miércoles, 23 de abril de 2014

La selección de la Quinzaine des réalisateurs



LONGS METRAGES / FEATURE FILMS
ALLELUIA de/by Fabrice DU WELZ
2013 – 95’ / PM
AT LI LAYLA (NEXT TO HER) de/by Asaf KORMAN *
2014 –90’ / PM
BANDE DE FILLES (GIRLHOOD) de/by Céline SCIAMMA
2014 –112’ / PM / OUVERTURE - OPENING
CATCH ME DADDY de/by Daniel & Matthew WOLFE *
2014 - 107’ / PM
COLD IN JULY de/by Jim MICKLE
2014 –107’ / PI
LES COMBATTANTS (LOVE AT FIRST FIGHT) de/by Thomas CAILLEY *
2014 – 98’ / PM
GETT - LE PROCÈS DE VIVIANE AMSALEM de/by Ronit & Shlomi ELKABETZ
2013 - 115’ / PM
KAGUYA-HIME NO MONOGATARI (LE CONTE DE LA PRINCESSE KAGUYA) de/by Isao TAKAHATA
2013 –137’ – anim / PI
KKEUT KKA JI GAN DA (A HARD DAY) de/by Seong-Hun KIM
2014– 111’ / PM
MANGE TES MORTS (EAT YOUR BONES) de/by Jean-Charles HUE
2014 – 94’ / PM
NATIONAL GALLERY de/by Frederick WISEMAN
2014 – 173’ – doc / PM
P'TIT QUINQUIN (LI'L QUINQUIN) de/by Bruno DUMONT
2013 –200’ / PM / SP
PRIDE de/by Matthew WARCHUS
2014 – 119’ / PM / CLÔTURE - CLOSING
QUEEN AND COUNTRY de/by John BOORMAN
2014 – 114’ / PM
REFUGIADO de/by Diego LERMAN
2014 – 95’ / PM
THE TEXAS CHAIN SAW MASSACRE (MASSACRE À LA TRONCONNEUSE) de/by Tobe Hooper
1974 – 90’ / version restaurée / SP
THESE FINAL HOURS de/by Zach HILDITCH
2013 – 86’ / PI
TU DORS NICOLE de/by Stéphane LAFLEUR
2014 – 93’ / PM
WHIPLASH de/by Damien CHAZELLE
2013 –105’ / PI

COURTS METRAGES / SHORTS FILMS
8 BALLES (8 BULLETS) de/by Frank TERNIER
2014 – France – 13’ / PM
A CAçA REVOLUçõES (THE REVOLUTION HUNTER) de/by Margarida REGO
2014– 11’ / PM
CAMBODIA 2099 de/by Davy CHOU
2014– 21’ / PM
EN AOÛT (IN AUGUST) de/by Jenna HASSE
2013 – 9’ / PM
FRAGMENTY (FRAGMENTS) de/by Aga WOSZCZYńSKA
2014 – 25’ / PM
GUY MOQUET de/by Demis HERENGER
2014 – 32’ / PM
JUTRA de/by Marie-Josée SAINT-PIERRE
2014 – 13’ / PI
MAN ON THE CHAIR de/by Dahee JEONG
2014 – 6’ / PM
SEM CORAçãO (HEARTLESS) de/by Nara NORMANDE & Tião TIAO
2014 –25’ / PM
TORN de/by Elmar IMANOV & Engin KUNDAG
2014 –22’ / PM
TRECE SI PRIN PERETE (IT CAN PASS THROUGH THE WALL) de/by Radu JUDE
2014 – 17’ / PM

PM : Première mondiale / World premiere
PI : Première internationale / International premiere
SP : séance spéciale / Special screening
* Film concourant à la Caméra D'Or

Cannes 2014 official selection

 

