Los premios del Festival de Venecia

Biennale Cinema 65th Venice Film Festival Official Venezia 65 Awards

Venice, 6th September 2008

The Venezia 65 Jury, chaired by Wim Wenders and comprised of Juriy Arabov, Valeria Golino, Douglas Gordon, Lucrecia Martel, John Landis, and Johnnie To, having viewed all twenty-one films in competition, has decided as follows:

GOLDEN LION for Best Film:

The Wrestler by Darren Aronofsky (USA) FOTO

SILVER LION for Best Director to:

Aleksey German Jr. for Bumažnyj Soldat (Paper Soldier) (Russia)

SPECIAL JURY PRIZE to:

Teza by Haile Gerima (Ethiopia, Germany, France)

COPPA VOLPI for Best Actor:

Silvio Orlando for Il papà di Giovanna by Pupi Avati (Italy)

COPPA VOLPI for Best Actress:

Dominique Blanc for L’autre by Patrick Mario Bernard and Pierre Trividic (France)

MARCELLO MASTROIANNI AWARD for Best Young Actor or Actress:

Jennifer Lawrence for The Burning Plain by Guillermo Arriaga (USA)

OSELLA for Best Cinematography to:

Alisher Khamidhodjaev and Maxim Drozdov for Bumažnyj Soldat (Paper Soldier) by Aleksey German Jr. (Russia)

OSELLA for Best Screenplay to:

Haile Gerima for Teza by Haile Gerima (Ethiopia, Germany, France)

SPECIAL LION for Overall Work to:

Werner Schroeter

The Jury decided to award a Special Lion for his uncompromising and relentlessly innovative work over a period of 40 years to Werner Schroeter.

“LUIGI DE LAURENTIIS” AWARD FOR A DEBUT FILM

The “Luigi De Laurentiis” Award for a Debut Film Jury at the 65th Venice Film Festival, comprised of Abdellatif Kechiche (President), Alice Braga, Gregory Jacobs, Donald Ranvaud, and Heidrun Schleef, has unanimously decided to award the

“LUIGI DE LAURENTIIS” AWARD FOR A DEBUT FILM to:

Pranzo Di Ferragosto by Gianni Di Gregorio (SIC - International Critics’ Week, Italy)

Aurelio De Laurentiis and Filmauro award a cash prize, of 100,000 USD, to the winning first film (50,000 to the director, 50,000 to the producer). To the director, an additional film voucher for 40,000 Euro will also be awarded, offered by Kodak.

FIPRESCI Award

Best Film Venezia 65: Gabbla (Inland) by Tariq Teguia

Best Film Horizons and International Critics’ Week: Goodbye Solo by Ramin Bahrani

SIGNIS Award

The Hurt Locker by Kathryn Bigelow

special mention to Vegas: Based on a True Story by Amir Naderi

special mention to Teza by Haile Gerima

International Critics’ Week Award

L’Apprenti by Samuel Collardey

Francesco Pasinetti (SNGCI) Award

Best Film: Pranzo di Ferragosto by Gianni Di Gregorio

Special mention to Pa-ra-da by Marco Pontecorvo

Best Male Actor: Silvio Orlando for Il papà di Giovanna

Best Female Actor: Isabella Ferrari for Un giorno perfetto

Isvema Award for an debut or second feature film

Pranzo di Ferragosto by Gianni Di Gregorio

Label Europa Cinemas Award – Giornate degli Autori 2008

Machan by Uberto Pasolini

Doc/it Award – Sicilia Film Commission

Below Sea Level by Gianfranco Rosi

special mention to L’Apprenti by Samuel Collardey

Leoncino d'oro Award 2008 (Agiscuola)

Il papà di Giovanna by Pupi Avati

Cinema for UNICEF commendation: Teza by Haile Gerima

Art Cinema Award

Dikoe Pole (Wild Field) by Mikhail Kalatozishvili

La Navicella – Venezia Cinema Award

The Hurt Locker by Kathryn Bigelow

C.I.C.T. UNESCO Enrico Fulchignoni Award

BirdWatchers – La terra degli uomini rossi by Marco Bechis

Christopher D. Smithers Foundation Special Awards

Stella by Sylvie Verheyde

Biografilm Lancia Award - fiction

Rachel Getting Married by Jonathan Demme

Biografilm Lancia Award - documentary

Below Sea Level by Gianfranco Rosi

Nazareno Taddei Award

Il papà di Giovanna by Pupi Avati

Don Gnocchi Award

Pa-ra-da by Marco Pontecorvo

special mention to Ezio Greggio for Il papà di Giovanna

Future Film Festival Digital Award

The Sky Crawlers by Mamoru Oshii

special mention to Gake no ue no Ponyo (Ponyo on the Cliff by the Sea) by Hayao Miyazaki

Brian Award

Khastegi

Queer Lion Award

Un altro pianeta by Stefano Tummolini

Lanterna Magica Award (Cgs)

