Mostrando las entradas con la etiqueta Variety. Mostrar todas las entradas
Mostrando las entradas con la etiqueta Variety. Mostrar todas las entradas

21.7.10

Rumores sobre la programación de Venecia (Variety)



By
NICK VIVARELLI

ROME -- Darren Aronofsky's "Black Swan" is among the latest near certainties in a new clutch of hotly anticipated titles tipped to unspool at the upcoming Venice Film Festival, along with new works by Ben Affleck, Kelly Reichardt, Tom Tykwer, Takashi Miike and Tsui Hark.

With the official lineup set to be announced July 29, artistic director Marco Mueller seems to have assembled a strong and well-assorted selection with robust English-language and European showings, a standout Asian presence, and Spanish-language cinema also slotted.

"Black Swan," a supernatural thriller set in the world of ballet, is likely to be the Venice opener, providing plenty of star power, with Natalie Portman, Mila Kunis, Winona Ryder and Vincent Cassel potentially in tow.

Fox Searchlight's test screenings for "Swan" have reportedly been generating plenty of buzz.

"The Town" is Affleck's sophomore feature as director, after "Gone Baby Gone." Affleck also stars as a bank robber who becomes smitten with a bank teller whom he intersects with on a heist.

Warner Bros. has slated "The Town" for a Sept. 17 Stateside release.

In a year that will seemingly see lots of high-profile U.S. titles on the Lido, including George Clooney starrer "The American," helmed by Anton Corbijn, and Sofia Coppola's "Somewhere" -- both from Focus Features, and both previously Lido-tipped -- Yank indie darling Reichardt also looks to have joined the Venice roster with her Oregon trail period pic "Meek's Cutoff," likely to unspool in competish.

Cult helmer Paul Morrissey ("Flesh," "Trash," "Heat"), best known for his association with Andy Warhol, is also expected to bow his long-gestating "News From Nowhere" in Venice.

Likely to bow from Blighty, in an out-of-competish berth, is U.K. helmer Tom Hooper's "The King's Speech," toplining Colin Firth as the stammering King George VI, from The Weinstein Company.

U.K. helmer Justin Chadwick's "The First Grader," the true tale of an 84-year-old Kenyan villager who fights for his right to go to school, also looks set for a Venice launch, along with

British visual artist/helmer Isaac Julien's China-set "Ten Thousand Waves," which includes Maggie Cheung in the cast.

Previously tipped for Lido berths are Julian Schnabel's "Miral," Monte Hellman's noir "Road to Nowhere," Dustin Hoffman starrer "Barney's Version," helmed by Richard J. Lewis and based on the eponymous best-seller, and Al Pacino's "Wilde Salome."

Tom Tykwer's Berlin-set love triangle pic "Three," the Teutonic helmer's first German project in a decade, is among the latest additions to the list of European entries believed to be Lido-bound, along with buzzed-about Gallic pic "Happy Few," which is helmer Antony Cordier's erotically charged followup to "Cold Showers," from Wild Bunch.

As already reported, the hot Gallic group is expected to also comprise Abdel Kechiche's "Black Venus" and Francois Ozon's "Potiche," starring Catherine Deneuve and Gerard Depardieu.

Spanish-language cinema will likely make its return on the Lido with Spanish actress/helmer Iciar Bollain's third feature "Even the Rain," a drama about Bolivian water wars.

The Italian titles tipped for Venice competish are Saverio Costanzo's "The Solitude of Prime Numbers," featuring Isabella Rossellini and Italo thesp Alba Rohrwacher, Mario Martone's costumer "Noi Credevamo" and Carlo Mazzacurati's comedy "La Passione," produced by Domenico Procacci's Fandango.

Alessandro Piva's noir "Henry," about a drug war in contempo Rome, Giada Colagrande's "A Woman," starring Willem Dafoe and Stefania Rocca, and Gianfranco Rosi's docu "El Sicario," in which a Mexican hitman recounts his jobs both for drug traffickers and governments, are likely to unspool in Lido sidebars.

Fox International Italo gangster epic "Vallanzasca," helmed by Michele Placido and starring Kim Rossi Stewart as real-life Renato Vallanzasca, a handsome lady's man from a middle-class background who became a top Milan mobster in the 1970s, is tipped for out-of-competish.

Likely additions to the Lido's previously reported copious Asian contingent this year are cult Japanese auteur Takashi Miike's hotly anticipated samurai swashbuckler "Thirteen Assassins," a remake of Eiichi Kudo's 1963 hit; Hong Kong helmer Tsui Hark's period mystery thriller "Detective Dee"; and Andrew Lau's martial arts actioner "Legend of the Fist: The Return of Chen Zen," a sequel of sorts to 1972 Bruce Lee starrer "Fist of Fury."

The Lido also looks set to host the bow of what is being touted as the first Hong Kong 3D horror pic, "The Child's Eye," from directorial duo the Pang brothers.

As previously announced John Woo's martial arts actioner "Reign of Assassins" and Johnny To's thriller "Shares" are also believed to be among pics with booked Lido berths.

Fest runs Sept. 1-11.

19.7.10

"Mad Men" - Temporada 4, Episodio 1 (Variety review)


Mad Men (Series -- AMC, Sun. July 25, 10 p.m.)

By
BRIAN LOWRY

Filmed in Los Angeles by Weiner Bros. in association with Lionsgate. Executive producer, Matthew Weiner; co-executive producers, Andre Jacquemetton, Maria Jacquemetton, Scott Hornbacher; producers, Dahvi Waller, Dwayne Shattuck; director, Phil Abraham; writer, Weiner;

Don - Jon Hamm
Betty - January Jones
Pete - Vincent Kartheiser
Peggy - Elisabeth Moss
Joan - Christina Hendricks
Roger - John Slattery
Lane - Jared Harris
Ken - Aaron Staton
Harry - Rich Sommer
Cooper - Robert Morse
Sally - Kiernan Shipka

There will be no spoilers in analyzing the fourth-season kickoff of "Mad Men," other than to say the Emmy winner again begins slowly but hasn't lost its stride. AMC has shrewdly scheduled the program not just to help introduce "Rubicon" -- another new drama -- but seemingly to maximize its exposure while the latest round of Emmy ballots are in circulation. Although the series will likely never be a major ratings success, its campaign to earn basic-cable buzz and prestige has been Clio Award-worthy.

As in past seasons, "Men" has made another time jump when the season opens, forcing the audience to catch up with what's transpired in that time. Perhaps for that reason, creator-writer Matthew Weiner eases into the story, deftly weaving ample humor into the premiere.

The main focus, happily, is on ad man/ladies man/man of mystery Don Draper (the as usual terrific Jon Hamm), who (and this is a spoiler if you're not caught up on season three) saw his marriage collapse when we saw him last. Based on this sampling, one suspects the issue of those Draper kids also will be a thread throughout the season, reflecting the generation birthed in the 1950s and '60s who, more than any preceding them, were the product of divorce and broken homes.

Yet things are equally challenging for Don at work, where he and his partners are trying to make the best of the boutique agency they launched after considerable scheming.

This hour finds the cast in fine form, but the most interesting crumb to emerge might be Weiner's apparent rumination on the program's success and -- speaking through his protagonist -- his own heightened profile since the series took off.

"Who gives a crap what I say anyway?" Don asks at one point. "My work speaks for me."

The real genius of "Mad Men" has been its ability to draw in a discerning audience with such a low-octane vehicle -- one that, like "The Sopranos," disgorges plot advancements on a timetable of its choosing. Story arcs are developed and then set aside, with Weiner and company returning to them as they see fit.

By that measure, the show's accomplishments include not only re-examining the cultural revolution of the 1960s through a decidedly un-nostalgic lens, but unfolding its serialized narrative with a clear resistance to compromise.

From that perspective, the work does, indeed, speak for itself.

Production designer, Dan Bishop; editor, Leo Trombetta; music supervisor, Alex Patsavas; casting, Carrie Audino. RUNNING TIME: 60 MIN.

With: Christopher Stanley, Alison Brie, Deborah Lacey, Jared S. Gilmore.


14.7.10

La programación de Locarno (Variety)



By NICK VIVARELLI

ROME -- Seeking new lustre, the Locarno Film Festival has unveiled a leaner lineup, packed with 40 world preems, half of which are first-time features, in its first edition under new artistic topper Olivier Pere.

Opening Locarno's 63rd edition will be revered Gallic auteur Benoit Jacquot's period drama "Au Fond des Bois," which will unspool in the 7,000-seat outdoor Piazza Grande at the Swiss lakeside fest dedicated to indie fare.

Pere, a former head of the Cannes Directors' Fortnight, told Variety his goal is to "really make Locarno the place of discovery and the launch of young filmmakers and new directors."

Which is not to say his lineup does not comprise helmers who are already established names on the festival circuit. These include German auteur Pia Marais' highly anticipated "At Ellen's Age," starring Jeanne Balibar as a 43-year-old flight attendant whose life takes an unexpected turn; hot Hungarian helmer Benedek Fliegauf's sci-fier "Womb," starring Eva Green, and Canadian director Denis Cote's relationship drama "Curling."

