like that; and admittedly, I can regress back to a few of them myself when no one is looking.
Album: ' Songs From the Capeman' - Paul Simon. I can’t get enough of that album. It instantly takes me to that world and electrifies that side of me that’s determined to make a change for Latinos. I want to keep that feeling with me alive eternally…wherever I’m at.”
Book: There are many but 'Anatomy of the Spirit' by Caroline Myss has been my compass. It taught me how to take control of my destiny by listening to my intuition and body. I stand by her quote: “Your biography becomes your biology.
Companion: The first person that came to mind when I read the question was silly Clarence from “It’s a Wonderful Life”. I guess I’m going to need an angel with me, and he’s perfect. He has a pure childlike spirit that would help me find gratitude in the most unlikely moments… even on a deserted island! That right there is the meaning of life. - Carmen Marron (Endgame)
Film: There are so many brilliant, groundbreaking favorite films that have influenced me (The 400 Blows; Jules and Jim ; Law of Desire; et al) but I wouldn't bring any of them. If I'm stuck on a deserted island, I'm bringing Neil Simon's Murder by Death so I can laugh my ass off. Not a great film at all, it's true, but it's a classic comedy.
Album: Oh, this is easy: Madonna's "Ray of Light." I am no Madonna fanatic, but "deserted island, " means beach + summer weather + Fire Island-like atmosphere. So somewhere nearby there's got to be gay guys partying and I will use Madonna to lure them to me so I can be rescued.
One Book: Varga Llosa's "Feast of the Goat" ("La Fiesta del Chivo") -- it's action-packed historical fiction. It will keep me occupied. One of my favorite novels.
Companion: Huckleberry Finn. He will be a great companion: not only will he tell great stories, but undoubtedly, the ever-resourceful Huck Finn will figure out how to build a raft and get us out off that island! - Terracino (Elliot Loves )
Film: Whenever anyone asks me this I always think of what use these items would serve practically on a deserted island, so I answered this in that respect. Tokyo Story - Yasujiro Ozu. This would be a great film to take on a deserted island because it's really about the unavoidable suffering of the cycle of life, which I'm sure you'd relate to if you were stuck on an island. I really could watch this film a million times over and notice something new every time. Watching most Ozu films is not unlike participating in a Zen meditation practice. It's patience and slowness and trying to empty your mind of thought until your left with the basics of existence. Kind of like sitting on a deserted island alone. I can watch the scene where Kyoto says “Life is disappointing, isn't it?” and Noriko smiles and says “Yes it is.” I can watch that endlessly and cry every time. It's so true.
Album: ' Tusk' - Fleetwood Mac. I could also deal with 'Rumours' but I picked 'Tusk' because it's longer and denser; probably better for an island. 'Sara' is maybe my favorite song in the world and so it would be nice to have that with me. I think channeling the powerful witchy energy of Stevie Nicks would be a real asset on an island. This album has so much strange material on - you wouldn't get bored too easily with it. It's also got a range of emotions so if you get too depressed on the island you can just put on 'Never Forget' and feel better. And 'Sisters of the Moon' would be good around a fire at night. Even though you're stuck on an island, it's good to create an ambiance to remind you that life is worth living.
Book: ' In Search of Lost Time' - Marcel Proust. I've only read 'Swann's Way' which is first part of this. My analyst recommend it to me when I was totally heartbroken after someone broke up with me. It really did the trick. This would be a good long epic read that has enough complex ideas in it to keep you occupied for a life time. Probably a good book (or set of books) to get back to nature with.
Companion: I'll say Terry Malloy from “On the Waterfront”. He'd be strong and good to have around to cut down trees and hunt and stuff. He's also easy on the eyes and someone that could do with a little lonely contemplation away from the loading docks. That doesn't sound half bad...stuck on like a tropical island with a young, cute Marlon Brando, watching Ozu, reading Proust and listening to Fleetwood Mac all day. Sign me up! - Joshua Sanchez (Four)
Film: My film would have to be Luis Buñuel's Los Olvidados. I have been a movie watcher since I was a child. Raised on mainstream American films and Wuxia flicks, it wasn't until I was a late teen that I took my first film class and was introduced to the work of Buñuel. Los Olvidados literally changed my perception of the world, both socially and visually. It was also the gateway for me to progress from movie watcher to film student.
Album: Music is my religion and I belong to the church of Robert Nesta Marley. I would prefer the whole anthology, but if I had to choose one album it would be “Exodus”. When on an island listen to island music.
Book: Right around the time I discovered the work of Buñuel, I was gifted Jose Montoya's 'In Formation: 20 years of Joda'. The book is a treasure of epic poems, sketches, and corridos. All testaments to the beauty and strength of Chicana/o culture. 20 years later I pay homage to both of these Maestros in my debut feature film, “Cry Now”. The film's protagonist is nicknamed 'Ojitos' during the course of the narrative, a reference to one of the characters in Los Olvidados. The late great Lupe Ontiveros playing the role of a sage loosely recites Montoya's mantra 'La Locura Cura' (In madness you find truth) while she councils our protagonist.
Companion: To bring it all full circle my fictitious character would have to be a Wuxia hero. As a child I was awe inspired by these bigger than life martial artists. As an adult, Ang Lee's “Crouching Tiger, Hidden Dragon” did the same. I know all would be as it should if Yu Shu Lien was on that island with me. - Alberto Barboza (Cry Now )
Film: Nothing But a Man (1964) It's a film that does an incredible job balancing a character-driven story within a politically charged context. It's a film I'm finding myself inspired by as I continue to write Los Valientes.
Album: I'm not a fan of albums, but if I had to choose one I guess I would have to go with any of Prince's albums. His music always puts me in a trance.
Book: My dream journal so I can look back look for signs of what is to become of my future.
Companion: Who better than TV's MacGyver. I'd put his ass to work on getting me off the island! -Aurora Guerrero (Mosquita y Mari)
Film: Hell in the Pacific so that I can be reminded that even in paradise there is a duality.
Album: “La Scala: Concert” by Ludovico Einaudi – I've listened to it a thousand times and each time I feel or discover something new.
Book: “ Voces Reunidas” by Antonio Porchia. Each time I read one of his poems I learn something new and I'm deeply moved.
Companion: Barbarella, so I could never be lonely and I could enjoy this planet-island – Diego Quemada-Díez (La jaula de oro/The Golden Dream)
Written by Juan Caceres . LatinoBuzz is a weekly feature on SydneysBuzz that highlights Latino indie talent and upcoming trends in Latino film with the specific objective of presenting a broad range of Latino voices. Follow [At]LatinoBuzz on Twitter and Facebook...
Film: Choosing desert island items may mean sacrificing taste and/or reason, thinking about those items that you wouldn’t forgive yourself for not bringing them as your company, it´s like choosing the woman of your life. Here it goes: Hiroshima Mon Amour; there might be others I fancy as much as or more than (La Dolce Vita, Vertigo, M , some Lubitsch or Preminger), but I can think of no other as unique. I wouldn’t be able to choose any other without feeling Hiroshima’s absence - the best love film, the best movie about war, the best motion picture regarding the memory and its consequences. I can spend my whole life learning about film and the world because of Hiroshima...'.
Album: “Los Preludios de Debussy” by Claudio Arrau. These were so important to my life (I'm referring to my childhood of course) and I think no one does it better than Arrau. Same thing: it is endless. I think I could never tire of this and I could still wake up each and every morning amazed by it.
Book: “Sentimental Education”, by Flaubert. Similar to “Hiroshima”, a book that changed my outlook on literature and the world and I am certain it will keep transforming it forever.
Companion: Susie Diamond (Michelle Pfeiffer in 'The fabulous Baker Boys'). Since I saw the film (which I liked very much!) in the provincial movie theater of my childhood, I felt as Jack Baker´s relative and I loved Susie. If we had a piano, it would all be all be perfect. - Santiago Palavecino (Algunas chicas/Some Girls)
Film: This is a tricky question. I've always said that on a deserted island you should bring some porn. You could use that more than regular movies. But since I've got to pick a film I guess it'd be Jaws. Why? Because it's one of my favorites (I could also go with The Good, the Bad and the Ugly). But being on a deserted island, Jaws will remind me all the time what'll happen to me for sure if I try to get away!
Album: “ Appetite for Destruction” (Guns N' Roses). Hey, I was 13 when this came out. I listen to it every day while I work, anyways. My favorite, by far.
A Book: I'm going to cheat on this one: 'The Complete Works' by Jorge Luis Borges. The best writer, and enough labyrinths to get lost on endless nights.
Companion: Sherlock Holmes. He's always been my favorite, and also, since my guess is he'll be pretty useless in a deserted island, every time we fail to get out because of him I can get to tell him "Is that the best you can do, Sherlock? - Alejandro Brugués (Juan of the Dead)
Film: Los Olvidados- this is punk rock and Pachuco. Mexico City style before the bombed out bunkers of Sid & Nancy. Bunuel is a hero and I wanna buy Jaibo a beer and milk for the old poetic man!
Album: The Blade Runner album. I can play it over and over, get cranked up or mellow with Blade Runner Blues and the constant rain.
Book: '20 years of Joda' - poems of Jose Montoya, my pop. Epic stuff! 'Ran with Miguel Pinero in the Lower Eastside!”
Companion: Michael Corleone cause he's Mack in my book! Jaibo gets an honorable mention. - Richard Montoya (Water & Power )
Film: I´d choose Misery because a year can go by and I can watch it again eagerly. It's simple and the director (Rob Reiner) and Stephen King are both masters of suspense.
Album: I know this may be considered cheating but it would have to be 'The Best of David Bowie'. That way I have 2 CD's with nearly 40 songs!
Companion: There's many great people who I would to live with but on a deserted Island? It would have to be Mary Poppins for obvious reasons.
Book: And finally the book would be 'Blood Meridian' by Cormac McCarthy because it's one I haven't read yet. Analeine Cal y Mayor - (The Boy Who Smells Like Fish)
Film: I would say White Chicks. I’m going to need some humor! White Chicks is the movie that I put on when I need a good laugh. It does it for me every time. I grew up with characters like that; and admittedly, I can regress back to a few of them myself when no one is looking.
Album: ' Songs From the Capeman' - Paul Simon. I can’t get enough of that album. It instantly takes me to that world and electrifies that side of me that’s determined to make a change for Latinos. I want to keep that feeling with me alive eternally…wherever I’m at.”
Book: There are many but 'Anatomy of the Spirit' by Caroline Myss has been my compass. It taught me how to take control of my destiny by listening to my intuition and body. I stand by her quote: “Your biography becomes your biology.
Companion: The first person that came to mind when I read the question was silly Clarence from “It’s a Wonderful Life”. I guess I’m going to need an angel with me, and he’s perfect. He has a pure childlike spirit that would help me find gratitude in the most unlikely moments… even on a deserted island! That right there is the meaning of life. - Carmen Marron (Endgame)
Film: There are so many brilliant, groundbreaking favorite films that have influenced me (The 400 Blows; Jules and Jim ; Law of Desire; et al) but I wouldn't bring any of them. If I'm stuck on a deserted island, I'm bringing Neil Simon's Murder by Death so I can laugh my ass off. Not a great film at all, it's true, but it's a classic comedy.
Album: Oh, this is easy: Madonna's "Ray of Light." I am no Madonna fanatic, but "deserted island, " means beach + summer weather + Fire Island-like atmosphere. So somewhere nearby there's got to be gay guys partying and I will use Madonna to lure them to me so I can be rescued.
One Book: Varga Llosa's "Feast of the Goat" ("La Fiesta del Chivo") -- it's action-packed historical fiction. It will keep me occupied. One of my favorite novels.
Companion: Huckleberry Finn. He will be a great companion: not only will he tell great stories, but undoubtedly, the ever-resourceful Huck Finn will figure out how to build a raft and get us out off that island! - Terracino (Elliot Loves )
Film: Whenever anyone asks me this I always think of what use these items would serve practically on a deserted island, so I answered this in that respect. Tokyo Story - Yasujiro Ozu. This would be a great film to take on a deserted island because it's really about the unavoidable suffering of the cycle of life, which I'm sure you'd relate to if you were stuck on an island. I really could watch this film a million times over and notice something new every time. Watching most Ozu films is not unlike participating in a Zen meditation practice. It's patience and slowness and trying to empty your mind of thought until your left with the basics of existence. Kind of like sitting on a deserted island alone. I can watch the scene where Kyoto says “Life is disappointing, isn't it?” and Noriko smiles and says “Yes it is.” I can watch that endlessly and cry every time. It's so true.
Album: ' Tusk' - Fleetwood Mac. I could also deal with 'Rumours' but I picked 'Tusk' because it's longer and denser; probably better for an island. 'Sara' is maybe my favorite song in the world and so it would be nice to have that with me. I think channeling the powerful witchy energy of Stevie Nicks would be a real asset on an island. This album has so much strange material on - you wouldn't get bored too easily with it. It's also got a range of emotions so if you get too depressed on the island you can just put on 'Never Forget' and feel better. And 'Sisters of the Moon' would be good around a fire at night. Even though you're stuck on an island, it's good to create an ambiance to remind you that life is worth living.
Book: ' In Search of Lost Time' - Marcel Proust. I've only read 'Swann's Way' which is first part of this. My analyst recommend it to me when I was totally heartbroken after someone broke up with me. It really did the trick. This would be a good long epic read that has enough complex ideas in it to keep you occupied for a life time. Probably a good book (or set of books) to get back to nature with.
Companion: I'll say Terry Malloy from “On the Waterfront”. He'd be strong and good to have around to cut down trees and hunt and stuff. He's also easy on the eyes and someone that could do with a little lonely contemplation away from the loading docks. That doesn't sound half bad...stuck on like a tropical island with a young, cute Marlon Brando, watching Ozu, reading Proust and listening to Fleetwood Mac all day. Sign me up! - Joshua Sanchez (Four)
Film: My film would have to be Luis Buñuel's Los Olvidados. I have been a movie watcher since I was a child. Raised on mainstream American films and Wuxia flicks, it wasn't until I was a late teen that I took my first film class and was introduced to the work of Buñuel. Los Olvidados literally changed my perception of the world, both socially and visually. It was also the gateway for me to progress from movie watcher to film student.
Album: Music is my religion and I belong to the church of Robert Nesta Marley. I would prefer the whole anthology, but if I had to choose one album it would be “Exodus”. When on an island listen to island music.
Book: Right around the time I discovered the work of Buñuel, I was gifted Jose Montoya's 'In Formation: 20 years of Joda'. The book is a treasure of epic poems, sketches, and corridos. All testaments to the beauty and strength of Chicana/o culture. 20 years later I pay homage to both of these Maestros in my debut feature film, “Cry Now”. The film's protagonist is nicknamed 'Ojitos' during the course of the narrative, a reference to one of the characters in Los Olvidados. The late great Lupe Ontiveros playing the role of a sage loosely recites Montoya's mantra 'La Locura Cura' (In madness you find truth) while she councils our protagonist.
Companion: To bring it all full circle my fictitious character would have to be a Wuxia hero. As a child I was awe inspired by these bigger than life martial artists. As an adult, Ang Lee's “Crouching Tiger, Hidden Dragon” did the same. I know all would be as it should if Yu Shu Lien was on that island with me. - Alberto Barboza (Cry Now )
Film: Nothing But a Man (1964) It's a film that does an incredible job balancing a character-driven story within a politically charged context. It's a film I'm finding myself inspired by as I continue to write Los Valientes.
Album: I'm not a fan of albums, but if I had to choose one I guess I would have to go with any of Prince's albums. His music always puts me in a trance.
Book: My dream journal so I can look back look for signs of what is to become of my future.
Companion: Who better than TV's MacGyver. I'd put his ass to work on getting me off the island! -Aurora Guerrero (Mosquita y Mari)
Film: Hell in the Pacific so that I can be reminded that even in paradise there is a duality.
Album: “La Scala: Concert” by Ludovico Einaudi – I've listened to it a thousand times and each time I feel or discover something new.
Book: “ Voces Reunidas” by Antonio Porchia. Each time I read one of his poems I learn something new and I'm deeply moved.
Companion: Barbarella, so I could never be lonely and I could enjoy this planet-island – Diego Quemada-Díez (La jaula de oro/The Golden Dream)
Written by Juan Caceres . LatinoBuzz is a weekly feature on SydneysBuzz that highlights Latino indie talent and upcoming trends in Latino film with the specific objective of presenting a broad range of Latino voices. Follow [At]LatinoBuzz on Twitter and Facebook...
- 3/5/2014
- by Juan Caceres
- Sydney's Buzz
As the leading presenter of Latin American Cinema in the U.S. Cinema Tropical advocates for the Latino filmmaking community and honors their achievements. Cinema Tropical Awards now in its fourth edition have announced this year's nominees
The winners of the 4th Annual Cinema Tropical Awards will be announced at a special event at The New York Times Company headquarters in New York City in late January, 2014.
The nominees for this year’s Cinema Tropical Awards were selected by a nine-member jury panel from a list of Latin American and U.S. Latino feature films of a minimum of 60 minutes in length that were premiered between April 1, 2012 and March 31, 2013 (January 1, 2012 and March 31, 2013, for U.S. Latino productions). The list was culled by a nominating committee composed of 17 film professionals from Latin America, the U.S., Canada, and Europe.
The Cinema Tropical Awards are presented in partnership with Voces, Latino Heritage Network of The New York Times Company. Media Sponsors: LatAm Cinema and Remezcla. Special thanks to Mario Díaz, Andrea Betanzos, and Tatiana García.
Best Feature Film
- Gloria (Sebastián Lelio, Chile/Spain, 2013)
- No (Pablo Larraín, Chile/USA/France/Mexico, 2012)
- Post Tenebras Lux (Carlos Reygadas, Mexico/France/Germany/Netherlands, 2012)
- Tanta Agua | So Much Water (Ana Guevara and Leticia Jorge, Uruguay/Germany/Mexico, 2013)
- VIolA (Matías Piñeiro, Argentina, 2012)
Best Director, Feature Film
- Sebastián Silva, Crystal Fairy (Chile, 2013)
- Pablo Larraín, No (Chile/USA/France/Mexico, 2012)
- Carlos Reygadas, Post Tenebras Lux (Mexico/ France/ Germany/ Netherlands, 2012)
-Ana Guevara and Leticia Jorge, Tanta Agua | So Much Water
(Uruguay/ Germany/ Mexico, 2013)
- Matías Piñeiro, Viola (Argentina, 2012)
Best Documentary Film
- El Alcalde | The Mayor (Emiliano Altuna, Carlos F. Rossini, Diego Osorno, Mexico, 2012)
- La Chica Del Sur | The Girl from the South (José Luis García, Argentina, 2012)
- La Gente Del RÍO | The River People (Martín Benchimol and Pablo Aparo, Argentina, 2012)
- El Huaso (Carlo Guillermo Proto, Chile/Canada, 2012)
- El Otro DÍA | The Other Day (Ignacio Agüero, Chile, 2012)
Best Director, Documentary Film
- José Luis García, La Chica Del Sur | The Girl from the South (Argentina, 2012)
- Priscilla Padilla, La Eterna Noche De Las Doce Lunas | The Eternal Night of the Twelve Moons (Colombia, 2013)
- Martín Benchimol, Pablo Aparo, La Gente Del RÍO | The River People (Argentina, 2012)
- Mercedes Moncada, Palabras MÁGICAS (Para Romper Un Encantamiento) | Magic Words (Breaking a Spell) (Mexico/Guatemala, 2012)
- Ignacio Agüero, El Otro DÍA | The Other Day (Chile, 2012)
Best First Film
- Carne De Perro | Dog Flesh (Fernando Guzzoni, Chile/France/Germany, 2012)
- El Limpiador | The Cleaner (Adrián Saba, Peru, 2012)
- Melaza | Molasses (Carlos Díaz Lechuga, Cuba/France/Panama, 2012)
- Tanta Agua | So Much Water (Ana Guevara and Leticia Jorge, Uruguay/Germany/Mexico, 2013)
- Los Salvajes | The Wild Ones (Alejandro Fadel, Argentina, 2012)
Best U.S. Latino Film
- American Promise (Joe Brewster and Michèle Stephenson, USA, 2013)
- Filly Brown (Youssef Delara and Michael D. Olmos, USA, 2012)
- Mosquita Y Mari (Aurora Guerrero, USA, 2012)
- Reportero (Bernardo Ruiz, USA, 2012)
- Wonder Women! The Untold Story Of American Superheroines (Kristy Guevara-Flanagan, USA, 2012)
2013 Jury:
Chris Allen, founder and director, UnionDocs; Melissa Anderson, film critic, Artforum; Beth Janson, executive director, Tribeca Film Institute; Daniel Loría, overseas editor, BoxOffice; Mike Maggiore, programmer, Film Forum; Paco de Onís, filmmaker; Anita Reher, executive director, Robert Flaherty Film Seminar; Julia Solomonoff, filmmaker; Maria-Christina Villaseñor, film curator and writer.
