Venecia 2010: Programación de las Secciones Oficiales y de Venice Days

COMPETENCIA OFICIAL

-Black Swan, de Darren Aronofsky (EE.UU.) (Película de apertura), con Natalie Portman, Mila Kunis, Vincent Cassel, Barbara Hershey, Winona Ryder

-La Pecora Nera, de Ascanio Celestini (Italia), con Ascanio Celestini, Giorgio Tirabassi, Maya Sansa

-Somewhere, de Sofia Coppola (EE.UU.), con Stephen Dorff, Elle Fanning, Benicio Del Toro, Michelle Monaghan, Laura Chiatti, Simona Ventura

-Happy Few, de Antony Cordier (Francia), con Marina Fois, Elodie Bouchez, Roschdy Zem, Nicolas Duvauchelle

-The Solitude of Prime Numbers/La Solitudine dei numeri primi , de Saverio Costanzo (Italia, Alemania, Francia), con Alba Rohrwacher, Luca Marinelli, Filippo Timi, Isabella Rossellini, Maurizio Donadoni

-Silent Souls, de Aleksei Fedorchenko (Rusia), con Igor Sergeyev, Yuriy Tsurilo, Yuliya Aug, Victor Sukhorukov

-Promises Written in Water, de Vincent Gallo (EE.UU.), con Vincent Gallo, Delfine Bafort, Sage Stallone, Lisa Love

-Road To Nowhere, de Monte Hellman (EE.UU.), con Shannyn Sossamon, Dominique Swain, John Diehl, Fabio Testi

-Balada triste de trompeta, de Alex de la Iglesia (España, Francia), con Carmen Maura, Carolina Bang, Santiago Segura, Antonio de la Torre, Fernando Guillen-Cuervo

-Vénus Noire, de Abdellatif Kechiche (Francia), con Yahima Torres, Olivier Gourmet, André Jacobs

-Post Mortem, de Pablo Larrain (Chile, México, Alemania), con Alfredo Castro, Antonia Zegers

-Barney's Version, de Richard J. Lewis (Canadá, Italia), con Dustin Hoffman, Paul Giamatti, Rosamund Pike, Minnie Driver

-We Believed/Noi Credevamo., de Mario Martone (Italia, Francia), con Luigi Lo Cascio, Valerio Binasco, Toni Servillo, Luca Zingaretti, Michele Riondino, Francesca Inaudi, Anna Bonaiuto

-La Passione, de Carlo Mazzacurati (Italia), con Silvio Orlando, Giuseppe Battiston, Corrado Guzzanti, Cristiana Capotondi, Stefania Sandrelli, Kasia Smutniak

-13 Assassins, de Mike Takashi (Japón, Reino Unido), con Kôji Yakusho, Takayuki Yamada, Yusuke Iseya, Goro Inagaki

-Potiche, de Francois Ozon (Francia), con Catherine Deneuve, Gérard Depardieu, Fabrice Luchini, Karin Viard, Judith Godrèche, Jérémie Régnier

-Meek's Cutoff, de Kelly Reichardt (EE.UU.), con Michelle Williams, Bruce Greenwood, Will Patton, Zoe Kazan, Paul Dano, Shirley Henderson

-Miral, de Julian Schnabel (EE.UU, Francia, Italia, Israel), con Freida Pinto, Hiam Abbass, Willem Dafoe, Yasmine Al Masri, Vanessa Redgrave

-Norwegian Wood, de Tran Anh Hung (Japón), con Kenichi Matsuyama, Rinko Kikuchi, Kiko Mizuhara, Kengo Kora, Reika Kirishima

-Attenberg, de Athina Rachel Tsangari (Grecia), con Ariane Labed, Vangelis Mourikis, Evangelia Randou, Yorgos Lanthimos

-Detective Dee and the Mystery of Phantom Flame, de Tsui Hark (China), con Andy Lau, Carina Lau, Li Bingbing, Tony Leung Ka Fai.

-Three, de Tom Tykwer (Alemania), con Sophie Rois, Sebastian Schipper, Devid Striesow

SECCION OFICIAL (FUERA DE COMPETENCIA)

-The Town, de Ben Affleck (EE.UU.), de Ben Affleck, Rebecca Hall, Jon Hamm, Jeremy Renner, Blake Lively

-I'm Still Here, de Casey Affleck (EE.UU.). Documental, con Joaquin Phoenix

-Sorelle mai, de Marco Bellocchio (Italia), con Alba Rohrwacher, Donatella Finocchiaro, Elena Bellocchio, Pier Giorgio Bellocchio

-Niente Paura - Come siamo come bravamo e le canzoni de Luciano Ligabue, de Piergiorgio Gay (Italia). Documental, con Luciano Ligabue, Carlo Verdone, Fabio Volo, Paolo Rossi, Javier Zanetti.

-Dante Ferretti: Production Designer, de Gianfranco Giagni (Italia). Documental, con Dante Ferretti.

-Notizie dagli Scavi, de Emidio Greco (Italia), con Giuseppe Battiston, Ambra Angiolini, Iaia Forte, Giorgia Salari

-The Last Movie (1971), de Dennis Hopper (EE.UU.), con Dennis Hopper, Julie Adams, Tomas Milian

-Gorbaciof, de Stefano Incerti (Italia), con Toni Servillo, Salvatore Ruocco, Nello Mascia, Yang Mi

-That Girl in Yellow Boots, de Mianurag Kashyap (India), de Kalki Koechlin, Naseeruddin Shah, Prashant Prakash

-Yongxin Tiao (Showtime), de Stanley Kwan (China), con Carina Lau, Hu Jun, Tony Leung Ka-Fai, Huang Lei

SECCIÓN HORIZONTES (LARGOMETRAJES)

-Sleeping Beauty, Catherine Breillat (Francia, apertura)

-Oki's Movie, Hong Sang-soo (South Korea, clausura)

-The Nine Muses," John Akomfrah (U.K.-Ghana)

-The Forgotten Space," Noel Burch, Allan Sekula (Netherlands-Austria)

-Nainsukh," Amit Dutta (Switzerland-India)

-Caracremada," Lluis Galter (Spain)

-Per questi stretti morire (ovvero cartografia di una passione)," Giuseppe Gaudino, Isabella Sandri (Italy)

-Guest," Jose Luis Guerin (Spain)

-Jean Gentil," Laura Amelia Guzman, Isreal Cardenas (Dominican Republic-Mexico-Germany)

-Reconstructing Faith," Huang Wenhai (China)

-Robinson in Ruins," Patrick Keiller (U.K.)

-Zelal," Marianne Khoury (Egypt-France)

-Anti Gas Skin," Kim Gok and Kim Sun (South Korea)

-News From Nowhere," Paul Morrissey (U.S.)

-A Espada e a Rosa," Joao Nicolau (Portugal-France)

-Dharma Guns," F.J. Ossang (France-Portugal)

-Verano de Goliat," Nicolas Pereda (Mexico-Canada)

-El Sicario Room 164," Gianfranco Rosi (France-Italy)

-When We Were Communists," Maher Abi Samra (France-United Arab Emirates)

-Malavoglia," Pasquale Scimeca (Italy)

-Cold Fish," Sion Sono (Japan)

SECCIÓN HORIZONTES (MEDIOMETRAJES Y CORTOS)

-House," Doug Aitken (U.S.)

-Weak Rot Front," Victor Alimpiev (Russia)

-Il Capo," Yuri Ancarani (Italy)

-En el Futuro," Mauro Andrizzi (Argentina)

-Shadow Cuts," Martin Arnold (Austria)

-El Pozo," Guillermo Arriaga (Mexico)

-Woman I," Nuntanat Duangtisarn (Thailand)

-Non si puo nulla contro il vento," Flatform (Italy)

-The Agent," Vincent Gallo (U.S.)

-Crust," Huang Wenhai (China)

-Mouse Palace," Harald Hund, Paul Horn (Austria)

-Four Seasons," Chaisiri Jiwarangsan (Thailand)

-Better Life," Isaac Julien (U.K.-China)

-Diamonds," Rustam Khamdamov (Russia)

-Red Earth," Clara Law (China-Hong Kong-Australia)

-Future Archaeology," Armin Linke, Francesco Mattuzzi (Italy-Germany)

-Atom," Markus Loffler, Andree Korpys (Germany)

-The Life and Death of Henry Darger," Bertrand Mandico (France-Iceland)

-Magic for Beginners," Jesse McLean (U.S.)

-Inspiration," Galina Myznikova, Sergey Provorov (Russia)

-Paineis de Sao Vicente de Fora, Visao Poetica," Manoel de Oliveira (Portugal)

-The External World," David Oreilly (Germany)

-On Rubiks' Road," Laila Pakalnina (Latvia)

-Man in a Room," Rafael Palacio Illingworth (U.S.-Mexico-Switzerland)

-Diane Wellington," Arnaud des Pallieres (France)

-Les Barbares," Jean Gabriel Periot (France)

-The Future Will Not Be Capitalist," Sasha Pirker (Austria)

-O Mundo e' belo," Luiz Pretti (Brazil)

-Stardust," Nicolas Provost (Belgium)

-Cold Clay, Emptiness ... " SJ Ramir (New Zealand)

-The Futurist," Emily Richardson (U.K.)