2010 LOCARNO LINEUP

INTERNATIONAL COMPETITION

"Bas Fonds," Isild Le Besco, France
"White White World," Oleg Novkovic Serbia, Sweden/Germany
"Beyond the Steppes," Vanja d'Alcantara, Belgium/Poland
"Cold Weather," Aaaron Katz, U.S.
"Curling," Denis Cote, Canada
"Winter Vacation," Li Hongqi, China
"Man at Bath," Christophe Honore, France
"At Ellen's Age," Pia Marais, Germany
"Karamay," Xu Xin, China
"La Petite Chambre," Stephanie Chuat and Veronique Reymond, Switzerland
"L.A. Zombie," Bruce LaBruce, Germany/U.S./France
"Luz Nas Trevas -- A Volta Do Bandido Da Luz Vermelha," Helena Ignez and Icaro C. Martins, Brazil
"Morgen," Marian Crisan, Romania
"Periferic," Bogdan George Apetri, Romania/Austria
"Pietro," Daniele Gaglianone, Italy
"Sac," Tayfun Pirselim, Turkey/Greece
"Songs of Love and Hate," Katalina Godros, Switzerland
"Womb," Benedek Fliegauf, Germany/ Hungary/France

OUT OF COMPETITION
"C'etait Hier," Jacqueline Veuve, Switzerland
"Get Out of the Car," Thom Andersen, U.S.
"Hell Roaring Creek," Lucien Castaing-Taylor, U.S.
"Io Sono Tony Scott. La Storia Del Piu Grande Clarinettista Del Jazz,"
Franco Maresco, Italy
"Les Champs Brulants," Catherine Libert and Stefano Canapa, France
"Medemoiselle Else," Isabelle Prim, France
"The Indian Boundary Line," Thomas Comerford, U.S.


FILMMAKERS OF THE PRESENT COMPETITION

"Aardvark," Kitao Sakurai, U.S.
"The Belly of the Whale," Ana Lungu and Ana Szel, Romania
"Foreign Parts," Verena Paravel and J.P. Sniadecki, U.S./France
"Songs of Tomorrow," Jonas Holmstrom and Jonas Bergergard, Sweden
"Ivory Tower," Adam Traynor, Canada/France
"Jo Pour Jonathan," Maxime Giroux, Canada
"La Lisiere," Geraldine Bajard, France/Germany
"The Life Sublime," Daniel V. Villamediana, Spain
"Mandoo," Ebrahim Saeidi, Iraq
"Memory Lane," Mikhael Hers, France
"Intolerance Now," Takahiro Yamauchi, Japan
"Norberto's Deadline," Daniel Hendler, Uruguay/Argentina (foto)
"Paraboles," Emmanuelle Demoris, France
"Prud'Hommes," Stephane Goel, Switzerland
"Pulsar," Alex Stockman, Belgium
"September 12," Ozlem Sulak, Germany/Turkey
"The Fourth Portrait," Chung Mong-Hong, Taiwan
"Tilva Ros," Nikola Leraic, Serbia
"You Are Here," Daniel Cockburn, Canada


PIAZZA GRANDE
"Au Fond Des Bois," Benoit Jacquot, France/Germany
"Cyrus," Jay Duplass and Mark Duplass, U.S.
"The Silence," Baran bo Odar, Germany
"The Ugly Duckling," Garri Bardine, Russia
"Hugo Koblet -- Pedaleur De Charme," Daniel von Aarburg, Switzerland
"Invisibleboy," Philippe Parreno, France
"King's Road," Valdis Oskarsdottir, Iceland
"The Counsel," Cedric Anger, France
"Monsters," Gareth Edwards, U.K.
"Rammbock," Marvin Kren, Germany
"Rare Exports: A Christmas Tale," Jalmari Helander
"Rubber," Quentin Dupieux, France
"Little Paradise," Paul Riniker, Switzerland
"The Light Thief," Aktan Arym Kubat, Kyrgyzstan/Germany/France/Netherlands
"To Be or Not to Be," Ernst Lubitsch, U.S.
"Uomini Contro," Francesco Rosi, Italy

7.7.10

Fendrik, Puenzo team on 'Smoke Men' (Variety)


Project is set up at Historias Cinematograficas

PARIS -- Two of Latin America's most striking directorial talents, Argentina's Pablo Fendrik and Lucia Puenzo, have teamed to write suspenser "Hombres de humo" (Smoke Men).

Fendrik is attached to direct.

One of the standout projects at Paris Project, a three-day film financing forum that wraps Wednesday in the French capital, "Men" is set up at Historias Cinematograficas, the Buenos Aires production shingle of Academy Award nominated director-producer Luis Puenzo ("The Official Story").

Fendrik, who broke through to recognition with "The Mugger" and "Blood Appears," both Cannes Critics' Week players, aims to shoot "Smoke Men" late 2011, after rolling February 2011 on "Ardor."

Lucia Puenzo, who turned heads as a director with debut "XXY," which won the Cannes Critics' Week Grand Prix, is taking on production labors.

Historias Cinematograficas aims to structure "Men" as an Argentine-European co-production, Fendrik said in Paris.

That looks in the cards. Historias Cinematograficas holds down a first-look co-production deal with Jose Maria Morales' Wanda Films in Spain.

Puenzo's two features -- "XXY" and "The Fish Child" -- were co-produced out of France by Pyramide and MK2 respectively. Fendrik's second film "Blood" drew down Gallic co-production coin from Acrobates.

Set in a city outside Buenos Aires, "Men" begins Hitchcock style with a man who's involved in Argentina's worst-ever multiple pileup, and seizes the opportunity to murder the woman in the passenger seat.

Film then shuttles between the past and the future as a femme doctor begins to have suspicions about the woman's death.

According to Fendrik, "Men" "is very close to my favorite intentions: to deliver a highly emotional action film whose main characters try to control their basic instincts, but don't always succeed."

Pic lead character is a foreigner, a former war photographer, visiting Argentina, said Fendrik.

"Men" will be more mainstream than his past pics, he added.

The screenplay will be completed in August.

22.6.10

"Brother and Sister" ("Dos hermanos"), de Daniel Burman (Variety Review)


Dos hermanos (Argentina)


An Alta Films release of a BD Cine production. (International sales: Alta Films, Madrid.) Produced by Diego Dubcovsky, Micaela Sole, Daniel Hendler. Executive producer, Lilia Scenna. Directed by Daniel Burman. Screenplay, Burman, Sergio Dubcovsky.

With: Graciela Borges, Antonio Gasalla, Elena Lucena, Omar Nunez.

Two Argentinean acting vets strike real dramatic sparks in "Brother and Sister," an affectionate and melancholy look at the ups and downs of the troubled relationship between two sixtysomething siblings. Like helmer Daniel Burman's previous work, pic nails the emotional details, but despite the penetrating central perfs, little would have been lost by shedding 15 minutes. Crisply observant, heartwarming and grown-up, this is low-key, unhurried fare unlikely to stir up much interest among younger auds, but the dependable Burman retains a faithful following that should ensure the pic some merited offshore and fest play.

After having lived most of their lives apart, Susana (Graciela Borges) and Marcos (Antonio Gasalla), now both in their 60s, are reunited as their mother, Neneca (Elena Lucena), falls ill. A dapper, soft-spoken and long-suffering goldsmith, Marcos is fearful of his overwhelming, ever-theatrical and immoral sister, who makes her money through real-estate swindles and sheer force of character.

In a beautifully understated scene, Neneca dies, and the siblings decide to buy a tumbledown mansion in Uruguay, across the River Plate from Buenos Aires. Here, Marcos meets Mario (Omar Nunez), a theater director who is using the mansion to rehearse a modern version of "Oedipus Rex." In Mario, Marcos finds a friend after a lifetime devoted to his mother. Marcos decides to take part in the play, despite his sister's jealous attempts to keep him out of it.

Susana feels abandoned, and it quickly becomes clear that she mostly lives in a fantasy world, spending much of her time reading her neighbor's mail. At first, Susana is entertaining if thoroughly disagreeable; later, following a failed attempt to set up a cookery business, the cracks in her emotional armor start to show and the extent of her loneliness is movingly exposed.

At the emotional heart of the film is the truth that, despite hating one another with an intensity that sometimes verges on the psychopathic, these two characters are inextricably bound together; they might as well be married, and for all intents and purposes, they are. Script is careful to avoid sentimentality until the last few minutes, when it takes an unexpected and implausible turn.

Thesps' level of experience is clear throughout, blending neatly with an item whose dominant tone is one of practiced ease at all levels. Borges, known domestically as a diva figure, here revels in playing a character who's a diva in her dreams. But Gasalla, a comedian with a reputation for loudness and vulgarity, here plays completely against type as the cravat-wearing, self-contained Marcos. Crucially, there's the sense that Burman loves them both equally.

Dialogue is calibrated to reflect the comic irritability of two people who have known each other too well for too long. The script is more interested in its characters than in its plot, and the most telling moments are often the quietest, as when the siblings, exhausted at the end of a day of mutual antipathy, settle down to watch real-life diva Mirtha Legrand on TV, a symbol of escape for both of them.

References to Sophocles, in the form of the absent but dominating mother, are nicely done but rep a rare instance of the script straining for larger meaning.

Camera (color), Hugo Colace; editor, Pablo Barbier; art director, Margarita Tambornino, Paulina Lopez Meyer; music, Nicolas Cota; sound (Dolby Digital), Jesica Suarez. Reviewed at Cines Princesa, Madrid, June 9, 2010. Running time: 105 MIN.

1.6.10

Crítica de "El Rati Horror Show" (Variety)


An Aquafilms presentation. Produced by Enrique Pineyro, Pablo Galfre, Pablo Tesoriere. Executive producer, Silvina Dell'Occhio. Directed, written by Enrique Pineyro. Co-directed by Pablo Tesoriere. Based on an original idea by Pablo Galfre.

With: Enrique Pineyro, Fernando Carrera, German Cantore, Agustin Negrussi.

By ROBERT KOEHLER

Unpredictable actor-writer-director Enrique Pineyro turns his editing suite into an audio-visual complex to defend convicted murderer Fernando Carrera in the quirkily provocative "The Rati Horror Show." One of the few filmmakers who can claim to have effected social change with a movie (namely his brilliant narrative debut, "Whisky Romeo Zulu," which reformed Argentine aeronautic law), Pineyro uses cinematically charged evidence to press his argument that Carrera is a victim of gross judicial malfeasance. The director's off-center wit softens his seething anger, which will help the pic's options in fest and ancillary arenas.