2013 Nominating Committee:
Cecilia Barrionuevo, programmer, Mar del Plata Film Festival, Argentina; Raúl Camargo, programmer, Valdivia Film Festival, Chile; John Campos Gómez, director, Transcinema Film Festival, Peru; Inti Cordera, director, DocsDF Film Festival, Mexico; Christine Davila, programmer, Sundance, Los Angeles Film Festival, Ambulante USA; Eugenio del Bosque, director, Cine Las Américas, USA; Raciel del Toro, Cinergia, Costa Rica; Vanessa Erazo, film programmer and journalist, indieWIRE/LatinoBuzz, Remezcla, USA; Lisa Franek, programmer, San Diego Latino Film Festival, USA; Robert A. Gomez, film journalist, Cinemathon, Venezuela; Jaie Laplante, director, Miami Film Festival, USA; Agustín Mango, film journalist, Hollywood Reporter, Argentina; Jim Mendiola, programmer, CineFestival, San Antonio, USA; Luis Ortiz, director, Latino Public Broadcasting, USA; Rafael Sampaio, programmer, Sao Paulo Latin American Film Festival, Brazil; Eva Sangiorgi, programmer, Ficunam, Mexico; Gerwin Tamsma, programmer, Rotterdam Film Festival, Netherlands.
The winners of the 4th Annual Cinema Tropical Awards will be announced at a special event at The New York Times Company headquarters in New York City in late January, 2014.
The nominees for this year’s Cinema Tropical Awards were selected by a nine-member jury panel from a list of Latin American and U.S. Latino feature films of a minimum of 60 minutes in length that were premiered between April 1, 2012 and March 31, 2013 (January 1, 2012 and March 31, 2013, for U.S. Latino productions). The list was culled by a nominating committee composed of 17 film professionals from Latin America, the U.S., Canada, and Europe.
The Cinema Tropical Awards are presented in partnership with Voces, Latino Heritage Network of The New York Times Company. Media Sponsors: LatAm Cinema and Remezcla. Special thanks to Mario Díaz, Andrea Betanzos, and Tatiana García.
Best Feature Film
- Gloria (Sebastián Lelio, Chile/Spain, 2013)
- No (Pablo Larraín, Chile/USA/France/Mexico, 2012)
- Post Tenebras Lux (Carlos Reygadas, Mexico/France/Germany/Netherlands, 2012)
- Tanta Agua | So Much Water (Ana Guevara and Leticia Jorge, Uruguay/Germany/Mexico, 2013)
- VIolA (Matías Piñeiro, Argentina, 2012)
Best Director, Feature Film
- Sebastián Silva, Crystal Fairy (Chile, 2013)
- Pablo Larraín, No (Chile/USA/France/Mexico, 2012)
- Carlos Reygadas, Post Tenebras Lux (Mexico/ France/ Germany/ Netherlands, 2012)
-Ana Guevara and Leticia Jorge, Tanta Agua | So Much Water
(Uruguay/ Germany/ Mexico, 2013)
- Matías Piñeiro, Viola (Argentina, 2012)
Best Documentary Film
- El Alcalde | The Mayor (Emiliano Altuna, Carlos F. Rossini, Diego Osorno, Mexico, 2012)
- La Chica Del Sur | The Girl from the South (José Luis García, Argentina, 2012)
- La Gente Del RÍO | The River People (Martín Benchimol and Pablo Aparo, Argentina, 2012)
- El Huaso (Carlo Guillermo Proto, Chile/Canada, 2012)
- El Otro DÍA | The Other Day (Ignacio Agüero, Chile, 2012)
Best Director, Documentary Film
- José Luis García, La Chica Del Sur | The Girl from the South (Argentina, 2012)
- Priscilla Padilla, La Eterna Noche De Las Doce Lunas | The Eternal Night of the Twelve Moons (Colombia, 2013)
- Martín Benchimol, Pablo Aparo, La Gente Del RÍO | The River People (Argentina, 2012)
- Mercedes Moncada, Palabras MÁGICAS (Para Romper Un Encantamiento) | Magic Words (Breaking a Spell) (Mexico/Guatemala, 2012)
- Ignacio Agüero, El Otro DÍA | The Other Day (Chile, 2012)
Best First Film
- Carne De Perro | Dog Flesh (Fernando Guzzoni, Chile/France/Germany, 2012)
- El Limpiador | The Cleaner (Adrián Saba, Peru, 2012)
- Melaza | Molasses (Carlos Díaz Lechuga, Cuba/France/Panama, 2012)
- Tanta Agua | So Much Water (Ana Guevara and Leticia Jorge, Uruguay/Germany/Mexico, 2013)
- Los Salvajes | The Wild Ones (Alejandro Fadel, Argentina, 2012)
Best U.S. Latino Film
- American Promise (Joe Brewster and Michèle Stephenson, USA, 2013)
- Filly Brown (Youssef Delara and Michael D. Olmos, USA, 2012)
- Mosquita Y Mari (Aurora Guerrero, USA, 2012)
- Reportero (Bernardo Ruiz, USA, 2012)
- Wonder Women! The Untold Story Of American Superheroines (Kristy Guevara-Flanagan, USA, 2012)
2013 Jury:
Chris Allen, founder and director, UnionDocs; Melissa Anderson, film critic, Artforum; Beth Janson, executive director, Tribeca Film Institute; Daniel Loría, overseas editor, BoxOffice; Mike Maggiore, programmer, Film Forum; Paco de Onís, filmmaker; Anita Reher, executive director, Robert Flaherty Film Seminar; Julia Solomonoff, filmmaker; Maria-Christina Villaseñor, film curator and writer.
2013 Nominating Committee:
Cecilia Barrionuevo, programmer, Mar del Plata Film Festival, Argentina; Raúl Camargo, programmer, Valdivia Film Festival, Chile; John Campos Gómez, director, Transcinema Film Festival, Peru; Inti Cordera, director, DocsDF Film Festival, Mexico; Christine Davila, programmer, Sundance, Los Angeles Film Festival, Ambulante USA; Eugenio del Bosque, director, Cine Las Américas, USA; Raciel del Toro, Cinergia, Costa Rica; Vanessa Erazo, film programmer and journalist, indieWIRE/LatinoBuzz, Remezcla, USA; Lisa Franek, programmer, San Diego Latino Film Festival, USA; Robert A. Gomez, film journalist, Cinemathon, Venezuela; Jaie Laplante, director, Miami Film Festival, USA; Agustín Mango, film journalist, Hollywood Reporter, Argentina; Jim Mendiola, programmer, CineFestival, San Antonio, USA; Luis Ortiz, director, Latino Public Broadcasting, USA; Rafael Sampaio, programmer, Sao Paulo Latin American Film Festival, Brazil; Eva Sangiorgi, programmer, Ficunam, Mexico; Gerwin Tamsma, programmer, Rotterdam Film Festival, Netherlands.
- 1/8/2014
- by Sydney Levine
- Sydney's Buzz
There’s been a whole bunch of recent buzz happening on Sydney Freeland’s directorial debut, a dramatic number that wraps the coming-of-age, teenage rebellion, queer cinema with a Native American touch all into one. Currently in the post-production phase, the successful Kickstarter funding campaign to lock down the final elements means that Drunktown’s Finest (which wrapped principle photography this summer) is in the fast-track portion of the timeline which must be exciting for the helmer after a development that included a trio of Sundance Institute workshop stints (2009 Native Lab, 2010 Screenwriter’s Lab, and 2010 Director’s Labs). Check out the first look below.
Gist: Starring Jeremiah Bitsui, Kiowa Gordon and Lora Martinez-Cunningham, this Three Native American teenagers; a rebellious father-to-be, a devout Christian girl, and a promiscuous transsexual, learn they may be the next generation of medicine people for their tribe.
Production Co./Producers: Chad Burris (Mosquita y Mari) and Mateo Frazier
Prediction: U.
Gist: Starring Jeremiah Bitsui, Kiowa Gordon and Lora Martinez-Cunningham, this Three Native American teenagers; a rebellious father-to-be, a devout Christian girl, and a promiscuous transsexual, learn they may be the next generation of medicine people for their tribe.
Production Co./Producers: Chad Burris (Mosquita y Mari) and Mateo Frazier
Prediction: U.
- 11/18/2013
- by Eric Lavallee
- IONCINEMA.com
The San Francisco Film Society has announced $425,000 in grants spread over nine projects, made in partnership with the Kenneth Rainin Foundation. The grants have gone to Peter Nicks ("The Waiting Room"), Aurora Guerrero ("Mosquita y Mari") and Ira Sachs ("Keep the Lights On") among others. The panelists who reviewed the finalists’ submissions are Santhosh Daniel, creative consultant; filmmaker Lisa Fruchtman; Sffs Executive Director Ted Hope (who recently announced his impending departure); Jennifer Rainin, president of the Kenneth Rainin Foundation; and Michele Turnure-Salleo, director of Filmmaker360. Descriptions of the projects, with the size of each grant, supplied by the Sffs are below: Doctor — Musa Syeed, director/producer/writer; Nicholas Bruckman, coproducer $35,000 for screenwriting Salim, a disgraced young doctor from India, will do anything to rebuild his former life. But when he starts practicing medicine illegally in New York, he's drawn into a medical...
- 10/31/2013
- by Indiewire
- Indiewire
For more than a decade, the annual Latin Alternative Music Conference (Lamc) has brought together the musical innovators and genre-benders at the forefront of a musical movement known simply as Latin alternative. It is a catch-all term, not a genre in itself. Some sing indie pop in Spanish while others take Latin beats like cumbia, regional Mexican music, or salsa and remix them with hip-hop, punk, electronica and everything in between.
The conference, organized by Los Angeles-based Nacional Records, took over NYC this past week and was a sweaty, sweltering marathon of acoustic showcases, electro-cumbia light shows, rainy SummerStage performances, and out-of-control dance parties. The long standing conference is a testament to the vitality of the Latino independent music scene.
Although the mainstream is still catching up to this “new” musical movement, Latino filmmakers have already tapped into this vast musical resource. Aurora Guerrero, director of Mosquita y Mari, told LatinoBuzz in a previous interview that, “I’m constantly on SoundCloud or Remezcla looking to see what new music is being produced by Latino artists. I’m not interested in producing soundtracks or scores that have been recycled in U.S. Latino films throughout the years. I’m looking for music that’s cutting-edge and contemporary.” Her film, a thoughtful portrait of two teenage Chicanas living in Los Angeles, is set to the music of local ska bands, the melancholy vocals of Carla Morrison, and other genre-remixing Latino artists.
The marriage of Latino independent music with Latino independent film seems natural. Both try to “hop borders” as Jon Pareles wrote in the New York Times and exist out of a desire to reach beyond the cultural boundaries in which they currently reside. It’s also a mutually beneficial relationship. Filmmakers deal with lower fees versus trying to license more commercial music while providing much-needed exposure to up-and-coming bands.
By happenstance Latinbeat, the Film Society of Lincoln Center’s week-long showcase of Latin American independent films, overlapped with Lamc over the weekend. It was a Lindie (a.k.a. Latino indie) takeover.
Latinbeat runs through Sunday, July 21 and there is still a ton to see. Here are the highlights.
Viola
Matías Piñeiro | 2012 | 65 mins
Wednesday, July 17 and Thursday, July 18 at 11:15am 1:45pm 4:15pm 6:45pm 9:30pm
A web of romantic intrigue and revelation is delicately unraveled in this dazzling riff on Shakespeare’s Twelfth Night. Screening with Rosalinda (Matías Piñeiro, 2010, 43m).
Tanta Agua (So Much Water)
Ana Guevara | Leticia Jorge | 2013 | 100 mins
Filmmakers in person for Q&A. Thursday, July 18 at 8:30pm | Saturday, July 20 at 2:30pm
A divorced father’s vacation with his two children is marred by a storm that keep the three cooped up together as he desperately tries to remain enthusiastic and not let anything ruin their plans.
The Tears
Pablo Delgado Sanchez | 2012 | 66 mins
Filmmaker in person for Q&A. Thursday, July 18 at 6:30pm | Saturday, July 20 at 5:00pm
A camping trip in the woods becomes a painful but ultimately healing rite of passage for two brothers who are struggling to cope with their disturbing family environment in Sanchez’s taut, suspenseful debut feature.
Bring Me the Head of the Machine Gun Woman
Ernesto Díaz Espinoza | 2013 | 75 mins
Filmmaker in person for Q&A. Saturday, July 20 at 9:30pm | Sunday, July 21 at 8:30pm
This exuberant tribute to Peckinpah’s similarly titled 1974 film combines the plot of a Western with a video game aesthetic and structure in the story of a nerdy DJ who must undertake an action-packed mission to save his own life.
Magical Words (Breaking a Spell)
Mercedes Moncada | 2012 | 83 mins
Filmmaker in person for Q&A. Friday, July 19 at 6:30pm | Sunday, July 21 at 1:30pm
Moncada crafts a poignant and engaging personal perspective on her native Nicaragua from the 1979 Sandinista revolution through to modern times, weaving herself into the story at every historic step.
Written by Juan Caceres and Vanessa Erazo, LatinoBuzz is a weekly feature on SydneysBuzz that highlights Latino indie talent and upcoming trends in Latino film with the specific objective of presenting a broad range of Latino voices. Follow @LatinoBuzz on Twitter and Facebook.
The conference, organized by Los Angeles-based Nacional Records, took over NYC this past week and was a sweaty, sweltering marathon of acoustic showcases, electro-cumbia light shows, rainy SummerStage performances, and out-of-control dance parties. The long standing conference is a testament to the vitality of the Latino independent music scene.
Although the mainstream is still catching up to this “new” musical movement, Latino filmmakers have already tapped into this vast musical resource. Aurora Guerrero, director of Mosquita y Mari, told LatinoBuzz in a previous interview that, “I’m constantly on SoundCloud or Remezcla looking to see what new music is being produced by Latino artists. I’m not interested in producing soundtracks or scores that have been recycled in U.S. Latino films throughout the years. I’m looking for music that’s cutting-edge and contemporary.” Her film, a thoughtful portrait of two teenage Chicanas living in Los Angeles, is set to the music of local ska bands, the melancholy vocals of Carla Morrison, and other genre-remixing Latino artists.
The marriage of Latino independent music with Latino independent film seems natural. Both try to “hop borders” as Jon Pareles wrote in the New York Times and exist out of a desire to reach beyond the cultural boundaries in which they currently reside. It’s also a mutually beneficial relationship. Filmmakers deal with lower fees versus trying to license more commercial music while providing much-needed exposure to up-and-coming bands.
By happenstance Latinbeat, the Film Society of Lincoln Center’s week-long showcase of Latin American independent films, overlapped with Lamc over the weekend. It was a Lindie (a.k.a. Latino indie) takeover.
Latinbeat runs through Sunday, July 21 and there is still a ton to see. Here are the highlights.
Viola
Matías Piñeiro | 2012 | 65 mins
Wednesday, July 17 and Thursday, July 18 at 11:15am 1:45pm 4:15pm 6:45pm 9:30pm
A web of romantic intrigue and revelation is delicately unraveled in this dazzling riff on Shakespeare’s Twelfth Night. Screening with Rosalinda (Matías Piñeiro, 2010, 43m).
Tanta Agua (So Much Water)
Ana Guevara | Leticia Jorge | 2013 | 100 mins
Filmmakers in person for Q&A. Thursday, July 18 at 8:30pm | Saturday, July 20 at 2:30pm
A divorced father’s vacation with his two children is marred by a storm that keep the three cooped up together as he desperately tries to remain enthusiastic and not let anything ruin their plans.
The Tears
Pablo Delgado Sanchez | 2012 | 66 mins
Filmmaker in person for Q&A. Thursday, July 18 at 6:30pm | Saturday, July 20 at 5:00pm
A camping trip in the woods becomes a painful but ultimately healing rite of passage for two brothers who are struggling to cope with their disturbing family environment in Sanchez’s taut, suspenseful debut feature.
Bring Me the Head of the Machine Gun Woman
Ernesto Díaz Espinoza | 2013 | 75 mins
Filmmaker in person for Q&A. Saturday, July 20 at 9:30pm | Sunday, July 21 at 8:30pm
This exuberant tribute to Peckinpah’s similarly titled 1974 film combines the plot of a Western with a video game aesthetic and structure in the story of a nerdy DJ who must undertake an action-packed mission to save his own life.
Magical Words (Breaking a Spell)
Mercedes Moncada | 2012 | 83 mins
Filmmaker in person for Q&A. Friday, July 19 at 6:30pm | Sunday, July 21 at 1:30pm
Moncada crafts a poignant and engaging personal perspective on her native Nicaragua from the 1979 Sandinista revolution through to modern times, weaving herself into the story at every historic step.
Written by Juan Caceres and Vanessa Erazo, LatinoBuzz is a weekly feature on SydneysBuzz that highlights Latino indie talent and upcoming trends in Latino film with the specific objective of presenting a broad range of Latino voices. Follow @LatinoBuzz on Twitter and Facebook.
- 7/17/2013
- by Vanessa Erazo
- Sydney's Buzz
I love Paris! Serving on the jury of U.S. in Progress to judge five American independent films in post production, bonding with filmmakers, organizers and the beautiful city itself, being part of a larger festival which featured films I particularly enjoyed like Nina Simone, Love Sorceress… Forever, It Felt Like Love by Eliza Hittman, Umbrellas of Cherbourg, what’s not to love?
The friendly openness of everyone at the festival made the event special. Sophie Dulac, the festival’s founder (and distributor, producer and exhibitor) whom I interviewed last year and again, almost as old friends again this year (see upcoming blog!), the publicist and programmer, Maxine Leonard, the staff, the Us in Progress organizers – Adeline Monzier (now also Us representative for Unifrance), Ula Śniegowska, Artistic Director of Wroclaw, Poland’s American Film Festival and Mobile New Horizons, my fellow jury members for USinP, and of course, the filmmakers themselves created a fun and inspiring event. What a great international film business we are in!
As I write this, the mailman just delivered a book, entitled Titra Film, A Cinematographic and Family Chronicle, sent to me by my fellow jury-member, Isabelle Frilley, who now, along with her children, owns and operates Titra, now called TitraTVS, the sub-titling company founded by her grandparents in 1933 shortly after talkies made subtitling de riguer . Very involved in the world of cinema, and inspired by her literary tastes, Isabelle has also helped develop multi-lingual subtitling for cinema, subtitling for the hearing impaired, and audio-description for the visually impaired. For many years, Isabelle Frilley has been a member of the juries of “Ciné en Construction” (for Latin-American cinema, in Toulouse), of “Cinéma en Mouvement” (for Mediterranean cinema, in San Sebastian), and of the Caméra d’Or in Cannes. She is only one of the illustrious jury among whom I was honored to count myself. Others included Julie Bergeron who runs Cannes Marche’s Producer Network among other things, Europa Distribution Eve Gabereau of Soda Pictures, a London-based indie distributor, Ciné Cinéma’s Bruno Deloye, Firefly’s Philippe Reinaudo, Commune Image’s Michael Werner, Eaux Vives Production’s Xénia Maingot, and Matthias Lavaux, the cofounder of touscoprod, the French crowdfunding website dedicated to movies, launched in January 2009.
1982 by Tommy Oliver
USinP’s winner, Tommy Oliver, whose previous film Kinyarwanda was a favorite of mine at Sundance a couple of years ago which Roger Ebert ranked 6 on his top ten films of 2011, is now in post on 1982 and won Us$60,000 worth of post production services.
Tommy’s directorial debut, 1982, starring Hill Harper, Sharon Leal, La La Anthony, Bokeem Woodbine, Wayne Brady and Ruby Dee, tells the story of a black father whose wife succumbs to a crack cocaine addiction and his efforts to shield their 10-year old daughter from the ill effects of having a drug addicted mother while trying to wean her off of her addiction. It's set in 1982 in Philadelphia at the very onset of the crack cocaine epidemic and ultimately, it's a story about a father doing whatever he can to protect his family. It's semi- autobiographical story and inspired by true events.
He also wrote and produced 1982 which also received a prestigious San Francisco Film Society Krf grant .
Tommy himself is a graduate of Carnegie Mellon University, a Microsoft alum and founder of Seattle-based interactive media firm Viliv Studios as well as La- based production company Confluential Films, which he started with actor/ author/ speaker Hill Harper.
I can confidently predict that this film will be seen on the festival circuit as it brings a humanity to the issue we’ve seen dozens of time – crack in communities – but never like this. We don’t see the ugly community violated by violence. We see a loving family coping with a personal and private disaster. Hill Harper plays a loving, compassionate good man. Comparisons will be made with Fruitvale Station, another African American “issue” film (police brutally killing an innocent family man) which will be released July 12 by The Weinstein Company. We need more such films to create a consistent pipeline for audiences who will pay to see these films. AFor his film 1982, he has devised a super-sophisticated, break-the-record domestic marketing plan. I am eager to watch the trajectory of this one.
The runner-up film, Bfe was supported with great gusto by its director and producer, Shawn Telford and producer, Mark Carr who brought a special energy to the entire event and were full of fun throughout. Shawn charmed his French hosts with his French. Watch for the film and with it, watch for Shawn!
I Believe In Unicorns is the feature debut of director Leah Meyerhoff. It was nominated for a Calvin Klein grant at the 2012 Gotham Independent Film Awards and stars Natalia Dyer, Peter Vack, Toni Meyerhoff, Julia Garner, Joshua Leonard and Amy Seimetz.