-Out," Roee Rosen (Israel)

-John's Gone," Josh Safdie, Benny Safdie (U.S.)

-Indefatigable," Ruth Jarman, Joe Gerhardt (Ecuador-U.K.)

-21 Grams," Xun Sun (China)

-How to Pick Berries," Elina Talvensaari (Finland)

-La linea generale," Oleg Tcherny (France)

-Coming Attractions," Peter Tscherkassky (Austria)

-The Death of an Insect," Hannes Vartiainen, Pekka Veikkolainen (Finland)

-Mechanic of Spring," Atsushi Wada (Japan)

-Fading," Olivier Zabat (France)

-720 Degrees," Ishtiaque Zico (Bangladesh)

-Casus Belli," Georgios Zois (Greece)

SECCIÓN HORIZONTES (FUERA DE COMPETENCIA)

-K.364 A Journey by Train," Douglas Gordon (U.K.-France)

-A Loft," Ken Jacobs (U.S.)

-The Leopard," Isaac Julien (U.K.-Italy)

-Un anno dopo -- Progetto Memory Hunters," Carlo Liberatore, Matteo Di Bernardino, Antonio Iacobone, Stefano Ianni, Marco Castellani (Italy)

VENICE DAYS-GIORNATE DEGLI AUTORI

-LA VIDA DE LOS PECES/THE LIFE OF FISH, de Matias Bize, con Santiago Cabrera, Blanca Lewin - Chile.

-LE BRUIT DES GLACONS/THE CLINK OF ICE, de Bertrand Blier, con Jean Dujardin, Albert Dupontel, Anne Alvaro, Myriam Boyer - Francia

-ET IN TERRA PAX, de Matteo Botrugno y Daniele Coluccini (opera prima), con Maurizio Tesei, Ughetta D'Onorascenzo, Michele Botrugno, Fabio Gomiero - Italia.

-NOTRE ETRANGERE/THE PLACE IN BETWEEN, de Sarah Bouyain (opera prima), con Dorylia Calmel, Assita Ouedraogo, Nathalie Richard - Burkina Faso/Francia.

-L'AMORE BUIO, de Antonio Capuano, con Irene De Angelis, Gabriele Agrio, Luisa Ranieri, Corso Salani, Valeria Golino, Fabrizio Gifun - Italia

-PEQUEÑAS VOCES, de Jairo Carrillo y Oscar Andrade (opera prima) - Colombia

-THE HAPPY POET, de Paul Gordon, con Paul Gordon, Jonny Mars, Chris Doubek, Liz Fisher - USA

-NOIR OCEAN, de Marion Hänsel, con Nicolas Robin, Adrien Jolivet, Romain David - Bélgica/Francia/Alemania

-CIRKUS COLUMBIA, de Danis Tanovic, con Miki Manojlović, Mira Furlan, Boris Ler, Jelena Stupljanin - Bosnia Herzegovina /Francia/ Gran Bretaña / Eslovenia/ Alemania /Bélgica /Serbia

-INCENDIES, de Denis Villeneuve, con Lubna Azabal, Mélissa Désormeaux-Poulin, Maxim Gaudette, Rémy Girard - Canadá/Francia

-COGUNLUK/MAJORITY, de Seren Yüce (opera prima), con Bartu Küçükçağlayan, Settar Tanrioğren, Nihal Koldaş, Esme Madra - Turquía

-CIELO SENZA TERRA, de Giovanni Davide Maderna y Sara Pozzoli - Italia

Radio Micropsia: Episodio 40 (Download)

Aquí está el audio del programa de ayer (capturado online, así que con la calidad de audio del caso), con cuatro temas en vivo de Fran Gayo. No voy a subir el playlist porque sería subir medio disco de Fran (además de los temas en vivo, hay varios otros que pasamos del disco "Las próximas cosechas") y no corresponde, así que los que quieran pasar directo a la música avancen a la hora del programa y allí arranca la música en vivo.

El mini-show (que no fue acústico: fue show-show) fue increíble y nos quedamos esperando por la próxima vez que Gayo y su banda se presenten en vivo en Buenos Aires.

Fran Gayo, en Micropsia (en directo)

Por Radio Nacional (FM Rock - 93.7), domingos de 20 a 22hs.
O por internet, entrando por aquí.

Este domingo para festejar los 40 episodios de Micropsia tendremos un show en vivo de Fran Gayo, ex compositor del fundamental grupo pop español Mus, que vendrá a presentar temas de su primer disco solista. Aquí, un repaso de la carreta de Fran, con unos videos (en vivo y de estudio) de canciones de su álbum "Las próximas cosechas". Gayo se presentará el viernes a las 20.30, junto a Florencia Ruiz, en Libros del Pasaje, Thames 1762.

"Nacido y criado en Xixón (Asturias, España) Fran Gayo comenzó su andadura musical a principios de los 90 en el terreno de la música tradicional asturiana. Entre 1996 y 2006 será el cofundador y compositor del dúo Mus, con el que publicará cuatro discos de larga duración y varios eps además de ediciones exclusivas para el mercado USA o asiático. Reacios a pisar los escenarios aún así Mus llevarán su música a los USA (con una gira por la Costa Oeste que recabó en el SXSW de Austin), Rusia, Francia (en el festival La Route du Rock, en Saint Malo) o Taiwan, además de festivales en territorio español como Intersecciones, Primavera Sound o BAM.

En 2007 el grupo se disuelve en plena promoción del que sería su disco final, "La Vida" y Gayo empieza a escribir sus primeras canciones en solitario. Este proceso cristaliza con una vuelta al sello que había confiado en Mus inicialmente (Acuarela Discos) y la edición del primer cd de Gayo no sólo como compositor y arreglista sino como intérprete también, 11 canciones de amor (con los textos por primera vez en castellano) titulado "Las próximas cosechas".

Actualmente Fran Gayo reside en Buenos Aires. El próximo Viernes 27 de Agosto a las 20.30 presentará sus canciones en Libros del Pasaje (Thames 1762 - BsAs Capital Fe 1220) acompañado del cantautor y guitarrista rosarino Ramiro Eraso y de Sergio Ieracitano (también componente de Nicolás Miguélez y el Círculo de Confianza). Tras el trío actuará la cantautora porteña Florencia Ruiz.

Fuera de Lugar ’Fran Gayo: Te irás al campo’

Hay una idea que impregna este primer álbum del ex Mus Fran Gayo: la de crepúsculo,
traída a colación bajo evocaciones invernales y despedidas o renuncias que nos recuerda por momentos el Viaje de invierno de Müller/ Schubert. Gayo ha llevado a cabo, pues, una obra íntima, valiente y, por tanto, arriesgada. Ha puesto su empeño en aprender a cantar (en castellano) sus textos, tan ricos en imágenes poéticas como antaño: "Qué fría esta noche / en que las mantas / son un pellejo espeso / cuajándome el alma". Le han acompañado (bien: se le nota a sus anchas) Eduardo García, Erasmo Sánchez y Manuel Scattini, con los que ha grabado las once canciones que componen el disco. Un Winterreise de nuestros días que requiere atención y sensibilidad.

Rafa Martínez - La Vanguardia

En estos tiempos de patinadores musicales cuyas canciones llenas de ingenio e inteligencia rozan, dan ‘regustín’, pero no penetran, se agradecen discos como ‘Las próximas cosechas’. Un esfuerzo por bajar a la mina de la realidad y contar lo que allí se cuece. Yo me quedo con esto. Lo otro está bien, pero esto, queridos amigos, es otra cosa.

Ahora, el debut de Gayo en solitario cambia determinadas coordenadas (del bable a español, la electrónica casi desaparece, las crónicas sociales se transforman en una sola crónica, sentimental), pero mantiene lo esencial: la hondura, la densidad.

Como un cuidadoso cartógrafo, el músico establece unas coordenadas sonoras y líricas y, con escuadra y cartabón, comienza a dibujar desde diversos ángulos los contornos y entresijos de algo tan misterioso y desconcertante como enamorarse. “Porque desde nuestro encuentro cada noche me pierdo en el camino a casa”, canta en ‘Romanza’. Qué necesario es perderse, a veces.

Todo en el disco, en sus once canciones, está orientado hacia ese instante en que el mundo desaparece y sólo hay una cosa importante. Algo así requiere un disco (o dos). Y en el trance, el huracán: el desierto de la distancia, el miedo al qué dirán, el temblor de la despedida, la sensación de fortaleza ante la avalancha de contratiempos, la indestructible intimidad, el dolor de estar vivo…

Jesús Miguel Marcos - Público

http://www.myspace.com/frangayo

Viggo Mortensen viene a la Argentina a filmar una opera prima (Variety)

By Charles Newbery
BUENOS AIRES - Argentina's Haddock Films is producing features with Viggo Mortensen and Aida Bortnik, building on its success with "The Secret in Their Eyes."

Mortensen will star in "Todos tenemos un plan" (Everybody Has a Plan), the freshman effort of Argentina's Ana Piterbarg that will lense in May 2011 in Tigre, a delta region on the outskirts of Buenos Aires. It is a police caper about a man who takes on the identity of his deceased twin brother.

Haddock will produce the estimated E2.5 million ($3.2 million) pic with Spain's Tornasol Films and Castafiore Films.

