Mostrando las entradas con la etiqueta El niño pez. Mostrar todas las entradas
Mostrando las entradas con la etiqueta El niño pez. Mostrar todas las entradas

17.5.09

Regent, Here reel in 'El Niño Pez' (The Hollywood Reporter)


CANNES -- Regent Releasing has acquired North American rights from MK2 to the Argentinean drama "El Nino Pez" (The Fish Child), the second film from director Lucia Puenzo, and "Zion and His Brother," from debut filmmaker Eran Merav. An early 2010 release in select cities are planned for both films.

Regent will distribute both films in select cities in early 2010.

"El Nino," which played both the Berlin and Tribeca fests, was produced by Luis Puenzo and Jose Maria Morales and co-produced by MK2's Marin Karmitz, Nathanael Karmitz and Charles Gillibert. Adapted from Puenzo's 2004 novel, it focuses on the teenage Lala (Ines Efron), who is in love with Guayi (Mariela Vitale), her family's 20-year-old Paraguayan maid.

"Zion," which played Sundance, was produced by Assaf Amir and Yoav Roek with co-producers Marin Karmitz, Nathanael Karmitz and Charles Gillibert. It stars Tzahi Grad and Reuven Badalov as two brothers in a gritty neighborhood in Haifa.

Regent's upcoming domestic releases include the Japanese film "Departures," this year's Oscar winner as best foreign-language feature.

26.4.09

Premios al cine argentino en el Festival de Málaga


Gran cantidad de premios cosechó el cine argentino en el 12º Festival de Cine de Málaga. El Jurado Oficial presidido por Alex de la Iglesia otorgó los siguientes premios al cine nacional.

Sección Oficial

Biznaga de Plata - Premio Especial del Jurado

El niño pez de Lucía Puenzo

Biznaga de Plata a la Mejor Fotografía

Rodrigo Pulpeiro por El niño pez

El jurado de la Sección Oficial de Territorio Latinoamericano, del 12º Festival de Málaga, formado por: Diego Galán (Presidente), Bárbara Lennie, Antonia Nava, Mercedes Sampietro y Daniel Sánchez Arévalo, otorgó los siguientes premios al cine argentino :

Premios Sección Territorio Latinoamericano

Biznaga de Plata a la Mejor Película

“Cordero de Dios” de Lucía Cedrón

Biznaga de Plata a la Mejor Dirección

Lucía Cedrón por “Cordero de Dios”

Biznaga de Plata al Mejor Actor

Adrián Suar por “Un novio para mi mujer” de Juan Taratuto

Biznaga de Plata a la Mejor Actriz

Valeria Bertuccelli por “Un Novio para mi Mujer” de Juan Taratuto

Biznaga de Plata al Premio del Público

Motivos para no enamorarse” de Mariano Mucci


9.4.09

Criticas de cine: 09/04/08


Crítica de "Belle toujours", de Manoel de Oliveira

Link (Clarín)



Crítica de "El niño pez", de Lucía Puenzo


Crítica de "El telón de azúcar", de Camila Guzmán

8.2.09

El niño pez/The Fish Child, de Lucía Puenzo (Variety)


El Nino Pez
(Argentina - Spain - France) A Distribution Co. release (in Argentina) of a Historias Cinematograficas presentation and production, in co-production with Wanda Vision, MK2. (International sales: MK2, Paris.) Produced by Luis Puenzo, Jose Maria Morales. Executive producers, Fernando Sirianni, Miguel Morales, Claire Dornoy. Directed, written by Lucia Puenzo, based on her novel.

With: Ines Efron, Mariela Vitale, Pep Munne, Arnaldo Andre, Carlos Bardem, Diego Velazquez, Julian Doregger, Jeronimo Perassolo.
A churning maelstrom of events that includes theft, murder and imprisonment threatens to swamp two girls in love in "The Fish Child," from Argentine helmer Lucia Puenzo. Sophomore effort, based on helmer's own novel, might at first seem radically different from her languid but powerful debut "XXY," though it does reteam Puenzo with its gamine protag Ines Efron. "Child's" fractured, fast-paced narrative always holds the audience's interest, even if at times it feels like there are enough twits onscreen to last a telenovela scribe for years. Pic should be a natural for LGBT fests and beyond.