As noteworthy as the film is and as talented as Leah is, the producers themselves are also notable and prolific! Allison Anders, Katie Mustard and Heather Rae who also produced the Academy Award nominated film Frozen River, starring Melissa Leo, which won the 2008 Grand Jury Prize at Sundance, opened the New York Film Society’s New Directors/New Film series and was acquired by Sony PicturesClassics. She won the 2008 Independent Spirit Award for her production work on Frozen River. Heather also produced Mosquita Y Mari (Sundance 2012), Backroads (Sundance 2000), Trudell (2005 Sundance Film Festival), Ibid (2008 SXSW), The Dry Land (Sundance 2010), Magic Valley (Tribeca 2011), and is currently in post-production on Five Thirteen (with Tom Sizemore), Ass Backwards (with Alicia Silverstone and Vincent D’Onofrio) and Plastic Jesus (with Paul Schneider and Mackenzie Foy). For six years she was a programmer for the Sundance Film Festival and ran the Native Program at the Sundance Institute and recently joined the Sundance Board of Trustees.
Ping Pong Summer
Michael Tully made his directorial debut, Cocaine Angel, world premiered at the 2006 International Film Festival Rotterdam, Michael Tully (Director) was named one of Filmmaker Magazine’s 25 New Faces of Independent Film. His follow-up, Silver Jew, world premiered at the 2007 South By Southwest Film Festival. In 2011, he wrote, directed, and acted in Septien, which world premiered at the Sundance Film Festival and was picked up for distribution by Sundance Selects. He’s currently in post-production on his newest feature, Ping Pong Summer, which he wrote and directed. Since 2008, he has been the head writer/editor of HammerToNail.com, a website devoted to championing ambitious cinema.
Producers: George Rush, Brooke Bernard, Ryan Zacarias, Michael Gottwald, Billy Peterson, Jeff Allard
Main Cast : Susan Sarandon, John Hannah, Leah Thompson, Judah Friedlander, Amy Sedaris
Children
Director : Jaffe Zinn Producer : Jaffe Zinn and Sterling Hoch
Aside from the jury, the films were seen by members of Europa Distribution:
Alpha Violet - Keiko Funato & Virgine Devesa - France - Sales agent Bac Films - Crasset Véronique - France - Sales agent & Distributor Bankside - Alice Ramsey - UK Sales Agent Chrysalis - Camille Lopato - France – Distributor Content - Toby Melling - UK - Sales Agent Coproduction Office - Marina Perales & Philippe Bober - France - Sales Agent Distrib Films - François Scippa-Kohn - France - Distributor Equation - Didier Costet - France - Distributor Eurozoom - Manon Galibert - France - Distributor Film Republic Rashid Xavier UK sales agent Films Boutique - Jean-Christophe Simon - Germany - Sales Agent Hanway - Fabien Westerhoff - UK - Sales Agent Happiness - Isabelle Dubar - France - Distributor Heliotrope - Laurent Aléonard & Goldfain Philippe - France - Distributor Imagine - Bral Tinne - Benelux - Distributor Jour 2 Fête - Sarah Chazelle - France - Distributor K5 Intl - Oda Schäfer - Germany - Sales Agent Kmbo - Grégoire Marchal - France - Distributor Le Pacte - Nathalie Jeung - France - Sales Agent & Distributor Level K - Freja Johanne - Denmark - Sales agent Locarno Film Festival - Aurélie Godet - France - Festival Memento Film - Tanja Meissner & Ram Murali - France - Sales Agent & Distributor MK2 - Emmanuelle de Couesbouc / Juliette Shramek - France - Sales Agent Premium Films - Karwan Kasia - France - Sales Agent & Distributor Reel Suspects - Frederic Gentet - France - Sales Agent Rezo - Sebastien Chesneau - France - Sales Agent & Distributor Sacrebleu - Louise Bellicaud - France - Producer Soda Pictures - Eve Gabereau - UK - Distributor Sophie Dulac Distribution - Eric Vicente - France - Distributor The Works - Steve Bestwick - UK - Sales Agent Tribeca Film Festival - Frédéric Boyer - USA - Festival Trust Nordisk - Silje Glimsdal - Denmark - Sales Agent Urban - Claire Charles-Gervais - France - Sales Agent & Distributor Versatile - Violaine Pichon & Pape Boye - France - Sales Agent Wide Management - Loïc Magneron - France – Sales Agent Wild Bunch - Emmanuelle Fellous - France - Sales Agent & Distributor Zed - Martine Scoupe - France - Distributor...
The friendly openness of everyone at the festival made the event special. Sophie Dulac, the festival’s founder (and distributor, producer and exhibitor) whom I interviewed last year and again, almost as old friends again this year (see upcoming blog!), the publicist and programmer, Maxine Leonard, the staff, the Us in Progress organizers – Adeline Monzier (now also Us representative for Unifrance), Ula Śniegowska, Artistic Director of Wroclaw, Poland’s American Film Festival and Mobile New Horizons, my fellow jury members for USinP, and of course, the filmmakers themselves created a fun and inspiring event. What a great international film business we are in!
As I write this, the mailman just delivered a book, entitled Titra Film, A Cinematographic and Family Chronicle, sent to me by my fellow jury-member, Isabelle Frilley, who now, along with her children, owns and operates Titra, now called TitraTVS, the sub-titling company founded by her grandparents in 1933 shortly after talkies made subtitling de riguer . Very involved in the world of cinema, and inspired by her literary tastes, Isabelle has also helped develop multi-lingual subtitling for cinema, subtitling for the hearing impaired, and audio-description for the visually impaired. For many years, Isabelle Frilley has been a member of the juries of “Ciné en Construction” (for Latin-American cinema, in Toulouse), of “Cinéma en Mouvement” (for Mediterranean cinema, in San Sebastian), and of the Caméra d’Or in Cannes. She is only one of the illustrious jury among whom I was honored to count myself. Others included Julie Bergeron who runs Cannes Marche’s Producer Network among other things, Europa Distribution Eve Gabereau of Soda Pictures, a London-based indie distributor, Ciné Cinéma’s Bruno Deloye, Firefly’s Philippe Reinaudo, Commune Image’s Michael Werner, Eaux Vives Production’s Xénia Maingot, and Matthias Lavaux, the cofounder of touscoprod, the French crowdfunding website dedicated to movies, launched in January 2009.
1982 by Tommy Oliver
USinP’s winner, Tommy Oliver, whose previous film Kinyarwanda was a favorite of mine at Sundance a couple of years ago which Roger Ebert ranked 6 on his top ten films of 2011, is now in post on 1982 and won Us$60,000 worth of post production services.
Tommy’s directorial debut, 1982, starring Hill Harper, Sharon Leal, La La Anthony, Bokeem Woodbine, Wayne Brady and Ruby Dee, tells the story of a black father whose wife succumbs to a crack cocaine addiction and his efforts to shield their 10-year old daughter from the ill effects of having a drug addicted mother while trying to wean her off of her addiction. It's set in 1982 in Philadelphia at the very onset of the crack cocaine epidemic and ultimately, it's a story about a father doing whatever he can to protect his family. It's semi- autobiographical story and inspired by true events.
He also wrote and produced 1982 which also received a prestigious San Francisco Film Society Krf grant .
Tommy himself is a graduate of Carnegie Mellon University, a Microsoft alum and founder of Seattle-based interactive media firm Viliv Studios as well as La- based production company Confluential Films, which he started with actor/ author/ speaker Hill Harper.
I can confidently predict that this film will be seen on the festival circuit as it brings a humanity to the issue we’ve seen dozens of time – crack in communities – but never like this. We don’t see the ugly community violated by violence. We see a loving family coping with a personal and private disaster. Hill Harper plays a loving, compassionate good man. Comparisons will be made with Fruitvale Station, another African American “issue” film (police brutally killing an innocent family man) which will be released July 12 by The Weinstein Company. We need more such films to create a consistent pipeline for audiences who will pay to see these films. AFor his film 1982, he has devised a super-sophisticated, break-the-record domestic marketing plan. I am eager to watch the trajectory of this one.
The runner-up film, Bfe was supported with great gusto by its director and producer, Shawn Telford and producer, Mark Carr who brought a special energy to the entire event and were full of fun throughout. Shawn charmed his French hosts with his French. Watch for the film and with it, watch for Shawn!
I Believe In Unicorns is the feature debut of director Leah Meyerhoff. It was nominated for a Calvin Klein grant at the 2012 Gotham Independent Film Awards and stars Natalia Dyer, Peter Vack, Toni Meyerhoff, Julia Garner, Joshua Leonard and Amy Seimetz.
As noteworthy as the film is and as talented as Leah is, the producers themselves are also notable and prolific! Allison Anders, Katie Mustard and Heather Rae who also produced the Academy Award nominated film Frozen River, starring Melissa Leo, which won the 2008 Grand Jury Prize at Sundance, opened the New York Film Society’s New Directors/New Film series and was acquired by Sony PicturesClassics. She won the 2008 Independent Spirit Award for her production work on Frozen River. Heather also produced Mosquita Y Mari (Sundance 2012), Backroads (Sundance 2000), Trudell (2005 Sundance Film Festival), Ibid (2008 SXSW), The Dry Land (Sundance 2010), Magic Valley (Tribeca 2011), and is currently in post-production on Five Thirteen (with Tom Sizemore), Ass Backwards (with Alicia Silverstone and Vincent D’Onofrio) and Plastic Jesus (with Paul Schneider and Mackenzie Foy). For six years she was a programmer for the Sundance Film Festival and ran the Native Program at the Sundance Institute and recently joined the Sundance Board of Trustees.
Ping Pong Summer
Michael Tully made his directorial debut, Cocaine Angel, world premiered at the 2006 International Film Festival Rotterdam, Michael Tully (Director) was named one of Filmmaker Magazine’s 25 New Faces of Independent Film. His follow-up, Silver Jew, world premiered at the 2007 South By Southwest Film Festival. In 2011, he wrote, directed, and acted in Septien, which world premiered at the Sundance Film Festival and was picked up for distribution by Sundance Selects. He’s currently in post-production on his newest feature, Ping Pong Summer, which he wrote and directed. Since 2008, he has been the head writer/editor of HammerToNail.com, a website devoted to championing ambitious cinema.
Producers: George Rush, Brooke Bernard, Ryan Zacarias, Michael Gottwald, Billy Peterson, Jeff Allard
Main Cast : Susan Sarandon, John Hannah, Leah Thompson, Judah Friedlander, Amy Sedaris
Children
Director : Jaffe Zinn Producer : Jaffe Zinn and Sterling Hoch
Aside from the jury, the films were seen by members of Europa Distribution:
Alpha Violet - Keiko Funato & Virgine Devesa - France - Sales agent Bac Films - Crasset Véronique - France - Sales agent & Distributor Bankside - Alice Ramsey - UK Sales Agent Chrysalis - Camille Lopato - France – Distributor Content - Toby Melling - UK - Sales Agent Coproduction Office - Marina Perales & Philippe Bober - France - Sales Agent Distrib Films - François Scippa-Kohn - France - Distributor Equation - Didier Costet - France - Distributor Eurozoom - Manon Galibert - France - Distributor Film Republic Rashid Xavier UK sales agent Films Boutique - Jean-Christophe Simon - Germany - Sales Agent Hanway - Fabien Westerhoff - UK - Sales Agent Happiness - Isabelle Dubar - France - Distributor Heliotrope - Laurent Aléonard & Goldfain Philippe - France - Distributor Imagine - Bral Tinne - Benelux - Distributor Jour 2 Fête - Sarah Chazelle - France - Distributor K5 Intl - Oda Schäfer - Germany - Sales Agent Kmbo - Grégoire Marchal - France - Distributor Le Pacte - Nathalie Jeung - France - Sales Agent & Distributor Level K - Freja Johanne - Denmark - Sales agent Locarno Film Festival - Aurélie Godet - France - Festival Memento Film - Tanja Meissner & Ram Murali - France - Sales Agent & Distributor MK2 - Emmanuelle de Couesbouc / Juliette Shramek - France - Sales Agent Premium Films - Karwan Kasia - France - Sales Agent & Distributor Reel Suspects - Frederic Gentet - France - Sales Agent Rezo - Sebastien Chesneau - France - Sales Agent & Distributor Sacrebleu - Louise Bellicaud - France - Producer Soda Pictures - Eve Gabereau - UK - Distributor Sophie Dulac Distribution - Eric Vicente - France - Distributor The Works - Steve Bestwick - UK - Sales Agent Tribeca Film Festival - Frédéric Boyer - USA - Festival Trust Nordisk - Silje Glimsdal - Denmark - Sales Agent Urban - Claire Charles-Gervais - France - Sales Agent & Distributor Versatile - Violaine Pichon & Pape Boye - France - Sales Agent Wide Management - Loïc Magneron - France – Sales Agent Wild Bunch - Emmanuelle Fellous - France - Sales Agent & Distributor Zed - Martine Scoupe - France - Distributor...
- 7/12/2013
- by Sydney Levine
- Sydney's Buzz
Every year we get a couple of indie films that are so darling—or “an indie jewel” as Stephen Holden from The New York Times calls it—that everyone goes crazy for them. Aurora Guerrero's Mosquita Y Mari seems to be another one of those films, racking up exposure at Sundance, Outfest, and even scoring an Independent Spirit Award nomination. While these films may be endearing and often “important,” they are almost always too introspective to be fully entertaining (and this one is no exception).
Yolanda—nicknamed Mosquita (Fenessa Pineda)—is our introspective protagonist, wholly focused on her schoolwork so she can get into college. In walks neighbor girl Mari (Venecia Troncoso) whom Yolanda volunteers to tutor.
Read more...
Yolanda—nicknamed Mosquita (Fenessa Pineda)—is our introspective protagonist, wholly focused on her schoolwork so she can get into college. In walks neighbor girl Mari (Venecia Troncoso) whom Yolanda volunteers to tutor.
Read more...
- 6/24/2013
- by John Keith
- JustPressPlay.net
The National Association of Latino Independent Producers (Nalip) is ramping up for its 14th Annual Conference this weekend and to my great gusto, the discourse promises to be more specific, relevant and fresh than last year on how to empower Latino independent storytellers. Judging by the practical and forward-thinking panel discussions, Nalip’s YouTube channel premiering a curated selection of upcoming films, and the hip, savvy talent invited to represent, Nalip is setting the tone for discovery and healthy debate. Chief among the themes will be a contextualized creative response to the much-propagated Latino trillion dollar purchasing power statistic, and how to strategically seize territorial claim to the wild wild west expansion of online distribution platforms.
Among the established and rising American Latino actors and filmmakers on tap are Richard Montoya, Cristina Ibarra, Aurora Guerrero, Gina Rodriguez, Danny Trejo, Jeremy Ray Valdez, and Jesse Garcia. The keynote speech on Friday will be given by none other than Richard Peña, one of the most influential film curators in the world who headed the prestigious Film Society of Lincoln Center for twenty-five years. It will be an insightful and thoughtful conversation moderated by the sensitive, master documentarian and MacArthur Genius Grant fellow, Natalia Almada. As this year’s Nalip Conference Co-Chair, Almada helped inform the direction of the conference and scored Peña’s participation. When talking about how each year’s conference organically takes shape with the feedback of board members, staff and hosting committee, Beni Matias, Acting Executive Director of Nalip, referenced Natalia’s concern of prominently featuring the voice of the independent filmmaker over the commercial as a guiding pursuit.
Natalia’s involvement with Nalip goes back to 2003 when she became the recipient of the Estela Award, given in recognition to an emerging filmmaker who has ‘arrived’. Her revelatory documentaries include El Velador, El General and Al Otro Lado – all which have been critically acclaimed worldwide and have been featured in museums and screened at film festivals including Sundance and Director’s Fortnight at the Cannes Film Festival. I asked her to share a few words about Nalip’s import and she replied over email, “I think that more than anything else the conference is a place where we can really exchange ideas, address shared concerns in our community and collectively fuel to keep going”.
Natalia is part of the sub-cine filmmaking crew who came of age through Nalip like Cristina Ibarra, Alex Rivera and Bernardo Ruiz. In fourteen years the organization has managed to be one of the few consistent Latino forums that has nurtured a family of artists/active organizers. Along with Beni Matias, Maria Agui Carter, who is a filmmaker and the Chair of the Board of Directors, has been actively with Nalip since the beginning. Other members who have continued with the organization since the beginning include Louis Perego Moreno who use to spearhead chapter leadership meetings, Jimmy Mendiola filmmaker and Director of CineFestival in San Antonio, Frank Gonzalez from Disney/ABC, Kim Meyers and Terri Lopez at WGA, Alex Nogales, to name just a few. Nalip has also enjoyed a sustained relationship with Time Warner and HBO who have taken turns at being the presenting partners of the conference since 2000.
Part of the reason I’m so eager to engage with and synthesize this year’s theme is this following text written by Maria Agui Carter to describe the Opening Plenary:
“Forbes magazine has called the Latino Market the “New Media Jackpot.” What is at stake? Why is every network and cable outlet now chasing the Latino market and how are Latino voices participating in this explosion not just as consumers but as creators?
There it is: “But as creators”. Amid all the hoopla over the rising Latino market data that makes corporations and brands salivate at the mouth over how to exploit us as consumers, nobody has thought about reckoning a counter creative force. We should be imagining how to harness, demand and unleash our creative power with that kind of purchasing power. Otherwise, the data simply makes us a target of a branding attack towards the depletion of our capital power and identity.
A programming change for this year and aimed to provide a more significant showcase for upcoming Latino films, Nalip is spotlighting brand new films on their Nalip YouTube channel. They’ve done away with the NALIPsters On View programming where members could openly screen their work during the conference. Those screening rooms tended to be lightly attended since there was little visibility and competition from the panel programming. Instead, this year Nalip will be premiering trailers of upcoming films to build buzz around them. The curated selection of fifteen new documentaries, narrative features and shorts will become available on Thursday, June 6.
Without a doubt, the most anticipated happening of this year’s conference will be the Nalip and Sundance Institute screening of Richard Montoya’s debut feature film, Water & Power at the AMC CityWalk. The impact and influence of this Chicano icon will be evident by the droves of fans, tentacle network of familia and homies, a wide range of community activists, artists, politicians who will be in attendance and who might reflect the young and old blood of the characters he writes. I listed W&P as number one in my top five movies to watch out for in 2013 so I’m thrilled to see it screen this way. Richard Peña will moderate a Q&A with Montoya after the screening. I couldn’t think of a better filmmaker and moderator pairing.
On Saturday at the Awards Gala, Machete Kills star Danny Trejo, the menacing but actually sweet hood actor will be presented with a Lifetime Achievement Award. Aurora Guerrero, filmmaker of Mosquita y Mari will be honored with the Estela Award that comes with a $7500 grant from McDonalds. And in what will surely be an emotionally inspiring moment, the first ever La Lupe Award will be bestowed to Gina Rodriguez. Her effervescence completely evokes the spitfire tenacity of the late great Lupe Ontiveros. I couldn’t think of a more perfect homage and passing of the torch.
While I found last year’s panel topics all over the place, this year it feels more targeted and practical. Panels like Beyond The Latino Market: Getting Your Film Out To A Wider Audience with Gabriel Reyes, Writing on Latino Cinema (a panel LatinoBuzz, Latin Heat and yours truly will be participating on!), Whatever It Takes: Diy Technology and the Democratization of Content Creation, and Entertainment Industry Writer Development Programs, all feature legit, intrepid filmmakers and industry sharing resources.
On Sunday the Closing Plenary will be Latinos and Media Stereotypes in which Natalia Almada, Richard Montoya, Aurora Guerrero, Yancey Arias will be participating, moderated by Mandalit del Barco of NPR. These are all highly experienced opinionated individuals with distinct tastes so I expect this one to be one of the livelier talks. Overall, this year’s Nalip conference feels like a live one and just about to go off.
Nalip 2013 Spotlight on the Trillion Dollar Latino Market will take place June 7-9 at the Universal Sheraton Hotel.
For a full list of speakers and panels here available at http://conference2013.nalip.org/conference/keynotes-speakers/
**Update** Maria Agui Carter will replace Aurora Guerrero as participant on the Latino Stereotypes panel.
Among the established and rising American Latino actors and filmmakers on tap are Richard Montoya, Cristina Ibarra, Aurora Guerrero, Gina Rodriguez, Danny Trejo, Jeremy Ray Valdez, and Jesse Garcia. The keynote speech on Friday will be given by none other than Richard Peña, one of the most influential film curators in the world who headed the prestigious Film Society of Lincoln Center for twenty-five years. It will be an insightful and thoughtful conversation moderated by the sensitive, master documentarian and MacArthur Genius Grant fellow, Natalia Almada. As this year’s Nalip Conference Co-Chair, Almada helped inform the direction of the conference and scored Peña’s participation. When talking about how each year’s conference organically takes shape with the feedback of board members, staff and hosting committee, Beni Matias, Acting Executive Director of Nalip, referenced Natalia’s concern of prominently featuring the voice of the independent filmmaker over the commercial as a guiding pursuit.
Natalia’s involvement with Nalip goes back to 2003 when she became the recipient of the Estela Award, given in recognition to an emerging filmmaker who has ‘arrived’. Her revelatory documentaries include El Velador, El General and Al Otro Lado – all which have been critically acclaimed worldwide and have been featured in museums and screened at film festivals including Sundance and Director’s Fortnight at the Cannes Film Festival. I asked her to share a few words about Nalip’s import and she replied over email, “I think that more than anything else the conference is a place where we can really exchange ideas, address shared concerns in our community and collectively fuel to keep going”.