This is a bigger budget film for Argentina, where the average is $1.5 million. And it would be hard to finance without Mortensen in the lead, especially in an environment of tight credit and rising costs, Haddock topper Vanessa Ragone told Variety.

"In terms of costs, we couldn't finance without presales, and you need a name for presales," she said.

Bortnik ("The Official Story") has boarded "Las Grietas de Jara," a drama also to lense next year.

She will co-write with Julia Solomonoff, who will direct the $1.9 million pic as her third feature following "Sisters" and "The Last Summer of La Boyita" in 2005 and 2009.

It is about a middle-aged architect whose humdrum life is shaken up when a young woman comes inquiring about the disappearance of a man.

"Las Grietas" is based on a novel by Claudia Pineiro, whose previous novel "Las Viudas de los Jueves" was turned into last year's B.O. hit "Thursday's Widows" by Haddock, Tornasol and Castafiore.

"Bortnik brings experience and lots of ideas about characters" to the project, Ragone said. "She is one of only a few writers who can adapt the novel so that it is not just a literal transcription but so that it can stand on its own as a film."

Festival de Toronto 2010: Discovery Programme

DISCOVERY PROGRAMME

As If I Am Not There Juanita Wilson, Ireland/Macedonia/Sweden World Premiere As If I Am Not There explores one woman’s experience of the horrors that took place at the beginning of the Bosnian War. Disturbing and powerful, the film is an important testament to the survivors of the atrocities in the former Yugoslavia.

ATTENBERG Athina Rachel Tsangiri, Greece North American Premiere A dying architect and his emotionally stunted daughter inhabit a once booming industrial community in the middle of nowhere, now populated by the precious few who didn’t have the heart to leave it behind.

Autumn Aamir Bashir, India World Premiere Shot in striking, widescreen images in India's Kashmir region, Bashir's debut tells the story of Rafiq, a young man struggling to come to terms with the loss of his older brother, who has disappeared in the ongoing border conflict.

Beautiful Boy Shawn Ku, USA World Premiere A married couple on the verge of separation are leveled by the news that their 18-year-old son has committed a mass shooting at his college, then taken his own life. Stars Michael Sheen and Maria Bello.

Blame Michael Henry, Australia International Premiere A group of young vigilantes seeking revenge for a sexual betrayal fall far from grace. When the truth is out, they find themselves on the dark side of justice.

The Call Stefano Pasetto, Italy/Argentina World Premiere Two women, one a married middle-aged airline stewardess, and the other a free-wheeling factory worker, meet and decide to change their lives. Moving to Patagonia and leaving their men behind, they find that escape carries with it a different set of responsibilities.

Ceremony Max Winkler, USA World Premiere Along with his unwitting best friend, a young guy looks to crash the wedding of an older woman with whom he's infatuated. Stars Uma Thurman.

Dirty Girl Abe Sylvia, USA World Premiere Danielle is the dirty girl of Norman High School. When her misbehaviour gets her banished to a remedial class, she teams up with an innocent closet-case and they head out on a road trip to discover themselves. Stars Juno Temple, Dwight Yoakam, Milla Jovovich and William H. Macy.

Girlfriend Justin Lerner, USA World Premiere When an unexpected financial windfall affords a young man with Down syndrome some freedom, he decides to pursue the object of his high school crush, Candy. The decision brings him into conflict with her volatile ex-boyfriend, and the three find themselves involved in a complex, unpredictable triangle of love, aspiration and dreams. Stars Evan Sneider and Jackson Rathbone.

Griff the Invisible Leon Ford, Australia World Premiere Griff, office worker by day, superhero by night, has his world turned upside down when he meets Melody, a beautiful young scientist who shares his passion for the impossible. Stars Ryan Kwanten.

Half of Oscar Manuel Martin Cuenca, Spain/Cuba World Premiere Oscar and Maria are reunited by the imminent death of their grandfather. Maria has not been heard from in over two years, and now arrives pregnant and with a boyfriend.

Inside America Barbara Eder, Austria North American Premiere Drawing on her memories as an exchange student in a nowhere town on the US-Mexico border, Barbara Eder explores the dark side of the American Dream.

Look, Stranger Arielle Javitch, USA World Premiere Look, Stranger is an elegant, spare and powerful telling of one young woman's journey through a war-torn landscape in an effort to get back home. Stars Annamaria Marinca.

Mandoo Ebrahim Saeedi, Iraq North American Premiere After the death of Saddam, Shaho, an Iranian Kurd, is determined to take his ailing father back to his village so he can live out his final days in familiar surroundings. The only thing that stands in his way is a wide-eyed young woman.

Marimbas From Hell Julio Hernández Cordón, Guatemala/France/Mexico World Premiere Don Alfonso loses his job playing the marimba, an indigenous, traditional Guatemalan instrument, at a hotel in Guatemala City. He approaches musician Blacko and proposes that they fuse the sound of the marimba with heavy metal.

Norberto’s Deadline Daniel Hendler, Uruguay/Argentina North American Premiere Award-winning actor Daniel Hendler offers a hilarious account of a man trying to combat his shyness. After being fired from his job, Norberto tries his hand at real estate and his new boss suggests he take some personal affirmation courses. Instead he discovers the theatre and his love and unknown talent for acting.

October Diego Vega, Daniel Vega, Peru/Venezuela/Spain North American Premiere Money-lender Clemente only knows how to relate to others through transactions. His life is turned upside down when someone leaves him a baby in a basket. When a client, Sofia, steps in to help tend to the baby, Clemente is faced with new possibilities during Lima's October celebration of the Lord of Miracles.

The Piano in a Factory Zhang Meng, China World Premiere To fight for custody of his daughter who loves playing the piano, a steel factory worker decides to forge a piano from scratch. An offbeat ballad of friendship and devotion, The Piano in a Factory is an endearing portrait of China in the early 1990s when the certainty of state-run industry begins to falter.

Pinoy Sunday Wi Ding Ho, Taiwan North American Premiere Pinoy Sunday is the story of Manuel and Dado, two Filipino migrant workers, who discover a discarded sofa. This transforms their normal Sunday routine into a tale of adventure, perseverance and self-discovery.

The Place in Between Sarah Bouyain, France/Burkino Faso North American Premiere Bouyain's sensitive debut is a portrait of women caught between Africa and Europe. A biracial woman travels from France to Burkina Faso in search of her mother. In France, a white woman seeks to learn an African language for reasons unknown.

Rare Exports: A Christmas Tale Jalmari Helander, Finland/Norway/France/Sweden North American Premiere Santa Claus is somewhat less than jolly – in fact, he's the stuff nightmares are made of – in Jalmari Helander's atmospheric and witty re-working of a cherished folk tale.

Sandcastle Boo Junfeng, Singapore North American Premiere A gentle and affectionate study of the themes of identity, history and memory, Boo Junfeng’s debut feature Sandcastle is a loving portrait of a young man coming to terms with the lives of his parents and his grandparents, while trying to make sense of Singapore’s troubled history.

Soul of Sand Sidharth Srinivasan, India World Premiere Bhanu Kumar, a lower caste watchman, stands fierce guard over his feudal master’s disused, barren mine. One night, a runaway couple in desperate search of refuge, come to Bhanu seeking shelter. The rusted gate of the Royal Silica Mine opens, exposing a bloody world of lust, fear and violence in the name of caste, ownership and honour.

Viva Riva! Djo Tunda Wa Munga, Democratic Republic of Congo/France/Belgium/South Africa World Premiere Riva returns home to Kinshasa flush with cash. The town is literally out of gas, and he is sitting on a truckload of it. His first night home, Riva falls in love with a beautiful woman and is emboldened when he learns that a local gangster is keeping her on a short leash. Meanwhile, the gang Riva left behind in Angola arrive in hot pursuit of the gas he stole from them.

Wasted On the Young Ben C. Lucas, Australia International Premiere Wasted on the Young is set in the socially conscious and disaffected society of an elite high school where two step brothers occupy opposite ends of the school hierarchy. When a high school party goes dangerously off the rails, they find that revenge is just a computer click away.

What I Most Want Delfina Castagnino, Argentina International Premiere María's four-year relationship is coming to an end while Pilar's father has recently passed away. Though their losses are of a very different nature, the two friends find comfort in each other’s company. María stays with Pilar in the Argentine Patagonia and the two women share wine and lake visits as they confront their future.

Zephyr Belma Bas, Turkey World Premiere This shadowy and atmospheric coming-of-age story follows 11-year-old Zephyr. Left in the care of her stoic grandparents, she roams a rural paradise looking for action, trying to figure out who she is and refusing to grow up.

TIFF also presents an addition to its line-up of Special Presentations:
The Whistleblower Larysa Kondracki, Canada/Germany World Premiere This harrowing political thriller recounts the story of a female Nebraska police officer turned peacekeeper who uncovers a horrible sex-trafficking underworld in Bosnia and its shocking connection to the UN. As Kathryn Bolkovac (Academy Award®-winner Rachel Weisz) feverishly works to expose the scandal, the UN does its utmost to keep her quiet.

Festival de Toronto 2010: Contemporary World Cinema

Africa United Debs Gardner-Paterson, United Kingdom World Premiere Africa United tells the extraordinary story of three Rwandan children and their bid to achieve their lifelong dream – to take part in the opening ceremony of the 2010 Football World Cup in Johannesburg.

