Mostrando las entradas con la etiqueta Anahí Berneri. Mostrar todas las entradas
Mostrando las entradas con la etiqueta Anahí Berneri. Mostrar todas las entradas

17.2.10

Berlinale 2010 - "Por tu culpa", de Anahí Berneri (Variety)


A BD Cine presentation and production, in association with Tu Vas Voir. (International sales: Bavaria Film Intl., Munich.) Produced by Diego Dubcovsky. Executive producer, Luis Bernandez. Co-producer, Edgard Tenebaum. Directed by Anahi Berneri. Screenplay, Berneri, Sergio Wolf. With: Erica Rivas, Nicasio Galan, Zenon Galan, Ruben Viani, Marta Bianchi, Omar Nunez, Carlos Portaluppi.


An emergency night-time visit to the hospital to patch up two rowdy kid brothers suddenly calls the parental aptitude of their mother into question in the high-strung Argentinean drama "It's Your Fault." Minimalist third feature of director Anahi Berneri ("A Year Without Love") is helmed with acuity and features a high-wire, arguably career-best performance by thesp Erica Rivas. But its austere look, endless whining and crying of the kids on the soundtrack and relentlessly bleak tone mean this hard-to-sell arthouse item will need all the critical support it can get.

First 30 minutes, shown almost in real time, are a verite-style entry into the life of young mother Julieta (Rivas), who tries to finish a report at home late at night. Her offspring, eight-year-old Valentin (Nicasio Galan) and his younger brother, Teo (Zenon Galan), are not yet in bed, and do everything they can in their power to make Julieta's task impossible. The kids' relentless noise, movements and their constant demands for attention are as tiring for Julia as they are for the audience, with ace d.p. Willi Behnisch's cramped shots heightening the general feel of claustrophobia.

When young Teo falls from the bed during a fight with Valentin, Julieta worries he might have seriously hurt himself, and she takes him and his brother to the nearest hospital. Her hubby, Guillermo (Ruben Viani), is on his way back from a business trip and only arrives later.
The scenes at the clinic, with its empty night-time corridors and unnatural calm, feel like a relief from the audiovisual assault of the scenes at home, but the slower editing rhythms and wider shots soon prove deceptive. The pediatrician on duty (Omar Nunez) identifies a number of bruises and cuts on both kids, and after a contradictory explanation of what happened, suspicion falls on Julieta, who makes a confused impression and wants to leave the hospital as soon as possible.

Auds looking to play the blame game will feel frustrated by this pic, in which Berneri explores questions of parental responsibility, contempo child-rearing and family dynamics that have no real answers. Carefully controlled perf by Rivas is both instantly readable and absolutely impenetrable, making it clear Julieta has issues but never quite letting on to what extent she may (or may not) be or have been a bad mother.

Like in Berneri previous films, "A Year Without Love" and "Encarnacion," there's a sense in "It's Your Fault" that the protag is straitjacketed by the expectations of those around her and that the role he or she is assigned by others might not necessarily fit with who they really are. Though Julieta clearly loves her children, it is not a given that she is a natural mother, or that that could be the only thing that she is.

Filmed with a RedOne camera in clean, carefully composed shots and with exemplary use of sound, pic further confirms Berneri as a talent to watch.

Camera (color, HD-to-35 mm), Willi Behnisch; editor, Eliane Katz; music, Sebastian Bianchini; production designer, Aili Chen; costume designer, Roberta Pesci; sound (Dolby Digital), Jesica Suarez; casting, Julia Gesteira. Reviewed at Berlin Film Festival (Panorama), Feb. 14, 2010. Running time: 90 MIN.

16.2.10

Berlinale 2010 - "Por tu culpa", de Anahí Berneri (Screendaily)


Dir: Anahi Berneri. Argentina-France. 2010. 91mins.

Confirming the promise she showed in her first two features A Year Without Love (2005) and Encarnacion (2007), Argentine director Anahi Berneri returns with a compelling and thought-provoking domestic drama. Shot almost in real time in a tense, handheld style, this account of a tough night for a mother with small children resonates far beyond the confines of the story. It also features an outstanding, raw performance from young actress Erica Rivas.