Natalia is part of the sub-cine filmmaking crew who came of age through Nalip like Cristina Ibarra, Alex Rivera and Bernardo Ruiz. In fourteen years the organization has managed to be one of the few consistent Latino forums that has nurtured a family of artists/active organizers. Along with Beni Matias, Maria Agui Carter, who is a filmmaker and the Chair of the Board of Directors, has been actively with Nalip since the beginning. Other members who have continued with the organization since the beginning include Louis Perego Moreno who use to spearhead chapter leadership meetings, Jimmy Mendiola filmmaker and Director of CineFestival in San Antonio, Frank Gonzalez from Disney/ABC, Kim Meyers and Terri Lopez at WGA, Alex Nogales, to name just a few. Nalip has also enjoyed a sustained relationship with Time Warner and HBO who have taken turns at being the presenting partners of the conference since 2000.
Part of the reason I’m so eager to engage with and synthesize this year’s theme is this following text written by Maria Agui Carter to describe the Opening Plenary:
“Forbes magazine has called the Latino Market the “New Media Jackpot.” What is at stake? Why is every network and cable outlet now chasing the Latino market and how are Latino voices participating in this explosion not just as consumers but as creators?
There it is: “But as creators”. Amid all the hoopla over the rising Latino market data that makes corporations and brands salivate at the mouth over how to exploit us as consumers, nobody has thought about reckoning a counter creative force. We should be imagining how to harness, demand and unleash our creative power with that kind of purchasing power. Otherwise, the data simply makes us a target of a branding attack towards the depletion of our capital power and identity.
A programming change for this year and aimed to provide a more significant showcase for upcoming Latino films, Nalip is spotlighting brand new films on their Nalip YouTube channel. They’ve done away with the NALIPsters On View programming where members could openly screen their work during the conference. Those screening rooms tended to be lightly attended since there was little visibility and competition from the panel programming. Instead, this year Nalip will be premiering trailers of upcoming films to build buzz around them. The curated selection of fifteen new documentaries, narrative features and shorts will become available on Thursday, June 6.
Without a doubt, the most anticipated happening of this year’s conference will be the Nalip and Sundance Institute screening of Richard Montoya’s debut feature film, Water & Power at the AMC CityWalk. The impact and influence of this Chicano icon will be evident by the droves of fans, tentacle network of familia and homies, a wide range of community activists, artists, politicians who will be in attendance and who might reflect the young and old blood of the characters he writes. I listed W&P as number one in my top five movies to watch out for in 2013 so I’m thrilled to see it screen this way. Richard Peña will moderate a Q&A with Montoya after the screening. I couldn’t think of a better filmmaker and moderator pairing.
On Saturday at the Awards Gala, Machete Kills star Danny Trejo, the menacing but actually sweet hood actor will be presented with a Lifetime Achievement Award. Aurora Guerrero, filmmaker of Mosquita y Mari will be honored with the Estela Award that comes with a $7500 grant from McDonalds. And in what will surely be an emotionally inspiring moment, the first ever La Lupe Award will be bestowed to Gina Rodriguez. Her effervescence completely evokes the spitfire tenacity of the late great Lupe Ontiveros. I couldn’t think of a more perfect homage and passing of the torch.
While I found last year’s panel topics all over the place, this year it feels more targeted and practical. Panels like Beyond The Latino Market: Getting Your Film Out To A Wider Audience with Gabriel Reyes, Writing on Latino Cinema (a panel LatinoBuzz, Latin Heat and yours truly will be participating on!), Whatever It Takes: Diy Technology and the Democratization of Content Creation, and Entertainment Industry Writer Development Programs, all feature legit, intrepid filmmakers and industry sharing resources.
On Sunday the Closing Plenary will be Latinos and Media Stereotypes in which Natalia Almada, Richard Montoya, Aurora Guerrero, Yancey Arias will be participating, moderated by Mandalit del Barco of NPR. These are all highly experienced opinionated individuals with distinct tastes so I expect this one to be one of the livelier talks. Overall, this year’s Nalip conference feels like a live one and just about to go off.
Nalip 2013 Spotlight on the Trillion Dollar Latino Market will take place June 7-9 at the Universal Sheraton Hotel.
For a full list of speakers and panels here available at http://conference2013.nalip.org/conference/keynotes-speakers/
**Update** Maria Agui Carter will replace Aurora Guerrero as participant on the Latino Stereotypes panel.
- 6/5/2013
- by Christine Davila
- Sydney's Buzz
Wolfe Video is proud to announce the film “Mosquita y Mari” will be on DVD June 4! The film is a intriguing look at first love through the eyes of two girls who come from immigrant families. Here’s more about “Mosquita y Mari”: “Mosquita Y Mari, Writer/Director Aurora Guerrero’s semi-biographical look at friendship and first love, is an exquisitely crafted coming-of-age tale follows a pair of Latina teenagers who fall gradually in love against the backdrop of life in Southeast Los Angeles. Growing up in immigrant households, both girls are expected to make the well-being of their families their first priority. Yolanda (aka Mosquita) delivers straight A’s in the hope [ Read More ]
The post Win a Copy of Mosquita y Mari via ShockYa’s Twitter Giveaway! appeared first on Shockya.com.
The post Win a Copy of Mosquita y Mari via ShockYa’s Twitter Giveaway! appeared first on Shockya.com.
- 5/27/2013
- by monique
- ShockYa
Determined to challenge Hollywood’s lack of diverse stories Aurora Guerrero set out to make a film that reflected her own identity as a queer woman of color. The result is Mosquita y Mari a sensitive, bold, and thoughtful portrait of two teenage Chicanas whose budding friendship begins to slowly become something beyond just friends. For Guerrero, it’s a personal story rooted in her own experience, “When looking back, long before I identified as queer, I realized my first love was one of my best friends. It was the type of friendship that was really tender and sweet and sexually charged but we never crossed that line.”
In the film, set in Huntington Park, a predominantly Latino city just outside Los Angeles, Mari is a rebellious bad girl who is failing math. Straight-a student Yolanda—who Mari nicknames Mosquita because she looks like, “a pinche mosquita”—offers to tutor her. They hang out, ride bikes, swap music, and do homework. As they spend more and more time together their friendship subtly transforms, evoking that butterflies-in-the-stomach feeling that only a first crush can. It’s a beautifully told almost love story set to the music of local ska bands, the melancholy vocals of Carla Morrison, and other genre-remixing Latino artists.
Mosquita y Mari premiered at the 2012 Sundance Film Festival and played in theaters last summer. LatinoBuzz spoke with Guerrero just ahead of the film’s digital release to talk about the challenges of making and distributing independent Latino films.
Though Latinos are making strides in other industries there is still a lack of Latino film directors. How did the idea of becoming a filmmaker come about? What do you think are the major obstacles keeping young Latinos from becoming filmmakers?
Guerrero: It's hard to grow up and not see yourself portrayed in realistic ways on film. From a young age I was really bothered by that. When I did see a film about Latinos I didn't recognize my experience at all. I actually wondered if those type of Latinos really existed because I didn't know anyone like that. For me becoming a filmmaker was about taking back my voice—crafting stories that would move away from the problematic narratives that the studio system would put out about Latinos. I think this is why people like my films. They're refreshing. They feel more real.
As for major obstacles keeping young Latinos from becoming filmmakers, I think our communities are still coming into their identities as storytellers. It's such an important identity to reclaim—it's how our ancestors kept our cultures alive. But a long history of silencing, invisibility, and marginalization has kept generations of Latinos from believing in themselves, from seeing themselves as agents of their own lives. I think there needs to be a focus on this aspect to help cultivate young Latinas to see themselves as cultural producers and defenders.
Raising money for a Latino film (or any film) is a challenge especially in this economy. What was your budget? If you could have raised additional money and had a bigger budget do you think your film would be much different than it is now?
Guerrero: We didn't have a big budget. We were at about 200k. Our funding was pieced together as we went along in the process. A very successful crowdfunding campaign (Kickstarter) got us into production and a series of grants we applied for during production got us through post-production. I think Mosquita y Mari could have benefited from a couple more days of shooting but it wouldn't have changed our budget or our final film significantly. Ultimately I feel like the budget we had pushed me and my collaborators to be as creative as possible. It also allowed me to keep the crew at a small size which felt manageable for me as a first-time feature filmmaker.
You’ve stated in a lot of interviews that the film was inspired by your own personal experience. What was the writing process like? Was it an emotional one since the story was so close to you?
Guerrero: It was definitely emotional. I was writing about feelings and experiences I had never talked about, particularly with my Bff at the time. But it wasn’t a bad emotional process. It felt very liberating. I think that’s what drove my process forward. What got complicated were all the other layers that I wanted to talk about. I had to figure out how to weave in other elements without taking away from the girls and their growing love for each other.
Are you still in touch with the woman whose friendship inspired this story? Did you ever worry what she might think about it?
Guerrero: Let’s just say that I didn’t make it for her. I made it for me.
The story is based upon the friendship of these two girls. The success of the film obviously hinged on casting the two leads. What was the selection process like?
Guerrero: Casting was intense, mainly because we had one month to find all our cast. But I was determined and hopeful that my girls were out there. I just had to somehow get the word out to them so they could find me and this movie. Between my casting director putting word out to managers and agents and organizing word-of-mouth community open casting calls we found our cast. I saw about 300 or more young Latina women for the leads and las cuatas. It was a really validating experience. I mean to be so specific in my breakdown, “Must speak both English and Spanish fluently. Must be open to story of two girls and their developing feelings for each other.” It was amazing to get so many young women identifying with the breakdown and wanting to be part of this film. I think the hardest part was saying “no” to most of them. I had to be very picky. I had to find girls that not only identified with the story personally but that also had the chops to carry it on their shoulders. I was nervous going into the first day of shooting. I wondered if I had made the right choices, especially with only two days of rehearsal prior to shooting. But after our first day I remember thinking to myself, “these girls are really something special.”
You grew up in the Bay (so did I) but most of your films take place in L.A. What’s the deal? As a San Francisco Bay Area native shouldn’t you hate L.A.? Why did you choose to set this specific story in Huntington Park as opposed to obvious choices like S.F. or East L.A.?
Guerrero: You’re funny. I don’t want to take away the fact that Los Angeles has been my muse ever since I moved there to attend film school, but I did originally set Mosquita y Mari in San Francisco’s Mission District. After putting together an initial S.F. budget I quickly learned that I didn’t have the means to shoot there. And I wasn’t so married to having it be the Mission. I just really wanted it in an immigrant setting.
East L.A. has been played out so much on films. It’s gotten to the point where people across the nation, and even the world, think East L.A. to be the only Latino community in California. Nothing against East L.A., but I wanted to capture a community just west of East L.A. that had its own unique history and vibe. I want to bring Huntington Park out of the shadows.
Music is a big part of the story. In a lot of the scenes the characters play songs for each other and hang out listening to music. How did you choose the music?
Guerrero: I connect to specific music early on in my process of writing. I’m constantly on SoundCloud or Remezcla looking to see what new music is being produced by Latino artists. I’m not interested in producing soundtracks or scores that have been recycled in U.S. Latino films throughout the years. I’m looking for music that’s cutting-edge and contemporary. That’s how I see the worlds and characters that I put on screen so the music has got to somehow add to the texture of that world. Outside of the tracks I chose for the film I worked with a wonderful composer named Ryan Beveridge. When we started working together I remember emphasizing to him, “Please, no strumming guitars.” I didn’t want people to recognize the score. I wanted it to be specific to Mosquita y Mari. He was wonderful. I sent him bits of music I was hearing and I was sending him pictures of the neighborhood and he just ran with it. He created something really unique.
There is this beautiful moment in the film where Mosquita is riding on the back of Mari’s bike and “Esta Soledad” by Carla Morrison is playing. There are close-ups of her face, of her hand gliding through the air; she looks so happy and free. The song is so sad and kinda dreamy. What made you choose it?
Guerrero: I believe love is bittersweet, especially young love. Carla Morrison, the score and the opening song are all meant to subtly bring that tone to the film. When I think of Carla Morrison’s voice it feels haunting. Her music always stirs melancholic feelings of loss in me that end up lingering for days. For that specific scene I thought she was the perfect choice to juxtapose Mosquita’s youthful excitement of feeling alive and in the world.
The word gay is never spoken in the film. The characters and setting are Latino but no one directly comments on being Latino, they just are. Why did you choose to tell the story this way?
Guerrero: I think staying away from labels is what makes this film refreshing. Audiences are placed in Mosquita y Mari’s world—their world is Latino, Xicana, it is immigrant. They don’t have to stop to remind themselves of it. They have grown up bicultural. It’s their norm to go in and out of Spanish and English without having to point it out. It’s how I was raised and I thought it was important to depict young people comfortable in their own skin and world. Mosquita y Mari’s story is meant to capture the moments that maybe down the line, maybe in college, they will come to discover were their first moments of queerness.
Mosquita y Mari had its theatrical release last year. What lessons did you learn? What advice would you give to other Latino filmmakers about the distribution of Latino films?
Guerrero: My producer and I released the film ourselves. We didn't have a big budget at all to do this so our theatrical release was very very limited. I think I learned that to open in a city like Los Angeles and New York theater houses expect you to have a big marketing budget or they will pass on your film. We didn't budget accordingly because we were focusing our efforts on reaching our audiences via social media which wasn't going to cost us much. But I feel like social media is something that has yet to be considered a viable platform for marketing in the industry. I think my biggest advice to filmmakers is to look into the many digital platforms that exist for you and your team to distribute your film. A theatrical on a tight budget really only becomes about generating critical reviews for you and your film, not revenue.
Historically, Latino films have had a hard time at the box office. Why do you think Latino films haven’t vibed with Latino filmgoers in the past?
Guerrero: It's interesting. I believe in Mexico there's a big culture of moviegoing, both studio and indie. I think here in the Us that's not the case because Latino communities don't have access to indie films. If you go into communities of color you will only find the big theater chains which only play the blockbuster genre films. So how else does our community find out about independent film? Is it talked about in their schools? Is it written about in their local Spanish speaking papers? Are the art house theaters hard to get to? I think social media is starting to close this gap when it comes to learning about films like Mosquita y Mari and Netflix is making them more attainable, but even then I think there is a "deprogramming" that needs to happen so Latino audiences not used to watching indie films can appreciate more nontraditional narrative films
What’s next for you? Any new projects?
Guerrero: Right now I'm developing my second feature film, Los Valientes. It's about a gay, undocumented immigrant who finds himself caught in a web of deceit when the small, working-class town he and his family live in purposes its own anti-immigration law. Since I'm not personally undocumented I approached two groups, DreamActivists Pa in Pennsylvania and Dreamers Adrift/Culture Strike in the Bay Area, about becoming Los Valientes community partners. They've all agreed, thankfully! Together we're creating a path to ensure a mutual exchange of knowledge happens between the film and the undocumented communities the film will be set in, which in this case are San Francisco and certain parts of Pennsylvania. We'll be launching a website for the new project soon and we're hoping the fan base we've built around Mosquita y Mari will be excited to follow this new project. In the meantime, we ask people to Like our Mosquita y Mari Facebook page where we've been posting all our recent good news, like the screenwriting and development grants that Krf/Sffs and Tribeca recently awarded Los Valientes.
Mosquita y Mari will be available May 7 on iTunes, Amazon Instant Video, and Vudu and June 8 on DVD.
For more info on the movie follow @MosquitayMari on Twitter and Facebook.
Written by Juan Caceres and Vanessa Erazo, LatinoBuzz is a weekly feature on SydneysBuzz that highlights Latino indie talent and upcoming trends in Latino film with the specific objective of presenting a broad range of Latino voices. Follow @LatinoBuzz on Twitter and Facebook.
In the film, set in Huntington Park, a predominantly Latino city just outside Los Angeles, Mari is a rebellious bad girl who is failing math. Straight-a student Yolanda—who Mari nicknames Mosquita because she looks like, “a pinche mosquita”—offers to tutor her. They hang out, ride bikes, swap music, and do homework. As they spend more and more time together their friendship subtly transforms, evoking that butterflies-in-the-stomach feeling that only a first crush can. It’s a beautifully told almost love story set to the music of local ska bands, the melancholy vocals of Carla Morrison, and other genre-remixing Latino artists.
Mosquita y Mari premiered at the 2012 Sundance Film Festival and played in theaters last summer. LatinoBuzz spoke with Guerrero just ahead of the film’s digital release to talk about the challenges of making and distributing independent Latino films.
Though Latinos are making strides in other industries there is still a lack of Latino film directors. How did the idea of becoming a filmmaker come about? What do you think are the major obstacles keeping young Latinos from becoming filmmakers?
Guerrero: It's hard to grow up and not see yourself portrayed in realistic ways on film. From a young age I was really bothered by that. When I did see a film about Latinos I didn't recognize my experience at all. I actually wondered if those type of Latinos really existed because I didn't know anyone like that. For me becoming a filmmaker was about taking back my voice—crafting stories that would move away from the problematic narratives that the studio system would put out about Latinos. I think this is why people like my films. They're refreshing. They feel more real.
As for major obstacles keeping young Latinos from becoming filmmakers, I think our communities are still coming into their identities as storytellers. It's such an important identity to reclaim—it's how our ancestors kept our cultures alive. But a long history of silencing, invisibility, and marginalization has kept generations of Latinos from believing in themselves, from seeing themselves as agents of their own lives. I think there needs to be a focus on this aspect to help cultivate young Latinas to see themselves as cultural producers and defenders.
Raising money for a Latino film (or any film) is a challenge especially in this economy. What was your budget? If you could have raised additional money and had a bigger budget do you think your film would be much different than it is now?
Guerrero: We didn't have a big budget. We were at about 200k. Our funding was pieced together as we went along in the process. A very successful crowdfunding campaign (Kickstarter) got us into production and a series of grants we applied for during production got us through post-production. I think Mosquita y Mari could have benefited from a couple more days of shooting but it wouldn't have changed our budget or our final film significantly. Ultimately I feel like the budget we had pushed me and my collaborators to be as creative as possible. It also allowed me to keep the crew at a small size which felt manageable for me as a first-time feature filmmaker.
You’ve stated in a lot of interviews that the film was inspired by your own personal experience. What was the writing process like? Was it an emotional one since the story was so close to you?
Guerrero: It was definitely emotional. I was writing about feelings and experiences I had never talked about, particularly with my Bff at the time. But it wasn’t a bad emotional process. It felt very liberating. I think that’s what drove my process forward. What got complicated were all the other layers that I wanted to talk about. I had to figure out how to weave in other elements without taking away from the girls and their growing love for each other.
Are you still in touch with the woman whose friendship inspired this story? Did you ever worry what she might think about it?
Guerrero: Let’s just say that I didn’t make it for her. I made it for me.
The story is based upon the friendship of these two girls. The success of the film obviously hinged on casting the two leads. What was the selection process like?
Guerrero: Casting was intense, mainly because we had one month to find all our cast. But I was determined and hopeful that my girls were out there. I just had to somehow get the word out to them so they could find me and this movie. Between my casting director putting word out to managers and agents and organizing word-of-mouth community open casting calls we found our cast. I saw about 300 or more young Latina women for the leads and las cuatas. It was a really validating experience. I mean to be so specific in my breakdown, “Must speak both English and Spanish fluently. Must be open to story of two girls and their developing feelings for each other.” It was amazing to get so many young women identifying with the breakdown and wanting to be part of this film. I think the hardest part was saying “no” to most of them. I had to be very picky. I had to find girls that not only identified with the story personally but that also had the chops to carry it on their shoulders. I was nervous going into the first day of shooting. I wondered if I had made the right choices, especially with only two days of rehearsal prior to shooting. But after our first day I remember thinking to myself, “these girls are really something special.”
You grew up in the Bay (so did I) but most of your films take place in L.A. What’s the deal? As a San Francisco Bay Area native shouldn’t you hate L.A.? Why did you choose to set this specific story in Huntington Park as opposed to obvious choices like S.F. or East L.A.?
Guerrero: You’re funny. I don’t want to take away the fact that Los Angeles has been my muse ever since I moved there to attend film school, but I did originally set Mosquita y Mari in San Francisco’s Mission District. After putting together an initial S.F. budget I quickly learned that I didn’t have the means to shoot there. And I wasn’t so married to having it be the Mission. I just really wanted it in an immigrant setting.
East L.A. has been played out so much on films. It’s gotten to the point where people across the nation, and even the world, think East L.A. to be the only Latino community in California. Nothing against East L.A., but I wanted to capture a community just west of East L.A. that had its own unique history and vibe. I want to bring Huntington Park out of the shadows.
Music is a big part of the story. In a lot of the scenes the characters play songs for each other and hang out listening to music. How did you choose the music?
Guerrero: I connect to specific music early on in my process of writing. I’m constantly on SoundCloud or Remezcla looking to see what new music is being produced by Latino artists. I’m not interested in producing soundtracks or scores that have been recycled in U.S. Latino films throughout the years. I’m looking for music that’s cutting-edge and contemporary. That’s how I see the worlds and characters that I put on screen so the music has got to somehow add to the texture of that world. Outside of the tracks I chose for the film I worked with a wonderful composer named Ryan Beveridge. When we started working together I remember emphasizing to him, “Please, no strumming guitars.” I didn’t want people to recognize the score. I wanted it to be specific to Mosquita y Mari. He was wonderful. I sent him bits of music I was hearing and I was sending him pictures of the neighborhood and he just ran with it. He created something really unique.