Aftershock Feng Xiaogang, China North American Premiere The most successful Chinese movie of all time, Aftershock is based on the novel of the same name by Chinese Canadian author Zhang Ling. An intimate epic, the film sweeps across three crucial decades in recent Chinese history and explores the resilience of a family devastated by the 1976 Tangshan earthquake.

All About Love Ann Hui , Hong Kong, China International Premiere All About Love takes a rare look at not only the lives of queer women, but also the challenges of creating a family. Ann Hui expertly balances the serious themes of motherhood, sexuality and discrimination, rarely addressed in Hong Kong films, with wit, humour and compassion.

Anything You Want Achero Mañas, Spain International Premiere Four year-old Dafne's life is unhinged when her mother Alicia suddenly dies. Her father Leo tries to be both father and mother to her, but Dafne really just wants her mom. Leo strives to be just that, and in the process, nearly loses his own identity.

Bad Faith Kristian Petri, Sweden International Premiere On her way home from work Mona finds the victim of a serial killer. She is shocked but the experience triggers something within and her fascination becomes obsession. She decides to find the killer on her own. Her hunt leads to violent confrontation, not only with the killer but also with herself.

Behind Blue Skies Hannes Holm, Sweden World Premiere In Hannes Holm's beautifully crafted Behind Blue Skies, Bill Skarsgård stars as a young man on the cusp of manhood who escapes his troubled home to work at a summer resort, but somehow finds himself embroiled in one of the most scandalous criminal cases in 1970s Sweden in this affectionately mounted period piece based on actual events.

Black Ocean Marion Hänsel, Belgium/France/Germany North American Premiere Three young boys aboard a French naval vessel in 1972 take part in nuclear tests in Mururoa, in the Pacific. Black Ocean explores about the relationships of the men on board who are confronted with discipline, violence, solitude and occasionally, friendship.

Blessed Events Isabelle Stever, Germany World Premiere Thirty-seven-year-old Simone decides to go out alone on New Year’s Eve. The next morning, she wakes up next to a stranger, and a few weeks later discovers that she’s pregnant. When she runs into the stranger again she is surprised by his reaction.

Break Up Club Barbara Wong, Hong Kong International Premiere Barbara Wong captures the mood of Hong Kong's young generation and delivers an ultra-modern romantic comedy about the end of one's innocence and the understanding that love is ultimately about the sacrifices one must make.

Carancho Pablo Trapero, Argentina/South Korea/France/Chile North American Premiere Sosa (Ricardo Darin) is a lawyer who haunts hospital waiting rooms hoping to represent the victims of traffic accidents in insurance claims. When he falls in love with ambulance medic Lujan, he tries to leave this dark business but the shady law firm that he works for won’t let him off that easily.

Chico & Rita Fernando Trueba, Javier Mariscal, Tono Errando, Spain/United Kingdom North American Premiere Oscar-winning director Fernando Trueba teams up with famed designer Javier Mariscal and co-director Tono Errando to create an epic animated love story that occurs around the time of the Cuban Revolution. Highlighting a pivotal moment in the evolution of jazz and travelling from Havana to New York, Chico & Rita is a tribute to the music, culture and people of Cuba.

Detective Dee and the Mystery of the Phantom Flame Tsui Hark, China North American Premiere Based on the iconic figure of Di Renjie, a legendary minister of state in the Tang Dynasty (618 - 907 AD) who was known for his ability to solve the most complicated cases, Tsui Hark's Detective Dee (Andy Lau) is a uniquely appealing counterpart to his modern western equivalent, Sherlock Holmes.

The Edge Alexey Uchitel, Russia World Premiere The arrival of a decorated war hero takes a Siberian labour camp by storm. After assuming control of the region’s only steam engine, he sets out to find a ghost engine on a nearby island populated by an undead girl with a railway obsession.

Even the Rain Icíar Bollaín Spain/France/Mexico World Premiere Filmmaker Sebastian (Gael García Bernal) travels to Bolivia to shoot a film about the Spanish conquest of America. He and his crew arrive during the tense time of the Cochabamba water crisis. The lines between past and present, and fiction and film, become increasingly blurred in Iciar Bollain's latest feature, Even the Rain.

The First Grader Justin Chadwick, United Kingdom World Premiere In a remote Kenyan primary school hundreds of children are jostling for a chance for the free education newly promised by the Kenyan government. One new applicant causes astonishment when he knocks on the door of the school: Maruge, a Mau Mau veteran in his eighties who is desperate to learn to read.

The Fourth Portrait Chung Mong-Hong, Taiwan North American Premiere The Fourth Portrait casts a sobering look at the troubling issues of domestic violence, and the difficult family dynamics that are born of marriages of convenience.

Home for Christmas Bent Hamer, Norway/Germany/Sweden World Premiere Norwegian veteran Bent Hamer (Kitchen Stories) returns with this look at fractured families at Christmas time. The film shuttles between serious drama and the gently absurdist comedy for which Hamer is well-known.

How I Ended This Summer Alexei Popogrebsky, Russia Canadian Premiere Two meteorologists are isolated on an Arctic island. When the two-way radio transmits some bad news that requires a middleman, it’s up to the young intern to inform his veteran colleague. The problem is that he never seems to find the right time.

The Human Resources Manager Eran Riklis, Israel/Germany/France/Romania North American Premiere A tragi-comedy centers on the HR manager of Israel's largest industrial bakery as he sets out to save the reputation of his business and prevent the publication of a defamatory article – the catch is that he has to take a coffin 1000 kilometres into rural Romania to do it.

The Hunter Rafi Pitts, Iran North American Premiere Recently released from prison, Ali makes the most of his reunion with his wife and young daughter, amidst much talk of the upcoming elections and promises of change. When tragedy strikes, Ali takes matters into his own hands and the line between hunter and hunted becomes difficult to define.

I Am Slave Gabriel Range, United Kingdom International Premiere From the award winning team behind Death of a President and The Last King of Scotland, and inspired by real life events, I Am Slave is a controversial thriller about London’s shocking slave trade, and one woman’s fight for freedom.

Jucy Louise Alston, Australia World Premiere Jackie and Lucy are best friends who spend all their time together, but not everyone approves of their “womance.” Accused of being weird and codependent, they set out to prove their maturity. Jackie gets the guy and Lucy gets the job, but can their friendship survive their newfound independence?

Lapland Odyssey Dome Karukoski, Finland World Premiere Three unemployed young men set off on a desperate journey to locate a digital conversion box in the north of Finland. Wildly funny, Dome Karukoski's Lapland Odyssey is a Finnish cousin to Harold and Kumar and Fubar.

Late Autumn Kim Tae-Yong, South Korea World Premiere Anna (Tang Wei) is on her way to Seattle to attend her mother's funeral while on a special weekend release from prison. On the bus, she meets Hoon (Hyun Bin), a "companion for hire" for lonely, older women. Both are running away but both find something in each other while spending a day together.

Leap Year Michael Rowe, Mexico North American Premiere In this transgressive erotic drama, Laura Lopez lives a lonely existence in her Mexico City apartment. On her calendar, the 29th of February is ominously circled, its significance becoming more apparent as the leap year approaches.

Life, Above All Oliver Schmitz, South Africa/Germany North American Premiere After the death of her newborn sister, 12-year-old Chanda learns of a rumour that spreads like wildfire through her small, dust-ridden village near Johannesburg. When it destroys her family and forces her mother to flee, Chandra leaves home and school in search of her mother and the truth.

The Light Thief Aktan Arym Kubat, Kyrgyzstan/Germany/France/Netherlands North American Premiere A funny and touching portrait of small-town politics in a rapidly globalizing world that follows Svet-ake, an electrician in a small Kyrgyz village who has been stealing electricity to help the impoverished local residents. When a wealthy land developer arrives to buy up the land, Svet-ake shares with him his dream to populate the valley with modern windmills – but soon realizes not everyone has the village’s best interests at heart.

Mamma Gógó Fridrik Thor Fridriksson, Iceland International Premiere Icelandic master Fridrik Thor Fridriksson returns with this disarmingly honest, semi-autobiographical portrait of a filmmaker's relationship with his ailing mother. Simultaneously poignant and funny, Mamma Gógó is fuelled by compassion for those who brought us into this world and also pays tribute to the director's artistic influences.

Matariki Michael Bennett, New Zealand World Premiere A violent tragedy has a harrowing impact on eight different lives in a diverse South Auckland community.

The Matchmaker Avi Nesher, Israel International Premiere In 1968 Haifa, a teenage boy gets a summer job with a Holocaust survivor who makes ends meet by brokering marriages and smuggling goods. Throughout the summer, the boy discovers the intriguing underbelly of Haifa and its community of Holocaust survivors.

Meek's Cutoff Kelly Reichardt, USA North American Premiere It's 1845 and a wagon team of three families have hired a guide to take them on the Oregon Trail and over the Cascade Mountains. They become lost and while suffering from hunger, thirst and fear, they encounter a Native American who forces them to reassess everything.

My Joy Sergei Loznitsa, Germany/Ukraine/The Netherlands North American Premiere Truck driver Georgy sets out on a provincial Russian motorway for a routine delivery but a series of chance encounters see his journey spiral out of control. A roadside police check, a war veteran and a young prostitute lead him to a village from which there appears to be no way out.

