Jornada Nocturna: mayo 2012

jueves, 31 de mayo de 2012

Escena de Abrir puertas y ventanas

Abrir puertas y ventanas, íntima y sutil

Durante 2011 vi más de 450 películas, y entre las mejores junto a The Tree of Life y A Separation, vi Abrir puertas y ventanas, opera prima de Milagros Mumenthale, coproducción Argentina junto a Suiza y Holanda. Este filme sutil, emotivo y de gran manufactura, cuenta la vida de tres hermanas que viven en una casa que resulta ser otro personaje más de esta historia, basada en las relaciones y en la vida cotidiana, en los vacíos y en el momento de crecer. Esta cinta cuenta con grandes actuaciones de María Canale, Martina Juncadella y Ailín Salas, quienes a veces con delicados diálogos y otras con finos silencios y miradas elocuentes, bordan una historia entrañable. De ellas sabemos que han perdido a su abuela recientemente y ahora se encuentran solas, lidiando entre ellas y mostrando sus distintas personalidades, bajo la ausencia de la abuela y la presencia de nuevos personajes, de como llegado el momento, hay que abrir puertas y ventanas.

Abrir puertas y ventanas se estreno hoy comercialmente en la Argentina, una gran oportunidad para verla.

La tapa de Haciendo Cine para las protagonistas de Abrir puertas y ventanas

Hoy se estrenó en la Argentina una de las mejores películas que vi el año pasado, se trata de Abrir puertas y ventanas, opera prima de Milagros Mumenthaler y con un reparto de lujo, María Canale, Martina Juncadella y Ailín Salas. Por su estreno y calidad, la tapa de la revista Haciendo Cine es para las tres talentosas actrices del filme de Mumenthaler, ganadora del Leopardo de Oro de Locarno como mejor película y Mejor Actriz para María Canale.

Directores en la tercera edición de Distrital

Desde mañana y hasta el 9 de junio se llevará a cabo la tercera edición de Distrital, acá un video con algunos de los directores participantes.

Eastwood 82

Hoy uno de mis directores favoritos cumple 82 años, Clint Eastwood, quien demostró ser mejor director que actor, y eso ya es decir mucho. Mis cintas favoritas de Eastwood son Gran Torino, Million Dollar Baby, Mystic River y Unforgiven, aunque tiene tantas otra que son muy disfrutables. Ahora mismo se encuentra en posproducción la cinta Trouble with the Curve, opera prima de Robert Lorenz, habitual colaborador en las películas de Clint, haciendo el trabajo de asistencia del director. Es esta película Eastwood será un busca talentos de baseball que en uno de sus viajes lleva consigo a su hija, quien será interpretada por Amy Adams. La cinta se estrena en septiembre y mientras tanto esperamos el siguiente proyecto de Clint Eastwood.

miércoles, 30 de mayo de 2012

Drama Actresses: Nudity, When is it Okay?

Diálogo de Al final de la escapada de Jean-Luc Godard

Michel Poiccard: Informers inform, burglars burgle, murderers murder, lovers love.

Adrián Biniez en plena preproducción de su segunda película

Después de una gran opera prima como Gigante, Adrián Biniez se encuentra en la preproducción de su siguiente filme, Centrocampista, que también se le conoce como El 5 de talleres. Esta cinta contará la historia de un jugador de fútbol que a lo largo de su carrera sólo jugó en categorías inferiores y que se encuentra a punto del retiro sin tener en claro que seguirá después. La financiación de la segunda película de Biniez vendrá de varios lados, por un lado Pandora Film Produktion de Alemania, Topkapi Films de Holanda, Matute Cine de Uruguay y Morocha Films de la Argentina. Se espera que para octubre o noviembre se inicie el rodaje de esta producción.

Trailer de Los miserables

Les Misérables dirigida por Tom Hooper y con Hugh Jackman, Russell Crowe y Anne Hathaway en el reparto tiene fecha de estreno para diciembre de este año, por lo pronto se ha presentado el primer trailer de esta producción inglesa.

Liniers y los libros

martes, 29 de mayo de 2012

Jimmy Fallon y Will Smith y sus abuelos en los años 20

lunes, 28 de mayo de 2012

Orson Welles directs Anthony Perkins on the set of The Trial

Q. A critic who admires your work very much said that, in The Trial, you were repeating yourself…

Welles: Exactly, I repeated myself. I believe we do it all the time. We always take up certain elements again. How can it be avoided? An actor’s voice always has the same timbre and, consequently, he repeats himself. It is the same for a singer, a painter…There are always certain things that come back, for they are part of one’s personality, of one’s style. If these things didn’t come into play, a personality would be so complex that it would become impossible to identify it.
It is not my intention to repeat myself, but in my work there should certainly be references to what I have done in the past. Say what you will, but The Trial is the best film I ever made…I have never been so happy as when I made this film.”
-excerpted from Orson Welles: Interviews

(1962) Photo by Nicolas Tikhomiroff

Bill Murray Hosted Tour of Moonrise Kingdom

domingo, 27 de mayo de 2012

Imágenes de la premiación en Cannes

Michael Haneke on Amour at Cannes 2012

El NYT entrevista a Carlos Reygadas

Carlos Reygadas ganó hoy como Mejor Director en la edición 65 del Festival de Cannes, con su cuarta película Pos Tenebras Lux y el NYT entrevistó al director mexicano, acá dejo dicha entrevista.

