The 25 films in the main program:
· THE 50 YEAR ARGUMENT (d. Martin Scorsese, David Tedeschi, U.K.-U.S., 2014)
· ’71 (d. Yann Demange, U.K., 2014)
· 99 HOMES (d. Ramin Bahrani, U.S., 2014)
· BIRDMAN (d. Alejandro González Iñárritu, U.S., 2014)
· DANCING ARABS (d. Eran Riklis, Israel-Germany-France, 2014)
· THE DECENT ONE (d. Vanessa Lapa, Australia-Israel-Germany, 2014)
· DIPLOMACY (d. Volker Schlöndorff, France-Germany, 2014)
· FOXCATCHER (d. Bennett Miller, U.S., 2014)
· THE GATE (d. Régis Wargnier, France-Belgium-Cambodia, 2014)
· THE HOMESMAN (d. Tommy Lee Jones, U.S., 2014)
· THE IMITATION GAME (d. Morten Tyldum, U.K.-U.S., 2014)
· LEVIATHAN (d. Andrey Zvgagintsev, Russia, 2014)
· THE LOOK OF SILENCE (d. Joshua Oppenheimer, Denmark-Indonesia-Norway- Finalnd-U.S., 2014)
· MADAME BOVARY (d. Sophie Barthes, U.K.-Belgium, 2014)
· MERCHANTS OF DOUBT (d. Robert Kenner, U.S., 2014)
· MOMMY (d. Xavier Dolan, Canada, 2014)
· MR. TURNER (d. Mike Leigh, U.K., 2014)
· THE PRICE OF FAME (d. Xavier Beauvois, France, 2014)
· RED ARMY (d. Gabe Polsky, U.S.-Russia, 2014)
· ROSEWATER (d. Jon Stewart, U.S., 2014)
· THE SALT OF THE EARTH (d. Wim Wenders, Juliano Ribeiro Salgado, Brazil-Italy-France, 2014)
· TALES OF THE GRIM SLEEPER (d. Nick Broomfield, U.K.-U.S, 2014)
· TWO DAYS, ONE NIGHT (d. Luc Dardenne, Jean-Pierre Dardenne, Belgium-Italy-France, 2014)
· WILD (d. Jean-Marc Valleé, U.S., 2014)
· WILD TALES (d. Damián Szifrón, Argentina-Spain, 2014)
jueves, 28 de agosto de 2014
viernes, 22 de agosto de 2014
jueves, 21 de agosto de 2014
Luego de su éxitoso estreno en festivales mexicanos, González, la opera prima de Christian Díaz Pardo, tendrá su debut norteamericano en el Festival des Films du Monde de Montréal, donde la cinta se encuentra en competencia en la sección COMPÉTITION MONDIALE DES PREMIÈRES ŒUVRES.
El festival de Montreal se llevará a cabo del 21 de agosto al 2 de septiembre, dónde estarán presentes Díaz Pardo, director de González, Laura Pino, productora de la cinta, y Harold Torres, productor y protagonista.
Sinopsis de González
Página del festival de Montreal
sábado, 16 de agosto de 2014
1. The story has to dig deep into who you are.
“I think the main sign of a good story for you is that it has to hurt. It has to dig deep into who you are … I jokingly say that Hellboy is autobiographical, but it is. The way I think about myself, and the way I think about my story with my wife, everything is in there, and Pan’s Labyrinth was incredibly personal, to the point where I showed it to my wife and she turned to me after seeing the movie complete and she said, ‘You felt that bad?’ And I said, ‘Yeah, I felt that bad.’ Devil’s Backbone, the same thing. If you think about movies in terms of career or money or what is selling or what do they want, you’re making a huge mistake.”
2. Learn from the past and put a twist on it.
“The worst thing you can do it to think that you’re inventing a new song. It doesn’t happen. It’s already been done. So the only thing you can do is give it your own twist. And the more you know that came before, the more you can know about what will come after. Think for a moment about Lord of the Rings. If Peter Jackson had not been a fan of Hammer films, the texture of the movies wouldn’t be what it is. If he was only obsessed with fantasy and historical drama, some of the edge of Lord of the Rings wouldn’t be there, but that doesn’t mean it looks like a Hammer film.”