Though focusing on two gals rather than two guys, the movie has a lot in common with Marcelo Pineyro's queer cult hit "Burnt Money." In both films, a couple against all odds turns to crime to realize their dream of being together, and though their stories start in Buenos Aires, Argentina, they soon detour to neighboring countries. A tendency to prefer visual panache to narrative fluidity is clear in both, as is a simmering erotic tension that constitutes a large part of their appeal.

Teenager Lala (Efron), the daughter of a Buenos Aires judge (Pep Munne), is in love with Ailin (Mariela Vitale), the 20-year-old Paraguayan maid of the household. They steal anything they can lay their hands on to save for their planned escape to Lake Ypoa in Paraguay, where Ailin grew up. But because of events involving Lala's dad that only gradually become clear, Ailin ends up in prison while Lala finds herself at Lake Ypoa alone, where she investigates her lover's dark past.

On the surface, pic is miles away from "XXY," but still Puenzo -- who's had to change many things from her novel, starting with the fact it was narrated by the girls' dog -- seems more concerned with atmosphere and rhythm than precise plot points. Grainy 16mm lensing feels just right, and editing by Hugo Primeiro is primarily concerned with balancing action and suspense with overall clarity.

The skinny, light-haired Efron ("Glue," "The Headless Woman") has a knack for finding offbeat projects, even though she hasn't shown much range and here again plays an awkward, wayward girl who seems to swallow her words.

Voluptuous, dark-haired newcomer Mariel Vitale was clearly cast as a contrast to Efron, but easily holds her own. Puenzo's unobtrusive insistence on what separates the girls, from their class status to their physical appearance, makes their being together feel more deserved, even though a prolonged shouting match in prison in which they thrash out all their issues is not as involving as it should be.

Pic's title is a reference to a fish child said to reside in Lake Ypoa. It gives Puenzo an excuse to indulge in a wonderfully conceived scene with magical-realist touches in which Lala dives into the lake for an encounter with the title character.


Camera (color, 16mm-to-35mm), Rodrigo Pulpeiro; editor, Hugo Primeiro; music, Andres Goldstein, Daniel Tarrab, Laura Zisman; art director, Mercedes Alfonsin; costume designer, Julio Suarez; sound (Dolby Digital), Fernando Soldevila; associate producers, Marin Karmitz, Nathanael Karmitz, Charles Gillibert; assistant director, Fabiana Tiscornia. Reviewed at Berlin Film Festival (Panorama Special), Feb. 6, 2009. Running time: 95 MIN.

14.1.09

Panorama 2009 and Further Renowned Directors: Catherine Breillat, Michael Winterbottom, Michael Glawogger, Lucía Puenzo, and Philippe Lioret

Lucía Puenzo

Shortly before completing our selection for this year’s programme, it has become evident that genuinely independent cinema – in contrast to the independents of the major studios in the early 2000s – is at an advantage due to the economic crisis. In other words: cinema now promises to become more radical and audacious again, and hence more inspiring. This development can be seen not only in a new generation of filmmakers like Lucía Puenzo, who will be presenting her second film, El niño pez, in which the love of two women takes them to the brink of something that goes far beyond personal sensitivities and ends in a political thriller. But it can be seen also in a luminary of independent filmmaking like Catherine Breillat (Manfred Salzgeber Award in 2001 for À ma soeur!), who illustrates with her latest work "La Barbe Bleue", an exploration of the famous tale of Bluebeard, that things are moving in this direction.

Michael Winterbottom and Mat Whitecross (Silver Bear in 2006 for The Road to Guantanamo ) will present in Panorama Dokumente a work in progress: The Shock Doctrine. Based on Naomi Klein’s book of the same name, the filmmakers analyse in it the systematic trend towards the privatization of public assets – a trend that has, in the interim, affected national economies almost everywhere, and by doing so is generating a sense of injustice in billions of people.