There is this beautiful moment in the film where Mosquita is riding on the back of Mari’s bike and “Esta Soledad” by Carla Morrison is playing. There are close-ups of her face, of her hand gliding through the air; she looks so happy and free. The song is so sad and kinda dreamy. What made you choose it?
Guerrero: I believe love is bittersweet, especially young love. Carla Morrison, the score and the opening song are all meant to subtly bring that tone to the film. When I think of Carla Morrison’s voice it feels haunting. Her music always stirs melancholic feelings of loss in me that end up lingering for days. For that specific scene I thought she was the perfect choice to juxtapose Mosquita’s youthful excitement of feeling alive and in the world.
The word gay is never spoken in the film. The characters and setting are Latino but no one directly comments on being Latino, they just are. Why did you choose to tell the story this way?
Guerrero: I think staying away from labels is what makes this film refreshing. Audiences are placed in Mosquita y Mari’s world—their world is Latino, Xicana, it is immigrant. They don’t have to stop to remind themselves of it. They have grown up bicultural. It’s their norm to go in and out of Spanish and English without having to point it out. It’s how I was raised and I thought it was important to depict young people comfortable in their own skin and world. Mosquita y Mari’s story is meant to capture the moments that maybe down the line, maybe in college, they will come to discover were their first moments of queerness.
Mosquita y Mari had its theatrical release last year. What lessons did you learn? What advice would you give to other Latino filmmakers about the distribution of Latino films?
Guerrero: My producer and I released the film ourselves. We didn't have a big budget at all to do this so our theatrical release was very very limited. I think I learned that to open in a city like Los Angeles and New York theater houses expect you to have a big marketing budget or they will pass on your film. We didn't budget accordingly because we were focusing our efforts on reaching our audiences via social media which wasn't going to cost us much. But I feel like social media is something that has yet to be considered a viable platform for marketing in the industry. I think my biggest advice to filmmakers is to look into the many digital platforms that exist for you and your team to distribute your film. A theatrical on a tight budget really only becomes about generating critical reviews for you and your film, not revenue.
Historically, Latino films have had a hard time at the box office. Why do you think Latino films haven’t vibed with Latino filmgoers in the past?
Guerrero: It's interesting. I believe in Mexico there's a big culture of moviegoing, both studio and indie. I think here in the Us that's not the case because Latino communities don't have access to indie films. If you go into communities of color you will only find the big theater chains which only play the blockbuster genre films. So how else does our community find out about independent film? Is it talked about in their schools? Is it written about in their local Spanish speaking papers? Are the art house theaters hard to get to? I think social media is starting to close this gap when it comes to learning about films like Mosquita y Mari and Netflix is making them more attainable, but even then I think there is a "deprogramming" that needs to happen so Latino audiences not used to watching indie films can appreciate more nontraditional narrative films
What’s next for you? Any new projects?
Guerrero: Right now I'm developing my second feature film, Los Valientes. It's about a gay, undocumented immigrant who finds himself caught in a web of deceit when the small, working-class town he and his family live in purposes its own anti-immigration law. Since I'm not personally undocumented I approached two groups, DreamActivists Pa in Pennsylvania and Dreamers Adrift/Culture Strike in the Bay Area, about becoming Los Valientes community partners. They've all agreed, thankfully! Together we're creating a path to ensure a mutual exchange of knowledge happens between the film and the undocumented communities the film will be set in, which in this case are San Francisco and certain parts of Pennsylvania. We'll be launching a website for the new project soon and we're hoping the fan base we've built around Mosquita y Mari will be excited to follow this new project. In the meantime, we ask people to Like our Mosquita y Mari Facebook page where we've been posting all our recent good news, like the screenwriting and development grants that Krf/Sffs and Tribeca recently awarded Los Valientes.
Mosquita y Mari will be available May 7 on iTunes, Amazon Instant Video, and Vudu and June 8 on DVD.
For more info on the movie follow @MosquitayMari on Twitter and Facebook.
Written by Juan Caceres and Vanessa Erazo, LatinoBuzz is a weekly feature on SydneysBuzz that highlights Latino indie talent and upcoming trends in Latino film with the specific objective of presenting a broad range of Latino voices. Follow @LatinoBuzz on Twitter and Facebook.
- 5/7/2013
- by Vanessa Erazo
- Sydney's Buzz
Each year, the awards season comes to a close with two of the biggest ceremonies in the Us. Tonight is of course the best known, with the Academy Awards being the most prestigious handed out in the industry. But every year, the previous night is reserved for recognising the achievements in filmmaking outside of the studio system with the Independent Spirit Awards.
I’m a big fan of the Independent Spirit Awards, and look forward to their results every year. Last night, some of the finest talents across the independent industry were recognised, and Silver Linings Playbook came away on top with an impressive four category wins.
David O. Russell’s latest feature took home the Best Feature award, it won him personally the Best Director and Best Screenplay awards, and Jennifer Lawrence’s remarkable performance in it won her the Best Female Lead award.
Derek Connolly’s script in...
I’m a big fan of the Independent Spirit Awards, and look forward to their results every year. Last night, some of the finest talents across the independent industry were recognised, and Silver Linings Playbook came away on top with an impressive four category wins.
David O. Russell’s latest feature took home the Best Feature award, it won him personally the Best Director and Best Screenplay awards, and Jennifer Lawrence’s remarkable performance in it won her the Best Female Lead award.
Derek Connolly’s script in...
- 2/24/2013
- by Kenji Lloyd
- HeyUGuys.co.uk
Although there rarely seems to be much (if any) overlap between the Independent Spirit Awards and the Oscars when it comes to the winners, it's always nice to see some of these movies getting recognition when they will likely be ignored by the Academy. Silver Linings Playbook does not seem to have much of a shot at winning anything tonight (with the exception of Jennifer Lawrence for Best Actress), but it dominated the competition last night winning 4 out of the 5 categories it was nominated in including Best Picture. Jennifer Lawrence also won for Best Female Lead and David O. Russell won Best Director and Best Screenplay. Other winners included The Sessions co-stars John Hawkes for Best Male Lead and Helen Hunt for Best Supporting Female, while Matthew McConaughey won Best Supporting Male for his performance in Magic Mike. Amour took home the Best Foreign Film Award and The Invisible War won Best Documentary.
- 2/24/2013
- by Sean
- FilmJunk
It would be the film with the juju in David O. Russell’s zany black comedy that was the toast of the 28th Independent Spirit Awards beating Beasts Of The Southern Wild – its fiercest rival in all major categories. Silver Linings Playbook cleaned up, grabbing Best Feature, Director, Screenplay and Best Actress went to Jennifer Lawrence – the heavy favorite for tomorrow’s Oscar. Fox Searchlight might have grabbed only one award for Beasts in the Cinematography category, but it’s other Sundance pick-up The Sessions managed to nab a pair of acting prizes for Helen Hunt and Oscar snubbed John Hawkes for Best Male Lead. In our favorite grant categories, Adam Leon (Gimme the Loot) nabbed the Someone to Watch Award (last year it went to Mark Jackson), the Piaget Producers Award went to Mynette Louie (she produced Tze Chun’s sophomore film Eye of Winter which we are keeping...
- 2/24/2013
- by Eric Lavallee
- IONCINEMA.com
It's one of the biggest night's in the independent film industry, and as the 2013 Spirit Awards come to an end, we grant you with the complete list of winners!
Earlier this evening (February 23), celebrities flocked to Santa Monica Beach for a night of celebrations honoring the best and brightest from the world of independent film.
Taking home the prize for Best Feature was the cast and crew of "Silver Linings Playbook," while John Hawkes (The Sessions) and Jennifer Lawrence ("Silver Linings Playbook") took home the awards for Best Actor and Best Actress, respectively.
In addition, Matthew McConaughey ("Magic Mike") scored a win for Best Supporting Actor, while Helen Hunt (The Sessions) took home the prize for Best Supporting Actress.
Meanwhile, David O. Russell ("Silver Linings Playbook") proved victorious in the Best Director category and "Middle of Nowhere" received the John Cassavetes award, which pays homage to the best film created...
Earlier this evening (February 23), celebrities flocked to Santa Monica Beach for a night of celebrations honoring the best and brightest from the world of independent film.
Taking home the prize for Best Feature was the cast and crew of "Silver Linings Playbook," while John Hawkes (The Sessions) and Jennifer Lawrence ("Silver Linings Playbook") took home the awards for Best Actor and Best Actress, respectively.
In addition, Matthew McConaughey ("Magic Mike") scored a win for Best Supporting Actor, while Helen Hunt (The Sessions) took home the prize for Best Supporting Actress.
Meanwhile, David O. Russell ("Silver Linings Playbook") proved victorious in the Best Director category and "Middle of Nowhere" received the John Cassavetes award, which pays homage to the best film created...
- 2/24/2013
- GossipCenter
It's one of the biggest night's in the independent film industry, and as the 2013 Spirit Awards come to an end, we are granting you with the complete list of victors!
Earlier this evening (February 23), celebrities headed over to the Santa Monica Beach for a night of celebrations honoring the best Indie films from the past year.
Taking home the prize for Best Feature was the cast and crew of "Silver Linings Playbook," while John Hawkes and Jennifer Lawrence took home the awards for Best Actor and Best Actress, respectively.
In addition, Matthew McConaughey scored a win for Best Supporting Actor, while Helen Hunt took was honored with a nod for Best Supporting Actress.
Meanwhile, David O. Russell proved victorious in the Best Director category and "Middle of Nowhere" received the honor of the John Cassavetes, which pays homage to the best film created with a budget under $500,000.
Take a look...
Earlier this evening (February 23), celebrities headed over to the Santa Monica Beach for a night of celebrations honoring the best Indie films from the past year.
Taking home the prize for Best Feature was the cast and crew of "Silver Linings Playbook," while John Hawkes and Jennifer Lawrence took home the awards for Best Actor and Best Actress, respectively.
In addition, Matthew McConaughey scored a win for Best Supporting Actor, while Helen Hunt took was honored with a nod for Best Supporting Actress.
Meanwhile, David O. Russell proved victorious in the Best Director category and "Middle of Nowhere" received the honor of the John Cassavetes, which pays homage to the best film created with a budget under $500,000.
Take a look...
- 2/24/2013
- GossipCenter
David O. Russell's "Silver Linings Playbook" was the big winner at the 28th annual Independent Spirit Awards held in Santa Monica, CA this afternoon and hosted by Andy Samberg. "Silver Linings" took home the Best Feature, Actress (Jennifer Lawrence), Director, and Screenplay trophies.
McConaughey, who nearly stole the show in Steven Soderbergh's "Magic Mike," won the Best Supporting Male award for a performance that was largely ignored by the Academy Awards. As Samberg astutely observed, "We've got Matthew McConaughey...Hollywood fuck you!"
Jennifer Lawrence won the Best Female Lead award for "Silver Linings Playbook," while John Hawkes took home the Best Male Lead trophy for "Sessions." His co-star, Helen Hunt, won the Best Supporting Female award.
Michael Haneke's "Amour," a darling of the 85th Academy Awards, deservingly won Best International Film.
The awards show can be seen on IFC tonight at 10 pm (Est).
Here's the full list...
McConaughey, who nearly stole the show in Steven Soderbergh's "Magic Mike," won the Best Supporting Male award for a performance that was largely ignored by the Academy Awards. As Samberg astutely observed, "We've got Matthew McConaughey...Hollywood fuck you!"
Jennifer Lawrence won the Best Female Lead award for "Silver Linings Playbook," while John Hawkes took home the Best Male Lead trophy for "Sessions." His co-star, Helen Hunt, won the Best Supporting Female award.
Michael Haneke's "Amour," a darling of the 85th Academy Awards, deservingly won Best International Film.
The awards show can be seen on IFC tonight at 10 pm (Est).
Here's the full list...
- 2/24/2013
- by Manny
- Manny the Movie Guy
David O. Russell's "Silver Linings Playbook" had a heyday at the 28th Independent Spirit Awards, taking home four prizes out of five nominations, including Best Feature, Best Director, Best Screenplay, and Best Female Lead for Jennifer Lawrence.
"The Sessions" also got its due after being shut out at the Golden Globes and the Screen Actors Guild Awards. John Hawkes beat out "Silver Linings'" Bradley Cooper for Best Male Lead and Helen Hunt won Best Supporting Female. Also worth noting? Matthew McCounaghey's Best Supporting Male win for "Magic Mike," and his Best Male Lead loss for "Killer Joe."
Here is the full list of Independent Spirit Awards 2013 winners:
Best Feature
"Beasts of the Southern Wild"
"Bernie"
"Keep the Lights On"
"Moonrise Kingdom"
"Silver Linings Playbook"
Best Director
Benh Zeitlin, "Beasts of the Southern Wild"
Ira Sachs, "Keep the Lights On"
Julia Loktev, "The Loneliest Planet"
Wes Anderson, "Moonrise Kingdom"
David O. Russell,...
"The Sessions" also got its due after being shut out at the Golden Globes and the Screen Actors Guild Awards. John Hawkes beat out "Silver Linings'" Bradley Cooper for Best Male Lead and Helen Hunt won Best Supporting Female. Also worth noting? Matthew McCounaghey's Best Supporting Male win for "Magic Mike," and his Best Male Lead loss for "Killer Joe."
Here is the full list of Independent Spirit Awards 2013 winners:
Best Feature
"Beasts of the Southern Wild"
"Bernie"
"Keep the Lights On"
"Moonrise Kingdom"
"Silver Linings Playbook"
Best Director
Benh Zeitlin, "Beasts of the Southern Wild"
Ira Sachs, "Keep the Lights On"
Julia Loktev, "The Loneliest Planet"
Wes Anderson, "Moonrise Kingdom"
David O. Russell,...
- 2/24/2013
- by editorial@zap2it.com
- Pop2it
The weekend’s other big movie awards ceremony—the Independent Spirit Awards—was held this afternoon in Santa Monica, Calif., with Andy Samberg on board as host. The big winner was David O. Russell’s romantic dramedy Silver Linings Playbook, which took home four prizes: best feature, best director, best actress, and best screenplay. But there was plenty of love spread around the year’s top indies. Here’s the full list of winners:
Best Feature
Beasts of the Southern Wild
Bernie
Keep the Lights On
Moonrise Kingdom
Silver Linings Playbook – Winner
Best Director
Benh Zeitlin, Beasts of the Southern Wild
Ira Sachs,...
Best Feature
Beasts of the Southern Wild
Bernie
Keep the Lights On
Moonrise Kingdom
Silver Linings Playbook – Winner
Best Director
Benh Zeitlin, Beasts of the Southern Wild
Ira Sachs,...
- 2/24/2013
- by Josh Rottenberg
- EW - Inside Movies
The 2013 Spirit Awards celebration is still ongoing at this very moment, as winners are revealed. A full post with all the winners is forthcoming, but you should know that, announced just minutes ago, Ava DuVernay's Middle Of Nowhere won the John Cassavetes Award - which is given to the best feature length film with a budget of under $500,000. The film's competition included Breakfast with Curtis, Mosquita y Mari, Starlet and The Color Wheel. On the full list of nominess are titles and names that you'll be familiar with like Beasts Of The Southern Wild (in several categories), Gimme the Loot (for Best First...
- 2/23/2013
- by Courtney
- ShadowAndAct
Today the 2013 Spirit Awards were handed out and it was a dominating effort from Silver Linings Playbook as it won Best Picture, Director (David O. Russell), Actress (Jennifer Lawrence) and Screenplay (Russell). The only award it was nominated for and didn't win was Best Actor where Bradley Cooper lost to John Hawkes for The Sessions, but that's only a minor blip on the radar when you win this big. Among the early awards handed out, Stephen Chbosky's The Perks of Being a Wallflower won for Best First Feature while Derek Connolly won for Best First Screenplay for the romantic sci-fi film Safety Not Guaranteed. Then the Twitterverse exploded with a Best Supporting Actor win for Matthew McConaughey and his work in Magic Mike, which, for a time, seemed like it may be able to eek into that last Supporting slot at the Oscars. No dice, a Spirit Award it will have to be.
- 2/23/2013
- by Brad Brevet
- Rope of Silicon
Some of the best movies from this year are being celebrated on Feb. 23 at the Independent Spirit Awards — and HollywoodLife.com is live streaming the red carpet just for you!
Andy Samberg will host the Independent Spirit Awards on Feb. 23, the awards show that celebrates independent films and showcases the best of the year to a bigger audience. While some A-Listers are such as Jennifer Lawrence and Bradley Cooper are nominated, other actors and films that are also nominated will surely be added to your must-see list! Keep reading to watch the live red carpet now!
The Independent Spirit Awards air on Feb. 23 at 10Pm Et on IFC. See the full list of nominations below:
Best Feature
Beasts of the Southern Wild
Bernie
Keep the Lights on
Moonrise Kingdom
Silver Linings Playbook
Best Director
Wes Anderson, Moonrise Kingdom
Julia Loktev, The Loneliest Planet
David O. Russell, Silver Linings Playbook
Ira Sachs,...
Andy Samberg will host the Independent Spirit Awards on Feb. 23, the awards show that celebrates independent films and showcases the best of the year to a bigger audience. While some A-Listers are such as Jennifer Lawrence and Bradley Cooper are nominated, other actors and films that are also nominated will surely be added to your must-see list! Keep reading to watch the live red carpet now!
The Independent Spirit Awards air on Feb. 23 at 10Pm Et on IFC. See the full list of nominations below:
Best Feature
Beasts of the Southern Wild
Bernie
Keep the Lights on
Moonrise Kingdom
Silver Linings Playbook
Best Director
Wes Anderson, Moonrise Kingdom
Julia Loktev, The Loneliest Planet
David O. Russell, Silver Linings Playbook
Ira Sachs,...
- 2/23/2013
- by Christopher Rogers
- HollywoodLife
GLAAD this morning announced 153 nominees in 33 categories for the group’s 24th annual GLAAD Media Awards, which recognize media for outstanding images of the Lgbt community. Winners will be unveiled in ceremonies March 16 in New York and April 20 in San Francisco. Here’s the full list: Outstanding Film – Wide Release The Best Exotic Marigold Hotel (Fox Searchlight Pictures) Cloud Atlas (Warner Bros. Pictures) ParaNorman (Focus Features) The Perks of Being a Wallflower (Summit Entertainment) Your Sister’s Sister (IFC Films) Outstanding Film – Limited Release Any Day Now (Music Box Films) Keep the Lights On (Music Box Films) Mosquita y Mari (Wolfe Releasing) Musical Chairs (Paladin) North Sea Texas (Strand Releasing) Outstanding Drama Series Degrassi (TeenNick) Grey’s Anatomy (ABC) The L.A. Complex (The CW) Smash (NBC) True Blood (HBO) Outstanding Comedy Series Glee (Fox) Go On (NBC) Happy Endings (ABC) Modern Family (ABC) The New Normal (NBC) Outstanding Individual Episode...
- 1/16/2013
- by THE DEADLINE TEAM
- Deadline TV
GLAAD (the Gay and Lesbian Alliance Against Defamation) has announced its annual Media Awards nominations, which recognize and honor media for their fair, accurate and inclusive representations of the lesbian, gay, bisexual and transgender community and the issues that affect their lives.
The full list of nominees:
Outstanding Film - Wide Release
The Best Exotic Marigold Hotel (Fox Searchlight Pictures)
Cloud Atlas (Warner Bros. Pictures)
ParaNorman (Focus Features)
The Perks of Being a Wallflower (Summit Entertainment)
Your Sister's Sister (IFC Films)
Outstanding Film - Limited Release
Any Day Now (Music Box Films)
Keep the Lights On (Music Box Films)
Mosquita y Mari (Wolfe Releasing)
Musical Chairs (Paladin)
North Sea Texas (Strand Releasing)
Outstanding Drama Series
Degrassi (TeenNick)
Grey's Anatomy (ABC)
The L.A. Complex (The CW)
Smash (NBC)
True Blood (HBO)
Outstanding Comedy Series
Glee (Fox)
Go On (NBC)
Happy Endings (ABC)
Modern Family (ABC)
The New Normal (NBC)
Outstanding Individual...
The full list of nominees:
Outstanding Film - Wide Release
The Best Exotic Marigold Hotel (Fox Searchlight Pictures)
Cloud Atlas (Warner Bros. Pictures)
ParaNorman (Focus Features)
The Perks of Being a Wallflower (Summit Entertainment)
Your Sister's Sister (IFC Films)
Outstanding Film - Limited Release
Any Day Now (Music Box Films)
Keep the Lights On (Music Box Films)
Mosquita y Mari (Wolfe Releasing)
Musical Chairs (Paladin)
North Sea Texas (Strand Releasing)
Outstanding Drama Series
Degrassi (TeenNick)
Grey's Anatomy (ABC)
The L.A. Complex (The CW)
Smash (NBC)
True Blood (HBO)
Outstanding Comedy Series
Glee (Fox)
Go On (NBC)
Happy Endings (ABC)
Modern Family (ABC)
The New Normal (NBC)
Outstanding Individual...