Pa-ra-da by Marco Pontecorvo

CinemAvvenire

Best Film in Competition: Vegas: Based on a True Story by Amir Naderi

“The circle is not round. Cinema for peace and the richness of diversity” Award: Teza by Haile Gerima

FEDIC Award

Machan by Uberto Pasolini

Bastone Bianco Award (Filmcritica)

Akires to kame (Achilles and the Tortoise) by Takeshi Kitano

Human Rights Film Network Award

The Hurt Locker by Kahryn Bigelow

Arca Cinemagiovani Award

Best Film Venezia 65: The Hurt Locker by Kathryn Bigelow

Best Italian Film: Pranzo di Ferragosto by Gianni Di Gregorio

“Altre Visioni” Award: Sell Out! by Yeo Joon Han

EIUC Human Rights Film Award

Kabuli Kid by Akram Barmak

Lina Mangiacapre Award

Stella by Sylvie Verheyde

Air For Film Fest Award

Pa-ra-da by Marco Pontecorvo

Open Award 2008

The Butcher’s Shop by Philip Haas

“Poveri ma belli” Award

Puccini e la fanciulla by Paolo Benvenuti

Mimmo Rotella Foundation Award

for a film which shows a firm connection with the arts

Gake no ue no Ponyo (Ponyo on the Cliff by the Sea) by Hayao Miyazaki

Herman Düne - Next Year in Zion (2008)

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“The songs on Next Year In Zion are warm and exuberant, and for the Dunes, true love is the salve for a world-weary cynic’s psychic wounds. In On a Saturday and When The Sun Rose Up This Morning the narrator’s heart is so full of love and hope, it threatens to burst at the seams. “It’s the first album that I write while I am happy,” says David. “I used to think I needed to be a little sad, or at least melancholic to write, this one proved me wrong…” His words distill innocent beauty from the prosaic and he crows about them with a joyous high lonesome timbre and soft accent. But Zion is not all California sunshine and paeans to falling in love. Even for a happy man, thunder clouds gather on the horizon. There is the lingering specter of loneliness (My Home Is Nowhere Without You) betrayal (Next Year In Zion) and an undercurrent that something much bigger than him is pulling the strings (Someone Knows Better Than Me).

On the recording, Herman Dune expand the core duo to include their extended family of female backing vocalists The Babyskins, The John Natchez Bourbon Horn players (on loan from Beirut and Arcade Fire) and guitar virtuoso Dave Tattersall (of UK band The Wave Pictures).
Engineered by Richard Formby (who also worked on of 2006’s Giant and 2004’s Not On Top) the sessions were recorded on a handmade, vintage EMI mixing board from Abbey Road once used by the Rolling Stones. “Richard played in Spacemen 3 for a while, and then in Spectrum. I love both projects and I’ve always admired the knowledge of Rhythm & Blues music they seem to have in the band. We met Richard at his studio when we were on tour, and he knew endless facts about Allen Toussaint, The Meters and Ska and Reggae bands. He never uses anything digital and could name all the equipment that was at Columbia Records or in Abbey Road.”

Self-produced over two weeks, Herman Dune chose to record the sessions live to analog tape at VEGA studios, in the French countryside of Provence, with every player working together in the same room. “The sound is a matter of choosing the musicians, the instruments, the room, and of the vibes that came from all these choices. Recording live makes everybody in the room focus on what makes the song sound right, instead of what their own part sounds like,” says David-Ivar Herman Dune, who’s ambitious methods recall American pop music icons like Lieber & Stoller, Phil Spector and Berry Gordy, Jr., who he counts among his favorite producers. “I think it’s interesting how their music is still so intense, new and alive, decades after it was recorded.”
“I’ve always loved knowing how records I love were made, I love watching footage of The Beatles recording, seeing pictures of Bob Dylan, Lou Reed or The Doors in a studio. I’ve always gathered facts about how Phil Spector, Ellie Greenwich, Carole King and Shadow Morton got those songs to sound that good. I went to visit Motown in Detroit, and used to carry a picture of Sam Phillips in my textbook when I was a kid. Trying producing records myself is like trying all those toys and tools I’ve seen in pictures. It’s a lot of fun….”

Next Year In Zion shows the Parisian duo at their most lyrically and sonically robust. Arrangements include as many nods to traditional Jewish and Eastern European instrumentation and Ennio Morricone’s desert vistas as they do to Chuck Berry and The Velvet Underground’s controlled cacaphony. The songs on Next Year In Zion reveal something new with each listen, and it’s the band’s most accomplished and complete offering to date.”

Ellos - Qué fue de ellos (2008)

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Cinco años sin noticias de Ellos es mucho tiempo sin pasarlo bien; un exceso que los amantes del pop no podemos permitirnos. Pero todo tiene un lado positivo y en este caso, lo bueno es que nuestro dúo favorito ha vuelto con el estilo reforzado y mejorado, haciendo lo que mejor les sale –canciones de las que se quedan contigo para siempre– pero de otra manera. Mejor, mucho mejor. Un disco mucho más guitarrero, contundente, lleno de arreglos magistrales y sobre todo, 'petado' de hits (¡todos los temas lo son!). Producido por David Kano (Cycle) y con colaboraciones de Clovis, Miranda y Krakovia.