Story is sneakily framed as a bedtime story told by a mom to her kids in the year 2023 about the terrible first decade of the new century. The viewer is then assaulted with a montage of TV news reports of blockades and police standoffs in Buenos Aires during a politically tense period in 2005, and of a multicar collision that killed three (two women and a child) and injured 12. Every report depicts the driver, Carrera, as a robber, fleeing pursuing police and mowing down pedestrians with no regard for human life. Bystander wrath is thick, and Carrera is convicted and given a 30-year prison sentence.

Pineyro then launches his fascinating, visually inspired defense. Pixelated black-and-white footage depicts the activities of a group of robbers just minutes before the accident -- the actually intended object of the cops' botched pursuit. Out of nowhere, miniaturized animation suddenly provides a street-level look at the fatal collision.Pineyro clearly derives as much pleasure using his high-tech devices as he does making his case (certainly, Apple has seldom received as much free publicity as it does here, with the filmmaker's editing suite stuffed with Apple devices of all sorts, from desktop screens and Macbooks to iPhones), though his discussion with editor German Cantore tends to make some of the director's points harder to track than they should. At the heart of the case is the assertion that the police covered up multiple irregularities, tampered with evidence and discouraged eyewitness accounts, while prosecutors and judges dismissed several facts, among them that Carrera couldn't be identified by witnesses.

Whether it all will be enough to set Carrera free (he remains behind bars, though his case is on appeal) is anyone's guess. But if it works, Pineyro's efforts to change the world by making movies will be an amazing two-for-two. The "Rati" in the pic's title is the Argentine Spanish slang of the derogatory "pig" for police in English.

Camera (color/B&W, HD), Sol Lopatin; editor, German Cantore; music, Eduardo Criscuolo; production designer, Lorena Maggi; sound (stereo), Catriel Vildosola; supervising sound editor, Diego Martinez Rivero; re-recording mixer, Roberto Migone; visual effects supervisor, Santiago Svirsky; line producer, Juan Pablo Miller; assistant director, Mariano Biasin; second unit camera, Guido Lublinsky. Reviewed on DVD, Los Angeles, May 28, 2010. (In Buenos Aires Film Festival -- competing.) Running time: 95 MIN.

7.5.10

Críticas de "Lo que más quiero", de Delfina Castagnino y "Los actos cotidianos", de Raúl Perrone (Variety)



What I Love the Most
Lo que mas quiero (Argentina)
By
JONATHAN HOLLAND

A Ivan Eibuszyc, Felicitas Soldi production. (International sales: Delfina Castagnino, Buenos Aires.) Produced by Santiago Castagnino, Delfina Castagnino, Ivan Eibuszyc. Directed, written, edited by Delfina Castagnino.

With: Pilar Gamboa, Maria Villar, Esteban Lamothe, Leonardo Castaneda.

Men are a problem for the two emotionally fragile friends in the psychologically penetrating but light-of-touch "What I Love the Most." Focusing on a few key moments as the duo spend a few days together, rather than setting them in a traditional narrative, pic is inevitably low on drama but more than makes up for it in nuance, courtesy of fine perfs from Pilar Gamboa and Maria Villar, delivered under demanding circumstances. A multiple prizewinner at Buenos Aires, pic reps a strong, fest-friendly calling card for editor-turned-helmer Delfina Castagnino.

We first meet the two young women (Gamboa and Villar, unnamed either onscreen or in the credits) overlooking some terrific mountain scenery, their backs to us. They discuss relationships: Villar's character confesses she's having a trial separation from her boyfriend after being with him for four years. As they chill out, they're approached by Martin (Leonardo Castaneda) and his friend Diego (Esteban Lamothe); Gamboa's character, having recently broken up with Martin, pretends to be asleep. The boys invite them to a party, where Martin will be playing with his band.

At the party, following an unhappy phone call between Villar's character and her boyfriend, she and Diego chat; he tries to seduce her, she's uncertain about how to handle it. The scene is by far the pic's wordiest, captured in a single 13-minute take, and both thesps come through it with flying colors.

The emphasis shifts to Gamboa's character, whose father has just died, and who now has the responsibility of firing the employees at the sawmill he owned. Gamboa's big scene takes five minutes in unforgiving closeup as she calls out the names of the unfortunate men, mechanically delivers the bad news and hands over compensation, building to the film's most poignant moment.

Emotionally, then, the women are traveling in opposite directions -- one toward the future and a possible relationship with Diego, the other back into the past and her relationship with her father. There is a new tension between the women, and the closest the pic comes to conventional suspense is in whether it will provide an answer to the implicit question of the title.

Pic is basically a string of long takes with a static camera, a technique that will lend some scenes a powerful charge for attentive viewers. The downside is that in some scenes -- of a guy chopping down a tree, for example, for close to two minutes -- there is little to do except admire the composition and enjoy the occasional moments of gentle comedy.

The decision to not name the two leads seems to suggest that they're typical, and indeed, that's just how they come across. Both actresses deliver quietly understated, naturalistic and well-judged perfs as young women gripped by emotional confusion, and the all-important chemistry between them registers as well.

Still, the women's lack of objectives may affect the viewer's sympathy toward them, and toward a script that, though wonderfully balanced in drawing parallels between the two characters, seems stubbornly determined to leave every question unanswered.

Music is eschewed until the final credits, presumably in the name of realism.

Camera (color), Soledad Rodriguez; art director, Sofia Berakha; sound (Dolby), Rodrigo Sanchez Marino, Andres P. Estrada. Reviewed on DVD, Madrid, May 3, 2010. (In Buenos Aires Film Festival -- international competition.) Running time: 76 MIN.


----------------------------------------------------------------------------------


The Daily Actions Los actos cotidianos (Argentina)

By JONATHAN HOLLAND

A Las Ganas Que Te Deseo, SCCDF Digitales, Taller DCRP, Enecine production. (International sales: Las Ganas Que Te Deseo, Buenos Aires.) Produced by Alejandro Israel, Ines de Oliveira Cezar. Directed, written by Raul Perrone.

With: Soledad Aguilera, Adrian Aguilera, Maria Galvan.

The Daily Actions" of the latest downbeat-and-dirty offering from Raul Perrone are those of a disadvantaged family in the outskirts of Buenos Aires. Typically no-concessions fare from a helmer who defiantly plows his own furrow, this sometimes powerful, sometimes tedious, sometimes unexpectedly moving film has the real rebel spirit, utilizing no-frills documentary realism to persuasively show things as Perrone believes they are. Pic is unlikely to extend Perrone's faithful following; limited fest appearances are likeliest.

Enfolding the fragile consolations of home and the dangers of the cruel world outside, pic reps both a family portrait and a slice of social criticism. Impoverished, unsmiling and perpetually in survival mode, Sole (Soledad Aguilera) and her unemployed brother Bebo (Adrian Aguilera, Soledad's real-life sibling) live in a low-lit slum with their respective kids and their mostly silent mother (Maria Galvan). Perrone records them smoking incessantly, talking in circles and texting; when they listen to the radio or bring gossip home, some dark event is generally the subject. A tremendously evocative late scene beautifully contrasts the bright colors of a kids' play area with the muted tones that tend to dominate.

Camera (color), Perrone, Bernardo Demonte; editor, Zaida de Pedro; music, Anahi Colombo. Reviewed on DVD, Madrid, May 5, 2010. (In Buenos Aires Film Festival -- Argentine competition.) Running time: 82 MIN.

Nota: aquí hay un error. Alejandro Israel e Inés de Oliveira Cezar no tienen nada que ver con la peli de Perrone. Será que el crítico de Variety se confundió y agarró la gacetilla de la peli de Oliveira Cezar, "El recuento de los daños"...

3.5.10

Críticas de "Los labios" y "Secuestro y muerte" (Robert Koehler, Variety)


"Secuestro y muerte"

Los labios, de Santiago Loza e Ivan Fund

An Ivan Eibuszyc/Ivan Fund/Santiago Loza presentation of a Morocha Films production. Executive producer, Ivan Eibuszyc. Directed, written by Santiago Loza, Ivan Fund.


With: Eva Bianco, Victoria Raposo, Adela Sanchez, Raul Lagger, Walter Aguirre.


Three women bring their medical skill, bedside manner and considerable patience to the task of treating desperately poor families in a distant Argentine outpost in Santiago Loza and Ivan Fund's lovingly rendered "The Lips." The film's considerable strength lies in its perceptive focus on these modern-day Mary Magdalenes in private moments as well as their heartfelt interactions with needy locals, actual residents playing themselves opposite the trio of actresses. Triumphant screenings at the Buenos Aires fest and Un Certain Regard selection should provide a strong international launch for a likely popular fest title.

Just as it's impossible to determine who does what between co-directors Loza and Fund, there's no clear division of labor between earth-motherish Coca (Adela Sanchez), more cerebral Noe (Eva Bianco) and slightly emotionally disturbed Luchi (Victoria Raposo). Viewed without comment as they meet for an overnight bus trip to tiny San Cristobal in Argentina's Santa Fe province, the three settle in easily with each other, resigned to the fact their assignment isn't going to be easy.

At first, their local "angel," Raul (Raul Lagger), appears to be a country bumpkin, and when he tries to make the women's lodging sound homey, the images onscreen make him seem like a B.S. artist. (Raul turns out to be a nice guy after all.) The doubtless cash-strapped hosts have put the women up in a horribly derelict former hospital.

As with so much else, Coca, Noe and Luchi stoically put up with it, stepping up their game to attend to the needs of a range of local patients. Loza and Fund apply the same concern for these people, allowing long passages of "The Lips" to become a mix of fiction and nonfiction, as actors playing the doctors listen to the real local families discussing their personal and health problems, exposing a shocking level of poverty that seems to have an especially strong impact on the sensitive Luchi.

Restless during sleep hours and concerned for her safety, Luchi sometimes wanders the shelter's dark hallways at night. In a subtly musical way, "The Lips" continually shifts tone, from these more troubling sections to the semi-docu interviews with patients to easygoing scenes of the gals getting away for some welcome downtime. (The feeling of a day off from work has rarely felt more real onscreen.)