COMPETITION
Adieu au Langage (Goodbye to Language) dir: Jean-Luc Godard
The Captive dir: Atom Egoyan
Clouds of Sils Maria dir: Olivier Assayas
Deux Jours, One Night (Two Days, One Night) dir: Jean-Pierre and Luc Dardenne
Foxcatcher dir: Bennett Miller
Futatsume no Mado dir: Naomi Kawase
The Homesman dir: Tommy Lee Jones
Jimmy's Hall dir: Ken Loach
Kış Uykusu (Winter Sleep) dir: Nuri Bilge Ceylan
Le Meraviglie (The Wonders) dir: Alice Rohrwacher
Leviafan dir: Andrey Zvyagintsev
Maps to the Stars dir: David Cronenberg
Mommy dir: Xavier Dolan
Mr Turner dir: Mike Leigh
Relatos Salvajes (Wild Stories) dir: Damian Szifron
Saint Laurent dir: Bertrand Bonello
The Search dir: Michel Hazanavicius
Timbuktu dir: Abderrahmane Sissako
OUT OF COMPETITION
Grace of Monaco dir: Olivier Dahan (opening film)
Coming Home dir: Zhang Yimou
How to Train Your Dragon 2 dir: Dean DeBlois
MIDNIGHT SCREENINGS
The Rover dir: David Michôd
The Salvation dir: Kristian Levring
The Target dir: Yoon Hong-seung
SPECIAL SCREENINGS
Bridges of Sarajevo dirs: Aida Begić, Isild Le Besco, Leonardo di Constanzo et al
Caricaturistes: Fantassins de la democratie dir: Stéphanie Valloatto
Maidan dir: Sergei Loznitsa
Red Army dir: Gabe Polsky
Eau Argentée dir: Mohammed Ossana
People of the World dir: Yves Jeuland
UN CERTAIN REGARD
Party Girl dirs: Marie Amachoukeli, Claire Burger, Samuel Theis (opening film)
Mad Love (Amour Fou) dir: Jessica Hausner
Bird People dir: Pascale Ferran
The Blue Room (La Chambre Bleue) dir: Mathieu Amalric
Charlie's Country dir: Rolf de Heer
A Girl at My Door dir: July Jung
Eleanor Rigby dir: Ned Benson
Fantasia dir: Wang Chao
Force Majeure dir: Ruben Östlund
Away From His Absence dir: Keren Yedaya
Beautiful Youth dir: Jaime Rosales
Misunderstood dir: Asia Argento
Jauja dir: Lisandro Alonso
Lost River dir: Ryan Gosling
Run dir: Philippe Lacôte
The Salt of the Earth dirs: Wim Wenders, Juliano Ribeiro Salgado
Snow in Paradise dir: Andrew Hulme
Butterfly dir: Kanu Behl
Xenia dir: Panos H Koutras

Directors' fortnight

Bande de Files dir: Céline Sciamma (opening film)
Pride dir: Matthew Warchus (closing film)
Alleluia dir: Fabrice Du Welz
Catch Me Daddy dir: Daniel Wolfe
Next to Her dir: Asaf Korman
Cold in July dir: Jim Mickle
Fighters dir: Thomas Cailley
Gett — The Trial of Viviane Amsalem dir: Ronit & Shlomi Elkabetz
Kaguya-Hime No Monogatari dir: Isao Takahata
Eat Your Bones dir: Jean-Charles Hue
A Hard Day dir: Seong-Hun Kim
National Gallery dir: Frederick Wiseman
Queen and Country dir: John Boorman
Refugiado dir: Diego Lerman
These Final Hours dir: Zach Hilditch
Tu Dors Nicole dir: Stéphane Lafleur
Whiplash dir: Damien Chazelle
SPECIAL SCREENINGS
Li'l Quinquin dir: Bruno Dumont
The Texas Chainsaw Massacre dir: Tobe Hooper

International critics' week

Darker Than Midnight dir: Sebastiano Riso
The Tribe dir: Miroslav Slaboshpytskkiy
It Follows dir: David Robert Mitchell
Gente de Bien dir: Franco Lolli
When Animals Dream dir: Jonas Alexander Amby Denmark
Hope dir: Boris Lojkine
Self Made dir: Shira Geffen
SPECIAL SCREENINGS
Making Love (Faire: L'amour) dir: Djinn Carrénard (opening film)
Breathe dir: Mélanie Laurent
The Kindergarten Teacher dir: Nadav Lapid
Hippocrate dir: Thomas Lilti (closing film)