- 1/16/2013
- by editorial@zap2it.com
- Pop2it
Tags: 2012moviesYoung & WildMosquito Y MariJack and DianeFarewell My QueenIMDb
In the past few years there’s been an influx of increasingly mainstream films with lesbian themes (The Runaways, The Kids Are All Right) but unfortunately that was not the case in 2012, which didn’t have much to offer in terms of films depicting ladies who love ladies. Sundace brought us the pick of the litter: Young & Wild, My Best Day and Mosquito Y Mari. Overall I saw more films depicting gay men than women and if we’re going to be represented at all in the Oscars this year, it’ll most likely be with a film that happens to feature lesbian characters (like Your Sister's Sister) as oppose to films that focus on lesbian narratives.
France brought the biggest let-down I faced all year: Farewell My Queen, which should have been called Hello Blue Balls. It's a look at...
In the past few years there’s been an influx of increasingly mainstream films with lesbian themes (The Runaways, The Kids Are All Right) but unfortunately that was not the case in 2012, which didn’t have much to offer in terms of films depicting ladies who love ladies. Sundace brought us the pick of the litter: Young & Wild, My Best Day and Mosquito Y Mari. Overall I saw more films depicting gay men than women and if we’re going to be represented at all in the Oscars this year, it’ll most likely be with a film that happens to feature lesbian characters (like Your Sister's Sister) as oppose to films that focus on lesbian narratives.
France brought the biggest let-down I faced all year: Farewell My Queen, which should have been called Hello Blue Balls. It's a look at...
- 12/26/2012
- by Desiree Akhavan
- AfterEllen.com
A look back at 2012 reveals an undeniable fact, it has been a great year for Latino film. Sundance started the year off strong with films like Aurora Guerrero’s sweet and tender Mosquita y Mari and Marialy Rivas’ rambunctious Joven y Alocada (Young & Wild). Gina Rodriguez broke out in Filly Brown, as a rapper who needs to make it big so she can raise money to get her mom out of jail. In the film, Jenni Rivera played the part of Filly’s mom in her first, and sadly last, movie role.
There was also a strong Latin American presence at Cannes this past summer, boasting films from Mexico, Brazil, Uruguay, and Argentina. It might as well have been called Mexi-Cannes, with Mexican films winning awards across all main sections of the festival. Carlos Reygadas was honored as the Best Director for his controversial film Post Tenebras Lux, despite having received boos at its premiere screening. The prize for the Critics’ Week section went to Aquí y Allá (Here and There) and Después de Lucía (After Lucia) won the top prize for Un Certain Regard.
It’s been an especially favorable year for Chilean cinema. The New York Film Festival, in its 50th edition this past Fall, included three highly anticipated films by Pablo Larraín, Valeria Sarmiento, and the late Raúl Ruiz. And Chile continued to outshine the rest of the region by winning two top spots at the Festival Internacional de Nuevo Cine Latino de La Habana (the Havana Film Festival) just a few days ago. Pablo Larraín’s No, starring Gael Garcia Bernal, won the First Coral Prize. It’s a brilliant take on the real life story of an advertising campaign that ousted General Pinochet from power during a shining moment in Chilean politics. Violeta se fue a los cielos (Violeta Went To Heaven), a biopic about internationally famous Violeta de la Parra, a Chilean singer, songwriter, and poet won the Second Prize.
Whether it was at Cannes, Sundance, or countless other festivals, Latino films were winning award after award this year and even getting distribution (albeit usually in limited release). With the flurry of activity surrounding the region’s filmmaking, it can be hard to keep up with it all. Thankfully, there are professionals who get paid to keep track of what movies are receiving accolades, have the most buzz, and got picked up for distribution. LatinoBuzz went straight to the experts, film programmers, to ask, “What’s your top 5 Latino films of 2012?”
Carlos Gutierrez, Co-Founder and Director of Cinema Tropical
In no particular order, a list of five Latin American films that made it to Us screens in the past year (some of them are a couple of years old), which I highly recommend.
De Jueves a Domingo (Thursday Till Sunday), Director: Dominga Sotomayor, Chile
O Som ao Redor (Neighboring Sounds), Director: Kleber Mendonça Filho, Brazil
El Estudiante, Director: Santiago Mitre, Argentina
El Velador, Director: Natalia Almada, Mexico
El Lugar Más Pequeño (The Tiniest Place), Director: Tatiana Huezo, Mexico/El Salvador
Juan Caceres, Director of Programming at the New York International Latino Film Festival
Mosquita y Mari is a gorgeous film full of heart. Marialy Rivas (Director of Joven y Alocada) is an incredibly exciting new voice in Latin American cinema. She's fearless and full of love. I'm a huge fan of Lucy Mulloy (Director of Una Noche). She draws these wonderful performances from non-professional actors. A natural at using the lens to tell a story. In Las Malas Intenciones Fatima Buntinx plays the lead perfectly. Andres Wood made a beautiful film called 'Machuca', that captured the soul of Chile in the 70's and he does the same with a bio-pic of Violeta Parra, a folk singer who was a part of 'La Nueva Canción Chilena'.
Mosquita y Mari, Director: Aurora Guerrero, USA
Joven y Alocada (Young and Wild), Director: Marialy Rivas, Chile
Una Noche, Director: Lucy Mulloy, Cuba
Violeta Se Fue A Los Cielos (Violeta Went to Heaven), Director: Andrés Wood, Chile
Las Malas Intenciones (The Bad Intentions), Director: Rosario García-Montero, Perú
Christine Davila, Programming Associate at Sundance Film Festival
There are way too many Latino films and not enough coverage on American Latino films so with that -- mine are going to be strictly American Latino films.
Los Chidos, Director: Omar Rodriguez-Lopez, USA/Mexico
Mosquita y Mari, Director: Aurora Guerrero, USA
Elliot Loves, Director: Terracino, USA
Aquí y Allá (Here and There), Director: Antonio Méndez Esparza, USA/Spain/Mexico
Love, Concord, Director: Gustavo Guardado, USA
Lisa Franek, Artistic Director at the San Diego Latino Film Festival
Just 5?? That's tough! In Filly Brown, Gina Rodriguez turns in a great performance, and I expect to see more great things from her very soon. No, I saw at Cannes, and it was fascinating, especially in contrast to Larraín's previous (amazing) films. La Hora Cero has unforgettable scenes and characters! La Mujer de Ivan has amazing acting, and I believe Maria de Los Angeles Garcia is definitely a talent to watch. Reportero is also fantastic.
La Mujer de Iván, Director: Francisca Silva, Chile
No, Director: Pablo Larraín, Chile/France/USA
La Hora Cero, Director: Diego Velasco, Venezuela
Reportero, Director: Bernardo Ruiz, USA/Mexico
Filly Brown, Directors: Youssef Delara, Michael D. Olmos, USA
Marcela Goglio, Programmer for Latinbeat at The Film Society of Lincoln Center
Las Acacias, Director: Pablo Giorgelli, Argentina
As Cançoes (Songs), Director: Eduardo Coutinho, Brazil
Unfinished Spaces, Directors: Alyssa Nahmias & Benjamin Murray, USA
O Som ao Redor (Neighboring Sounds), Director: Kleber Mendonça Filho, Brazil
Aquí y Allá (Here and There), Director: Antonio Méndez Esparza, USA/Spain/Mexico
Pepe Vargas, Executive Director of the International Latino Cultural Center and Chicago Latino Film Festival
Not an easy task to come up with 5 titles - there are so many good movies.
La Piel que Habito (The Skin I Live In)
Director: Pedro Almodóvar, Spain
Salvando al Soldado Pérez, (Saving Private Perez)
Director: Beto Gómez, Mexico
Un Cuento Chino (Chinese Take-Out)
Director: Sebastián Borensztein, Argentina/Spain
Lobos de Arga (Game of Werewolves)
Director: Juan Martínez Moreno, Spain
Mariachi Gringo
Director: Tom Gustafson, USA/Mexico
Amalia Cordova, Coordinator of the Latin American Program at the Film and Video Center of the Smithsonian National Museum of the American Indian
Granito, Director: Pamela Yates, USA/Guatemala/Spain
Desterro Guarani, Directors: Patricia Ferreira y Ariel Duarte Ortega, Brazil
Violeta Se Fue A Los Cielos (Violeta Went to Heaven), Director: Andrés Wood, Chile
5 x Favela – Agora por nós Mesmos (5 x Favela, Now by Ourselves), Directors: Manaíra Carneiro, Wagner Novais, Cacau Amaral, Rodrigo Felha, Luciano Vidigal, Cadu Barcelos, and Luciana Bezerra, Brazil
Un Cuento Chino (Chinese Take-Out), Director: Sebastián Borensztein, Argentina/Spain
Written by Juan Caceres and Vanessa Erazo, LatinoBuzz is a weekly feature on SydneysBuzz that highlights Latino indie talent and upcoming trends in Latino film with the specific objective of presenting a broad range of Latino voices. Follow @LatinoBuzz on twitter.
There was also a strong Latin American presence at Cannes this past summer, boasting films from Mexico, Brazil, Uruguay, and Argentina. It might as well have been called Mexi-Cannes, with Mexican films winning awards across all main sections of the festival. Carlos Reygadas was honored as the Best Director for his controversial film Post Tenebras Lux, despite having received boos at its premiere screening. The prize for the Critics’ Week section went to Aquí y Allá (Here and There) and Después de Lucía (After Lucia) won the top prize for Un Certain Regard.
It’s been an especially favorable year for Chilean cinema. The New York Film Festival, in its 50th edition this past Fall, included three highly anticipated films by Pablo Larraín, Valeria Sarmiento, and the late Raúl Ruiz. And Chile continued to outshine the rest of the region by winning two top spots at the Festival Internacional de Nuevo Cine Latino de La Habana (the Havana Film Festival) just a few days ago. Pablo Larraín’s No, starring Gael Garcia Bernal, won the First Coral Prize. It’s a brilliant take on the real life story of an advertising campaign that ousted General Pinochet from power during a shining moment in Chilean politics. Violeta se fue a los cielos (Violeta Went To Heaven), a biopic about internationally famous Violeta de la Parra, a Chilean singer, songwriter, and poet won the Second Prize.
Whether it was at Cannes, Sundance, or countless other festivals, Latino films were winning award after award this year and even getting distribution (albeit usually in limited release). With the flurry of activity surrounding the region’s filmmaking, it can be hard to keep up with it all. Thankfully, there are professionals who get paid to keep track of what movies are receiving accolades, have the most buzz, and got picked up for distribution. LatinoBuzz went straight to the experts, film programmers, to ask, “What’s your top 5 Latino films of 2012?”
Carlos Gutierrez, Co-Founder and Director of Cinema Tropical
In no particular order, a list of five Latin American films that made it to Us screens in the past year (some of them are a couple of years old), which I highly recommend.
De Jueves a Domingo (Thursday Till Sunday), Director: Dominga Sotomayor, Chile
O Som ao Redor (Neighboring Sounds), Director: Kleber Mendonça Filho, Brazil
El Estudiante, Director: Santiago Mitre, Argentina
El Velador, Director: Natalia Almada, Mexico
El Lugar Más Pequeño (The Tiniest Place), Director: Tatiana Huezo, Mexico/El Salvador
Juan Caceres, Director of Programming at the New York International Latino Film Festival
Mosquita y Mari is a gorgeous film full of heart. Marialy Rivas (Director of Joven y Alocada) is an incredibly exciting new voice in Latin American cinema. She's fearless and full of love. I'm a huge fan of Lucy Mulloy (Director of Una Noche). She draws these wonderful performances from non-professional actors. A natural at using the lens to tell a story. In Las Malas Intenciones Fatima Buntinx plays the lead perfectly. Andres Wood made a beautiful film called 'Machuca', that captured the soul of Chile in the 70's and he does the same with a bio-pic of Violeta Parra, a folk singer who was a part of 'La Nueva Canción Chilena'.
Mosquita y Mari, Director: Aurora Guerrero, USA
Joven y Alocada (Young and Wild), Director: Marialy Rivas, Chile
Una Noche, Director: Lucy Mulloy, Cuba
Violeta Se Fue A Los Cielos (Violeta Went to Heaven), Director: Andrés Wood, Chile
Las Malas Intenciones (The Bad Intentions), Director: Rosario García-Montero, Perú
Christine Davila, Programming Associate at Sundance Film Festival
There are way too many Latino films and not enough coverage on American Latino films so with that -- mine are going to be strictly American Latino films.
Los Chidos, Director: Omar Rodriguez-Lopez, USA/Mexico
Mosquita y Mari, Director: Aurora Guerrero, USA
Elliot Loves, Director: Terracino, USA
Aquí y Allá (Here and There), Director: Antonio Méndez Esparza, USA/Spain/Mexico
Love, Concord, Director: Gustavo Guardado, USA
Lisa Franek, Artistic Director at the San Diego Latino Film Festival
Just 5?? That's tough! In Filly Brown, Gina Rodriguez turns in a great performance, and I expect to see more great things from her very soon. No, I saw at Cannes, and it was fascinating, especially in contrast to Larraín's previous (amazing) films. La Hora Cero has unforgettable scenes and characters! La Mujer de Ivan has amazing acting, and I believe Maria de Los Angeles Garcia is definitely a talent to watch. Reportero is also fantastic.
La Mujer de Iván, Director: Francisca Silva, Chile
No, Director: Pablo Larraín, Chile/France/USA
La Hora Cero, Director: Diego Velasco, Venezuela
Reportero, Director: Bernardo Ruiz, USA/Mexico
Filly Brown, Directors: Youssef Delara, Michael D. Olmos, USA
Marcela Goglio, Programmer for Latinbeat at The Film Society of Lincoln Center
Las Acacias, Director: Pablo Giorgelli, Argentina
As Cançoes (Songs), Director: Eduardo Coutinho, Brazil
Unfinished Spaces, Directors: Alyssa Nahmias & Benjamin Murray, USA
O Som ao Redor (Neighboring Sounds), Director: Kleber Mendonça Filho, Brazil
Aquí y Allá (Here and There), Director: Antonio Méndez Esparza, USA/Spain/Mexico
Pepe Vargas, Executive Director of the International Latino Cultural Center and Chicago Latino Film Festival
Not an easy task to come up with 5 titles - there are so many good movies.
La Piel que Habito (The Skin I Live In)
Director: Pedro Almodóvar, Spain
Salvando al Soldado Pérez, (Saving Private Perez)
Director: Beto Gómez, Mexico
Un Cuento Chino (Chinese Take-Out)
Director: Sebastián Borensztein, Argentina/Spain
Lobos de Arga (Game of Werewolves)
Director: Juan Martínez Moreno, Spain
Mariachi Gringo
Director: Tom Gustafson, USA/Mexico
Amalia Cordova, Coordinator of the Latin American Program at the Film and Video Center of the Smithsonian National Museum of the American Indian
Granito, Director: Pamela Yates, USA/Guatemala/Spain
Desterro Guarani, Directors: Patricia Ferreira y Ariel Duarte Ortega, Brazil
Violeta Se Fue A Los Cielos (Violeta Went to Heaven), Director: Andrés Wood, Chile
5 x Favela – Agora por nós Mesmos (5 x Favela, Now by Ourselves), Directors: Manaíra Carneiro, Wagner Novais, Cacau Amaral, Rodrigo Felha, Luciano Vidigal, Cadu Barcelos, and Luciana Bezerra, Brazil
Un Cuento Chino (Chinese Take-Out), Director: Sebastián Borensztein, Argentina/Spain
Written by Juan Caceres and Vanessa Erazo, LatinoBuzz is a weekly feature on SydneysBuzz that highlights Latino indie talent and upcoming trends in Latino film with the specific objective of presenting a broad range of Latino voices. Follow @LatinoBuzz on twitter.
- 12/19/2012
- by Vanessa Erazo
- Sydney's Buzz
Glad you asked. Now that the entire programming slate has been announced for the 2013 edition of the Sundance Film Festival, let’s take a look at the representation of Latinos in the broadest, most diverse sense, because that is what that ill-defined lump category encompasses. {Full disclosure: I work as a Programming Associate for the Festival. These are not reviews but an insider breaking-it-down preview}
At first glance the Latino representation may not seem obvious. Nor may it seem as strong as the films and filmmakers from the African-American and Lgbt community representing, or the record breaking number of female directors’ – each group highly visible by their nature. We may not have a Mosquita y Mari or Filly Brown, two fiction films, which broke out of the festival this past year, but we do have two hugely relevant and urgent documentaries, Narco Cultura which explores the phenomenal music and social culture being shaped and perpetuated by the influence of Mexico’s violent drug cartels, and Who Is Dayani Cristal? an innovative doc-fiction hybrid produced by Gael Garcia Bernal that will hopefully re-divert much needed attention back to the Us/Mexico border. By the way, Who is Dayani Cristal? screens in the high profile Day One slot.
What’s Latino anyway?
I personally embrace the responsibility of changing the conversation as to what constitutes representing American Latinos. First, by focusing on both the above-the- line-talent (filmmaker or actor) And storyline/subject. The second part is highlighting the second, third, fourth and so-on generations of filmmakers. What about the filmmakers in the festival like Kyle Patrick Alvarez (C.O.G), Liz W. Garcia (The Lifeguard) and Eduardo Sanchez (S-vhs horror anthology and co-director of the infamous Blair Witch Project)? I don’t know these filmmakers personally so I can’t speak to how they might view their cultural identities and how it informs their work, if at all. But I do believe it is worth pointing out and feeling good about these last names being out there as part of the mainstream fabric. It is similar to how Robert Rodriguez does not identify himself as a Mexican-American yet his last name has been key to driving the younger Latino generation in feeling a proud connection as an American and not just “dash” American.
Chile is still hot
There are three films from Chilean filmmakers. In unprecedented fashion – because that’s how Sundance likes to roll- there is a repeat of last year with two in competition, El Futuro by Alicia Scherson (mostly taking place in Italy) and Magic Fairy by Sebastian Silva, an alumnus who broke out in 2009 with La Nana. In the section Spotlight aka “Movies we love and don’t care if they’ve traveled the festival circuit”, is Pablo Larrain’s No starring Gael Garcia Bernal. Chilean cinema is hot and king of engrossing character-driven fare. What we are seeing is a boom on two fronts; an invigorating new generation of provocateurs (Marialy Rivas’s Young & Wild comes to mind) and a slightly older generation of equally exciting filmmakers who continue to sustain their careers with their distinct voice (like Pablo Larrain along with Andres Wood).
So now lets dive in and look at the list. Loglines copied from official press release – Bold Italics are my comments.
Us Dramatic Competition
Fruitvale / U.S.A. (Director and screenwriter: Ryan Coogler) — The true story of Oscar, a 22-year-old Bay Area resident who crosses paths with friends, enemies, family and strangers on the last day of 2008. Cast: Michael B. Jordan, Octavia Spencer, Melonie Diaz, Ahna O’Reilly, Kevin Durand, Chad Michael Murray.
Puerto-Rican Diaz delivers a fiercely moving performance embodying the girlfriend of Oscar Grant who was with him that fateful day. Diaz is no stranger to the festival. She’s previously been at the festival with four films including seminal indie American Latino story, Raising Victor Vargas 2002 and comedies like Hamlet 2 20008. Why homegirl hasn’t gotten more props for her mad acting skills I don’t know, but this girl is wildly talented and Fruitvale showcases her dramatic chops.
Us Documentary Competition
Narco Cultura / U.S.A. (Director: Shaul Schwarz) — An examination of Mexican drug cartels’ influence in pop culture on both sides of the border as experienced by an La narcocorrido singer dreaming of stardom and a Juarez crime scene investigator on the front line of Mexico’s Drug War.
Absolutely arresting photography that works in giving weight to the violent images the public has become numb from seeing. I predict some of my hard core brown and proud friends might focus and hence diminish this film based on the fact that this bi-cultural, Mexican-American subject is made by non-Latino filmmakers. It could be argued as a valid point. When it comes to documentaries a legit question to make when evaluating is “What makes This person the right one to tackle This subject? What is their connection?” Let’s watch it to find out, then give consideration to what other docs are currently out there on this same timely topic made by Latinos, and without bias regard their depth and artistic merit.
World Cinema Dramatic Competition
Crystal Fairy / Chile (Director and screenwriter: Sebastián Silva) — Jamie invites a stranger to join a road trip to Chile. The woman’s free and esoteric nature clashes with Jamie’s acidic, self-absorbed personality as they head into the desert for a Mescaline-fueled psychedelic trip. Cast: Michael Cera, Gabby Hoffmann, Juan Andrés Silva, José Miguel Silva, Agustín Silva. World Premiere. Day One Film
This marks Sebastian’s third appearance at the festival following La Nana and Gatos Viejos. Remember what I said about character driven? Silva excels at getting at spilling out the insides of his protagonists.
The Future / Chile, Germany, Italy, Spain (Director and screenwriter: Alicia Scherson) — When their parents die, Bianca starts to smoke and Tomas is still a virgin. The orphans explore the dangerous streets of adulthood until Bianca finds Maciste, a retired Mr. Universe, and enters his dark mansion in search of a future. Cast: Manuela Martelli, Rutger Hauer, Luigi Ciardo, Nicolas Vaporidis, Alessandro Giallocosta. World Premiere
Scherson’s last film, Turistas screened at various film festivals including the Los Angeles Film Festival in 2009. Shot in another country and in a different language, The Future continues the filmmaker’s incisive capturing of the strong female led journey.