Neds Peter Mullan, United Kingdom/France/Italy World Premiere Set in 1970s Glasgow, this film tells the story of a shy and intelligent young boy who, through a series of circumstances, turns into a NED – a non-educated delinquent. Attending a new school, he becomes increasingly violent and aggressive, all the while searching for a way out.

Of Gods and Men Xavier Beauvois, France North American Premiere Based on a true incident where a group of Christian monks were killed in Algeria in 1995, Of Gods and Men follows the spiritual lifestyle of the monks, their interaction with the locals and the events that lead up to the confrontation with a group of Islamic fundamentalist insurgents.

Oki's Movie Hong Sangsoo, South Korea North American Premiere Oki's Movie is comprised of four short films featuring three main characters with different but overlapping roles. The final short, Oki's Movie, is a story of a film student, Oki, who makes a film about two men she has dated. In her film, she makes a cinematographic construction of her experiences of coming to Acha Mountain with each man a year apart.

Outbound Bogdan George Apetri, Romania North American Premiere Matilda, a feisty woman-child with a sordid past, is out on prison leave. Are 24 hours enough to make up for her mistakes and skip out of the country in time for a brand new life?

Sensation Tom Hall, Ireland International Premiere Sensation details the relationship between Tipperary farmer Donal Duggan and a veteran Kiwi escort. They begin as client and call girl, evolve into something like lovers, then business partners and finally co-defendants.

The Solitude Of Prime Numbers Saverio Constanzo, Italy North American Premiere Two youngsters discover that they are doomed to live parallel lives, always linked but never joined. One has to deal with the effects of a serious accident while the other must come to grips with negligence that led to a death. As they grow into adults, they discover that their singularity results in solitude.

Tender Son – The Frankenstein Project Kornél Mundruczó Hungary/Germany/Austria North American Premiere Long ago, a young man fathered a child without ever knowing what became of him. Now 17, his son Rudi returns home hoping to reunite with his family after years spent in an institution. A terrible event soon changes everything and the father has no choice but to accompany his son on his inevitable brutal path and their common search for redemption.

Tracker Ian Sharp, United Kingdom/New Zealand World Premiere A former Boer War guerrilla in New Zealand is sent to bring back a Maori accused of killing a British soldier.

Three Tom Tykwer, Germany North American Premiere Returning to the rule-breaking freedom of early films like Run Lola Run, Tykwer introduces a sophisticated Berlin couple who both start affairs with the same man, putting them on a collision course.

Silent Souls Aleksei Fedorchenko, Russia North American Premiere When Miron's beloved wife Tanya passes away, he asks his best friend Aist to help him say goodbye according to the rituals of the Merya culture, an ancient Finno-Ugric tribe from Lake Nero. The two men set out on a road trip thousands of miles across the boundless lands.

State of Violence Khalo Matabane, South Africa/France International Premiere In his follow-up to Conversations on a Sunday Afternoon, Matabane delivers a potent drama about a South African corporate leader whose past as a violent revolutionary comes back to threaten him.

White Irish Drinkers John Gray, USA World Premiere In this coming of age story set in 1975 working-class Brooklyn, two teenage brothers living with their abusive father and their well-meaning but ineffective mother are caught up in a life of petty crime.

Womb Benedek Fliegauf, Germany/Hungary/France North American Premiere Rebecca has waited 12 long years to be reunited with her childhood sweetheart, only to lose him again in a fatal accident. The only difference is, now she can bring him back from the dead.

Previously Announced Contemporary World Cinema titles include: Crying Out (Robin Aubert), MODRA (Ingrid Veninger), A Night for Dying Tigers (Terry Miles), Route 132 (Louis Bélanger), Small Town Murder Songs (Ed Gass-Donnelly).

Festival de Toronto: Masters

Masters

13 Assassins Takashi Miike, Japan North American Premiere Cult director Takeshi Miike delivers a period action film set at the end of Japan's feudal era in which a group of unemployed samurai are enlisted to bring down a sadistic lord and prevent him from ascending to the throne and plunging the country into a wartorn future.

Essential Killing Jerzy Skolimowski, Poland/Norway/Ireland/Hungary North American Premiere A Taliban fighter is captured, interrogated, tortured and then transported to an unnamed snowy destination in Europe. He manages to escape and must use his wits to evade his pursuers whilst battling bitter winter cold and lack of food.

Film Socialism Jean-Luc Godard, Switzerland North American Premiere Godard's latest film, a "symphony in three movements," grapples with trying to make sense of a world that appears to be beyond comprehension and meaning.

I Wish I Knew Jia Zhang-ke, China/The Netherlands North American Premiere Commissioned to commemorate the 2010 World Expo, this documentary on Shanghai portrays a chapter of modern Chinese history through interviews and scenic views of a city in continuous evolution. I Wish I Knew is directed by one of the youngest masters of cinema, Jia Zhang-ke.

Poetry Lee Chang-dong, South Korea North American Premiere Rhyme and crime intertwine in Poetry, the moving portrait of an elegant old lady in the initial stages of Alzheimer's, as well as a lyrical take on creative discovery and an upsetting look at juvenile violence, by Korean master Lee Chang-dong.

Roses à Crédit Amos Gitai, France World Premiere A young couple marry in France in the 1940s and the film follows the arc of their marriage over the next decade. As France recovers from the trauma of the war, the wife finds herself increasingly caught up in acquiring material possessions while the husband prefers a more traditional lifestyle.

Route Irish Ken Loach, United Kingdom/France/Belgium/Italy/Spain North American Premiere A British solider who worked with a security firm in Iraq attends the funeral of his best friend, who was killed on the notorious Baghdad highway Route Irish. After receiving an envelope containing his friend's cell phone with a video recording of a massacre of Iraqi civilians, he sets out to avenge his friend's memory.

The Sleeping Beauty Catheirne Breillat, France North American Premiere An epic fantasia of a young girl's coming-of-age, featuring Catherine Breillat's signature take on gender relations and breathtaking cinematography.

The Strange Case of Angelica Manoel de Oliveira, Portugal/Spain/France/Brazil North American Premiere Manoel de Oliveira, a 101-year-old filmmaker, returns to the Douro River, the site of his first short, Douro Faina Fluvial, to create a surprising tale about a metaphysical love that defies reason. Photographer Isaac becomes smitten when he is called to take the last picture of the beautiful Angelica. Although she is dead, when he looks at her through his viewfinder she becomes
animated and lively.


Uncle Boonmee Who Can Recall His Past Lives Apichatpong Weerasethakul, U.K./Thailand/France/Germany/Spain North American Premiere Winner of this year’s Palme d'Or, Thai auteur Apichatpong Weerasethakul takes viewers on a subliminal journey through a cinematic border zone where magic, transmigration of souls and generations of memory cohabit in a highly original masterpiece.

Previously announced titles include Erotic Man (Jørgen Leth), Mysteries of Lisbon (Raul Ruiz) and Nostalgia for the Light (Patricio Guzmán).

Festival de San Sebastián: Cine en Construcción

CINE EN CONSTRUCCIÓN 18

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ASALTO AL CINE
México
Dirección: Iría Gómez Concheiro
Intérpretes: Gabino Rodríguez, Juan Pablo de Santiago, Ángel Sosa, Paulina Avalos

Asalto al cine cuenta la historia de cuatro adolescentes: Negus, Chale, Sapo y Chata. Son amigos desde niños, viven en una unidad habitacional de la colonia Guerrero, y su adolescencia transcurre en la necesidad de ocupar su tiempo. Así empiezan a jugar con la idea de asaltar un cine. Cada uno en función de sus conflictos, encuentra motivaciones para llevarlo a cabo. La aventura los orilla a enfrentarse con sus vidas y pone en riesgo lo único que tienen: la amistad.

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DISTANCIA
Guatemala
Dirección: Sergio Ramírez
Intérpretes: Carlos Escalante, Saknicté Racancoj, Julián León, Maya Núñez.

Tomás Choc está a dos días y 150 km de volver a ver a Lucía, su única hija. Han pasado 20 años desde que fue secuestrada por el Ejército, cuando era una niña de tres años, en medio de la guerra que vivió Guatemala. A pesar del dolor de esta ausencia y para que su historia no se olvide, Tomás ha escrito en un cuaderno su experiencia de lucha, resistencia y supervivencia, con la esperanza de poder entregárselo algún día a su hija.

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ENTRE LA NOCHE Y EL DÍA
México
Dirección: Bernardo Arellano
Intérpretes: Francisco Cruz, Gabino Rodríguez, Carmen Beato, Arcelia Ramírez.

Francisco, un hombre autista, solo e ignorado encuentra una rata y la convierte en su mascota. La familia la descubre y lo echan. Se va a vivir con su hermana a un poblado lejano, pero también es rechazado. Se escapa al bosque, la belleza de la naturaleza lo sorprende, pero se cae y se percata que la naturaleza puede ser inhospitalaria. Un viejo le salva y le cura. Descubre una nueva forma de vida en el bosque silencioso.