¿Te gusta la música 'indie'?: tienes poca autoestima

Un estudio realizado a 36.000 voluntarios establece vínculos entre personalidad y gustos musicales

REUTERS - Londres - 05/09/2008

Los aficionados a la música clásica y el jazz son creativos; los amantes del pop trabajadores y, a pesar de los esterotipos, los fans del heavy metal tienen un carácter suave. Es lo que afirma el profesor Adrian North, de la Universidad Heriot-Watt de Escocia, que ha estado estudiando las relaciones entre personalidad y gustos musicales.

"La gente a menudo define su sentido de la identidad a través de su gusto musical, sus prendas de vestir, la elecciones determinados bares para salir o el empleo de ciertas palabras del argot", señala North. "No es raro pensar que la personalidad pueda estar vinculada a las preferencias musicales", añade.

En lo que supone, según North, la mayor investigación sobre gustos musicales y personalidad, los científicos preguntaron a más de 36.000 personas de todo el mundo para evaluar cuánto les gustaban 104 estilos de música diferentes

"Los investigadores han mostrado desde hace décadas que los aficionados al rock y al rap son rebeldes, y que los fans de la opera son prósperos y bien educados", señala North, quien añade que "ésta es la primera vez que un estudio muestra vínculos entre la personalidad y el gusto por un amplio abanico de estilos musicales".

Jazz, blues...

El estudio concluye que aquéllos que se decantan por el jazz y la música clásica son creativos y tienen una alta autoestima, aunque los primeros son extrovertidos y los segundos tímidos. Los aficionados al country tienden a trabajar duro y a la timidez, mientras que los fans del rap son extrovertidos y los amantes de la música independiente (indie) carecen de autoestima y son huraños. Aquéllos a los que les gusta el soul pueden animarse: el estudio afirma que son creativos, extrovertidos, dulces y contentos consigo mismos y que, además, tienen la autoestima alta.

Si alguna vez usted se ha preguntado por qué los conductores de coches deportivos caros suelen escuchar música a todo volumen, North puede ofrecer una explicación: Los que escuchan música machacona son más propensos a pertenecer a una horquilla de ingresos elevados, mientras que aquéllos que escuchan sonidos relajantes tienden a situarse en la parte baja de la escala de sueldos.

North sigue buscando voluntarios que quieran participar en su estudio. Más detalles en www.peopleintomusic.com

Publicado en El País, el 5/9/08

Deerhoof - "The Tears and Music of Love" (video)

Video de "The Tears and Music of Love", primer single del nuevo disco de Deerhoof, "Offend Maggie".

Robyn Hitchcock - Live @ Philadelphia WXPN-FM

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WXPN, July 18, 2008 - English singer-songwriter Robyn Hitchcock has cobbled together an unconventional and enduring career: With a discography that spans a stunning 36 albums, Hitchcock remains one of the most unpredictable and charismatic oddballs in popular music. Click the link above to hear Hitchcock perform live in concert from WXPN and World Café Live in Philadelphia.

First widely known as the lead singer of the great '70s pop band The Soft Boys, Hitchcock became a well-loved solo artist in the decade that followed, with a voice that recalled Syd Barrett and John Lennon in equal measure. Influenced by English folk and rock, Hitchcock has long had a flair for absurdist lyrics that are whimsical and thoughtful, weird and unmistakably warm. Here, he's bound to draw on material from his second box set (!), Luminous Groove, due out in August.

Matt Damon será Elliot Ness

Matt Damon, otro de los famosos actores argentinos por adopción (el tercero después de Viggo Mortensen y Robert Duvall...) será el protagonista de la nueva película de David Fincher. El director de "Se7en", "Zodíaco" y de la inminente "The Curious Case of Benjamin Button" llevará al cine, con guión de Ehren Kruger, la novela gráfica "Torso", de Brian Bendis y Marc Andreyko, centrada en un asesino serial que aterrorizó el área de Cleveland en 1935. Damon será Elliot Ness, quien tomó este caso luego de su éxito en la captura de Al Capone y se dedicó a él durante años. Sí, lo sé, suena parecida a "Zodíaco", lo cual no tiene porqué ser un problema...

La Foca - "Disfraz" (mp3)

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Este tema de la banda uruguaya La Foca está incluido en la película "Excursiones", de Ezequiel Acuña, que será estrenada el año próximo. La banda acaba de editar su disco titulado "Vos lejos de vos", que fue producido por Juan Stewart y que suena, bueno, como suenan los discos de las bandas que les gustan a los que nos gustan las películas de Ezequiel ("Nadar solo", "Como un avión estrellado"). El disco incluye tres videoclips, dos de ellos codirigidos por el propio Acuña: uno se titula "La gota" y el otro, que se ve aquí abajo, el del breve tema "Que se vaya", con una imagen con la que se reencontrarán cuando vean la película.