3. Remember, you’re better at being you than anyone else.
“Look at [Hellboy creator] Mike Mignola as an artist. You can see Jack Kirby, you can see a bunch of influences, but Mike is Mike. What I think Hitchcock said was — I’m paraphrasing here — but, ‘Specificity plus repetition equals style.’ Alejandro Gonzalez Iñárritu said this to me, and it’s not flattery or criticism, it’s just a fact: ‘You’re better at being you than anyone else.’ It sounds like a fucking self help book, but it’s true.I’m a big student of Hitchcock. I wrote a book on him when I was 23. I studied every film. I give master classes. I still can’t figure out the very essential things that make a Hitchcock film a Hitchcock film. I can tell you about them, but I cannot reproduce them or make them happen. It is like when you’re young and you read somebody like Ray Bradbury like I did, you think you can copy it like this (snaps). You can use certain adjectives, whatever you want, use all those beautiful metaphors, but they don’t come out right. They don’t work.
One of my best friends in life is Alfonso Cuarón. I saw Gravity on an early cut. I read the screenplay. I know how he did it. I saw the animatics. I saw the movie in different stages. I still don’t know how he came up with the first idea. I cannot reproduce that. That’s his and his alone.”
4. Work. A lot.
“A lot of people think that you sit down and you write the great American novel in the first try. Nope.My two daughters are very artistic, and they were having a conversation two days ago, and they were saying how much of what they write, they don’t like. And my older daughter said, ‘Yeah, but you’ve got to write through the crap to get to the good stuff.’ And I love that she came to that conclusion because it’s true.
There are two types of writers. There are the writers that get up every day and say, ‘I’m going to write for two hours, and then I’m going to go to work at Kinkos, where I have a job.’ And I was that guy. I had a real job while I managed to make a feature. So in the morning, I would write for two hours and then go to the bank and work in real estate. For that type of writer, it’s so precious those two hours that you do.
The other type of writer is, most of the time you say, ‘I’m gonna take Saturday and Sunday.’ And you end up surfing the web for 80% of your time; 10% of the time you write something what you hate; and then you don’t come back the next day. You come back a week later. You have to do it every day. Whether you do it in a notebook or a computer, you have to put your thoughts on paper.
I have so many things that I’ve written; the book is consigned to a few of the projects, but I have written or co-written 22 screenplays, and I’ve done only nine movies. So that means there are 13 projects that are un-produced. Some of them, like Mountains of Madness, have hundreds of pieces of art.”
5. Don’t worry about selling out. Worry about buying in.
Itsuo Inouye / AP
“I think that in the past, in the ‘50s and ‘60s, after the existentialists and beatniks and hippie movements, the big deal was, Don’t sell out. We live in a society that by virtue of the speed we communicate and sell, everything sells. The danger is buying in; that your concern becomes success, rather than fulfillment. They’re two different beasts, and my feeling is that you should seek fulfillment. You should not measure your worth in how much you have or how popular you are, but how happy you are with what you do.”In the case of the Marvel movies [Ed note: del Toro was offered to direct several high-profile Marvel films, likeThor], it was specifically because I didn’t want to lose my notebook. I was thinking, ‘Do I do Pan’s Labyrinth or do I do [Marvel]?’ And I was thinking, ‘If I do one more big movie and I postpone Pan’s, I’m going to get to like the money and the car picking me up in the morning and the first class tickets, all that stuff, and then I’m not going to make Pan’s Labyrinth ever,’ and I didn’t want to do that.
I was [happy that I didn’t win an Oscar for Pan’s Labyrinth]. Pan’s Labyrinth was becoming such a landmark for me, and I wanted a little bit of freedom. I said, ‘If it wins, it’s going to become the thing I have to keep trying to do again.’ And I really was relieved. It’s a perfect metaphor. At the end of the night, I said to my wife, ‘My shoes are too tight. My feet hurt.’ And the great relief of that night was removing my shoes and walking in my socks to the car. So in a way, winning can become a shoe that’s too tight and you may not want it.