Encarnacion was a loosely-structured portrait of a woman going through an identity crisis. It’s Your Fault shares some of the same themes of how women see themselves and how much this depends on how they are viewed, and judged, by others.

But here, for all the long takes and unorthodox story structure, a real drama emerges – one that has the tension of an audience-teasing thriller. This should help ease It’s Your Fault towards arthouse distribution outside Argentina.

Julieta (Rivas) is stuck at home with her two young sons, little Teo and his bolshy older brother Valen. It’s past the kids’ bedtime – but frazzled Julieta would rather park them in front of the apartment’s two TVs than fight to get them into bed, as she has work to finish.

The edgy shooting style, with the camera close in on Julieta, and a sound design that stresses her subjective point of view (which extends at times to the kind of selective deafness with which most parents will be familiar) keeps the audience a little on edge, waiting perhaps for a crisis to emerge.

Eventually, something really does happen: in a fight with his brother – or perhaps because of his mother’s clumsiness – Teo falls over and hits his head on the floor. Julieta does what any good parent would do: she takes him into hospital for a check-up, dragging Valen along too because there’s no-one else she can leave him with.

Here a conscientious young pediatrician, alerted by Teo’s fractured arm and Julieta’s confused answers to his questions, suggests that the three of them should stay the rest of the night in the hospital so the child can be kept under observation. As it gradually dawns on the shocked Julieta that she is suspected of maltreating her child, it also dawns on the audience that all may not be as they originally perceived: Teo’s accident may have happened a little too quickly to see properly whether she pushed him or not; she was at the end of her tether; and she does seem quite young be a mother (as her husband wastes no time telling her when he finally arrives)…

But it’s exactly this climate of suspicion and the assumptions we make about people that Berneri’s intriguing, sensitive film is about. There’s a telling scene that illustrates the director’s perceptiveness – when Julieta’s nose starts to bleed in the hospital and a couple of drops fall onto her t-shirt, she washes it off obsessively in the bathroom, as if this too might incriminate her. The film also nails the consumer culture that so many kids live in – in which the answer to most problems is a favourite DVD, a gameboy or a new toy gun.

8.1.10

60th Berlinale: First Films in the Panorama Section


In this anniversary year, old and new masters as well as newcomers define the programme of the Panorama section. Back with new works are not only Lothar Lambert and Peter Kern, but also directorial duo Jacques Martineau and Olivier Ducastel, as well as Isao Yukisada, E J-Yong and Sébastien Lifshitz. Recent young feature films are represented by Mat Whitecross, Anahí Berneri and Scud, while the documentaries of Lucy Walker, Tamara Trampe/Johann Feindt and Michael Stock are exemplary for the impressive Panorama Dokumente.

After visiting Asia, North and South America, and Europe to select films, half of the 50 works in the programme are now certain. They take a lively look at world cinema creations during the recent crisis and reveal that the documentary is again putting in a strong showing in 2010: documentaries make up about one third of the programme. From the start, the Panorama’s mission has been to discover films for the coming arthouse season and to provide the market with inspiration.

Once more, over 20,000 moviegoers will participate during the Berlinale in the Panorama Audience Award that is to be presented on February 21, 2010.

The Panorama Dokumente and the complete feature film programme will be announced towards the end of January. All of the films are screening as either world or European premieres. To date, the following films have been confirmed for the Main Programme, Panorama Special and Panorama Dokumente:

MAIN PROGRAMME + PANORAMA SPECIAL

Amphetamine by Scud, Hongkong, China (WP)

with Thomas Price, Byron Pang, Winnie Leung

Besouro by João Daniel Tikhomiroff, Brazil

with Aílton Carmo, Jessica Barbosa, Anderson Santos de Jesus, Flávio Rocha, Irandhir Santos

Blutsfreundschaft (Initiation) by Peter Kern, Austria

with Helmut Berger, Harry Lampl, Melanie Kretschmann, Michael Steinocher, Manuel Rubey, Matthias Franz Stein, Oliver Rosskopf, Heribert Sasse, Gregor Seberg