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KAREN LLORA EN UN BUS
Colombia
Dirección: Gabriel Rojas Vera
Intérpretes: Ángela Carrizosa

Karen descubre, después de 10 años de matrimonio, que haber renunciado a sus sueños para dedicarse al hogar ha sido un error y le ha costado su juventud. Decide entonces separarse e ir en busca de una vida propia. Con sus ahorros alquila una habitación en el centro de Bogotá e intenta conseguir trabajo, pero su edad e inexperiencia se lo dificultan. Karen deberá decidir entre regresar a la estabilidad de una relación o enfrentar la vida por sí misma.

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EL LENGUAJE DE LOS MACHETES
México
Dirección: Kyzza Terrazas
Intérpretes: Andrés Almeida, Jessy Bulbo.

Ray y Ramona son una pareja joven. Odian la injusticia del contexto social del que son parte. Cada uno desde su nicho —ella la música y él el activismo— quieren luchar por un mundo más justo. Entregado al autosabotaje, Ray fracasa en su rebeldía y arrastra a Ramona en una espiral descendente que culmina con un acto poético-terrorista.

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MITÓMANA
Chile
Dirección: José Luis Sepúlveda, Carolina Adriazola
Intérpretes: Yanet Escobar, Paola Lattus, Rocío Hueche, Natividad Sánchez

Una actriz obsesionada por actuar y mentir enfermizamente, viaja hacia sus obsesiones probando sus personajes en la realidad, a través de ellos observa y escucha las invenciones conscientes e inconscientes de una sociedad chilena donde la verdad y la mentira se confunden.

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TODOS TUS MUERTOS
Colombia
Dirección: Carlos Moreno
Intérpretes: Álvaro Rodríguez, Jorge Herrera, Martha Márquez, Harold Devasten

Domingo, día de elecciones, Salvador se levanta temprano y comienza a trabajar en su parcela. Campesino humilde y tranquilo, que hace poco caso del alboroto que se ha armado en el pueblo por la elección del próximo alcalde. Pero su rutina cambia sorpresivamente. Durante la madrugada alguien ha arrojado varios cadáveres que se amontonan macabramente en medio de sus cultivos de maíz. Salvador, lleno de preocupación y rabia, va al pueblo a denunciar la masacre, pero el alcalde y el comandante de la policía deciden no avisar a nadie para no encender alarmas ni perturbar los comicios. En la parcela del campesino enfrentan la grotesca situación y se dan cuenta que están al borde de un escándalo de orden público y de un estrépito político. Los tres hombres tienen por delante calurosas y tensas horas para decidir qué hacer con la montaña de muertos. Mientras tanto, los mosquitos, el teléfono celular, un rumor periodístico, la ira de un hacendado y una misión humanitaria zumbarán con agobio en sus oídos. Carlos Moreno participó en Horizontes Latinos en 2008 con su anterior film, Perro come perro.

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PROGRAMA (EXCLUSIVO PARA PROFESIONALES)

• Martes 21
  • 10:00 h. Asalto al Cine
  • 12:30 h. El lenguaje de los machetes
  • 16:00 h. Entre la noche y el día
  • 18:00 h. Distancia
• Miércoles 22
  • 10:00 h. Mitómana
  • 12:30 h. Karen llora en un bus
  • 16:00 h. Todos tus muertos

Radio Micropsia: Episodio 39 (Programa y Playlist para bajar)

Por aquí, pueden bajar el programa entero de ayer, gracias al veloz y calificado aporte de nuestro productor en las sombras, Tomás L., que asegura haber encontrado la fórmula química para usar el streaming por bloques, algo que haremos apenas podamos implementarlo. Por ahora, la opción de escucharlo sigue siendo bajarlo...

Por aquí está el playlist, con los temas musicales que pasamos, entre ellos varios nuevos, como dos de Sufjan Stevens (foto), dos de The Clientele, Leonard Cohen y la banda secreta de Robyn Hitchcock (escuchen y adivinen) y más.

Hasta la semana que viene...

Radio Micropsia: Episodio 39

Por Radio Nacional (FM Rock - 93.7), domingos de 20 a 22hs.
O por internet, entrando por aquí.

¿Qué hace la foto de Leonard Cohen para hablar de la nueva emisión de Micropsia? Nada, en realidad, sólo que siempre tuve ganas de poner la foto de algún viejo moishe parecido a un tío mío que se llamaba Bernardo. No, ok, en realidad porque vamos a preestrenar algunos temas del nuevo disco en vivo del canadiense (está falto de dinero, así que gira y saca un disco en vivo tras otro), además de novedades como lo nuevo de The Clientele, Sufjan Stevens (aprendí como se pronuncia y todo), el futuro y zarpado hit que peló Cee-Lo (el de Gnarls Barkley, para los más jóvenes; el de Goodie Mob, para los que somos "old school") y algunas otras novedades.

Si contamos todo, je, qué gracia tiene...

Ah, sí, claro, críticas de estrenos ("La mirada invisible", "Luz silenciosa"), taquilla, los festivales de cine que se vienen y hasta una posible invitada sorpresa que promete "contarlo todo". Ay, caramba!

It’s Actual Life. No, It’s Drama. No, It’s Both (The New York Times)

By DENNIS LIM

JEAN-LUC GODARD once observed that every fictional film is a documentary of its actors. Jacques Rivette finessed the aphorism, proposing that every film is a documentary of its own making, not only a record for posterity of the people in it but also a window into the culture that produced it.

In a very literal sense, all films have documentary aspects: once the camera is turned on, whatever is captured, no matter how staged, contains a trace of reality, an element of chance. The inverse is true as well: no documentary, whatever its claims to objective reportage, is ever devoid of manipulation, since a controlling hand is evident in even the most routine matters of camera placement and shot selection.

While these are truisms, obvious enough to anyone who has given these issues more than passing consideration, they have long been easy to forget in a film culture that conditions us to think of fiction and documentary as distinct forms. One of the most striking developments in recent world cinema is the emergence of films that resist precisely those categories, that could be said to blur or thwart or simply ignore the distinctions between fiction and nonfiction, staking out instead a productive liminal zone in between.

One such film, “Our Beloved Month of August,” by the director Miguel Gomes, is at once a musical, a travelogue, a quasi-incestuous family melodrama, an ethnographic portrait of Portuguese folk traditions and an account of its own chaotic production. As he tells it, Mr. Gomes ventured into rural central Portugal a few years ago to make a fictional film against the backdrop of the region’s summer music festivals.

When the shoot ran into trouble, he and his crew began to document the people and places around them, as well as their own difficulties. (Mr. Gomes appears in the film, and his brick of a screenplay is deployed as a sight gag.) The finished film, which runs from Sept. 3 through 11 at Anthology Film Archives in Manhattan as part of a Gomes retrospective, is not just unclassifiable, but also unstable from moment to moment: a documentary about the creation of a fiction, which overtakes the proceedings at points only to recede again.

Mr. Gomes breaks down categories in the service of an expansive, kaleidoscopic experience. But hybrid works can also occupy the minimalist end of the spectrum — as with “The Anchorage,” a film by C. W. Winter and Anders Edstrom, which opens Sept. 17, also at Anthology.

Pairing textured cinematography with intricate sound design, it observes a few days in the life of a middle-aged woman on a remote island in the Stockholm archipelago. She walks in the woods and swims in the sea; her daughter visits; a hunter passes by; the weather changes. The woman is played by Ulla Edstrom, Mr. Edstrom’s mother and a part-time resident of that Baltic island. Alert to everyday moments and the subtleties of the natural world, “The Anchorage” is an immersive depiction of a solitary, self-sufficient life, one that the actor to an extent shares with her character.

Cinephiles are by now accustomed to this kind of categorical confusion. The well-regarded Portuguese auteur Pedro Costa, the subject of a recent DVD boxed set by the Criterion Collection, has spent years working in the Lisbon slum of Fontainhas, collaborating with its residents on films that are contemplative, highly stylized reflections of their actual lives.

Another festival regular, Ulrich Seidl of Austria, makes even more provocative use of hybrid forms. His unflinching documentaries, like “Animal Love,” about obsessive pet owners, incorporate staged scenes; his equally discomfiting fictional films use both nonprofessional actors and pungently real locations, which in his latest film, “Import/Export,” include an Internet-pornography sweatshop and a geriatric ward.

The tendency to mingle fiction and nonfiction can also be seen among emerging filmmakers. Pedro González-Rubio’s “Alamar,” a modest art-house hit this summer, is a sensuous record of an idyllic father-son fishing trip in the Mexican Caribbean: the stars are a real-life father and son, and the trip was conceived for the purpose of the film. Oscar Ruiz Navia’s “Crab Trap” is an atmospheric story of a drifter in a coastal Colombian village, invested less in narrative progression than in exploring a physical and psychological landscape. (It will be shown at the Latinbeat series at the Walter Reade Theater next month.)

In “You Are All Captains,” a debut feature shown at Cannes this year, the French-Spanish director Oliver Laxe uses his own experience teaching filmmaking to children in Tangiers, Morocco, to spark a playful rumination on the creative process and his outsider status.

These films are too disparate to amount to a movement, and it’s worth nothing that the underlying impulse is hardly new. The attraction to the real is hard-wired into a medium that began when the Lumière brothers took their camera out into the thick of daily life to make their “actuality films,” of a train entering a station or of workers leaving a factory.