Far better than Fund's last film, "La risa," "The Lips" successfully conveys the sense of actors giving themselves over to specific moods and settings, and the women's social conscience and solidarity are refreshingly underplayed.

The rumbling skies, ever-changing light and unsettled atmosphere are precisely captured by cinematographer Maria Laura Collasso, and editor Lorena Moriconi assembles disparate parts into a rhythmic flow that never seems overly manipulated. Locations in the Santa Fe province place the viewer in an Argentina that's rarely seen onscreen.

Camera (color, HD), Maria Laura Collasso; editor, Lorena Moriconi; music, Fund, Lisandro Rodriguez; production designer, Adrian Suarez; costume designer, Suarez; sound (stereo), Leandro De Loredo, Alejandro Sesa; supervising sound editors, Jeronimo Kohn, Alejandro Seba. Reviewed on DVD, Lisbon, April 28, 2010. (In Buenos Aires Film Festival; Cannes Film Festival -- Un Certain Regard.) Running time: 99 MIN.


Secuestro y muerte (Abduction and Death), de Rafael Filipelli


A Primer Plano Group release of a Saula Benavente and Rafael Filippelli presentation. Executive producer, Saula Benavente. Directed by Rafael Filippelli. Screenplay, Mariano Llinas, David Oubina, Beatriz Sarlo, based on an idea by Sarlo.


With: Enrique Pineyro, Alberto Ajaka, Esteban Bigliardi, Agustina Munoz, Matias Umpierrez, Javier Fainzang.


A specific Argentine political event -- the 1970 kidnapping and execution of Gen. Eugenio Aramburu by leftist revolutionaries -- is reframed as a universal drama in director Rafael Filippelli's engrossing "Abduction and Death." Certain to be received differently depending on the audience -- with locals split over the film's balanced treatment of all the characters, and outsiders more prone to read it as a classic moral drama -- Filippelli's latest is characteristically disciplined, clean storytelling with a modernist bent. Fest biz will be brisk, though buyers are likely to wait and see.

Like the director's lovely "Musica nocturna," the new film stars the very watchable Enrique Pineyro; here, he plays a character known only as "the General," aged with subtly applied facial makeup that tends to accentuate the despair that has visibly weighed down this strongman. His portrayal unexpectedly humanizes the sort of figure long despised in (left-wing) Argentine filmmaking, a decision that makes "Abduction and Death" instantly controversial on its home turf and among leftward auds most likely to watch it.

It's a brave choice, and aligns the film more in the tradition more of Renoir's "Grand Illusion," with its humane portrayals of once-demonized German military men, rather than the more programmatic political dramas of, say, Costa-Gavras. Just as striking is Filippelli's consistent taste, a la "Musica nocturna," for dramatically underplaying events in the screenplay co-written by "Extraordinary Stories" director Mariano Llinas, film critic David Oubina and social analyst Beatriz Sarlo, who hatched pic's narrative idea.

Action plays along procedural lines, following underground cell members Maximo (Esteban Bigliardi), Pancho (Matias Umpierrez), Monica (Agustina Munoz, who also provides often unnecessary v.o. narration) and Raul (Alberto Ajaka) as they don costumes to enter military HQ and take the General in a rapid, bloodless abduction.

The kidnappers take their prisoner to a remote farmhouse run by Angel (Javier Fainzang), who knows Monica but nothing of the plot; there, the film surprisingly takes as much interest in the quotidian business of the unit setting up shop as it does in their inevitable confrontations with the General. While Maximo and Pancho are deadly serious revolutionaries who lead the interrogation, Monica is more thoughtful and nuanced, and Raul is as prone to make small talk as he is to discuss the matters at hand.

The General is mystified at Maximo's and Pancho's kangaroo court, but "Abduction and Death" is most attuned to how each side justifies its indefensible actions. The accusers, closely based on members of the Montaneros -- the most vigorous group opposed to the military junta -- consider theirs to be a "people's trial," reminding the General that they're far kinder to him than he was to his enemies.

The General, on the other hand, views himself as "revolutionary," and justifies the mass executions on his watch as necessary to prevent even greater chaos. The dialogues, which comprise most of the film's central and latter sections, are freed of any theatrical taint by dint of Filippelli's camera (wielded by talented cinematographer Fernando Locket), which stalks the room and accentuates the claustrophobia.

Bigliardi's and Umpierrez's performances play up a sternness mirrored in Pineyro's rock-hard demeanor, which slowly gives way to a vulnerable surrender to his fate. Ajaka and Munoz provide amusing counterpoint, sometimes acting like the kids in the adults' serious matters.

Editing by "Castro" director Alejo Moguillansky (a frequent collaborator with Llinas, with both of them former students of cinema prof Filippelli) is crucial to the film's steady flow over 72 hours of action.

Camera (color), Fernando Locket; editor, Alejo Moguillansky; production designer, Cecilia Figueredo; sound (stereo), Jesica Suarez; supervising sound editors, Marcelo Galluzzo, Juan Catano; re-recording mixer, Galluzzo. Reviewed on DVD, Lisbon, April 27, 2010. (In Bueno Aires Film Festival -- opener.) Running time: 95 MIN.

22.4.10

Ventana Sur: del 3 al 6 de diciembre (Variety)


Latin American film bazaar adds online touch

By CHARLES NEWBERY

Argentina's Ventana Sur, the Latin American film mart run in association with the Cannes Film Festival, will unspool Dec. 3-6 in Buenos Aires with a new online service to expand sales opportunities.

Ventana Sur Online will stream Latin American releases from 2008 to this year, said Liliana Mazure, prexy of Argentina's state film board Incaa, which runs Ventana Sur.

"It is the market online all year long," said Mazure, who will launch the service on May 15 in Cannes.

"All of the nearly 300 buyers that came last year have confirmed that they will return. And we expect even more to come this year."

The online service also will allow producers to upload films, trailers and promotional material, eliminating the cumbersome task of sending them multiple times by mail, she added.

Ventana Sur this year will consolidate at one location, rather than being spread out between two spots at opposite ends of the city as it was last year.

The mart is attracting more attention, buoyed by the success of the first edition, with multiple deals getting done, announced or initiated for titles including Juan Jose Campanella's "The Secret in Their Eyes," which won the 2009 foreign-language film Oscar, and Juan Taratuto's "A Boyfriend for My Wife."

A competing mart in Rio de Janeiro will close to participate in Ventana Sur, Mazure said.

24.2.10

"Guest", la nueva película de José Luis Guerin (Variety)


By Emilio Mayorga

BARCELONA -- Versus Entertainment, producer of Rodrigo Cortes' Sundance hit "Buried," has taken Spanish rights to "Guest," the upcoming film from cult Spanish director Jose Luis Guerin.

"Guest" is a travel diary following a director as he goes to international film festivals.

It's produced by Adrian Guerra's Barcelona-based Versus and Roxbury Pictures, which co-produced Gabe Ibanez's Cannes Critics' Week player "Hierro."

Budgeted at around $1 million, pic is co-financed by Catalan pubcaster TV3, the Catalan Institute of Cultural Industries and the Icaa Spanish film institute.

Shooting has already taken place in more than 20 countries using nonpro actors speaking English, Spanish and Cantonese.

19.2.10

IFC Films picks up "Puzzle" (Variety)


IFC Films has snapped up North American rights to Berlin fave "Puzzle."

The Argentine pic about a woman who discovers she's gifted at puzzling was helmed by first-timer Natalia Smirnoff and had its Berlinale competition bow on Thursday night.

Maria Onetto plays the lead, a middle-aged housewife who has devoted her life to her husband and grown children. When she's given a puzzle, she finds she can solve it quickly and takes on a tournament training partner (Arturo Goetz).

IFC Entertainment prexy Jonathan Sehring said, "'Puzzle' completely charmed our entire team at the Berlinale. It is one of the rare crowd pleasers that manages to respect its audience and deliver profound thrills."

Producers are Carousel Films' Gabriele Pastore and La Ninas Pictures' Caroline Dhainaut.
Smirnoff has served as a casting director on three of fellow Argentine director Lucrecia Martel's films, including her last, "The Headless Woman." She's also worked as an assistant director.

Deal was negotiated by IFC's Elizabeth Nastro and Memento Films Intl.'s Emilie Georges and Tanja Meissner.

Meissner also reported brisk foreign sales on "Puzzle," which has sold to distribs in more than 15 territories so far.

IFC will bow "Puzzle" in theaters and VOD later this year, after a fall fest run.


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.

2.2.10

Oscar oddities and observations (Variety)


The list of nominees for the 82nd annual Academy Awards includes some notable rarities:

  • Perhaps signaling the increased globalization of showbiz, only four of the 10 films nominated for best picture are set primarily in the U.S. ("The Blind Side," "Precious," "A Serious Man," "Up in the Air"). Other locales include South Africa, Europe, South America, the Mideast and Pandora. Also reflecting, perhaps, a global frame of mind, many of the nominated films have subtitled sequences, some brief, some lengthy: "Avatar," "District 9," "Inglourious Basterds," "Precious." (Last year's winner, "Slumdog Millionaire," was two-thirds subtitled).

  • The 24 Oscar categories again offered proof that festivals play a key role in awards strategies. Eight of the 10 top contenders debuted at fests: "The Hurt Locker" (Venice/Toronto 2008), "Precious" and "An Education" (Sundance); "Up," "Inglourious" (Cannes); "Up in the Air" (Telluride/Toronto), "A Serious Man" (Toronto) and "Avatar" (Dubai). Contenders in other categories include "A Single Man" (Venice), "The Messenger" (Sundance/Berlin), "The Last Station" (Telluride), "The White Ribbon" and "The Imaginarium of Doctor Parnassus" (Cannes), "Fantastic Mr. Fox" (London) and "The Young Victoria" (Toronto).

  • Gabourey Sidibe ("Precious") joins a select group of 68 previous actors who have been nominated for their first performance. That's out of a total of more than 1,400 nominated perfs over the years.