El mal ajeno by Oskar Santos, Spain (WP)

with Eduardo Noriega, Belén Rueda, Angie Cepeda, Cristina Plazas, Clara Lago

Golden Slumber by Yoshihiro Nakamura, Japan

with Masato Sakai, Yuko Takeuchi, Hidetaka Yoshioka, Gekidan Hitori, Nao Omori, Sango Kitamura

Just Another Love Story by Kaushik Ganguly, Rituparno Ghosh, India (WP)

with Rituparno Ghosh, Indraneel Sengupta, Chapal Bhaduri, Raima Sen, Jisshu Sengupta

Kawasakiho růže (Kawasaki's Rose) by Jan Hřebejk, Czech Republic (WP)

with Daniela Kolářová, Martin Huba, Lenka Vlasákova, Milan Mikulčík

Kosmos by Reha Erdem, Turkey/Bulgaria

with Sermet Yeşil, Türkü Turan, Hakan Altuntaş, Sabahat Doğanyılmaz, Korel Kubilay

L'arbre et la forêt (Family Tree) by Olivier Ducastel, Jacques Martineau, France (WP)

with Guy Marchand, Françoise Fabian, Sabrina Seyvecou, Yannick Renier

Nacidas para sufrir (Born To Suffer) by Miguel Albaladejo, Spain

with Adriana Ozores, Petra Martinez, Malena Alterio, Ricard Borrás, Jorge Calvo, Marta Fernández Muro, Maria Elena Flores

Parade by Isao Yukisada, Japan

with Tatsuya Fujiwara, Karina, Shihori Kanjiya, Kento Hayashi, Keisuke Koide

Phobidilia by Doron Paz, Yoav Paz, Israel

with Ofer Shechter, Efrat Baumwald, Shlomo Bar Shavit, Efrat Dor

Plein sud (Going South) by Sébastien Lifshitz, France

with Yannick Renier, Léa Seydoux, Nicole Garcia, Théo Frilet, Pierre Périer

Por tu culpa (It's Your Fault) by Anahí Berneri, Argentina/France (WP)

with Erica Rivas, Ruben Viani, Nicasio Galán, Zenón Galán, Osmar Núñez

Sex & Drugs & Rock & Roll by Mat Whitecross, UK

with Andy Serkis, Naomie Harris, Olivia Williams, Bill Milner, Tom Hughes

Son Of Babylon by Mohamed Al-Daradji, Iraq/UK/France/United Arab Emirates/The Netherlands/Egypt/Palestinian territories

with Yassir Talib, Shazada Hussein, Bashir Al-Majid

The Man Who Sold The World by Swel Noury, Imad Noury, Morocco

with Said Bey, Fehd Benchemsi, Audrey Marnay, Latifa Ahrrare, Hakim Noury

Yeobaewoodle (The Actresses) by E J-Yong, Republic of Korea

with Yoon Yeo-jeong, Lee Mi-sook, Ko Hyun-joung, Choi Ji-woo, Kim Ok-vin, Kim Min-hee

PANORAMA DOKUMENTE

Alle meine Stehaufmädchen - Von Frauen, die sich was trauen

(All My Tumbler Girls Or All About Women Who Dare To...)

by Lothar Lambert, Germany (WP)

Beautiful Darling: The Life And Times Of Candy Darling, Andy Warhol Superstar by James Rasin, USA (WP)

Hazman havarod (Gay Days) by Yair Qedar, Israel

Making The Boys by Crayton Robey, USA (WP)

with Mart Crowley, Edward Albee, Tony Kushner, Terrence McNally, Dominic Dunne, William Friedkin, Robert Wagner

Postcard To Daddy by Michael Stock, Germany (WP)

Waste Land by Lucy Walker, co-directors: João Jardim, Karen Harley, UK/Brazil

Wiegenlieder (Lullaby) by Tamara Trampe, Johann Feindt, Germany (WP)

with Detlef Jablonski, Helmut Oehring, Santos, Apti Bisultanov, Jocelyn B. Smith