In the 1940s, D. W. Griffith, lamenting the airlessness of studio-bound films, declared, “What’s missing from movies nowadays is the beauty of the moving wind in the trees.” It was an urge to confront reality that inspired Italy’s postwar neo-realists and the cinéma-vérité pioneers of the 1960s.

What’s striking about the present moment is just how widespread the taste for reality is among the major figures in world cinema, from the Iranian master Abbas Kiarostami, who is known for a kind of hall-of-mirrors neo-realism, to the recent Palme d’Or winner Apichatpong Weerasethakul of Thailand, whose films combine surrealism and documentary realism.

Jia Zhangke, the leading Chinese filmmaker of his generation, has worked in fiction and nonfiction, sometimes combining the two and invariably using the metaphorically charged spaces of the new China as ready-made film sets.

For the Argentine director Lisandro Alonso, whose four features have all screened at Cannes, fictional frameworks are mere pretexts to shoot with specific people in specific places: the pampas, the jungles, the frozen wilds of Tierra del Fuego. His first film, “La Libertad” (2000), is based on months of observing a lone woodcutter’s daily routine.

The critic Robert Koehler, writing in Cinema Scope magazine, used the phrase “the cinema of in-betweenness” to describe films like “The Anchorage.” Many of these new hybrid films are in line with the artistic sensibility that the writer David Shields outlined in his recent polemic, “Reality Hunger: A Manifesto,” which deals mainly with literature but also invokes Werner Herzog, the poet laureate of the subjective documentary, and Sacha Baron Cohen, whose spasms of prankster performance art double as documentaries of bigotry.

The notion of a doc-fiction hybrid is so vast that it can encompass any number of permutations. But the most rewarding hybrid films are validations of the creative uncertainty principle. They bespeak if not a love of the world then at least a curiosity about it. They understand that the introduction of fact does not necessarily make fiction more real but possibly more strange. Inventing impure forms to match impure content, they can open up subtly new ways of seeing and thinking about movies. Most of all, they are expressions of what Mr. Alonso surely recognized when he titled his groundbreaking film “La Libertad”: freedom.

"The Social Network", de David Fincher (crítica - Film Comment)

Link

By Scott Foundas

It was E.M. Forster, of course, who scripted that immortal, oft-abbreviated imperative: “Only connect, and the beast and the monk, robbed of the isolation that is life to either, will die.” But had Forster lived to see the advent of something like the Internet, would he have been so quick to admonish the life bestial or monastic? As I write this, I am not nor have I ever been a member of those ubiquitous online communities known as Facebook and Twitter, which have separately and together transformed millions of us into the stars of our own reality shows, complete with “friends” and “followers” tuned into our every banal thought or change of mood, and where human popularity is tabulated in numbers as readily as the weekly box-office returns. In my Luddite way, I harbor a healthy suspicion for any technology whose adopters seem more its slaves than its masters. Above all, I cling foolhardily to the belief that the more time-honored methods of human interaction maintain a slight edge over the electronic ones. Indeed, though we may now live in public, we seem to see rather less of one another.

On the other hand, half a billion people can’t be wrong—or, rather, they can, but good luck convincing them of it. A scant seven years into its existence, Facebook is already an inevitability, a cultural axiom. Among other things, it is said to have played a role in rallying America’s youth for the 2008 election (even if some of those youths were actually the fictitious avatars of middle-aged men and women seeking a little masked-ball escapism, or something more sinister). Nor is its reach limited to these shores: recently, Facebook was banned in Pakistan for supposed trespasses against Islam, which is no small achievement for a website that traces its origins back to an Ivy League social misfit’s drunken act of revenge against a girl who spurned him. Like so many historic achievements in arts, letters, and commerce, Facebook was born of a romantic rejection.

This is very rich material for a movie on such timeless subjects as power and privilege, and such intrinsically 21st-century ones as the migration of society itself from the real to the virtual sphere—and David Fincher’s The Social Network is big and brash and brilliant enough to encompass them all. It is nominally the story of the founding of Facebook, yes, and how something that began among friends quickly descended into acrimony and litigation once billions of dollars were at stake. But just as All the President’s Men—a seminal film for Fincher and a huge influence on his Zodiac—was less interested by the Watergate case than by its zeitgeist-altering ripples, so too is The Social Network devoted to larger patterns of meaning. It is a movie that sees how any social microcosm, if viewed from the proper angle, is no different from another—thus the seemingly hermetic codes of Harvard University become the foundation for a global online community that is itself but a reflection of the all-encompassing high-school cafeteria from which we can never escape. And it owes something to The Great Gatsby, too, in its portrait of a self-made outsider marking his territory in the WASP jungle.

Adapted by The West Wing creator Aaron Sorkin from Ben Mezrich’s nonfiction best-seller The Accidental Billionaires, The Social Network was one of those “buzz” scripts that seemed to be on everyone’s lips in Hollywood for the past couple of years, and it’s easy to understand why. The writing is razor-sharp and rarely makes a wrong step, compressing a time-shifting, multi-character narrative into two lean hours, and, perhaps most impressively, digests its big ideas into the kind of rapid-fire yet plausible dialogue that sounds like what hyper computer geeks might actually say (or at least wish they did): Quentin Tarantino crossed with Bill Gates.

Consider the movie’s opening—a soon-to-be-classic breakup scene in which soon-to-be Facebook founder Mark Zuckerberg (Jesse Eisenberg) verbally machine-guns his soon-to-be ex-girlfriend Erica (Rooney Mara) with a rant about the difficulty of distinguishing oneself “in a crowd of people who all got 1600 on their SATs.” From there it’s on to his conflicted feelings about that peculiar Harvard institution known as “final clubs,” elite secret societies that, sops to diversity notwithstanding, remain decidedly inhospitable to monomaniacal, borderline Asperger’s cases like Zuckerberg. As he holds forth, his face contorted into a tightly focused stare, looking through Erica rather than at her, she tries to keep up. “Dating you is like dating a Stairmaster,” she laments before delivering the delicious coup de grace: “Listen. You’re going to be successful and rich, but you’re going to go through life thinking that girls don’t like you because you’re a geek. And I want you to know, from the bottom of my heart, that that won’t be true. It’ll be because you’re an asshole.”

It was that rejection, or one like it—the details aren’t specified in Mezrich’s book—that led to an infamous late-night (and inebriated) programming session during which Zuckerberg created a crude comparison website allowing Harvard students to rank the relative desirability of the university’s female population based on photos hacked from the student directories (or “facebooks”) of various dorms. Soon, Zuckerberg’s prank went viral across the campus, making him a pariah to his female classmates, earning him academic probation, and bringing him to the attention of a trio of undergraduate entrepreneurs: the Indian-American Divya Narendra (Max Minghella) and the towering, blond and bronzed identical twins Tyler and Cameron Winklevoss (both played by the disarming Armie Hammer, himself a scion of corporate blue bloods). In between their rigorous course loads and heavy training regimen for the Harvard crew team, the Winklevoss brothers had conceived of a dating website open only to those who possess a Harvard e-mail address (the rationale being, quite simply, “Girls want to go with guys who go to Harvard”) and needed someone to design it for them. And Zuckerberg, as he would surely regret doing later, accepted the assignment.

The rest of The Social Network runs along two parallel narrative tracks—one tracing Zuckerberg’s development of Facebook and the other detailing the lawsuits later filed against him by the Winklevosses and by former Facebook CFO Eduardo Saverin (the superb Andrew Garfield), the latter being the closest thing in the movie to a wholly sympathetic character. From a legal perspective, it’s a thorny case of he-said/he-said, though the movie is less concerned with assigning blame than with considering Zuckerberg’s precise degree of assholedom, or lack thereof. And this is where things really get interesting. It would be easy enough, of course, to vilify Zuckerberg as a greedy twerp who betrayed his friends (what few he had) and partners on his way to the top—we are, after all, talking about a 24-year-old billionaire who once carried business cards reading “I’m CEO . . . bitch.” It would be even easier, perhaps, to exalt him as a nonconformist deity, a Holden Caulfield of the information superhighway. But to the sure nervousness of the studio, and the potential discomfort of some viewers, Fincher and Sorkin chart a more treacherous course straight down the middle of Zuckerberg’s many contradictions, one in which there are no obvious winners or losers, good guys or bad—only a series of highly pressurized social (and genetic) forces.

“I’m six-foot-five, 220, and there’s two of me,” notes one of the Winklevoss brothers upon learning of Zuckerberg’s Facebook subterfuge, contemplating physical retaliation—and indeed, one of the movie’s great visual gags is the recurring image of these two Aryan gods seated across the deposition room from the pale, slight Zuckerberg in his signature hoodie and “fuck-you flip-flops.” Yet at the same time, it’s hard not to see plaintiff and defendants as opposite sides of the same ambitious coin: gifted young men driven to separate themselves from the herd, two by moving to the front of the pack and one by going upstream against the current. Time and again the point is made that Zuckerberg doesn’t lust after riches, having turned down lucrative offers from Microsoft and AOL while he was still in high school (to buy another software program he designed), but status is something else entirely. “They’re suing me because for the first time in their lives, things didn’t work out the way they were supposed to for them,” Zuckerberg notes at one point—oblivious to the fact that he’s making himself sound equally petty. This leads to another of the movie’s most revealing scenes, in which a young legal associate (Rashida Jones) schooled in the fine art of jury selection advises Mark to settle out of court rather than face a jury destined to judge him on such factors as “clothes, hair, speaking style” and, above all, “likeability.” “Myths need a devil,” she reminds, and Zuckerberg fits the bill. Whereas the “Winklevi”—well, they could probably get away with murder.