  • Kathryn Bigelow ("The Hurt Locker") is the fourth woman ever nommed as director, while Lee Daniels ("Precious") is only the second black. Previous helming nominees include Lena Wertmuller ("Seven Beauties"), Jane Campion ("The Piano"), Sofia Coppola ("Lost in Translation") and John Singleton ("Boyz n the Hood").

  • "Up" is the second toon ever nominated for best pic, after Disney's 1991 "Beauty and the Beast." It's the first CGI toon in the top category, and the first in that race since the Academy launched the feature-toon category in 2001.

  • This is the first year that 3D films were taken seriously by Academy voters, with "Up," "Coraline" and "Avatar" in contention.

  • Despite a flurry of Iraq War-themed movies in past years, "Hurt Locker" is the first to get a best-pic bid.

  • Meryl Streep keeps breaking her own record, with her 16th nomination. Acting runners-up are Katharine Hepburn and Jack Nicholson, with 12 each. And Streep's 13th bid as lead actress means she's now the champ in that category, after being tied with Hepburn (who'd never received a supporting bid).

  • Jason Reitman scored triple noms as a producer, writer and the helmer of "Up in the Air." Double contenders include Lee Daniels (producer and director of "Precious"), James Cameron ("Avatar" producer and director), Joel & Ethan Coen ("Serious" producers and writers), Quentin Tarantino ("Basterds" writer and helmer), Pete Docter (a writer of "Up," also nommed for animated feature), Randy Newman (two songs from "The Princess and the Frog"), and Christopher Boyes ("Avatar") and Paul N.J. Ottosson ("Hurt Locker"), in both sound editing and sound mixing.

  • Of the 10 best pic contenders, six were released in the fourth quarter. "Up" launched in May, "Hurt Locker" in June, "District" and "Inglourious" in August.
Justin Chang contributed to this report

30.12.09

Library of Congress adds 25 to Registry (Variety)


Pics ranging from "Pillow Talk" and "The Muppet Movie" to "Dog Day Afternoon" and "Once Upon a Time in the West" are among the 25 titles selected as this year's addition to the Library of Congress' National Film Registry, the feds' official archive of film gems worthy of preservation.

This year's crop includes the Registry's first musicvideo -- Michael Jackson's 1983 landmark "Thriller" -- and "Hot Dogs for Gauguin," a 1972 entry from then-NYU student Martin Brest featuring Danny DeVito and Rhea Perlman in her film debut.

The titles join 500 other pics that have been added to the Registry since it was created in 1989 by the National Film Preservation Act. Librarian of Congress James H. Billington selects 25 films each year that are deemed "culturally, historically or aesthetically significant," culled from hundreds of titles nominated by the public, members of the National Film Preservation Board and the library's motion picture staff.

The Registry "spotlights the importance of protecting America's matchless film heritage and cinematic creativity," Billington said. "By preserving the nation's films, we safeguard a significant element of our cultural patrimony and history." The films (and video) on the list are not tapped as the "best" of all time but are merely deemed works of enduring importance to American culture, he said.

To be eligible for the Registry, a film must be at least 10 years old. All titles in the registry are available for screening free of charge at the Library of Congress on Capitol Hill.

This year's entries again include a mixture of classics and obscure gems spanning most of the 20th century, from the 1911 live action/animation work "Little Nemo" and Mabel Norman's 1914 silent pic "Mabel's Blunder" to Helen Hill's 1995 student film "Scratch and Crow." Others include 1938's "Jezebel," the William Wyler-directed pic that won Bette Davis her second Oscar; 1957 sci-fi classic "The Incredible Shrinking Man"; and William Wyler's 1942 WWII British homefront drama "Mrs. Miniver," which earned six Oscars, including best picture.

The library reached back to WWI for 1920's "Heroes All," one of many films produced by the Red Cross Bureau of Pictures about the Great War and its aftermath. The WWII era is also represented by 1945's "The Story of G.I. Joe," featuring Burgess Meredith as the gritty war correspondent Ernie Pyle.

Among the other obscure titles added to the registry are 1967's "The Jungle," a docu-drama made by a group of young African-American gang members in Philadelphia, and 1932's "A Study in Reds," an amateur film by Miriam Bennett that spoofed women's clubs and the Soviet menace in the 1930s.

Also selected were the 1927 film "Stark Love," director Karl Brown's depiction of mountaineers of North Carolina and Tennessee, and "The Revenge of Pancho Villa," a compilation film from 1930-36 that demonstrates the early Mexican-American film presence.

Other films from the '30s and '40s were "Under the Western Stars," the 1938 pic that turned Roy Rogers into a matinee idol; 1940's "The Mark of Zorro," with Tyrone Power and Basil Rathbone; and 1949's "The Lead Shoes," from avant-garde filmmaker Sidney Peterson.

Among the more prominent titles, 1959's "Pillow Talk" marked the first teaming of Doris Day and Rock Hudson and is considered by the library to be "a time capsule of 1950s America." Sidney Lumet's "Dog Day Afternoon," starring Al Pacino, predicted the contempo era of media frenzy in its portrayal of a bank robbery gone awry as a media circus ensues. Jim Henson solidified his position as a spiritual heir to Walt Disney with the success of 1979's "The Muppet Movie."

Filmmaker Kent MacKenzie's 1961 docu "The Exiles" "sensitively captures the raw essence of a group of 20-something Native Americans who left reservation life in the 1950s to live among the decayed Victorian mansions of Los Angeles' Bunker Hill district." Sergio Leone's 1968 epic "Once Upon a Time in the West" marked a peak of the spaghetti Western genre.

The Registry's other new entrants are 1975's cult-fave toon "Quasi at the Quackadero"; 1986 docu "Precious Images," commemorating the 50th anniversary of the Directors Guild of America; and 1994 experimental pic "The Red Book," from helmer Janie Geiser.


The complete list of 2009 selections:

Dog Day Afternoon (1975)
The Exiles (1961)
Heroes All (1920)
Hot Dogs for Gauguin (1972)
The Incredible Shrinking Man (1957)
Jezebel (1938)
The Jungle (1967)
The Lead Shoes (1949)
Little Nemo (1911)
Mabel's Blunder (1914)
The Mark of Zorro (1940)
Mrs. Miniver (1942)
The Muppet Movie (1979)
Once Upon a Time in the West (1968)
Pillow Talk (1959)
Precious Images (1986)
Quasi at the Quackadero (1975)
The Red Book (1994)
The Revenge of the Pancho Villa (1930-36)
Scratch and Crow (1995)
Stark Love (1927)
The Story of G.I. Joe (1945)
A Study in Reds (1932)
Thriller (1983)
Under Western Stars (1938)


20.12.09

Box office de "Avatar", de James Cameron (Variety)


James Cameron's "Avatar" grossed $220 million to $230 million in its worldwide debut for 20th Century Fox, including a strong domestic launch of $73 million from 3,452 theaters, of which 2,023 were 3D runs.

Mother nature made life treacherous for "Avatar" on the East Coast of the U.S., where the worst blizzard in decades paralyzed major cities.

"Avatar" nevertheless scored the second-best launch on record for a film debuting in December, when opening weekends aren't as big, but multiples are far greater because of the lucrative Christmas-New Year's holiday.

A film normally can expect to gross three times its opening weekend, but year-end films can see multiples of four and five.

No. 1 December opening was scored by Warner Bros. Will Smith-starrer "I Am Legend" ($77.2 million).

"Avatar" narrowly bested the $72.6 million posted by Peter Jackson's "The Lord of the Rings: The Return of the King" in its first weekend. That pic grossed $377 million domestically.

The critically acclaimed "Avatar" posted glowing exits, earning an A or A+ CinemaScore across all demos.

8.12.09

Haddock, Tornasol catch 'Criminal' (Variety)


BUENOS AIRES -- Argentina's Haddock Films and Spain's Tornasol Films, producers of the country's foreign Oscar hopeful "The Secret in Their Eyes," have partnered again to produce thriller "Criminal."

Helmed by freshman Miguel Cohan with a E1.5 million ($2.26 million) budget, pic will star Leonardo Sbaraglia ("Night Runner") and Federico Luppi ("Elsa y Fred"), and rising Spanish star Barbara Lennie ("Obaba").

Shooting will start in April with a release planned for September.

This is the latest bet on genre filmmaking by the Argentine biz, which established a reputation in the 1990s and early 2000s for director-focused, minimalist pics.

"The Secret in Their Eyes," a murder caper directed by Juan Jose Campanella, is Argentina's hottest B.O. hit this year, grossing $34.5 million in 16 weeks. Sony Pictures Classics has acquired all North American rights for the pic.

Haddock and Tornasol also co-produced Marcelo Pinyero's "Las viudas de los jueves" (The Widows of Thursdays) and Gerardo Herrero's "El corredor nocturno" (Night Runner), which both had strong B.O. runs and positive reviews this year.

Haddock and Tornasol, which plan to produce two films a year, have also greenlit a feature based on "Las Grietas de Jara," the latest novel from Claudia Pineiro ("The Widows of Thursdays"). Julia Solomonoff is attached to direct.

5.12.09

Oscar race a big deal for small countries (Variety)


A celebration of all things Hollywood it may be, but when it comes to the race for the foreign-language film Academy Award, the kudocast begins to resemble another globally televised, multinational event: the Opening Ceremony of the Olympics. The U.S. may dominate the parade with its sheer weight of numbers -- but spare a thought for plucky Guam and tiny Luxembourg, dutifully bringing up the rear.

This year the prenomination race offers a crowded field, with 65 nations submitting pics -- two fewer than last year's all-time-high of 67. And while Guam doesn't feature among the 2010 submissions, the Grand Duchy of Luxembourg (pop. 493,500) certainly does, with WWII drama "Refractaire" from debut helmer Nicolas Steil.