World Cinema Documentary Competition
Who is Dayani Cristal? / United Kingdom (Director: Marc Silver) — An anonymous body in the Arizona desert sparks the beginning of a real-life human drama. The search for its identity leads us across a continent to seek out the people left behind and the meaning of a mysterious tattoo. World Premiere. Day One Film
An extraordinary cinematic and symbolic approach to the border crossing genre, this meta reflexive journey retraced by none other than Gael Garcia Bernal imagines the grueling experience of a migrant and who he might have been. Bernal has been lending his star power to the social justice causes that move him and you can tell its genuine.
New Frontier
Halley / Mexico (Director: Sebastian Hofmann, Screenwriters: Sebastian Hofmann, Julio Chavezmontes) — Alberto is dead and can no longer hide it. Before surrendering to his living death, he forms an unusual friendship with Luly, the manager of the 24-hour gym where he works as a night guard. Cast: Alberto Trujillo, Lourdes Trueba, Hugo Albores
As unsettling it is watch, its as deep to ponder, this incredibly-shot first feature had its world premiere at the Morelia Film Festival and its inclusion in the most daring section of the festival speaks to the highly diverse and radical new cinema coming from Mexico.
Spotlight
No / Chile, U.S.A. (Director: Pablo Larraín, Screenwriter: Pedro Peirano) — When Chilean military dictator Augusto Pinochet calls for a referendum to decide his permanence in power, the opposition persuades a young advertising executive to head its campaign. With limited resources and under scrutiny, he conceives a plan to win the election. Cast: Gael García Bernal, Alfredo Castro, Antonia Zegers, Luis Gnecco, Marcial Tagle, Néstor Cantillana.
There have been many films about the Pinochet regime and its wide-reaching after effects. But none have had as unique an entry point as No. Trust.
Midnight
We Are What We Are / U.S.A. (Director: Jim Mickle, Screenwriters: Nick Damici, Jim Mickle) — A devastating storm washes up clues that lead authorities closer and closer to the cannibalistic Parker family. Cast: Bill Sage, Ambyr Childers, Julia Garner, Michael Parks, Wyatt Russell, Kelly McGillis.
Okay, I only include this because this is based on the Mexican cult hit, Somos Lo que Hay by Jorge Michel Grau. Jim Mickle of Stakeland has promised to “Not Fuck it Up per Twitch interview
To cap off the features; Stalwart Spanish actor Alfred Molina is in Emanuel and the Truth About Fishes by Francesca Gregorini in Us Dramatic Competition, and we have a strong acting splash by Marcus DeAnda, a co-lead in Pit Stop directed by Yen Tan and co-written by David Lowery. The film about two gay working class lovers in small town Texas is in the Next section.
And lets not forget about shorts!
Short Film Competition
Broken Night / U.S.A. (Director and screenwriter: Guillermo Arriaga) — A young woman and her four-year-old daughter drive across desolated hills. Everything looks fine and they seem to enjoy the ride, until an accident sends them into the nightmare of darkness.
Ever since writing and directing team Arriga and Innaritu broke up (Amores Perros, Babel) Arriaga has been trying to make his stamp directing his own material.
The Companion / Peru (Director and screenwriter: Alvaro Delgado-Aparicio) — On the outskirts of Lima, a young prostitute tends to his father, a fallen-from-grace artisan. However, the young man feels that his efforts are never enough. He tries to break free, but his father’s dependence is stronger than his son’s will.
Intriguing and highly atmospheric gem from Peru!
Chicago? Check. Mexicans check! No, but really this intimate glimpse is poetic and moving.
A Story for the Modlins / Spain (Director: Sergio Oksman, Screenwriter: Sergio Oksman) —The tale of Elmer Modlin, who, after appearing in Rosemary’s Baby, fled with his family to a far-off country and shut himself away in a dark apartment for 30 years.
Must see. Fascinating and inventive ‘Found family photos’ yarn.
#PostModem / U.S.A. (Directors and screenwriters: Jillian Mayer, Lucas Leyva) — A comedic, satirical, sci-fi pop musical based on the theories of Ray Kurzweil and other futurists, #PostModem is the story of two Miami girls and how they deal with technological singularity, as told through a series of cinematic tweets.
My favorite locos from Miami. After making the rounds with Life & Freaky Times of Uncle Luke, which played last year, these rump-shakers have been busy with their work in and out of their funky audiovisual collective Borscht Corp.
If you are heading to Park City I highly recommend you register to purchase Advance tickets here. See you on the mountain!
At first glance the Latino representation may not seem obvious. Nor may it seem as strong as the films and filmmakers from the African-American and Lgbt community representing, or the record breaking number of female directors’ – each group highly visible by their nature. We may not have a Mosquita y Mari or Filly Brown, two fiction films, which broke out of the festival this past year, but we do have two hugely relevant and urgent documentaries, Narco Cultura which explores the phenomenal music and social culture being shaped and perpetuated by the influence of Mexico’s violent drug cartels, and Who Is Dayani Cristal? an innovative doc-fiction hybrid produced by Gael Garcia Bernal that will hopefully re-divert much needed attention back to the Us/Mexico border. By the way, Who is Dayani Cristal? screens in the high profile Day One slot.
What’s Latino anyway?
I personally embrace the responsibility of changing the conversation as to what constitutes representing American Latinos. First, by focusing on both the above-the- line-talent (filmmaker or actor) And storyline/subject. The second part is highlighting the second, third, fourth and so-on generations of filmmakers. What about the filmmakers in the festival like Kyle Patrick Alvarez (C.O.G), Liz W. Garcia (The Lifeguard) and Eduardo Sanchez (S-vhs horror anthology and co-director of the infamous Blair Witch Project)? I don’t know these filmmakers personally so I can’t speak to how they might view their cultural identities and how it informs their work, if at all. But I do believe it is worth pointing out and feeling good about these last names being out there as part of the mainstream fabric. It is similar to how Robert Rodriguez does not identify himself as a Mexican-American yet his last name has been key to driving the younger Latino generation in feeling a proud connection as an American and not just “dash” American.
Chile is still hot
There are three films from Chilean filmmakers. In unprecedented fashion – because that’s how Sundance likes to roll- there is a repeat of last year with two in competition, El Futuro by Alicia Scherson (mostly taking place in Italy) and Magic Fairy by Sebastian Silva, an alumnus who broke out in 2009 with La Nana. In the section Spotlight aka “Movies we love and don’t care if they’ve traveled the festival circuit”, is Pablo Larrain’s No starring Gael Garcia Bernal. Chilean cinema is hot and king of engrossing character-driven fare. What we are seeing is a boom on two fronts; an invigorating new generation of provocateurs (Marialy Rivas’s Young & Wild comes to mind) and a slightly older generation of equally exciting filmmakers who continue to sustain their careers with their distinct voice (like Pablo Larrain along with Andres Wood).
So now lets dive in and look at the list. Loglines copied from official press release – Bold Italics are my comments.
Us Dramatic Competition
Fruitvale / U.S.A. (Director and screenwriter: Ryan Coogler) — The true story of Oscar, a 22-year-old Bay Area resident who crosses paths with friends, enemies, family and strangers on the last day of 2008. Cast: Michael B. Jordan, Octavia Spencer, Melonie Diaz, Ahna O’Reilly, Kevin Durand, Chad Michael Murray.
Puerto-Rican Diaz delivers a fiercely moving performance embodying the girlfriend of Oscar Grant who was with him that fateful day. Diaz is no stranger to the festival. She’s previously been at the festival with four films including seminal indie American Latino story, Raising Victor Vargas 2002 and comedies like Hamlet 2 20008. Why homegirl hasn’t gotten more props for her mad acting skills I don’t know, but this girl is wildly talented and Fruitvale showcases her dramatic chops.
Us Documentary Competition
Narco Cultura / U.S.A. (Director: Shaul Schwarz) — An examination of Mexican drug cartels’ influence in pop culture on both sides of the border as experienced by an La narcocorrido singer dreaming of stardom and a Juarez crime scene investigator on the front line of Mexico’s Drug War.
Absolutely arresting photography that works in giving weight to the violent images the public has become numb from seeing. I predict some of my hard core brown and proud friends might focus and hence diminish this film based on the fact that this bi-cultural, Mexican-American subject is made by non-Latino filmmakers. It could be argued as a valid point. When it comes to documentaries a legit question to make when evaluating is “What makes This person the right one to tackle This subject? What is their connection?” Let’s watch it to find out, then give consideration to what other docs are currently out there on this same timely topic made by Latinos, and without bias regard their depth and artistic merit.
World Cinema Dramatic Competition
Crystal Fairy / Chile (Director and screenwriter: Sebastián Silva) — Jamie invites a stranger to join a road trip to Chile. The woman’s free and esoteric nature clashes with Jamie’s acidic, self-absorbed personality as they head into the desert for a Mescaline-fueled psychedelic trip. Cast: Michael Cera, Gabby Hoffmann, Juan Andrés Silva, José Miguel Silva, Agustín Silva. World Premiere. Day One Film
This marks Sebastian’s third appearance at the festival following La Nana and Gatos Viejos. Remember what I said about character driven? Silva excels at getting at spilling out the insides of his protagonists.
The Future / Chile, Germany, Italy, Spain (Director and screenwriter: Alicia Scherson) — When their parents die, Bianca starts to smoke and Tomas is still a virgin. The orphans explore the dangerous streets of adulthood until Bianca finds Maciste, a retired Mr. Universe, and enters his dark mansion in search of a future. Cast: Manuela Martelli, Rutger Hauer, Luigi Ciardo, Nicolas Vaporidis, Alessandro Giallocosta. World Premiere
Scherson’s last film, Turistas screened at various film festivals including the Los Angeles Film Festival in 2009. Shot in another country and in a different language, The Future continues the filmmaker’s incisive capturing of the strong female led journey.
World Cinema Documentary Competition
Who is Dayani Cristal? / United Kingdom (Director: Marc Silver) — An anonymous body in the Arizona desert sparks the beginning of a real-life human drama. The search for its identity leads us across a continent to seek out the people left behind and the meaning of a mysterious tattoo. World Premiere. Day One Film
An extraordinary cinematic and symbolic approach to the border crossing genre, this meta reflexive journey retraced by none other than Gael Garcia Bernal imagines the grueling experience of a migrant and who he might have been. Bernal has been lending his star power to the social justice causes that move him and you can tell its genuine.
New Frontier
Halley / Mexico (Director: Sebastian Hofmann, Screenwriters: Sebastian Hofmann, Julio Chavezmontes) — Alberto is dead and can no longer hide it. Before surrendering to his living death, he forms an unusual friendship with Luly, the manager of the 24-hour gym where he works as a night guard. Cast: Alberto Trujillo, Lourdes Trueba, Hugo Albores
As unsettling it is watch, its as deep to ponder, this incredibly-shot first feature had its world premiere at the Morelia Film Festival and its inclusion in the most daring section of the festival speaks to the highly diverse and radical new cinema coming from Mexico.
Spotlight
No / Chile, U.S.A. (Director: Pablo Larraín, Screenwriter: Pedro Peirano) — When Chilean military dictator Augusto Pinochet calls for a referendum to decide his permanence in power, the opposition persuades a young advertising executive to head its campaign. With limited resources and under scrutiny, he conceives a plan to win the election. Cast: Gael García Bernal, Alfredo Castro, Antonia Zegers, Luis Gnecco, Marcial Tagle, Néstor Cantillana.
There have been many films about the Pinochet regime and its wide-reaching after effects. But none have had as unique an entry point as No. Trust.
Midnight
We Are What We Are / U.S.A. (Director: Jim Mickle, Screenwriters: Nick Damici, Jim Mickle) — A devastating storm washes up clues that lead authorities closer and closer to the cannibalistic Parker family. Cast: Bill Sage, Ambyr Childers, Julia Garner, Michael Parks, Wyatt Russell, Kelly McGillis.
Okay, I only include this because this is based on the Mexican cult hit, Somos Lo que Hay by Jorge Michel Grau. Jim Mickle of Stakeland has promised to “Not Fuck it Up per Twitch interview
To cap off the features; Stalwart Spanish actor Alfred Molina is in Emanuel and the Truth About Fishes by Francesca Gregorini in Us Dramatic Competition, and we have a strong acting splash by Marcus DeAnda, a co-lead in Pit Stop directed by Yen Tan and co-written by David Lowery. The film about two gay working class lovers in small town Texas is in the Next section.
And lets not forget about shorts!
Short Film Competition
Broken Night / U.S.A. (Director and screenwriter: Guillermo Arriaga) — A young woman and her four-year-old daughter drive across desolated hills. Everything looks fine and they seem to enjoy the ride, until an accident sends them into the nightmare of darkness.
Ever since writing and directing team Arriga and Innaritu broke up (Amores Perros, Babel) Arriaga has been trying to make his stamp directing his own material.
The Companion / Peru (Director and screenwriter: Alvaro Delgado-Aparicio) — On the outskirts of Lima, a young prostitute tends to his father, a fallen-from-grace artisan. However, the young man feels that his efforts are never enough. He tries to break free, but his father’s dependence is stronger than his son’s will.
Intriguing and highly atmospheric gem from Peru!
Chicago? Check. Mexicans check! No, but really this intimate glimpse is poetic and moving.
A Story for the Modlins / Spain (Director: Sergio Oksman, Screenwriter: Sergio Oksman) —The tale of Elmer Modlin, who, after appearing in Rosemary’s Baby, fled with his family to a far-off country and shut himself away in a dark apartment for 30 years.
Must see. Fascinating and inventive ‘Found family photos’ yarn.
#PostModem / U.S.A. (Directors and screenwriters: Jillian Mayer, Lucas Leyva) — A comedic, satirical, sci-fi pop musical based on the theories of Ray Kurzweil and other futurists, #PostModem is the story of two Miami girls and how they deal with technological singularity, as told through a series of cinematic tweets.
My favorite locos from Miami. After making the rounds with Life & Freaky Times of Uncle Luke, which played last year, these rump-shakers have been busy with their work in and out of their funky audiovisual collective Borscht Corp.
If you are heading to Park City I highly recommend you register to purchase Advance tickets here. See you on the mountain!
- 12/5/2012
- by Christine Davila
- Sydney's Buzz
Chicago – Two acclaimed crowd-pleasers led the nominees for the 2013 Independent Spirit Awards, which were announced November 27th. The quirky ensemble comedies “Silver Linings Playbook” and “Moonrise Kingdom” snagged five nominations apiece. The latter picture recently garnered a Best Feature accolade from the Gotham Independent Film Awards.
At the Indie Spirit Awards, David O. Russell’s “Playbook” and Wes Anderson’s “Kingdom” were joined in the Best Feature category by Ira Sachs’ “Keep the Lights On,” Richard Linklater’s “Bernie” and Benh Zeitlin’s “Beasts of the Southern Wild.” All of the directors whose films were nominated in the top category also received Best Director nominations, with the exception of Linklater, who was replaced by Julia Loktev (“The Loneliest Planet”). Earning nominations for Best First Feature were Rama Burshtein’s “Fill the Void,” Adam Leon’s “Gimmie the Loot,” Colin Trevorrow’s “Safety Not Guaranteed,” Zal Batmanglij’s “Sound of my Voice...
At the Indie Spirit Awards, David O. Russell’s “Playbook” and Wes Anderson’s “Kingdom” were joined in the Best Feature category by Ira Sachs’ “Keep the Lights On,” Richard Linklater’s “Bernie” and Benh Zeitlin’s “Beasts of the Southern Wild.” All of the directors whose films were nominated in the top category also received Best Director nominations, with the exception of Linklater, who was replaced by Julia Loktev (“The Loneliest Planet”). Earning nominations for Best First Feature were Rama Burshtein’s “Fill the Void,” Adam Leon’s “Gimmie the Loot,” Colin Trevorrow’s “Safety Not Guaranteed,” Zal Batmanglij’s “Sound of my Voice...
- 11/28/2012
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
And just like that, awards season is upon us. I'd like to say that it's a time of year when your chances of seeing a great film in theatres are significantly increased, but I don't know if that's entirely true. Either way, the Independent Spirit Awards kicked things off today with their full list of nominations, which could potentially influence Oscar chances for some filmmakers and actors. I'm guessing that at least a few of these folks will be in the running. David O. Russell's Silver Linings Playbook and Wes Anderson's Moonrise Kingdom led the way with 5 nominations each, while Beasts of the Southern Wild and Keep the Lights On both earned 4. It's awesome to see Matthew McConaughey recognized for both Magic Mike and Killer Joe, but a little disappointing that The Imposter was overlooked for Best Documentary. What do you think of this year's Spirit Award nominees?...
- 11/27/2012
- by Sean
- FilmJunk
The 28th Annual Film Independent Spirit Award nominations were announced eaelier today and while Moonrise Kingdom and Silver Linings Playbook both grabbed five noms a piece, it is Bernie, Keep The Lights On and Beasts of the Southern Wild who are glowing with their four noms each. Our jeers, cheers and snubs commentary shall be coming soon. Here are the entire list of nominees for the 2013 Film Independent Spirit Awards:
Best Feature:
Beasts of the Southern Wild – Producers: Michael Gottwald, Dan Janvey & Josh Penn
Bernie – Producers: Liz Glotzer, Richard Linklater, David McFadzean, Dete Meserve, Judd Payne, Celine Rattray, Martin Shafer, Ginger Sledge, Matt Williams
Keep the Lights On – Producers: Marie Therese Guirgis, Lucas Joaquin, Ira Sachs
Moonrise Kingdom – Producers: Wes Anderson, Jeremy Dawson, Steven Rales, Scott Rudin
Silver Linings Playbook – Producers: Bruce Cohen, Donna Gigliotti, Jonathan Gordon
Best Director
Wes Anderson – Moonrise Kingdom
Julia Loktev – The Loneliest Planet
David O. Russell...
Best Feature:
Beasts of the Southern Wild – Producers: Michael Gottwald, Dan Janvey & Josh Penn
Bernie – Producers: Liz Glotzer, Richard Linklater, David McFadzean, Dete Meserve, Judd Payne, Celine Rattray, Martin Shafer, Ginger Sledge, Matt Williams
Keep the Lights On – Producers: Marie Therese Guirgis, Lucas Joaquin, Ira Sachs
Moonrise Kingdom – Producers: Wes Anderson, Jeremy Dawson, Steven Rales, Scott Rudin
Silver Linings Playbook – Producers: Bruce Cohen, Donna Gigliotti, Jonathan Gordon
Best Director
Wes Anderson – Moonrise Kingdom
Julia Loktev – The Loneliest Planet
David O. Russell...
- 11/27/2012
- by Eric Lavallee
- IONCINEMA.com
Nominations for the 28th Film Independent Spirit Awards were announced today and were led by Moonrise Kingdom and Silver Linings Playbook with five nominations each followed closely by fellow Best Feature nominees Beasts of the Southern Wild and Keep the Lights On as well as Ava DuVernay's Middle of Nowhere, each with four nominations. Richard Linklater's Bernie was the fifth Best Feature nominee while Middle of Nowhere found its four nominations largely in the acting categories with Emayatzy Corinealdi, David Oyelowo and Lorraine Toussant all being nominated and the fourth for the John Cassavetes Award, which goes to the "best" film made for under $500,000. Looking over the list of nominees I can't help but shrug at the screenplay nomination for Ruby Sparks (a film I loathed), but it's nice to see some First Time Feature love for Colin Trevorrow's Safety Not Guaranteed and Stephen Chbosky's The Perks of Being a Wallflower,...
- 11/27/2012
- by Brad Brevet
- Rope of Silicon
The nominees have just been announced for the 28th Annual Independent Spirit Awards which will be held on February 23rd.
Five films have scored nominations for the top award of the night - Best Feature. They include "Beasts Of The Southern Wild," "Bernie," "Keep The Lights On," "Moonrise Kingdom" and "Silver Linings Playbook."
Four of those five also scored nominations for best director with Julia Loktev's work on "The Loneliest Planet" taking over for Richard Linklater's "Bernie". Here's the full list of nominees:
"Silver Linings Playbook" and "Moonrise Kingdom" topped the overall list with five nominations each, "Beasts of the Southern Wild," "Middle of Nowhere" and "Keep the Lights On" came next with four nominations each.
Best Feature
Beasts of the Southern Wild
Bernie
Keep the Lights On
Moonrise Kingdom
Silver Linings Playbook
Best Director
Wes Anderson, Moonrise Kingdom
Julia Loktev, The Loneliest Planet
David O. Russell, Silver Linings Playbook
Ira Sachs,...
Five films have scored nominations for the top award of the night - Best Feature. They include "Beasts Of The Southern Wild," "Bernie," "Keep The Lights On," "Moonrise Kingdom" and "Silver Linings Playbook."
Four of those five also scored nominations for best director with Julia Loktev's work on "The Loneliest Planet" taking over for Richard Linklater's "Bernie". Here's the full list of nominees:
"Silver Linings Playbook" and "Moonrise Kingdom" topped the overall list with five nominations each, "Beasts of the Southern Wild," "Middle of Nowhere" and "Keep the Lights On" came next with four nominations each.