domingo, 20 de abril de 2014

8 LESSONS THELMA SCHOONMAKER TAUGHT US AT TFF 2014

1. Trust your aesthetic instincts.

Schoonmaker spent much of her talk pointing out that Michael Powell, the great English filmmaker (and Schoonmaker's husband until his death in 1990), was a key influence on Scorsese. After having shot some camera tests for Raging Bull in color, Scorsese and Powell checked the footage out in the editing room, and Powell told Scorsese he felt like the color of the boxing gloves - red - felt wrong. Scorsese immediately agreed, considering how, when he watched boxing matches growing up, they were always broadcast in black and white, and thus decided to employ the anachronistic format.
2. Don't let production design be hindered by realism.
Fascinatingly, Schoonmaker shared that Scorsese ordered various-sized boxing rings to be constructed for the shooting of the film, to better represent Jake La Motta's subjectivity. For many of the scenes Scorsese shot in a regulation-sized ring, but for a key scene where Jake beats Sugar Ray Robinson, Scorsese used a ring that was much larger than regulation size, to convey the grandeur of the moment.
3. Don't let cinematography be hindered by realism, either!
For the famous scene where Jake somehow loses a fight against Sugar Ray - despite clearly having performed better in the ring - Scorsese wanted to convey, visually, La Motta's disorientation and inability to comprehend what had occurred. To do this, he had flames set underneath the camera lens, so that the images would have heat flares and effects visible. He also filled the arena with smoke tremendously, so as to give the environment a disorienting, unusual look.
4. Don't let sound effects be hindered by, you got it, realism.
Schoonmaker extolled the talents of sound designer Fred Warner during her talk, highlighting in particular the extremely unusual sounds Warner used to emphasize the intensity of various fights. She pointed out not only the drum sounds that Warner used to stand in for punching sounds, but also the animal sounds Warner inserted into the fights in various expressive moments. In particular, a horse shuddering and an elephant braying can be clearly heard, though without Schoonmaker's guidance they might otherwise blend easily into the sound texture of the scenes.
5. Let your influences guide you.
Schoonmaker showed a number of scenes from The Life And Death Of Colonel Blimp, a Powell and Pressburger film that greatly impacted Scorsese. In particular, she focused on a sequence that concerns the build-up to a duel between Colonel Blimp and a German officer. The build-up to the duel, concerning the rules and etiquette, is meticulously presented, but the duel scene itself is over quite quickly. Schoonmaker explained that the lead-up to Jake's title match, and the title fight itself, was presented in similar fashion, with Scorsese more interested in presenting the build-up to the fight than in dwelling on the fight itself.
6. But don't let your influences guide you too much.
Colonel Blimp follows the titular Colonel over an extended period of time, and the film necessitated that Colonel Blimp appear later in the film as an aged, overweight man. Powell used a body double for some of the shots in the later scenes, and advised Scorsese to do the same for the scenes in which Jake is older and fatter, later in life. However, Scorsese and De Niro decided to have De Niro gain the weight and perform those scenes fully himself - and obviously, that worked out pretty well.
7. If you're going to shoot improv, use two cameras.
Scorsese shot a number of scenes in Raging Bull with allowing the actors to improvise, but each time he did this he made sure to use two cameras, so that all of the improvised dialogue could be covered on camera, and so cutting back and forth within the take was possible. There was one scene in Jake's kitchen with De Niro and Pesci that could only be shot with one camera, due to the size of the kitchen, and while the scene worked wonderfully in the end, Schoonmaker explained that it was relatively difficult to edit, due to the lack of a second angle.
8. Expressive visual elements carrying over a cut make images cut smoothly together.
Schoonmaker showed, slowed down, a fascinating sequence of shots from a fight scene in the film in which Jake knocks down an opponent. In the scene, tons of flashbulbs are going off, illuminating Jake and his opponent in their flare for a few frames. Showing the scene slowed down, Schoonmaker illuminated how cutting from one shot with a flashbulb flare to a second shot with a flashbulb flare made the cut look extremely smooth.

jueves, 17 de abril de 2014

Selección Oficial de Cannes 2014

En Compétition

Film d'ouverture    
     
Olivier DAHAN GRACE DE MONACO 1h43
     
  ***  
     
Olivier ASSAYAS SILS MARIA 2h03
     
Bertrand BONELLO SAINT LAURENT 2h15
     
Nuri Bilge CEYLAN WINTER SLEEP 3h16
     
David CRONENBERG MAPS TO THE STARS 1h51
     
Jean-Pierre DARDENNE,
Luc DARDENNE
DEUX JOURS, UNE NUIT 1h35
     
Xavier DOLAN MOMMY 2h20
     
Atom EGOYAN CAPTIVES 1h53
     
Jean-Luc GODARD ADIEU AU LANGAGE 1h10
     
Michel HAZANAVICIUS THE SEARCH 2h29
     
Tommy Lee JONES THE HOMESMAN 2h02
     
Naomi KAWASE FUTATSUME NO MADO
(Still the water)
1h50
     
Mike LEIGH MR. TURNER 2h29
     
Ken LOACH JIMMY’S HALL 1h46
     
Bennett MILLER FOXCATCHER 2h10
     
Alice ROHRWACHER LE MERAVIGLIE 1h50
     
Abderrahmane SISSAKO TIMBUKTU 1h40
     
Damian SZIFRON RELATOS SALVAJES
(Wild Tales)
1h55
     
Andrey ZVYAGINTSEV LEVIATHAN 2h20
     

 

 

 