Yet if the foreign-language film category often feels like a catchall -- a few minutes' lip service to a global film culture Hollywood frequently seems intent on elbowing aside -- it nevertheless means a lot to the nations involved. An Oscar victory can help win over wavering international buyers, as Yojiro Takita's "Departures" proved. The winner of the category earlier this year, it eventually sold to 36 international territories, aided in no small measure by the allure of that gold statuette.

"It can make the difference, definitely," admits one Euro sales agent. "At least to distributors. But whether it means all that much to audiences, I honestly don't know."

Most of the bigger names come already viewed, reviewed and sold -- either out of Venice (Giuseppe Tonatore's "Baaria") or Cannes (Jacques Audiard's "A Prophet" repping France, Bong Joon-ho's "Mother" waving the flag for South Korea, and Michael Haneke's Palme d'Or winner "The White Ribbon" appearing for Germany, not the helmer's native Austria). Still, many entries remain unknown to even the most adventurous buyers, critics and programmers -- and, given their lack of promotional resources, are likely to remain so.

There's a smattering from the ex-Soviet states: Georgia, Kazakhstan, Albania and the Baltics (sans Latvia) all figure in the submissions -- but there's nothing from Ukraine, Belarus or the other "-stans." The former Yugoslavia fares better, with Serbia, Croatia, Slovenia and Bosnia & Herzegovina all accounted for. But Africa remains badly underrepresented, in the nominations as on the fest circuit, with only Morocco and South Africa fielding entries. Likewise the Middle East, with only Israel and Iran listed. (Last year saw the first Jordanian entry.)

By contrast, eight of South America's 13 nations are represented. Peru's candidate, Claudia Llosa's "The Milk of Sorrow," already has a Berlin Golden Bear to its credit; and if nothing else, Efterpi Charalambidis' "Libertador Morales, el justiciero" sounds entirely congruent with the social-reformist tone of Hugo Chavez's Venezuela. Selections from Uruguay ("Bad Day to Go Fishing"), Chile ("Dawson Island 10") and Bolivia ("Zona sur") fill out a strong selection. Meanwhile, in the Caribbean, Cuba offers Ernesto Daranas' "Fallen Gods"; it submitted "The Silly Age" in 2007.

More intriguing are the nations with English as a dominant language. Though most U.S. viewers (and even some Brits) would argue that the accents in any Ken Loach pic would render it eligible, the U.K.'s got an official entry this year with "Afghan Star," with the dialogue in the Pashtu and Dari tongues (plus, it's a feature doc rather than a fiction film, further pushing the envelope as to what submitting countries feel are its best films).

Similarly, Australia fields the Cannes Camera d'Or winner "Samson and Delilah," with dialogue almost entirely in the Aboriginal Warlpiri dialect, spoken by only about 3,000 indigenous inhabitants.

While the Academy take pains to stress that "there are no rank outsiders" among the pack, it's clear that some territories are more equal than others. The European and Asian heavyweights -- France, Italy, Spain, Japan -- have thriving local industries, internationally known auteurs and a level of brand familiarity that's hard to beat … not to mention well-funded cultural agencies to beat their respective drums. Consequently, Italy has 10 trophies, France nine.

Compared with this, what chance does that tiny, great film from Colombia ("The Wind Journeys," since you ask, and recently acquired by Film Movement) have of even reaching Academy voters -- who aren't sent screeners of the 65 titles but are instead invited to attend theatrical screenings? No full-page For Your Consideration ads for these films; not even a dedicated publicity campaign. Just simple word of mouth.

Ultimately, it may just be about the honor of being selected -- or more correctly, being selected to be selected. Though, as Ciro Guerra, writer-director of "The Wind Journeys," notes, there are issues beyond mere vanity: "An Oscar nomination would be important, not only for our fledgling industry but for our whole society. We're struggling to leave behind the damage caused by the war on drugs and to project ourselves into the future, and cinema is an important tool for us to dream."

PICS WITH A SHOT

Some less-than-high-profile and unusual titles that may break out of the pack:

'Eyes' on Argentina

Argentina's repped by "The Secret in Their Eyes," helmed by Juan Jose Campanella, who has successfully maintained parallel careers: as a helmer in his homeland — his 2001 dramedy "Son of the Bride" earned him an international fest profile — and as a TV director in the U.S., where he's worked on skeins like "House," "30 Rock" and "Law and Order: Criminal Intent." As such, he's a slightly more known quantity to Acad voters, and this, along with strong reviews and local box office for "Eyes," coupled with the fact that Sony Pictures Classics picked up North American rights for the film last month, could place the pic among the final five.

Historical 'Heat'

Estonia's entry, "December Heat," reps another perennial for the category: the nationalist historical drama. Usually a tale of independence or adversity (in this instance, Estonia's 1924 struggle to remain independent from Russia), these efforts are comparatively well resourced — being essentially government-sponsored cinema — and play solidly in their home territories but tend to elicit yawns offshore. This one's framed as an action-thriller, but will that be enough to overcome Estonia's low international profile?

'Mother' master

Since premiering at Cannes — where it swept the board at Directors' Fortnight — "I Killed My Mother," the debut feature from prodigious multihyphenate Xavier Dolan, has racked up a string of awards, including best Canadian feature at Vancouver, the Golden Puffin at Reykjavik and the Golden Pram at Zagreb. Whether it can add an Oscar to Dolan's mantel remains to be seen: Canada has managed only one win in the category to date, for Denys Arcand's "The Barbarian Invasions" in 2003.

'Watch' this space

Can Japan pull off two victories in a row? Ryoichi Kimizuka's drama "Nobody to Watch Over Me" arrives boasting strong critical support, a growing fest profile (including a screenplay award at Montreal) and solid local B.O. ($6.1 million since its January release). Its combination of thriller conventions and arthouse inclinations might make the Acdemy sit up and take notice.

Maybe this 'Time'

Undeterred by the failure of other gritty, ultraviolent Brazilian films to land foreign-language Oscar noms ("City of God," "Last Stop 174," "Elite Squad"), South America's largest nation advances yet another tough-as-nails urban crime drama, Sergio Rezende's "Time of Fear," for consideration. With 12 features to his credit — many of them biopics of notable Brazilian figures — the veteran writer-director is a safe pair of hands; still, you have to wonder if a sun-drenched, Rio-set romantic comedy with a little emotional depth might find more favor with Oscar.

Higher profile

Iceland has managed to score only one Oscar nomination so far, for Fridrik Thor Fridriksson's 1991 drama "Children of Nature," but Oskar Jonasson's "Reykjavik-Rotterdam" has a chance to reverse its fortunes — ironically, thanks to a remake for Working Title, set to star Mark Wahlberg. Following the travails of a retired smuggler, convinced by his best friend to revert to his old ways, it plays like an efficient B-movie — and again ironically, may therefore lack the patina of "quality filmmaking" the Academy prefers.

Shane Danielsen


4.12.09

"Nine", de Rob Marshall (Variety review)


By Todd McCarthy

A Weinstein Co. release presented with Relativity Media of a Weinstein Brothers/Marc Platt/Lucamar production, a Relativity production. Produced by Marc Platt, Harvey Weinstein, John DeLuca, Rob Marshall. Executive producers, Ryan Kavanaugh, Tucker Tooley, Bob Weinstein, Kelly Carmichael, Michael Dryer. Co-executive producers, Arthur L. Kopit, Maury Yeston. Directed by Rob Marshall. Screenplay, Michael Tolkin, Anthony Minghella, based on the musical with book by Arthur L. Kopit, music and lyrics by Maury Yeston and adaptation from the Italian by Mario Fratti.

Guido Contini - Daniel Day-Lewis
Luisa Contini - Marion Cotillard
Carla - Penelope Cruz
Lilli - Judi Dench
Saraghina - Fergie
Stephanie - Kate Hudson
Claudia - Nicole Kidman
Mamma - Sophia Loren
Dante - Ricky Tognazzi
Fausto - Giuseppe Cederna
De Rossi - Valerio Mastandrea
Pierpaolo - Elio Germano
Donatella - Martina Stella
Jaconelli - Roberto Nobile
Cardinal - Remo Remotti
Dr. Rondi - Roberto Citran

"Nine" is a savvy piece of musical filmmaking. Sophisticated, sexy and stylishly decked out, Rob Marshall's disciplined, tightly focused film impresses and amuses as it extravagantly renders the creative crisis of a middle-aged Italian director, circa 1965. Given its basis in a 27-year-old Broadway show, which itself had its unlikely origins in Federico Fellini's self-reflective 1963 classic "8½," the Stateside Weinstein release will probably find a more receptive audience among culture vultures than with the masses. But a robust marketing push stressing the stellar cast, strong notices and the "another 'Chicago' " vibe should still generate solid returns, especially in urban areas.

Although the original 1982 production, with a book by Arthur L. Kopit, music and lyrics by Maury Yeston and Raul Julia in the leading role, won five Tony Awards and ran for 729 performances, many theater mavens preferred the 2003 revival and its star, Antonio Banderas.

But given its heritage and the profession of the central character, the musical has found its proper place on the bigscreen, along with a cast that could scarcely be bettered. Not only can they act, but Daniel Day-Lewis, Marion Cotillard, Penelope Cruz, Judi Dench, Nicole Kidman, Kate Hudson and Sophia Loren can sing. Why didn't anyone know? As one, the cast would undoubtedly respond, "Because no one ever asked."

First big scene at Rome's Cinecitta Film Studios allows the film to establish its stylized method at the outset, as the many women in the life of dashing cinema genius Guido Contini (Day-Lewis) musically make their way onto an unfinished set on giant stage five as he faces the imminent start of a movie he hasn't begun to write. Called "maestro" far too often for his own good, Guido is the sun around which swirl innumerable lovers, loyal workers, acolytes and hangers-on, all whom vie for his time and attention while peppering him with questions about the new picture.