I think I’ve seen success become very disorienting; the world is full of stories of first filmmakers who didn’t do a second film, because they [were worried about failing] because their first film was such a success. I had the blessing of doing my first movie and then doing Mimic, so there was no doubt that I could fail.”
-Leopardo de Oro: MULA SA KUNG ANO ANG NOON (From What Is Before), de Lav Diaz (Filipinas)
-Premio Especial del Jurado: LISTEN UP PHILIP, de Alex Ross Perry (Estados Unidos)
-Leopardo al Mejor Director: PEDRO COSTA por CAVALO DINHEIRO (Portugal)
-Leopardo a la Mejor Actriz: ARIANE LABED por FIDELIO, L’ODYSSÉE D’ALICE, de Lucie Borleteau (Francia)
-Leopardo al Mejor Actor: ARTEM BYSTROV por DURAK (The Fool), de Yury Bykov (Rusia)
-Mención Especial: VENTOS DE AGOSTO, de Gabriel Mascaro (Brasil)
Concorso Cineasti del Presente
-Leopardo de Oro - Cineasti del presente – Premio Nescens: NAVAJAZO, de Ricardo Silva (México)
-Premio Especial del Jurádo Ciné+ Cineasti del presente: LOS HONGOS, de Oscar Ruiz Navia (Colombia-Francia-Argentina-Alemania)
-Premio al Mejor Director Emergente: LA CREAZIONE DI SIGNIFICATO, de Simone Rapisarda Casanova (Italia-Canadá)
-Mención Especial: UN JEUNE POETE, de Damien Manivel (Francia)
Jurado de Opera Prima -Leopardo a la Mejor Opera Prima: SONGS FROM THE NORTH, de Soon-mi YOO (EE.UU.-Corea del Sur-Portugal)
-Mención Especial: PAROLE DE KAMIKAZE, de SAWADA Masa (Francia)
Leopardo de Mañana (Cotometrajes)
-Pardino d’oro per il miglior cortometraggio internazionale – Premio SRG SSR: ABANDONED GOODS, de Pia Borg y Edward Lawrenson (Reino Unido)
-Pardino d’argento SRG SSR per il Concorso internazionale: SHIPWRECK, de Morgan Knibbe (Holanda)
-Mención Especial: MUERTE BLANCA, de Roberto Collío (Chile)
-Premio FIPRESCI (crítica internacional): MULA SA KUNG ANO ANG NOON (From What Is Before), de Lav Diaz (Filipinas)
-Premio Ecuménico: DURAK (The Fool), de Yury Bykov (Rusia)
-Premio Europa Cinemas Label: FIDELIO, L’ODYSSÉE D’ALICE, de Lucie Borleteau (Francia)
-Junior Jury Awards. 1º Premio: DURAK (The Fool), de Yury Bykov (Rusia). 2º Premio: ALIVE, de PARK Jungbum (Corea del Sur). 3º Premio: PERFIDIA, de Bonifacio Angius (Italia). Cineasti del Presente: FRÈRE ET SŒUR, de Daniel Touati (Francia).
-Premio FICC/IFFS (International Federation of Film Societies): MULA SA KUNG ANO ANG NOON (From What Is Before), de Lav Diaz (Filipinas)
-Semana de la Crítica (compartido): 15 CORNERS OF THE WORLD, de Zuzanna Solakiewicz (Polonia-Alemania) y LA MORT DU DIEU SERPENT, de Damien Froidevaux (Francia)
viernes, 15 de agosto de 2014
1. Los ausentes. Nicolás Pereda
2. Carmín Tropical. Rigoberto Perezcano
3. El comienzo del tiempo. Bernardo Arellano
4. Dólares de Arena. Laura Amelia Guzmán, Israel Cárdenas
5. Eddie Reynolds y los Ángeles de Acero. Gustavo Moheno
6. En la estancia. Carlos Armella
7. Güeros. Alonso Ruizpalacios
8. Hilda. Andrés Clariond Rangel
9. Los Muertos. Santiago Mohar Volkow
10. Las oscuras primaveras. Ernesto Contreras
11. Plan Sexenal. Santiago Cendejas
12. Yo soy la felicidad de este mundo. Julián Hernández