Philippe Lioret’s Welcome shows the tragic situation in which illegal refugees from Iraq find themselves, if they try to reach England from France.

In the German-Austrian-French production Das Vaterspiel, Michael Glawogger portrays how the persecution of the Jews under the Nazi regime can still unexpectedly affect the present.

To celebrate the 30th anniversary of this section, first presented as the “Info-Schau” in 1980 by its former director Manfred Salzgeber (and renamed Panorama in 1986), a number of filmmakers from the early years will show their latest films: in 1985, for instance, the “Info-Schau” screened Gus Van Sant’s directorial debut, Mala Noche, as well as the documentary The Times of Harvey Milk by Robert Epstein, who won an Oscar for it. Now, in 2009, Gus Van Sant will present Milk, his new film about Harvey Milk, the first gay city commissioner in San Francisco in the late 1970s, who died by assassination; Robert Epstein’s documentary on the same topic will be re-screened on this occasion.


In addition to her most recent film in the Main Programme, Catherine Breillat’s film Tapage nocturne, which was first presented in 1980, will be shown again in 2009. Joe Dallesandro, who played one of the protagonists in her film, is this year’s Special TEDDY Award-winner. He will also be coming to Berlin for the presentation of Little Joe, Nicole Haeusser’s documentary portrait of him.


A John Hurt triptych completes the films being presented for this 30th anniversary: in the official programme, Panorama will be showing British director Richard Laxton’s latest film, An Englishman In New York , in which John Hurt plays Quentin Crisp in his later years in New York , as was celebrated in Sting’s 1987 hit of the same name. The Presentation also includes Jonathan Nossiter’s first film, Resident Alien (with Quentin Crisp, John Hurt, Holly Woodlawn and Sting) that premiered in Panorama in 1990, as well as Jack Gold’s legendary The Naked Civil Servant (1975), in which John Hurt plays the young Quentin Crisp in England .


From some 70,000 archive images, graphic artist Jörg Eschenburg has selected 172 photos of directors, actors and actresses, and assembled them into a historical collage for a special “30 years of programming” poster.


Soon we will announce the opening films of the Main Programme, Panorama Special and Panorama Dokumente, as well as the complete list of films.


Features


La Barbe bleue by Catherine Breillat, France (world premiere)

With Dominique Thomas, Lola Creton, Daphné Baiwir


An Englishman In New York by Richard Laxton, Great Britain/USA (world premiere)

With John Hurt, Denis O'Hare, Jonathan Tucker, Swoozie Kurtz, Cynthia Nixon


Das Vaterspiel (Kill Daddy Good Night) by Michael Glawogger, Germany/Austria/France (world premiere)

With Jeremy Strong, Ulrich Tukur, Sabine Timoteo


El niño pez (The Fish Child) by Lucía Puenzo , Argentina / Spain (world premiere)

With Inés Efrón, Emme, Pep Munné, Arnaldo André, Carlos Bardem


Welcome by Philippe Lioret , France

With Vincent Lindon, Firat Ayverdi, Audrey Dana


Panorama Dokumente


The Shock Doctrine by Michael Winterbottom, Mat Whitecross , Great Britain (world premiere)


Little Joe by Nicole Haeusser, USA (world premiere)

With Joe Dallesandro


30 Years of Programming - Celebration Presentations


Milk by Gus Van Sant, USA 2008

With Sean Penn, Emile Hirsch, Diego Luna, Josh Brolin, James Franco


Resident Alien by Jonathan Nossiter, USA 1990

With Quentin Crisp, John Hurt, Holly Woodlawn, Sting


Tapage nocturne by Catherine Breillat, France 1979

With Bertrand Bonvoisin, Marie-Hélène Breillat, Joe Dallesandro, Dominique Laffin, Gérard Lanvin


The Naked Civil Servant by Jack Gold, Great Britain 1975

With John Hurt, Liz Gebhardt, Stanley Lebor, Katharine Schofield


The Times Of Harvey Milk by Robert Epstein, USA 1984

Oscar for Best Documentary Film in 1985