Instead of making Guido entirely self-absorbed and self-serious, Day-Lewis at once places the viewer firmly in the palm of his hand and then in his pocket by emphasizing the character's humorous awareness of his position in life. He puts on a grand show at a press conference, although one journalist, noting that Guido's last two films flopped, pierces the armor of jokiness by asking, "Have you run out of things to say?" At this, the director retreats to a seaside resort to recharge and tells his loyal wife, Luisa (Cotillard), to stay home, only to receive his lusty mistress, Carla (Cruz), who proceeds to steam up the place with her number, "A Call From the Vatican."

Except for Luisa, who has two, the women define their roles in Guido's life by through single songs, which are uniformly arresting in their own right, even if they finally reveal themselves to be mostly straightforward "statement" songs with a similar nature in the Weill-via-Kander-and-Ebb mold. After Carla's declaration of the hots for Guido come "Folies Bergere," a celebration of dreams and sensual bewitchment from Lilli (Dench), Guido's old costume designer and confidante; "Be Italian," rousingly belted out by Fergie, playing a beachside prostitute of Guido's boyhood; "My Husband Makes Movies," Luisa's moving lament that her husband's profession takes precedence over her; "Cinema Italiano," a celebration of the Italy depicted in Guido's movies sung by flirty journalist Stephanie (Hudson); the reassuring mother-to-son lullaby "Guarda la luna" sung by Loren; "Unusual Way," an acute admission by Guido's muse and frequent lead actress, Claudia (Kidman), of the strange hold he has on her; and the new "Take It All," in which Luisa brutally reminds her husband of the sexy woman he is losing.

Some other songs from the show have been adapted or dropped, and bracketing the women's numbers are two from Guido, the egocentric "Guido's Song" and his throwing in of the towel, "I Can't Make This Movie"; "Find another genius," he petulantly challenges those who would listen.

Cutting between black-and-white and color in the musical numbers and, like Fellini's film, constantly on the move as Guido is buffeted about with scarcely a moment to breathe, much less write a script, "Nine" takes the the matter of directile dysfunction seriously without being pretentious about it. With the distance of 45 years, the glory days of Italian filmmaking are depicted more for their chaotic fun than for their grave chic or philosophical import, and the double delight for the cast to be working in both a musical and a picture set in such a fabled era (one known personally among the cast members only by Loren) plainly shows in their spirited performances.

The script sets the course in these matters as well as others, notably in finding a way to honor "8½" while enabling one to put it to the side of one's mind, and in illuminating Guido's folly while still taking seriously his relationships with women. It was not for nothing that the writers engaged were Michael Tolkin, author of "The Player," and Anthony Minghella, whose "The Talented Mr. Ripley" so evocatively captured the Rome of just a few years before.

Working again with his resourceful lenser Dion Beebe, Marshall shoots in a nimble style that keeps the film alive all the way; editing by Claire Simpson and Wyatt Smith is fast but not frantic.

Camera (Technicolor/B&W, Panavision widescreen), Dion Beebe; editors, Claire Simpson, Wyatt Smith; original music, Yeston; music supervisor, Matt Sullivan; production designer, John Myhre; senior art directors, Phil Harvey, Tomas Voth; supervising art director, Simon Lamont; set decorator, Gordon Sim; costume designer, Colleen Atwood; sound (Dolby Digital/SDDS/DTS), Jim Greenhorn; re-recording mixers, Roberto Fernandez, Mike Prestwood Smith, Richard Pryke; choreographers, Marshall, John DeLuca; hair and make-up designer, Peter King; associate producer, Cattleya; assistant director, Vicki Allen; second unit camera, Damien Beebe; casting, Kate Dowd (U.K.), Beatrice Kruger (Italy). Reviewed at Pacific Design Center, West Hollywood, Dec. 3, 2009. MPAA Rating: PG-13. Running time: 118 MIN.

3.12.09

Sundance unveils complete lineup (Variety)


New films directed by Philip Seymour Hoffman, Michael Winterbottom, Nicole Holofcener and Joel Schumacher, and starring such thesps as Ben Affleck, Kristen Stewart, Ryan Reynolds and Adrien Brody, mark the lineups of the Premieres, Midnight and other noncompetitive sections of the 2010 Sundance Film Festival, which unspools Jan. 21-31 in Park City, Utah.

Although a handful of the Premieres titles, which generally sport bigger budgets and showier casts than the competition films, already have distributors, most do not, so prospective buyers will pay particularly close attention to the entries in this arena.

By contrast, purists with a craving for personal cinema on low and no budgets will gravitate toward the eight features in the new Next category, as well as to the perennial New Frontier sidebar for non-narrative and avant-garde fare.

The new Spotlight section, an evolved version of Spectrum, features one world preem and eight films previously seen at other festivals that fest topper John Cooper and director of programming Trevor Groth hope will benefit from their exposure here.

Park City at Midnight, which has long been home to the outrageous and extreme from all over the world, will serve up eight pictures, seven in their world premieres; Brody stars in two of them.

Points of interest among the Premieres are Hoffman's directorial debut, "Jack Goes Boating," an oddball love story starring Hoffman in an adaptation of Bob Glaudini's play; TV producer John Wells' feature directorial bow, "The Company Men," toplining Affleck, Kevin Costner and Tommy Lee Jones as three men dealing with corporate downsizing; Shari Springer Berman and Robert Pulcini's new picture, "The Extra Man," a quirky comedy-drama; Winterbottom's ultra-violent adaptation of Jim Thompson's cult novel "The Killer Inside Me" and his Naomi Klein docu "Shock Doctrine"; musicvid helmer Floria Sigismondi's feature debut, "The Runaways," about the '70s all-girl band led by Joan Jett, starring Stewart and Dakota Fanning; Holofcener's Gotham-set ensembler "Please Give"; and Schumacher's "Twelve," an adaptation of the late Nick McDonell's cult novel about the reckless ways of rich Upper East Side teens.

Premieres section presently consists of 13 titles, although Cooper advised that two or three more films could be added before fest begins.

The 2010 Sundance lineup includes:

PREMIERES
All films are from the United States unless otherwise noted

  • "Abel" (Mexico), the directorial debut of actor Diego Luna, written by Luna and Agusto Mendoza, about a peculiar young boy who, as he blurs reality and fantasy, takes over the responsibilities of a family man in his father's absence. With Jose Maria Yazpik. World premiere.
  • "Cane Toads: The Conquest" - Director-writer Mark Lewis' 3D feature-length follow-up to his classic 1988 short, "Cane Toads: An Unnatural History," a documentary horror film about the environmental devastation left in the wake of the giant toads' unstoppable march across Australia. World premiere.
  • "The Company Men," the first feature directed and written by "ER" producer John Wells, a corporate downsizing drama starring Ben Affleck, Kevin Costner, Maria Bello, Tommy Lee Jones, Chris Cooper and Rosemarie DeWitt. World premiere.
  • "The Extra Man" - Directed by Shari Springer Berman and Robert Pulcini and written by the directors with Jonathan Ames, a comedy-drama about a down-and-out playwright and escort to wealthy Upper East Side widows who takes a young aspiring writer under his wing. Toplines Katie Holmes, John C. Reilly, Paul Dano, Kevin Kline and Alicia Goranson.
  • "Get Low" - Directed by Aaron Schneider and written by Chris Provenzano and C. Gaby Mitchell, the offbeat story of a mysterious '30s hermit who schemes to stage his own funeral while still alive. Stars Robert Duvall and Bill Murray. Previously shown in Toronto, the Sony Classics release will serve as the Salt Lake City gala film.
  • "Jack Goes Boating" - Directed by Philip Seymour Hoffman and written by Bob Glaudini from his own play about a limo driver whose blind date trggers an offbeat love story that involves two working-class New York City couples. With Hoffman, Amy Ryan, John Ortiz, Daphne Rubin-Vega and Tom McCarthy. The world premiere of the Overture release.
  • "The Killer Inside Me" - Directed by Michael Winterbottom and written by John Curran, a new version of crime novelist Jim Thompson's yarn about a small-town Texas deputy sheriff who turns into a murderer. Stars Casey Affleck, Kate Hudson, Jessica Alba, Simon Baker and Elias Koteas. World premiere.
  • "Nowhere Boy" (U.K.) - Directed by Sam Taylor-Wood and written by Julia Baird and Matt Greenhaigh, the biographical story of the family secrets and musical influences that shaped the teenage John Lennon in late '50s Liverpool. Features Aaron Johnson, Kristin Scott Thomas, Thomas Sangster, Anne-Marie Duff, David Morrissey. Previously seen at the London Film Festival, the Weinstein Co. release is making its international premiere.
  • "Please Give" - Directed and written by Nicole Holofcener, a character study about a New York City husband and wife who come into conflict with the granddaughters of the old woman who lives next door. Toplines Amanda Peet, Oliver Platt, Rebecca Hall, Catherine Keener and Sarah Steele. The world premiere of the Sony Classics relese.
  • "The Runaways" - Directed and written by Floria Sigismondi, about the launch of the eponymous '70s all-girl band by tough teen Joan Jett and an eccentric producer. Stars Kristen Stewart, Dakota Fanning, Scout Taylor-Compton, Michael Shannon, Alia Shawkat and Tatum O'Neal. The world premiere of the Apparition release.
  • "Shock Doctrine" - Directed by Michael Winterbottom and Mat Whitecross, a documentary based on the book by journo Naomi Klein exposing how shock is used to implement economic policy in vulnerable environments. The North American premiere of a film shown in different form in Berlin and already broadcast on British television.
  • "Twelve" - Directed by Joel Schumacher, written by Jordan Melamed and based on the popular novel by Nick McDonell, who died just after having written the book at 17, a tome spinning on excesses involving sex, drugs and murder among the young Upper East Side elite. With Chace Crawford, Emma Roberts, Kiefer Sutherland, 50 Cent and Zoe Kravitz. This closing-night attraction will be seen in its world premiere.
  • "Untitled Duplass Brothers Project" - Directed and written by Jay Duplass and Mark Duplass, in which a recently divorced guy meets a new lady, and then her son. With John C. Reilly, Marisa Tomei, Jonah Hill, Catherine Keener. World premiere.