Glen Campbell - "All I Want Is You" (mp3)

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The Rhinestone Cowboy is trying on some more fashionable threads.

Country singer/guitarist Glen Campbell is following in the footsteps of artists such as Johnny Cash and Neil Diamond by recording a new album designed to inspire a new generation of fans.

"Meet Glen Campbell," due in stores on August 19, features covers of tunes originally performed by the likes of the Foo Fighters ("Times Like These"), U2 ("All I Want Is You"), and Tom Petty and the Heartbreakers ("Walls"), his Capitol Records label said on Tuesday.

"I really like all of the songs and I had a great time recording them," Campbell, 72, said in a statement. "While I didn't write these songs, this sounds like a Glen Campbell album, which is important to me."

Left-field covers include Green Day's "Good Riddance (Time Of Your Life)," the Velvet Underground's "Jesus," and the Replacements' "Sadly Beautiful."

No songs were written by Jimmy Webb, the man who gave Campbell such '60s hits as "Wichita Lineman" and "By the Time I Get to Phoenix." Campbell has often talked about reuniting with the songwriter.

"Meet Glen Campbell" marks his first release for Capitol since 1993's "Somebody Like That." Campbell has largely eschewed recording in order to focus on touring and playing to tourists at his theater in Branson, Mo.

Loudon Wainwright III - Recovery (2008)

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The album is called Recovery, explains Loudon Wainwright the Third, because re-recording songs he wrote back in the early 1970s feels like an archaeological dig – “unearthing dinosaur bones” as he puts it – and because ‘recovery’ means getting better, returning to health.

Whether Wainwright has ‘recovered’ from being the acerbic, acclaimed 24 year old who crash-landed on Planet Rock in 1970 is one of the questions raised by this engaging return to his early years. Its thirteen tracks are culled from the first four albums of a career that now stretches to 23, not to mention appearances in a dozen movies, a short residency on a TV soap opera (M.A.S.H) – and a stint as house singer-songwriter for Jasper Carrott in the late Eighties.

When artists return to the scene of their early crimes it’s usually as a nostalgia fest or an Unplugged diversion, but Wainwright (who started out unplugged) effectively recasts most of these old songs into dramatic new shapes. Part of that trick is down to a stand-out producer (Joe Henry) and band who replace the spare picking of the originals with arrangements that veer between the elegant piano and steel guitar setting of “New Paint” and the dirty Waitsian fuzz of “Muse Blues”.

Wainwright’s vocals imbue the material with a mixture of world-weariness, compassion and delight, qualities that didn’t loom large in the emotional lexicon of his younger self. It’s the fabled voice of experience, in fact, and one that’s considerably deeper and grainier than the boyish tones on the original records. Some of the wry twists in these tales also stem from the emotional baggage that any self-respecting 60-something totes around. “Saw Your Name In The Paper”, a song that started life as a sneer at the fickleness of showbusiness, now comes across as paternal advice to Wainwright’s son and daughter, Rufus and Martha, each now blazing a stellar trail of their own. “Maybe you’ll get famous, maybe you’ll get rich/It’s alright, don’t be afraid, lots of us got that itch…” And, as Wainwright says of the venal “Motel Blues”, when you're 25 and sing “Come up to my motel room save my life” it's one thing. At 61, it's something altogether different.”

Wainwright has become such a fixture over the years that it’s easy to overlook how distinctly and consistently his talent has shone. There are plenty of confessional songsmiths, some behaving as if they are unveiling their soul rather than writing a tune (come on down Joni and Jackson), but none have written with the candour, wit and, sometimes, savagery that Wainwright has brought to the party. He has chronicled lust, marriage, parenthood, divorce, and crack-up. After he had therapy he delivered an album called…Therapy! And though in recent years his focus has shifted to the outer world, notably on 1999’s Social Studies and 2005’s Here Come The Choppers, he has not usually strayed far from the dramas of his own life. Family life has been an especially rich seam of inspiration and rancour (Wainwright has two more kids by different mothers), leading him to wonder, “What are families for?” Even the mocking “Drinking Song”, remade woozily here, is a commentary on his father’s taste for the hard stuff.

It’s ironic that Wainwright’s only hit should be 1972’s “Dead Skunk”, probably the most throwaway thing he’s ever written (though “I Wish I Was A Lesbian” runs it close). Though he’s often played subjects for laughs (take “Suicide Song”: “Hang yourself by the neck/What the hell, what the heck”), the jokes are often at his expense.

Most of the themes that have preoccupied Loudon down the decades are there on the early records from which Recovery is drawn – isolation (“Motel Blues”, “Needless to Say”), parenthood (“Be Careful There’s A Baby In The House”) and, neatly for a retrospective work, the passage of time. The first track on his first album begins “In Delaware when I was younger…” and the version of “School Days” here adds another, poignant layer to lines recalling himself as a “blaspheming, booted, blue-jeaned, baby boy”. On ”Movies are A Mother To Me” and “Old Friend” he sounds even more rueful, slowing their pace to a wearied walk.