Lest I seem to suggest otherwise, I hasten to add that The Social Network is splendid entertainment from a master storyteller, packed with energetic incident and surprising performances (not least from Justin Timberlake as Napster founder Sean Parker, who’s like Zuckerberg’s flamboyant, West Coast id). It is a movie of people typing in front of computer screens and talking in rooms that is as suspenseful as any more obvious thriller. But this is also social commentary so perceptive that it may be regarded by future generations the way we now look to Gatsby for its acute distillation of Jazz Age decadence. There is, in all of Fincher’s work, an outsider’s restlessness that chafes at the intractable rules of “polite” society and naturally aligns itself with characters like the journalist refusing to abandon the case in Zodiac and Edward Norton’s modern-day Dr. Jekyll in Fight Club. (It is also, I would argue, what makes the undying-love mawkishness of The Curious Case of Benjamin Button seem particularly insincere.) So The Social Network offers a despairing snapshot of society at the dawn of the 21st century, so advanced, so “connected,” yet so closed and constrained by all the centuries-old prejudices and preconceptions about how our heroes and villains are supposed to look, sound, and act. For Mark Zuckerberg has arrived, and yet still seems unsettled and out of place (as anyone who witnessed his painfully awkward 60 Minutes interview two years back can attest). And now here is a movie made to remind us that nothing in this life can turn a Zuckerberg into a Winklevoss.

Pepsi Music 2010

GREEN DAY / ANDRES CALAMARO / NO TE VA GUSTAR

RAGE AGAINST THE MACHINE / QUEENS OF THE STONE AGE

VUELVE EL PEPSI MUSIC! MÚSICA EN TODAS SUS DIMENSIONES!

OCTUBRE / COSTANERA SUR (Av. España 2230, C.A.B.A)

MAS DE 50.000 ENTRADAS VENDIDAS!!!

El Pepsi Music 2010, que celebrará su sexta edición durante el mes de Octubre en Costanera Sur, ya encendió los motores. Andrés Calamaro, No te Va Gustar, Rage Against The Machine y Queens of the Stone Age se suman al Line Up junto a Green Day y confirman su presencia en los escenarios del festival de música más importante de la Argentina que ya lleva más de 50.000 entradas vendidas.

El lugar elegido para el show es el predio de Costanera Sur, ubicado en la ex Ciudad Deportiva de La Boca, unas 50 hectáreas, con capacidad para mas de 60.000 personas, ubicadas en Av. España y Dellepiane, que supieron albergar shows de la talla de Creamfields o el Concierto Alas.

El predio cuenta también con estacionamiento con capacidad para 2,000 automóviles.

La venta de estacionamientos se encuentra disponible en todos los puntos de venta, internet y teléfono.

Cuatro días con las mejores presentaciones en vivo de:

GREEN DAY | 22 de Octubre en Costanera Sur
Green Day, la banda estadounidense de rock con reminiscencias punk, formada en 1988 en California, e integrado por Billie Joe Armstrong (voz, guitarra), Mike Dirnt (bajo) y Tre Cool (batería). Será la segunda visita del trío a nuestro país desde que en 1998 tocó en Parque Sarmiento, en un recordado concierto.

ANDRES CALAMARO / NO TE VA GUSTAR | 23 de Octubre en Costanera Sur
Vuelve El Salmón, que tras su gira 2010 que lo llevó por los escenarios de varias ciudades de Argentina, Montevideo, Asunción del Paraguay, México, Colombia, Ecuador, Venezuela, Inglaterra, España, y otros países… regresa con su equipo de “gladiadores del sonido” al Pepsi Music.

No Te Va Gustar, comenzó con todo el 2010, 4 (cuatro) shows agotados durante Mayo: el 7 y 8 en el teatro de verano de Montevideo y el 14 y 15 en el Estadio Malvinas Argentinas de Buenos Aires. En julio la banda tuvo una excelente performance ante más de 15.000 personas en el festival Rock al Parque, el mas importante de Colombia. Además la banda uruguaya terminó de grabar su sexto disco de estudio, el cual contó con la producción de Juanchi Baleiron. El disco se llamará “Por lo menos hoy” y se editará simultáneamente en octubre de este año en Uruguay, Argentina, España, México, Chile y EEUU. Mientras tanto la banda confirma su presencia en el Pepsi 2010.

RAGE AGAINST THE MACHINE / QUEENS OF THE STONE AGE | 13 de Octubre en Costanera Sur
Por primera vez en Argentina, Rage Against The Machine, banda estadounidense dónde su nombre ya lo dice todo se presentará en la sexta edición del Pepsi Music. Con letras cargadas de polémica por sus contenidos políticos, anti racistas y anti sistema, RATM se formaron en Los Ángeles en 1991. El grupo lo integra: Tom Morello (guitarra), Zach de la Rocha (voz), Timmy C (bajo) y Brad Wilk (batería). Su música es una mezcla de punk/hardrock y rap politizado, y sus influencias van desde Bad Brains a Malcom X, desde Led Zeppelin a Che Guevara, de Public Enemy a los Clash.

Queens Of The Stone Age, banda californiana encabezada por Josh Homme, es una de las mas significativas del rock actual, con influencias de Black Sabbath, de la psicodelia o el acid rock, con estampas de Cream o Jimi Hendrix y de algunas representaciones del grunge, como Soundgarden o Screaming Trees.

DIA REGGAE | en Costanera Sur

El clásico dia de Reggae vuelve al Pepsi Music 2010 con shows de las mejores bandas Reggae Nacionales e Internacionales.

En estos días se irán develando el resto de las bandas más importantes de la escena local que formarán parte de la sexta edición de este gran festival.

VUELVE EL PEPSI MUSIC! MÚSICA EN TODAS SUS DIMENSIONES!

***

PRECIOS DE ENTRADAS Y ABONOS

Entradas y Abonos en venta por www.tuentrada.com, telefónicamente al (011) 5533 - 5533 de 9.00 a 21.00 hs. y en puntos de venta.

Precios con descuento hasta el 21 de Agosto.

Aprovechá los beneficios que te dan los ABONOS y ahorrá hasta $200.-!!

Además pagando con tarjeta de crédito tenes hasta 3 cuotas sin interés.

El predio Costanera Sur cuenta con estacionamiento (pago) con capacidad para 2,000 automóviles.

La venta de estacionamientos se encuentra disponible en todos los puntos de venta, internet y teléfono ya mencionados.

PRECIOS (por show)	campo	vip
Andrés Calamaro	$100	$200
Rage Against The Machine (RATM)	$200	$330
Green Day	$200	Agotado
Estacionamiento	$40

ABONOS 2 DÍAS
Abono 1 (RATM + Green Day)	$300
Abono 2 (RATM o Green Day + Andrés Calamaro)	$250
ABONO 4 DÍAS	$400

Puntos de Venta

1. VENTA POR INTERNET: En www.tuentrada.com o en www.soyrock.com

2. VENTA TELEFONICA: Llamando al (011) 5533 - 5533, de 9.00 a 21.00 hs.

3. PUNTOS DE VENTA DE TUENTRADA en las siguientes direcciones:

HARD ROCK CAFE en Buenos Aires Design Shopping – Recoleta: Lunes a Viernes de 11 a 20 hs. Sábados de 12:30 a 20:30 hs. Domingos y feriados no abre. Av. Pueyrredón y Libertador, Buenos Aires Design, C.A.B.A. Único punto de venta sin costo por servicio. La compra máxima por persona es de 4 tickets.

MEGATLON – Caballito: Horario: Lunes a Viernes de 10 a 18 hs. Sábados, Domingos y feriados no abre. Acoyte 54, C.A.B.A.

MEGATLON – Recoleta: Horario: Lunes a Viernes de 10 a 18 hs. Sábados, Domingos y feriados no abre. Arenales 1930, C.A.B.A.

MEGATLON – Centro: Horario: Lunes a Viernes de 10 a 18 hs. Sábados, Domingos y feriados no abre. Reconquista 335, C.A.B.A.

LEE-CHI GALERIA RECAMIER – Belgrano: Horario: Lunes a Sábado: 11:00 a 19:00 hs. Domingos y feriados no abre.
Cabildo 2136. Loc. B17 o Ciudad de la Paz 2137, C.A.B.A.

TuEntrada – Martinez: Horario: Lunes a Sábado de 10 a 13 y de 16 a 22 hs. Feriados no abre. Hipólito Yrigoyen 278, Martinez.

JASON ROCK - La Plata: Horario: Lunes a Sábado de 9 a 20 hs. Domingos y feriados no abre. Calle 6 N° 817, entre 48 y 49, La Plata.

PLATEA 8 - MAR DEL PLATA: Horario: Lunes a Viernes de 10 a 13 hs. y de 15:30 A 20:30 hs. Sábados de 10 a 20 hs. y Domingos de 11 a 20 hs. San Martín 2371 (Galería San Martín), Mar del Plata.