Un Certain Regard

Film d'ouverture    
     
Marie AMACHOUKELI,
Claire BURGER,
Samuel THEIS
PARTY GIRL
1er film
1h35
     
  ***  
     
Lisandro ALONSO JAUJA 1h41
     
Mathieu AMALRIC LA CHAMBRE BLEUE 1h15
     
Asia ARGENTO INCOMPRESA
(L'Incomprise)
1h43
     
Kanu BEHL TITLI
1er film
2h04
     
Ned BENSON ELEANOR RIGBY
1er film
1h59
     
Pascale FERRAN BIRD PEOPLE 2h07
     
Ryan GOSLING LOST RIVER
1er film
1h45
     
Jessica HAUSNER AMOUR FOU 1h36
     
Rolf de HEER CHARLIE’S COUNTRY
(Le Pays de Charlie)
1h48
     
Andrew HULME SNOW IN PARADISE
1er film
1h28
     
July JUNG DOHEE-YA
(A Girl at my Door)
1er film
1h59
     
Panos KOUTRAS XENIA 2h03
     
Philippe LACÔTE RUN
1er film
1h40
     
Ruben ÖSTLUND TURIST
(Force Majeure)
2h
     
Jaime ROSALES HERMOSA JUVENTUD
(La Belle Jeunesse)
1h40
     
WANG Chao FANTASIA 1h25
     
Wim WENDERS
Juliano RIBEIRO SALGADO
THE SALT OF THE EARTH
(Le Sel de la terre)
1h40
     
Keren YEDAYA LOIN DE SON ABSENCE 1h35

 

 


Hors Compétition



Dean DEBLOIS DRAGONS 2 1h45 
     
ZHANG Yimou GUI LAI
(Coming Home)
1h51  



Séances de minuit



CHANG PYO JEOK (The Target) 1h39   
     
Kristian LEVRING THE SALVATION 1h30   
     
David MICHOD THE ROVER 1h40




Séances spéciales



Aida BEGIC, Leonardo DI COSTANZO, Jean-Luc GODARD, Kamen KALEV, Isild LE BESCO, Sergei LOZNITSA, Vincenzo MARRA, Ursula MEIER, Vladimir PERISIC, Cristi PUIU, Marc RECHA, Angela SCHANELEC, Teresa VILLAVERDE LES PONTS DE SARAJEVO  1h50   
     
Gabe POLSKY RED ARMY  1h25 
     
Sergei LOZNITSA MAIDAN  2h  
     
Ossama MOHAMMED EAU ARGENTÉE  1h50 
     
Stéphanie VALLOATTO CARICATURISTES - FANTASSINS DE LA DÉMOCRATIE  1h46   

 


Célébration des 70 ans du journal Le Monde :



Yves JEULAND LES GENS DU MONDE  1h22

miércoles, 5 de marzo de 2014

lunes, 3 de marzo de 2014

Ganadoras del Oscar 2014



MEJOR CINTA
"12 Years a Slave"
 
MEJOR ACTOR
Matthew McConaughey por "Dallas Buyers Club"


MEJOR ACTOR DE REPARTO
Jared Leto, "Dallas Buyers Club"


MEJOR ACTRIZ
Cate Blanchett por "Blue Jasmine"


ACTRIZ DE REPARTO
Lupita Nyong'o por "12 Years a Slave"


CINTA ANIMADA
Frozen


FOTOGRAFÍA
Emmanuel Lubezki, "Gravity"


DISEÑO VESTUARIO
Catherine Martin, "The Great Gatsby"


DIRECCIÓN
"Gravity" Alfonso Cuarón


DOCUMENTAL
"20 Feet from Stardom"


DOCUMENTAL CORTOMETRAJE
"The Lady in Number 6: Music Saved My Life"


EDICIÓN
"Gravity"


CINTA EXTRANJERA
"The Great Beauty", Italia

MEJOR MAQUILLAJE Y PEINADO
"Dallas Buyers Club"


PARTITURA ORIGINAL
Steven Price, "Gravity"


CANCIÓN ORIGINAL
"Let It Go" de "Frozen"


DISEÑO DE PRODUCCIÓN
"The Great Gatsby"


CORTOMETRAJE ANIMADO
"Mr. Hublot", de Laurent Witz y Alexandre Espigares


CORTOMETRAJE
"Helium", de Anders Walter y Kim Magnusson


EDICIÓN DE SONIDO
"Gravity" , Glenn Freemantle


MEZCLA DE SONIDO
"Gravity"


EFECTOS VISUALES
"Gravity"


ADAPTACION DE GUIÓN
John Ridley,"12 Years a Slave"