These are songs by a young man who’s scared of growing old, that have now, paradoxically, become the voice of maturity, and while “Old Friend” complains of “kissing the past’s ass all night long”, Loudon’s return to old times sounds like nothing of the sort.

NEIL SPENCER


UNCUT Q&A With Loudon Wainwright

How do you feel when you look at your younger self on those early albums?

I wonder ‘What happened? I used to be so cute!’ Listening to them was even more unsettling .The high, keening vocals put me off - sounds like a strange young man I'm not sure I'd care to hang out with. Good writer, though.

That first album shows a young guy with a short haircut against a brick wall, and the music is very stripped down. It looks and sounds more punk rock than Woodstock Nation.

I was going against the grain in terms of my ‘look’ in 1970.You have to separate yourself from the pack in order to be noticed .I'd done the hippie long hair and bell bottoms during the summer of love - by 1969 I was thinking preppy, psycho killer.

‘Saw Your Name In The Paper’ sounds prophetic about the age of celebrity, and, now, like concerned fatherly advice.

The line ‘your mother must be happy, they said you stole the show’ certainly makes me think of what the kids are going through. The song is cautionary but I was, as is often the case, singing to myself. The rave review is a pleasurable but dangerous drug.

What’s the best age to be? And what are families for?

Ten is the best age - tons of energy and the sex thing hasn't kicked in. Families are to love, cherish, and occasionally write about.

INTERVIEW: NEIL SPENCER

Jurados en San Sebastián

La actriz y productora Martina Gusman ("Leonera") será parte del jurado de la competencia oficial del Festival de San Sebastián que será presidido por Jonathan Demme y que incluirá también al director de fotografía alemán Michael Ballhaus, el cineasta japonés Masato Harada, la directora libanesa Nadine Labaki, la guionista y directora Claire Peploe y la actriz española Leonor Watling. En esa competencia habrá sólo una película argentina: "El nido vacío", de Daniel Burman.

En la Sección Horizontes, en tanto, el guionista argentino Jorge Goldenberg será miembro del jurado junto con el productor catalán Luis Miñarro y la directora y actriz cubana Mirtha Ibarra. En esta sección estarán "Leonera", "La rabia", "La sangre brota" y las coproducciones "Acné" y "Dioses".

VENECIA: "The Wrestler", de Darren Aronofsky

Variety Review

Horse Feathers - House With No Home (2008)

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Born and raised in Lewiston, ID, Justin Ringle has a natural affinity with the West. Its space, beauty, and nonconformity seem to be reflected in the music of his band Horse Feathers, named after an expression he heard his grandfather use. In Ringle’s hands, the common meaning of this expression comes to life: two things that can’t possibly exist together are spun into a gossamer delicacy of music shot through with lyrical weight.

Justin grew up on Northwest labels like Sub Pop, Kill Rock Stars, and K Records, but soon broadened his horizons. ‘Nebraska’ by Bruce Springsteen, Dylan’s ‘Blood on the Tracks’, Fleetwood Mac, Willie Nelson and old country and blues like Lefty Frizzell and Son House have all contributed to shaping Horse Feather’s arrestingly spare sound.

Moving from Idaho to Portland, OR in 2004, Justin recorded some demos, one of which found its way to Peter Broderick (Norfolk & Western, Dolorean, and Loch Lomond)a talented multi-instrumentalist. Peter was so taken by the songs he contacted Justin and offered to help record them properly. Later Peter’s sister Heather Broderick joined the band on cello and backing vocals. Justin and Peter worked together to polish the material that became the group’s first album, ‘Words Are Dead’ which was released on the local Lucky Madison label in 2006. It received an enthusiastic response, including a nomination for the Plug Awards ‘Americana Album of the Year.’

After a year of touring the US in various incarnations, Horse Feathers signed to Kill Rock Stars and proceeded to record this, their second album: ‘House With No Home’. On it they have distilled their sound into a brilliant statement of minimalist Americana. Peter and Heather’s precisely arranged strings step cautiously in and around Justin’s haunting vocal lines, and the economy of music is also reflected in the lyrics – a few evocative phrases tell rich stories, each word weighted and delivered with careful purpose. It is an album infused with rare power and emotion, restrained but always present, where the gaps between the notes can be as important as the notes themselves.

VENECIA: "Rachel Getting Married", de Jonathan Demme

Variety Review

Kat Flint - Dirty Birds (2008)

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“Scottish songstress and illustrator Kat Flint makes wonky, wordy, warm indie-folk that swings from dark to foot-tapping and back again in the space of four minutes. She likes real sounds rather than electronics, making music out of snipping scissors, suitcases and sellotape. She has earned her stripes playing intimate solo shows across the UK and regularly collaborates with a host of rather excellent unsigned musicians.