Best Feature
Beasts of the Southern Wild
Bernie
Keep the Lights On
Moonrise Kingdom
Silver Linings Playbook
Best Director
Wes Anderson, Moonrise Kingdom
Julia Loktev, The Loneliest Planet
David O. Russell, Silver Linings Playbook
Ira Sachs,...
- 11/27/2012
- by Garth Franklin
- Dark Horizons
Silver Linings Playbook and Moonrise Kingdom led the Independent Spirit Award nominations with five each, including best picture.
Other best picture contenders were Bernie, Beasts of the Southern Wild, and Keep the Lights On.
With big-screen behemoths like Lincoln, Argo, and Les Miserables dominating Oscar talk, Film Independent’s awards — chosen by filmmakers, actors, critics, and festival programers — cast the spotlight on some smaller films that are nonetheless worthy of consideration this award season.
A little more analysis is on the way, but for now here are the nominees:
Best Director
Wes Anderson, Moonrise Kingdom
Julia Loktev, The Loneliest Planet
David O. Russell,...
Other best picture contenders were Bernie, Beasts of the Southern Wild, and Keep the Lights On.
With big-screen behemoths like Lincoln, Argo, and Les Miserables dominating Oscar talk, Film Independent’s awards — chosen by filmmakers, actors, critics, and festival programers — cast the spotlight on some smaller films that are nonetheless worthy of consideration this award season.
A little more analysis is on the way, but for now here are the nominees:
Best Director
Wes Anderson, Moonrise Kingdom
Julia Loktev, The Loneliest Planet
David O. Russell,...
- 11/27/2012
- by Anthony Breznican
- EW - Inside Movies
Actors Anna Kendrick, Zoe Saldana and Common presented the nominees for the 28th Film Independent Spirit Awards in a press conference on Tuesday, November 27 at 10:00 am at The W Hotel in Hollywood.
Both "Silver Linings Playbook" and "Moonrise Kingdom" lead the nominations including best picture where they will compete with "Beasts of the Southern Wild," "Bernie," and "Keep the Lights On."
Directors Wes Anderson ("Moonrise Kingdom") and David O. Russell ("Silver Linings Playbook") are also nominated in the best director category along with Julia Loktev ("The Loneliest Planet"), Ira Sachs ("Keep the Lights On"), and Benh Zeitlin ("Beasts of the Southern Wild").
And actor Matthew McConaughey's transformation is now complete. He is nominated for both best actor ("Killer Joe") and best supporting actor ("Magic Mike").
Winners of the 28th Film Independent Spirit Awards will be announced on February 23, 2013 when they will hold their traditional Saturday afternoon awards show...
Both "Silver Linings Playbook" and "Moonrise Kingdom" lead the nominations including best picture where they will compete with "Beasts of the Southern Wild," "Bernie," and "Keep the Lights On."
Directors Wes Anderson ("Moonrise Kingdom") and David O. Russell ("Silver Linings Playbook") are also nominated in the best director category along with Julia Loktev ("The Loneliest Planet"), Ira Sachs ("Keep the Lights On"), and Benh Zeitlin ("Beasts of the Southern Wild").
And actor Matthew McConaughey's transformation is now complete. He is nominated for both best actor ("Killer Joe") and best supporting actor ("Magic Mike").
Winners of the 28th Film Independent Spirit Awards will be announced on February 23, 2013 when they will hold their traditional Saturday afternoon awards show...
- 11/27/2012
- by Manny
- Manny the Movie Guy
The nominations for the 2013 Film Independent Spirit Awards were announced this morning by actors Anna Kendrick, Zoe Saldana, and Common. Nominees for Best Feature include Beasts Of The Southern Wild, Bernie, Keep The Lights On, Moonrise Kingdom, and Silver Linings Playbook. Starlet was selected to receive the annual Robert Altman Award, which is given one film’s director, casting director and ensemble cast.
Winners will be announced at the Spirit Awards on Saturday, February 23, 2013. The awards ceremony will be held as a daytime luncheon in a tent on the beach in Santa Monica, and the premiere broadcast will air later that evening at 10:00 pm Et/Pt on IFC.
2013 Film Independent Spirit Award Nominations
Best Feature (Award given to the Producer, Executive Producers are not awarded)
Beasts of the Southern Wild Producers: Michael Gottwald, Dan Janvey & Josh Penn Bernie Producers: Liz Glotzer, Richard Linklater, David McFadzean, Dete Meserve, Judd Payne,...
Winners will be announced at the Spirit Awards on Saturday, February 23, 2013. The awards ceremony will be held as a daytime luncheon in a tent on the beach in Santa Monica, and the premiere broadcast will air later that evening at 10:00 pm Et/Pt on IFC.
2013 Film Independent Spirit Award Nominations
Best Feature (Award given to the Producer, Executive Producers are not awarded)
Beasts of the Southern Wild Producers: Michael Gottwald, Dan Janvey & Josh Penn Bernie Producers: Liz Glotzer, Richard Linklater, David McFadzean, Dete Meserve, Judd Payne,...
- 11/27/2012
- by Michelle McCue
- WeAreMovieGeeks.com
Glenn here winding down with the Melbourne Film Festival coverage. For whatever reason, Miff’s selection of queer films is never particularly large. I wasn’t able to attend the AIDS documentary How to Survive a Plague, although I’ve heard it’s a powerful experience, but I did get along to Ira Sachs’ Keep the Lights On that follows a nine-year relationship between a Danish documentary filmmaker (Thure Lindhardt, Into the Wild) and a lawyer (Zachary Booth, Damages, Dark Horse) in New York City. I know Nathaniel’s not a fan (and I can certainly see why as there are problematic areas), but it’s rare for a “gay film” to find a positive foothold in the critical community so that made it a veritable must see.
There’s a moment when Lindhardt’s Erik passes a graffiti sign that reads “Fake Your Beauty”, which is actually a good...
There’s a moment when Lindhardt’s Erik passes a graffiti sign that reads “Fake Your Beauty”, which is actually a good...
- 8/22/2012
- by Glenn Dunks
- FilmExperience
Feels Like The First Time: Guerrero’s Debut Nondescript But Heartfelt
Writer/director Aurora Guerrero’s feature debut, Mosquita Y Mari is a coming of age exercise in which a young Chicana experiences her first crush and discovers her sexual orientation. While world cinema has hardly exhausted itself on stories of Lgbt youth, Guerrero’s quietly told and observant feature has ragtag realism on its sleeve, but unfortunately doesn’t manage to assert itself as memorable.
Yolanda (Fenessa Pineda) is a bright young student at the top of her class. Living in Huntington Park with her loving but strict parents, constantly reinforcing the importance of their daughter’s education so that she can get into college and live a better life, Yolanda doesn’t do much outside of her studies and hang out with two popular and fashionably vapid peers. But her life suddenly changes when a new girl,...
Writer/director Aurora Guerrero’s feature debut, Mosquita Y Mari is a coming of age exercise in which a young Chicana experiences her first crush and discovers her sexual orientation. While world cinema has hardly exhausted itself on stories of Lgbt youth, Guerrero’s quietly told and observant feature has ragtag realism on its sleeve, but unfortunately doesn’t manage to assert itself as memorable.
Yolanda (Fenessa Pineda) is a bright young student at the top of her class. Living in Huntington Park with her loving but strict parents, constantly reinforcing the importance of their daughter’s education so that she can get into college and live a better life, Yolanda doesn’t do much outside of her studies and hang out with two popular and fashionably vapid peers. But her life suddenly changes when a new girl,...
- 8/3/2012
- by Nicholas Bell
- IONCINEMA.com
Mosquita Y Mari (Isa: The Film Collaborative) by Aurora Guerrero, a San Fran raised xicana, is an absolutely lovely film about discoveries of oneself and each other. It’s full of moments that are sweet, tender and real. Sometimes they are fleeting and sometimes they linger. Aurora paints her community – immigrant, youth and queer - with such affection and passion that you feel that someone like Aurora will herald a new era in Latino filmmaking. Mosquita Y Mari opens in NYC at Cinema Village August 3rd.
LatinoBuzz: How important was making Mosquita y Mari to you?
Aurora:I spent over 7 years of my life working on this film. It meant alot! I think that ultimately I wanted to tell a love story but in my own way. I wanted to put out there a story that felt familiar to people across sexualities and communities but that also incorporated the layers that can be specific to class and gender and immigration status. It’s 2012 and we had yet to see this love story told within this world and between these two girls. I just felt very profoundly that it was a story I had to share with others. It was time to put out a story like this. And in the process I got to immortalize a time in my life that was special.
LatinoBuzz:With Mosquita Y Mari, Elliot Loves, Four, Joven Y Alocado making the festival circuit and finding success do you think it will give Latinos the courage to continue to represent the gay community in film?
Aurora:Most definitely. I find myself totally inspired by all these films and filmmakers. If you were to watch them back to back you’d realize how they all have something different to share with their audiences. I think this sends a strong message to other filmmakers to aspire to be their own filmmaker. To not only be bold in telling stories with queer storylines but to do it in bold ways. That’s why these films are getting recognized. At least that’s how I see it.
LatinoBuzz:Tell us a horror story making a film…
Aurora:No horror stories, thankfully!
LatinoBuzz:You’re primarily influenced by writers. What do you want your words to do?
Aurora:I hope my visual language inspires others to tell their stories and challenges people’s thinking.
LatinoBuzz:You brought out radiant performances from Fenessa Pineda & Venecia Troncoso. What was that process?
Aurora:It was a wonderful experience working with them. From the very beginning I was intent on studying them very closely. Making sure I had a handle on when they were telling me the truth as actors/people and when they were lying. I was very upfront with them about this. I told them that I was basically going to be their bullshit detector. And if I thought what they were giving me Bs during a scene I would call them out on it. They, in turn, could also call me out on any Bs with regards to the writing. If they felt it forced or wrong then they could talk to me about it and together we’d make changes to it. That was our pact! Looking back there were very, very few times I had to say “Bullshit.” They were extremely invested in their characters and the moments they shared between them. I was blown away by their chemistry. Basically, I just had to make sure I just didn’t get in the way of it.
LatinoBuzz:You end the film on an ambiguous yet perfect note. Who do Mosquita Y Mari grow up to be as realized individuals?
Aurora:Oh, this is a cheating question. That’s not for me to say. That’s for each audience member to imagine. I mean I have my own ideas of who they go on to be but obviously it wasn’t important for me to state that in the film. I think it was more important for me to leave the audience feeling that these girls have gone through a shift in their person, a change. They aren’t the same people they met at the beginning of the film when they first set eyes on each other across the street. Their journey together has definitely made an impact on them, opened them up to something different. I think it was enough to leave audience in that
place. The rest is up to ya’ll to imagine!
LatinoBuzz:Your Bing commercial was hella dope. It’s one of the first times I’ve seen a Latina in a commercial and she wasn’t dancing up a storm with fruit on her head to a conga beat with some suave guy in a ruffled shirt. When is the breakthrough going to come where we are looked at different in the mainstream?
Aurora:I don’t know if it’s going to come via one person “breaking through” or a current of artists staying true to themselves at all times in their career. I think we’re starting to really see that now. Maybe it’s because so many of us, and that includes non-people of color too, are really tired of seeing the Latino stereotypes. I know it has inspired me to be myself without a doubt in my mind. I call myself a queer Xicana at home, in the streets...why not call myself that when I’m being interviewed. It’s who I am and its definitely part of what informs the stories I tell. People have an issue with that then that’s on them. I’m just being
me in this whole process.
LatinoBuzz:You’re an activist - whose Biopic would you make and who is in it?
Aurora:Oh man! So many amazing people to choose from. I would have to say Chavela Vargas cuz she’s fierce, a wonderful vocalist, out queer, and from an era in Mexico that I’m fascinated by.
LatinoBuzz:What was the moment you made your parents the most proud?
Aurora:I wonder what they wouldsay if you asked them. If I had to choose for them I think it would probably be when they saw me on stage at Sundance introducing its world premiere. As I have been paving my career as a filmmaker my parents have been there for me every step of them way. They have believed in my dreams despite how steep the mountain has been. So when Sundance came around they totally got it. I think for them it was like I was finally being announced to the world as a filmmaker.
For more on Mym, Email MosquitayMari@Gmail.comor visit mosquitaymari.com...
LatinoBuzz: How important was making Mosquita y Mari to you?
Aurora:I spent over 7 years of my life working on this film. It meant alot! I think that ultimately I wanted to tell a love story but in my own way. I wanted to put out there a story that felt familiar to people across sexualities and communities but that also incorporated the layers that can be specific to class and gender and immigration status. It’s 2012 and we had yet to see this love story told within this world and between these two girls. I just felt very profoundly that it was a story I had to share with others. It was time to put out a story like this. And in the process I got to immortalize a time in my life that was special.
LatinoBuzz:With Mosquita Y Mari, Elliot Loves, Four, Joven Y Alocado making the festival circuit and finding success do you think it will give Latinos the courage to continue to represent the gay community in film?
Aurora:Most definitely. I find myself totally inspired by all these films and filmmakers. If you were to watch them back to back you’d realize how they all have something different to share with their audiences. I think this sends a strong message to other filmmakers to aspire to be their own filmmaker. To not only be bold in telling stories with queer storylines but to do it in bold ways. That’s why these films are getting recognized. At least that’s how I see it.
LatinoBuzz:Tell us a horror story making a film…
Aurora:No horror stories, thankfully!
LatinoBuzz:You’re primarily influenced by writers. What do you want your words to do?
Aurora:I hope my visual language inspires others to tell their stories and challenges people’s thinking.
LatinoBuzz:You brought out radiant performances from Fenessa Pineda & Venecia Troncoso. What was that process?
Aurora:It was a wonderful experience working with them. From the very beginning I was intent on studying them very closely. Making sure I had a handle on when they were telling me the truth as actors/people and when they were lying. I was very upfront with them about this. I told them that I was basically going to be their bullshit detector. And if I thought what they were giving me Bs during a scene I would call them out on it. They, in turn, could also call me out on any Bs with regards to the writing. If they felt it forced or wrong then they could talk to me about it and together we’d make changes to it. That was our pact! Looking back there were very, very few times I had to say “Bullshit.” They were extremely invested in their characters and the moments they shared between them. I was blown away by their chemistry. Basically, I just had to make sure I just didn’t get in the way of it.
LatinoBuzz:You end the film on an ambiguous yet perfect note. Who do Mosquita Y Mari grow up to be as realized individuals?
Aurora:Oh, this is a cheating question. That’s not for me to say. That’s for each audience member to imagine. I mean I have my own ideas of who they go on to be but obviously it wasn’t important for me to state that in the film. I think it was more important for me to leave the audience feeling that these girls have gone through a shift in their person, a change. They aren’t the same people they met at the beginning of the film when they first set eyes on each other across the street. Their journey together has definitely made an impact on them, opened them up to something different. I think it was enough to leave audience in that
place. The rest is up to ya’ll to imagine!
LatinoBuzz:Your Bing commercial was hella dope. It’s one of the first times I’ve seen a Latina in a commercial and she wasn’t dancing up a storm with fruit on her head to a conga beat with some suave guy in a ruffled shirt. When is the breakthrough going to come where we are looked at different in the mainstream?
Aurora:I don’t know if it’s going to come via one person “breaking through” or a current of artists staying true to themselves at all times in their career. I think we’re starting to really see that now. Maybe it’s because so many of us, and that includes non-people of color too, are really tired of seeing the Latino stereotypes. I know it has inspired me to be myself without a doubt in my mind. I call myself a queer Xicana at home, in the streets...why not call myself that when I’m being interviewed. It’s who I am and its definitely part of what informs the stories I tell. People have an issue with that then that’s on them. I’m just being
me in this whole process.
LatinoBuzz:You’re an activist - whose Biopic would you make and who is in it?
Aurora:Oh man! So many amazing people to choose from. I would have to say Chavela Vargas cuz she’s fierce, a wonderful vocalist, out queer, and from an era in Mexico that I’m fascinated by.
LatinoBuzz:What was the moment you made your parents the most proud?
Aurora:I wonder what they wouldsay if you asked them. If I had to choose for them I think it would probably be when they saw me on stage at Sundance introducing its world premiere. As I have been paving my career as a filmmaker my parents have been there for me every step of them way. They have believed in my dreams despite how steep the mountain has been. So when Sundance came around they totally got it. I think for them it was like I was finally being announced to the world as a filmmaker.
For more on Mym, Email MosquitayMari@Gmail.comor visit mosquitaymari.com...
- 8/3/2012
- by Juan Caceres
- Sydney's Buzz
Tags: Naya RiveragossipBeth DittoRashida JonesIMDbJane LynchRoseanne Barr
Good afternoon my lovelies!
Happy birthday to Mary-Louise Parker, Mandi Line, Shelagh Ratner, Jacinda Barrett and D.E.B.S. star Sara Foster!
Mary-Louise Parker
Photo by Jason Merritt/Getty Images
In preparation for the Comedy Central Roast of Rosanne Barr, Roastmaster Jane Lynch is recruiting joke writers on Twitter.
Help! I'm the Roastmaster for the #RoseanneRoast on @comedycentral and I need jokes. I'll tweet the funniest ones on.cc.com/T3Jhr2
— Jane Lynch (@janemarielynch) August 1, 2012
Sears has launched an anti-bullying campaign. (They also have a tremendous portrait studio.)
If you haven't hit your Chick-Fil-a news overload yet (I have) then take a gander at Chick-Fil-a's new spokesperson, Chaz the Intolerant Chick-Fil-a Chicken, courtesy of Conan.
The New Jersey-based bakery Sweet Avenue Bake Shop is offering a special "Rainbow Pride" cupcake in response to Chick-Fil-a's anti-gay stance. The bakery stated they "support love rather than hate,...
Good afternoon my lovelies!
Happy birthday to Mary-Louise Parker, Mandi Line, Shelagh Ratner, Jacinda Barrett and D.E.B.S. star Sara Foster!
Mary-Louise Parker
Photo by Jason Merritt/Getty Images
In preparation for the Comedy Central Roast of Rosanne Barr, Roastmaster Jane Lynch is recruiting joke writers on Twitter.
Help! I'm the Roastmaster for the #RoseanneRoast on @comedycentral and I need jokes. I'll tweet the funniest ones on.cc.com/T3Jhr2
— Jane Lynch (@janemarielynch) August 1, 2012
Sears has launched an anti-bullying campaign. (They also have a tremendous portrait studio.)
If you haven't hit your Chick-Fil-a news overload yet (I have) then take a gander at Chick-Fil-a's new spokesperson, Chaz the Intolerant Chick-Fil-a Chicken, courtesy of Conan.
The New Jersey-based bakery Sweet Avenue Bake Shop is offering a special "Rainbow Pride" cupcake in response to Chick-Fil-a's anti-gay stance. The bakery stated they "support love rather than hate,...
- 8/2/2012
- by Bridget McManus
- AfterEllen.com
This weekly column is intended to provide reviews of nearly every new indie release, including films on VOD. Specific release dates and locations follow each review. Reviews This Week: "360" "Assassin's Bullet" "The Babymakers" "Celeste and Jesse Forever" "Craigslist Joe" "Dreams of a Life" "Free Radicals: A History of Experimental Film" "Girlfriend Boyfriend" "Mosquita y Mari" "[Rec]³ Genesis" "Sushi: The Global Catch" "You've Been Trumped" "360" Whatever possessed three of Britain's most talented actors (Anthony Hopkins, Jude Law and Rachel Weisz) to join the ensemble cast of this discombobulated drama? Whatever the reason, the result is embarrassing. Another in a long line of variants on Arthur Schnitzler's 1897 play "La Ronde,'' the film,...
- 8/2/2012
- by Indiewire
- Indiewire
Tags: Todrick HallNewFestPretty Little LiarsMarilyn MonroeJoCasta ZamarripaIMDb
Good morning, Brewbies. When you woke up this morning, I know you were like, "Man, I wish I could see a gaye-ed up fairy tale music video that mashes-up Disney soundtracks with Katy Perry. A lesbian Alice in Wonderland dancing with some drag queens would be just the thing to get my day going." Well, you're in luck! Todrick Hall, the best thing to get voted off American Idol since Jennifer Hudson, has released a follow-up to his "Beauty and the Beast" music video, and this time it's "Cinderfella."
Photo courtesy of Toddrick Hall
Click here to watch the video; you won't be sorry. It's actually a really lovely plea for same-sex marriage.
Photo courtesy of NewFest
Ok, now let me help you plan your weekend. This Friday, New York's top Lgbt film festival, NewFest, kicks off its 24th annual season. There are...
Good morning, Brewbies. When you woke up this morning, I know you were like, "Man, I wish I could see a gaye-ed up fairy tale music video that mashes-up Disney soundtracks with Katy Perry. A lesbian Alice in Wonderland dancing with some drag queens would be just the thing to get my day going." Well, you're in luck! Todrick Hall, the best thing to get voted off American Idol since Jennifer Hudson, has released a follow-up to his "Beauty and the Beast" music video, and this time it's "Cinderfella."
Photo courtesy of Toddrick Hall
Click here to watch the video; you won't be sorry. It's actually a really lovely plea for same-sex marriage.
Photo courtesy of NewFest
Ok, now let me help you plan your weekend. This Friday, New York's top Lgbt film festival, NewFest, kicks off its 24th annual season. There are...
- 7/26/2012
- by stuntdouble
- AfterEllen.com
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