GUIÓN ORIGINAL
Spike Jonze, "Her"

domingo, 2 de marzo de 2014

Mi quiniela para los Oscar 2014



BEST PICTURE
12 Years a Slave
-Aunque para mi la mejor es Nebraska

BEST DIRECTOR
Alfonso Cuarón, Gravity

BEST ACTOR
Matthew McConaughey (Dallas Buyers Club)
-Acá creo que el mejor es Leonardo DiCaprio (The Wolf of Wall Street)

BEST ACTRESS
Cate Blanchett, Blue Jasmine

BEST ORIGINAL SCREENPLAY
American Hustle – Written by Eric Warren Singer and David O. Russell
- Aunque debería ganar Nebraska – Written by Bob Nelson

BEST ADAPTED SCREENPLAY
12 Years a Slave – Screenplay by John Ridley
- Debería ser Before Midnight” – Written by Richard Linklater, Julie Delpy, Ethan Hawke

BEST SUPPORTING ACTRESS
Lupita Nyong’o, 12 Years a Slave

BEST SUPPORTING ACTOR
Jared Leto, Dallas Buyers Club

BEST ANIMATED FILM
Frozen
- Debería ganar The Wind Rises

BEST CINEMATOGRAPHY
Gravity

BEST COSTUME DESIGN
Catherine Martin, The Great Gatsby

BEST DOCUMENTARY FEATURE
The Act of Killing. Joshua Oppenheimer and Signe Byrge Sørensen

BEST FILM EDITING
Gravity. Alfonso Cuarón and Mark Sanger

BEST FOREIGN LANGUAGE FILM
The Great Beauty (Italy)

BEST MAKEUP AND HAIRSTYLING
Dallas Buyers Club. Adruitha Lee and Robin Mathews

BEST ORIGINAL SCORE
Steven Price, por Gravity
- Debería ganar William Butler and Owen Pallett, por Her

BEST ORIGINAL SONG
“Let It Go” por Frozen.
 Music and Lyric by Kristen Anderson-Lopez and Robert Lopez
- Debería ganar “The Moon Song” por Her
Music by Karen O; Lyric by Karen O and Spike Jonze

BEST PRODUCTION DESIGN
Gravity
Production Design: Andy Nicholson; Set Decoration: Rosie Goodwin and Joanne Woollard

BEST SOUND EDITING
Gravity. Glenn Freemantle

BEST SOUND MIXING
Inside Llewyn Davis. Skip Lievsay, Greg Orloff and Peter F. Kurland

BEST VISUAL EFFECTS
Gravity. Tim Webber, Chris Lawrence, Dave Shirk and Neil Corbould

sábado, 1 de marzo de 2014

Ganadores en los Independent Spirit Awards




BEST FEATURE:
12 Years a Slave

BEST DIRECTOR
Steve McQueen, 12 Years a Slave

BEST SCREENPLAY
John Ridley, 12 Years a Slave

BEST FIRST FEATURE (Award given to the director and producer)
Fruitvale Station

BEST FIRST SCREENPLAY
Bob Nelson, Nebraska

JOHN CASSAVETES AWARD - Given to the best feature made for under $500,000.  Award given to the writer, director, and producer.  Executive Producers are not awarded.
This Is Martin Bonner

BEST FEMALE LEAD
Cate Blanchett, Blue Jasmine

BEST MALE LEAD
Matthew McConaughey, Dallas Buyers Club
 
BEST SUPPORTING FEMALE
Lupita Nyong'o, 12 Years a Slave
 
BEST SUPPORTING MALE
Jared Leto, Dallas Buyers Club
BEST CINEMATOGRAPHY
12 Years a Slave

BEST EDITING
Short Term 12
 
BEST DOCUMENTARY (Award given to the director and producer)
20 Feet From Stardom

BEST INTERNATIONAL FILM (Award given to the director)
Blue is the Warmest Color

jueves, 27 de febrero de 2014

Ganadoras FIPRESCI Argentina


Categoría extranjera
Tabú 
The Master

Categoría Argentina
Viola 
La chica del sur
P3ND3J05

De Frances Ha


 Frances Ha : It's that thing when you're with someone, and you love them and they know it, and they love you and you know it... but it's a party... and you're both talking to other people, and you're laughing and shining... and you look across the room and catch each other's eyes... but - but not because you're possessive, or it's precisely sexual... but because... that is your person in this life. And it's funny and sad, but only because this life will end, and it's this secret world that exists right there in public, unnoticed, that no one else knows about. It's sort of like how they say that other dimensions exist all around us, but we don't have the ability to perceive them. That's - That's what I want out of a relationship. Or just life, I guess.

lunes, 24 de febrero de 2014