Recently signed to Albino Recordings, Kat’s debut album ‘Dirty Birds’ (funded entirely by fans) includes songs about Soho strippers, junkyard prostitutes, her little brother marching off to war and the bombing of an Iraqi wedding… not necessarily in that order. She has received early radio support from the likes of Radio 2, Radio 1 (Scotland), 6music and Xfm Scotland, was The Metro’s first ‘One to Watch’ of 2008.
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“Taking all the best parts of Regina Spektor, Joni Mitchell and Nerina Pallot and twisting them into something very special indeed, Kat Flint is a Scottish singer/songwriter with a mesmerising presence….intoxicating.” - UK Music Search

“Flint is open to the world, spinning musical wonder like a modern saint. To listen is to fall in love.” - Music OMH

“…effortlessly laps much of the folk-pop female singer-songwriter brigade… like KT Tunstall, had she been more in tune with the Fence Collective. And better.” - Sweeping the Nation

“…one of the rising stars of folk… from out of the left field and with an understated quirkiness.” - Fatea

Críticas de cine: 4/9/2008

"Motivos para no enamorarse", de Mariano Mucci (Clarín)



"Una guerra de película" ("Tropic Thunder"), de Ben Stiller (Clarín)

"El sueño del perro", de Paulo Pécora, en la Biblioteca Nacional

La Nave de los Sueños y la Bibloteca Nacional presentan:

CICLO CINE Y MUSICA DE AUTOR: PRIMERA PARTE
EL GRAN DEBUT [La aventura del primer film de un director de cine]
VIERNES 5 DE DE SEPTIEMBRE | 19 HS | GRATIS
AUDITORIO BIBLIOTECA NACIONAL | AGÜERO 2502 | PRIMER PISO

SE PROYECTA
EL SUEÑO DEL PERRO (2008)
DE PAULO PECORA
APERTURA CON MUSICA EN VIVO

El sueño del perro narra la historia de una resurrección espiritual. Y lo hace estableciendo un vínculo estrecho entre realidad y fantasía, con un estilo que apunta a darle un clima onírico y poético al relato. La película describe, como si se tratara de un sueño, el difícil recorrido interior que el protagonista emprende hacia una vida nueva, más plena y feliz. Se trata de una película sobre la amistad y sobre cierto tipo de relaciones fundadas en el respeto y la solidaridad. Una película en la que, buscándose a sí mismo, el protagonista encontrará un mundo de aventuras, sueños y heroísmo. Un mundo extraño, en el que recobrará su fe en la vida y los seres humanos.

Elenco: Guillermo Angelelli, Mónica Lairana, Néstor Noriega, Aldo Niehbur, Marcos Sánchez y Jorge Sesán. Producción ejecutiva: Constanza Sanz Palacios.
Producción ejecutiva y desarrollo de proyecto: Laura Bruno. Jefa producción: Natalia Forcada. Asistente de Producción: Andy Sala, Juan Pedro Justel, Diego Velázquez.
Dirección de fotografía: Martín Frías. Cámara: Leandro Tamer. Arte: Cecilia Jacquemin. Sonido: Germán Chiodi. Montaje: Paulo Pécora y Pedro Razzari.
Música original: Marcelo Ezquiaga. Asistente de Dirección: Nicolás Grandi.

The Just Joans - Hey Boy… You're Oh So Sensitive (2008)

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"Bitter or sweet, all memories become precious as the years Move on". The just joans formed in north lanarkshire in 1997. They released their debut album, "last tango in motherwell", in 2005 on ivan lendil records. Tony Kiernan of "Is this music" magazine described it as "...probably the best scottish album this year". It sold 7 copies, 4 of which Tony bought. They have just released 2 mini-albums, "virgin lips" and "hey boy, you're oh so sensitive" on WeePOP! records. They've both sold out.

“The Just Joans have a newie out on WeePOP this week. The former SOTW stars offer another great EP of kitchen sink vignettes out for your delectation. This is more pure old skool indie from Motherwell in Scotland and has that gorgeous authentic sound spilling with mundane observations in a thick Scots dialect. The vocals come from both a pissed off boy & a lady who sounds somewhere between Emma Pollock & Amelia Fletcher cooing over longing guitar strums and an old atmospheric synth like The Wake used to use. Like Summer Cats last week, they cover quite a wide range of styles from the melancholy to the star struck and could well appeal to fans of Sarah recs & bands such as The Pastels. If you liked the last one, this is just as good!”

Radiohead - Live @ Santa Barbara Bowl (streaming audio)

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Septiembre, finalmente

Desde que trabajo en "Clarín" que, por motivos que nadie nunca supo explicarme, hemos escrito "setiembre" en lugar de "septiembre". No sé tampoco porqué --tal vez por la simpática presión de Sebastián Wainraich por radio-- hoy nos anunciaron que empezaremos a escribir "septiembre". Acabo de hacerlo por primera vez y les juro que todavía me tiemblan las manos...

Eso sí, "octubre" va a pasar a ser "otubre"...

Small Sur - We Live in Houses Made of Wood (2008)

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With this first release on Tender Loving Empire, Bob Keal, ringleader for the motley crew of wilderness folksters Small Sur including one familiar face Andy Abelow, banks on a hypothesis…one he clearly bases on years of tradition and strength in circles of bluegrass, country and the many sounds of folk in rural Americana. He is betting that there is a well of universal memories, vivid images ingrained in our social subconscious, just waiting to be unleashed…triggered by a steady, knowing hand.