NEXT
All are world premieres

  • "Armless" - Directed by Habib Azar and written by Kyle Jarrow, an offbeat comedy about a woman coming to terms with her husband's strange secret. With Daniel London, Janel Moloney, Keith Powell, Laurie Kennedy and Matt Walton.
  • "Bass Ackwards" - Directed and written by Linas Phillips, in which a man coming off a disastrous affair with a married woman has a lyrical, strange and comedic cross-country journey in a modified VW bus. Features Phillips, Davie-Blue, Jim Fletcher and Paul Lazar.
  • "Bilal's Stand" - Directed and written by Sultan Sharrief, which centers on the title character, a Muslim high school senior in Detroit who juggles his dysfunctional family, their taxi-stand and an ice carving contest while secretly attempting to win a college scholarship. With Julian Gant.
  • "The Freebie" - Directed and written by Katie Aselton, the tale of a man and wife who decide to give each other one night with another partner. Toplines Dax Shepard and Aselton, who co-starred in "Puffy Chair."
  • "Homewrecker" - Directed by Todd Barnes and Brad Barnes and written by the Barneses and Sophie Goodhart, about the last romantic in New York City, who is an ex-con locksmith on work release. Features Ana Reeder, Anslem Richardson and Stephen Rannazzisi.
  • "New Low" - Directed by Adam Bowers, a comedy in which a twentysomething man tries to figure out whether he belongs with the best woman he ever he's ever known or the worst. With Adam Bowers, Jayme Ratzer, Toby Turner and Valerie Jones.
  • "One Too Many Mornings" - Directed by Michael Mohan and written by Anthony Deptula, Mohan and Stephen Hale, in which two damaged former high school friends reconnect by admitting how much they've messed up their lives. Features Deptula, Stephen Hale and Tina Kapousis.
  • "The Taqwacores" - Directed by Eyad Zahra and written by Michael Muhammad Knight, about how the beliefs of a Pakistani-Muslim engineering student in Buffalo are severely challenged when he moves into a house filled with punk Muslims. With Noureen DeWulf, Dominic Rains, Rasika Mathur, Tony Yalda and Anne Marie Leighton.

SPOTLIGHT (NARRATIVE)

  • "Bran Nue Dae" (Australia) - Directed by Rachel Perkins and written by Reg Cribb, Perkins and Jimmy Chi, about a young man's 1965 summer in the pearling port of Broome spent fishing, hanging out with his mates and consorting with his girl. Stars Rocky McKenzie, Jessica Mauboy, Geoffrey Rush and Ernie Dingo. U.S. premiere.
  • "Daddy Longlegs" (formerly known as "Go Get Some Rosemary") - Directed and written by Benny Safie and Josh Safdie, about a thirtysomething torn between being a friend or father to his kids. Features Ronald Bronstein, Sage Ranaldo and Frey Ranaldo. North American premiere.
  • "Enter the Void" (France) - Directed and written by Gaspar Noe, a hallucinatory plunge in which a murdered drug dealer watches over his sister from the spectral realm. Toplines Nathaniel Brown, Paz de la Huerta, Cyril Roy, Emily Alyn Lind and Jesse Kuhn. U.S. premiere.
  • "I Am Love" (Italy) - Directed and written by Luca Guadagnino, an obsessive love story set in upper-class Milan. Stars Tilda Swinton, Edoardo Gabbriellini, Pippo Delbono, Alba Rohrwacher and Marisa Berenson. U.S. premiere.
  • "Louis C.K.: Hilarious" - Directed by Louis C.K., a concert film starring the eponymous comedian. World premiere.
  • "Lourdes" (Austria-France-Germany) - Directed and written by Jessica Hausner, in which a wheelchair-bound woman travels to Lourdes in an attempt to escape her isolation. Stars Sylvie Testud, Lea Seydoux, Bruno Todeschini, Gilette Barbier, Gerhard Liebmann and Irma Wagner. U.S. premiere.
  • "Mother and Child" - Directed and written by Rodrigo Garcia, an ensembler about the intersecting lives of women involved in adoption. Toplines Naomi Watts, Annette Bening, Kerry Washington, Jimmy Smits and Samuel L. Jackson. U.S. premiere.
  • "A Prophet" (France) - Directed by Jacques Audiard and written by Thomas Bidegain, Audiard, Abdel Raouf Dafri and Nicolas Peufaillit, about the education and rise of a young criminal in a French prison. Features Tahar Rahim, Niels Arestrup, Adel Bencherif, Hichem Yacoubi and Reda Kateb.
  • "Women Without Men" (Germany-Austria-France) - Directed and written by Shirin Neshat and Shoja Azari, an examination of Iranian society in 1953, when the CIA-backed coup overthrew the nationalist government of Mohammed Mossadegh and installed the shah in power.

SPOTLIGHT (DOCUMENTARIES)
All films are from the United States unless otherwise noted, and are receiving their world premieres

  • "8: The Mormon Proposition" - Directed by Reed Cowan, which looks into the role played by the Church of Jesus Christ of Latter-day Saints in promoting and passing California's Proposition 8 against gay marriage.
  • "Catfish" - Directed by Henry Joost and Ariel Schulman, concerning the unforeseeable consequences of Facebook contact between a young New York City photographer and an 8-year-old painting prodigy from rural Michigan.
  • "Climate Refugees" - Directed by Michael Nash, about how changing conditions are provoking mass global migration and border conflicts.
  • "Countdown to Zero" - Directed by Lucy Walker, about the dangers of nuclear weapons.
  • "Life 2.0" - Directed by Jason Spingarn-Koff, which examines how lives are transformed by the virtual world called Second Life.
  • "Teenage Paparazzo" - Directed by Adrian Grenier, in which a photo taken of the actor by a 13-year-old boy prompts an examination of the effects of celebrity on culture.
  • "To Catch a Dollar: Muhammad Yunus Banks on America" (Bangladesh-U.S.) - Directed by Gayle Ferraro, about how Yunus winning the 2006 Nobel Peace Prize prompts the opening of Grameen America in Queens, N.Y., replicating the banking model program he started in Bangladesh.
  • "Winning Time: Reggie Miller vs. the New York Knicks" - Directed by Dan Klores, about how Knicks killer Miller became Public Enemy No. 1 in New York.

PARK CITY AT MIDNIGHT
All films are from the United States and world premieres unless otherwise noted

  • "Buried" - Directed by Rodrigo Cortes and written by Chris Sparling, in which Ryan Reynolds plays a U.S. contractor in Iraq who is buried alive inside a coffin with only a lighter and cellphone to help him escape.
  • "Frozen" - Directed and written by Adam Green, about three skiers stranded on a chairlift faced with extreme choices to avoid freezing to death. With Emma Bell, Shawn Ashmore and Kevin Zegers.
  • "High School" - Directed by John Stalberg Jr. and written by Erik Linthorst, Stalberg and Stephen Susco, in which a random drug test coincides with a high school valedictorian's first hit of pot. Features Sean Marquette, Matt Bush, Adrien Brody, Michael Chiklis, Colin Hanks, Mykelti Williamson, Andrew Wilson, Yeardly Smith, Michael Vartan, Curtis Armstrong, Erica Phillips and Adhir Kaylan.
  • "The Perfect Host" - Directed by Nick Tomnay and written by Tomnay and Krishna Jones, about a criminal on the run who cons his way into the wrong party with an unusual host. Stars David Hyde Pierce, Clayne Crawford, Helen Reddy and Nathaniel Parker.
  • "7 Days" (Canada) - Directed by Daniel Grou and written by Patrick Senecal, centering on a doctor who takes revenge by kidnapping, torturing and killing the man who murdered his young daughter. Toplines Remy Girard, Claude Legault, Fanny Mallette, Martin Dubreuil and Rose-Marie Coallier.
  • "Splice" (France-U.S.) - Directed by Vincenzo Natali and written by Natali, Antoinette Terry Bryant and Doug Taylor, which follows two brilliant scientists as they secretly mix human and animal DNA in an experiment. Features Adrien Brody, Sarah Polley, Delphine Chaneac and David Hewlett. North American premiere.
  • "Tucker and Dale vs. Evil" (Canada) - Directed by Eli Craig and written by Craig and Morgan Jurgenson, a horror spoof in which two West Virginian hillbillies encounter trouble on a vacation at their dilapidated mountain cabin. With Tyler Labine, Alan Tudyk, Katrina Bowden and Jesse Moss.
  • "The Violent Kind" - Directed and written by the Butcher Brothers, which sees things go south for some rowdy young bikers at a secluded farmhouse when they are tormented by a mysterious force. Features Taylor Cole, Christina Prousalis, Tiffany Shepis, David Fine and Joseph McKelheer.

NEW FRONTIER
All films are from the United States unless otherwise noted

  • "Double Take" (Germany-Netherlands) - Directed by Johan Grimonprez, which reimagines Alfred Hitchcock as a paranoid history professor who unwittingly becomes caught up in a double take on the Cold War. Features Mark Perry and Ron Burrage. North American premiere.
  • "Memories of Overdevelopment," directed and written by Miguel Coyula, an adaptation of a novel by Edmundo Desnoes that blends live-action, animation and newsreel footage to evokesthe personal memory of a misanthropic Cuban intellectual. With Ron Blair. World premiere.
  • "Oddsac" - Directed by Daniel Perez, a visual record for the band Animal Collective. World premiere.
  • "Pepperminta" (Austria-Switzerland) - Directed by Pipilotti Rist and written by Rist and Chris Niemeyer, a modern fantasy in which an anarchist of the imagination sets out to fight for a more humane world. World premiere.
  • "Utopia in Four Movements" - Directed by Sam Green, a "live documentary" in which the director will provide voiceover for a portrait of the current battered state of the utopian impulse.