Here’s the good news: he is completely right.

After previewing a few tracks from this debut album, We Live in Houses Made of Wood, the most striking thing was the clarity of the musical vision. Stylistically, Small Sur goes for it, losing themselves in folk, more concerned with quality and authenticity, rather than the overuse of experimentation and boundary-pushing concepts that lately has felt almost crushing in its weight. More often than not in recent years, merit is given almost by default to someone haphazardly fusing things together. Woe to the person who tries to distill and purify something down to its essence, and then honing it to near-perfection.

But Small Sur ignores this and heads straight for the woods, never looking back. With an astoundingly assured and deliberate pacing that might seem slow if the music wasn’t so rich and warm, this album flies in the face of the hustle-and-bustle world. It compels you to lay back, reflect and lose yourself in some of the most vital aural escapism in recent years. Every one of these songs recalls a distinct memory or image, culled either from your own personal experience or a more universal wall of images and experiences with nature and wilderness.

In each song, every musical voice, both instrumental and vocal, falls on top of each other as if layers of sediment gradually depositing in a river. Each layer with its own cadence, its own pace, its own distinctive characteristics. Eventually, as each song progresses, the layers form a tightly compact whole, one that you could never imagine existing again as so many distinct parts.

I can’t recommend this album enough. It is as refreshing as it is genuine, as invigorating as it is relaxing, a vivid and passionate journey into the wilderness, recalling humanity’s deep connection to nature and its beauty.

By Greg Szeto (auralstates)

Burman, premiado en Venecia

Juro que me repitió todo el relato jasídico que le contó al Monseñor que le dio el Premio. Pero no se lo entendí. No sé si por la mala conexión telefónica o porque los relatos jasídicos no son lo mío. Lo que sí se es que, pese a que lo intento, no pudo circuncidar a Marco Müller.

Entrevista a Daniel Burman (Clarín)

Convocatoria para Toulouse

El Festival Rencontres Cinémas d’Amérique Latine de Toulouse convoca a realizadores y productores latinoamericanos, a inscribir sus películas (largos, medios y cortometrajes) de ficción, documental, ensayo y experimental, en vistas de la selección de la XXI Edición de Rencontres Cinémas d'Amérique Latine, que se realizará en la ciudad de Toulouse, Francia, del 20 al 29 de marzo 2009.

Más información aquí

VENECIA: "Birdwatchers", de Marco Bechis

Screen Daily Review

Conan cambia de horario

Finalmente aquí se dieron cuenta que un Late Night Talk Show no debe ir a las 21. Y lo movieron a las 0.30. A ver si lo logro enganchar ahora...

Acá, la info:

Late Night with Conan O’Brien – ¡Nuevo horario!

Lunes a viernes pasada la medianoche (martes a sábados a partir de las 00:30)

El talk-show preferido del público joven estadounidense, Late Night with Conan O’Brien, sigue llevando a las estrellas más famosas para sacarles confesiones insospechadas mientras escuchan los mejores shows en vivo. I.Sat lo emite en exclusiva para toda Latinoamérica con dos semanas de diferencia de su fecha de estreno en su canal de origen en los Estados Unidos, NBC. Conan, ex guionista de Saturday Night Live y Los Simpson, es uno de los mejores entrevistadores y monologuistas de la televisión actual. Ahora I.Sat lo programó en su horario original, por lo que está todo dispuesto para cerrar la jornada de la mano del mejor humor.

Giant Sand - proVISIONS (2008)

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Amazon Product Description
Giant Sand is a mood, says Howe Gelb. The creative force behind the extended family that has comprised Giant Sand over the years speaks of happy accidents and musical auras that arise to inspire the soundscape that is Giant Sand. The musical family tree of the Tucson, AZ group is long and illustrious, spawning bands like Calexico and The Friends of Dean Martinez. Gelb has steadily amassed a prolific catalog of Giant Sand and solo material that spans the wealth of southwestern roots and lo-fi. Giant Sand's new album ''proVISIONS'' is cinematic Americana at its most aching, an album of tremolo soaked guitars, moody piano and secrets whispered over desert winds. Recorded partly in Tucson and Denmark, this version of Giant Sand is comprised of Danish musicians and features talented friends/collaborators such as Neko Case, M. Ward and Isobell Campbell. A creeping cruise down a dark desert highway, these ''proVISIONS'' provide for the furthering ride of Giant Sand's completely unique musical legacy.

Wilco & Fleet Foxes: "I Shall Be Released" (Live @ Spokane)

Grand Prix FIPRESCI: las argentinas

Tras acceder a la lista completa de títulos que resultaron votados para el Gran Premio a la mejor película del año, aparecieron allí dos películas nacionales: "Leonera", de Pablo Trapero, quedó en el puesto 26 con los mismos votos (23) que "En la ciudad de Sylvia", de José Luis Guerín y superando a películas como "Un cuento de Navidad", de Arnaud Desplechin o "El romance de Astrea y Celadón", de Eric Rohmer.

En el puesto 46, con siete votos, quedó "La mujer sin cabeza", de Lucrecia Martel, compartiendo posición con títulos como "Ballast", de Lance Hammer (premiada en BAFICI) y "Shine a Light", de Martin Scorsese, y arriba de "Expiación, deseo y pecado", de Joe Wright o "My Winnipeg", de Guy Maddin.

No es mucho, pero son los mejores resultados del cine argentino en esa encuesta en varios años.

Películas argentinas en festivales

La opera prima de Manuel Ferrari, "Cómo estar muerto/Como estar muerto" (foto), será parte de la programación del Festival de Cine de Viena (conocido como la Viennale), que va del 17 al 29 de octubre. En otras noticias festivaleras del cine argentino, en Gijón (del 20 al 29 de noviembre) competirán tres películas: "Liverpool", de Lisandro Alonso; "Una semana solos", de Celina Murga y "Salamandra", de Pablo Agüero. Allí habrá también una Retrospectiva dedicada a Lucrecia Martel, con la presentación de "La mujer sin cabeza", su más reciente película.

Grand Prix FIPRESCI: el Top 20

"There Will Be Blood", de Paul Thomas Anderson, fue elegida por 242 críticos internacionales como la mejor película de la temporada 2007/2008 (se toma como período del 1° de julio de un año hasta el 30 de junio del siguiente). La que sigue es la lista completa de las veinte películas más votadas y la cantidad de puntos que sacaron cada una.

1. There Will Be Blood, Paul Thomas Anderson (288)
2. The Secret of the Grain (La graine et le mulet), Abdellatif Kechiche (167)
3. Eastern Promises, David Cronenberg (126)
4. The Class (Entre les murs), Laurent Cantet (121)
5. I'm Not There, Todd Haynes (106)
6. Into the Wild, Sean Penn (104)
7. Gomorrah (Gomorra), Matteo Garrone (101)
8. Lust, Caution (Se, jie), Ang Lee (89)
9. The Assassination of Jesse James by the Coward Robert Ford, Andrew Dominik (73)
10. Three Monkeys (Üç maymun), Nuri Bilge Ceylan (71)
11. Lorna's Silence (Le silence de Lorna), Jean-Pierre and Luc Dardenne (70)
12. Happy-Go-Lucky, Mike Leigh (64)
13. Redacted, Brian De Palma (60)
14. The Exchange, Clint Eastwood (58)
15. It's a Free World…, Ken Loach (54)
16. Hunger, Steve McQueen (51)
17. Delta, Kornél Mundruczó (50)
18. Juno, Jason Reitman (50)
19. Il Divo, Paolo Sorrentino (36)
20. Of Time and the City, Terence Davies (35)

Billie the Vision & The Dancers - Discografía completa

I Used to Wander These Streets (2008)

Where the Ocean Meets My Hand (2007)

The World According to Pablo (2005)

I Was So Unpopular In School and Now They're Giving Me This Beautiful Bicycle (2004)

Todos estos discos se pueden descargar gratuitamente (eso sí, tema por tema) desde el sitio oficial de esta banda de pop sueco (link) originaria de Malmö.

Grand Prix FIPRESCI 2007-2008

El director Paul Thomas Anderson recibirá en el Festival de San Sebastián el Gran Premio Fipresci a la Mejor Película del Año que la crítica internacional ha decidido otorgar a su película There Will Be Blood. El director de películas como Boogie Nights (1997), Magnolia (1999) y Punch-Drunk Love (2002) recogerá el premio en el transcurso de la ceremonia inaugural del Festival, en el Auditorio del Kursaal, el 18 de septiembre.

“La elección ha estado muy clara para los 242 miembros de la Federación Internacional de la Crítica de Cine que han votado, y han considerado la película de Paul Thomas Anderson la mejor del año” , señ ala la Fipresci.

Paul Thomas Anderson, cinco veces candidato al Oscar (por el guión original de Boogie Nights y Magnolia y por el guión adaptado, la dirección y la producción de There Will Be Blood), ya había recibido el Gran Premio Fipresci en 2000 por Magnolia, un galardón que también ha recaído en los últimos añ os en directores como Nuri Bilge Ceylan (Uzak), Jean-Luc Godard (Notre musique), Kim Ki-Duk (Hierro 3), Pedro Almodóvar (Volver) y Cristian Mungiu (4 meses, 3 semanas, 2 días).

There Will Be Blood (Pozos de ambición) ha logrado este año el Oso de Plata al Mejor Director en el Festival de Berlín y dos Oscar, el de actor protagonista para Daniel Day Lewis y el de mejor fotografí a para Robert Elswit, de un total de ocho candidaturas, incluidas las de Mejor Película, Mejor Director y Mejor Guión Adaptado. La película tendrá una proyección especial en el Teatro Victoria Eugenia.

Para más información www.fipresci.org

Por una vez, estoy de acuerdo con la mayoría...