In an interview on the terrace of the Grand Hotel the next afternoon, Mr. Reygadas, who does not lack for opinions or self-assurance (he spoke candidly of fellow filmmakers here, like Sergei Loznitsa, Ulrich Seidl, Darezhan Omirbayev and Leos Carax), was more than willing to defend his movie and take on its detractors. Edited excerpts from the conversation follow:

Cannes has been good to you and important for your career. But based on the reactions last night, do you wonder if this is really the best environment for an adventurous filmmaker?

Not in the short term, but it is in the long run, as long as there’s exposure and as long as some people like the film. People asked me today how can you have the [nerve] to do something like that, and I said, I know that if I like it, there will be some other people who like it. In the time of the Greeks, Seneca said, the better a piece of art, the more rejection it will receive in its moment — that’s a social law. I don’t know why people are so worried, like some of my distributors. I tell them don’t worry, who cares? This is positive; you should be honored.

Did you expect such hostile reactions? “Post Tenebras Lux” actually seems much gentler than some of your earlier films.

Yeah, totally. Friends in Mexico who saw it didn’t think it would be so divisive. You know, people here are tired, they’re paid to judge, and they think they have to judge before they feel.
The other day someone asked me whose films I’m looking forward to. And I said I care about Loznitsa [in competition with “In the Fog”], Seidl [“Paradise: Love”] and Omirbayev [whose film “Student” is in the Un Certain Regard section]. One thing that annoys me: why is a man like Omirbayev not in competition? It’s not good for cinema. I understand there have to be films with stars. But how many films are there in competition this year about cinema, by people trying to make cinema? Kiarostami, Seidl, Carax, probably four or five or six.

To get back to “Post Tenebras Lux” let’s talk a bit about the film’s distinctive look. It’s shot in the boxy 1:33 aspect radio and, in many scenes, with a lens that creates a halo-like effect, with a sharp focus at the center of the image and a blurred circle on the edges.

Why did I want that look? Because aesthetics are in the end are a reinterpretation of the world.

Why did you use this effect only for exterior scenes?

It was intuitive. I feel that somehow we experience the senses more outdoors. The outside world is where impressionism started. I was also thinking of glass that was made before the 1950s, where they pretended to make it perfect but the machines weren’t. It’s a little bit curved and creates little reflections, so you look through a window and you actually feel the glass — things look different — and there’s a reinterpretation of reality.
The landscape where I was shooting is very particular. I did “Silent Light” in CinemaScope because those were very flat, huge landscapes, and here it’s surrounded by very steep mountains. I also wanted the sense of everything being totally centered in a square format — it’s like things are more respected if they’re composed that way.

This seems in many ways a deeply personal film: your children are in it; it was edited by your wife, Natalia López; and it was shot mostly in a location you know well.

It’s the village where I live, about 80 kilometers south of Mexico City in the state of Morelos. It’s a very personal film in the source, in where it comes from,, and the place and many of the things that happen are dear and close to me. But the values of the people in the film are not mine. I don’t share the way they see life or treat people or relate to each other.
The film was built up during a period of couple of years when I was building my house in the countryside, where the weather is rough, with the sun, the dust, the cold. At the same time I was walking a lot in the mountains with my children and my dogs, which you also see in the film, and I just wanted to share that. Some scenes — like in the sauna where the wife has sex with other people — are there because it’s also about desire. The film is about fantasy, but probably that scene is reality, who knows? I wanted to show that these people, while frustrated to a certain extent, are also capable of sometimes trespassing certain limits, which makes them a little more special than people who don’t.

Perhaps the refusal to distinguish between fantasy and reality is what bothers some people about the film.

There’s no code — that was the idea from the beginning. I’ve always thought that intelligent viewers don’t need to be led and will follow eventually. Something I find really strange is that the people who saw the film here last night went to school, read books, and I say this not because I’m comparing myself — but think of “The Metamorphosis” by Kafka, which was written almost a hundred years ago. Nobody knows if he really transforms into an insect or not, and there’s no explanation, and if there was an explanation, I’m sure we wouldn’t be reading that book anymore. Why is it that when people read it — or read Joyce, and again, I’m not saying that I’m like Joyce — but why can they read and accept these books, but why do they need explanations when they’re watching films?

I don’t want to press you for explanations, but can you talk about the personal significance of some of the more enigmatic passages, for instance the scenes of English schoolboys playing rugby? I know you went to school in England.

I went for a year and a half, and I liked rugby very much, I loved its physicality. The film is not a postmodernist, relativist thing. Things can be clearly explained. It’s a film about Juan, who lives, who imagines, who remembers, and probably we see bits of his life. He could have been on a rugby team when he was young. But the rugby scene is also there at the end to mean that life goes on, we keep on playing and we need to play, disregarding the fact that it’s raining blood in Mexico and heads are being torn off.
Rugby’s a good fit for the film: the physicality of it matches the violence of the land, of nature, of life, but at the same time there’s love. I love what this English boy says at the end, which could be a statement against bankers: they’re strong, they’re terrible, but we are a team and we will not let them destroy us, so carry on, let’s go. It’s a rebellious film in that sense.

Amour de Heneke gana la Palma de Oro en Cannes

Palme d'Or

AMOUR (Love) by Michael HANEKE

Grand Prix

REALITY by Matteo GARRONE

Award for Best Director

Carlos REYGADAS for POST TENEBRAS LUX

Jury Prize

THE ANGELS’ SHARE by Ken LOACH

Award for Best Actor

Mads MIKKELSEN in JAGTEN (The Hunt) by Thomas VINTERBERG

Award for Best Actress

Cristina FLUTUR & Cosmina STRATAN in DUPÃ DEALURI (Beyond The Hills) by Cristian MUNGIU

Award for Best Screenplay

Cristian MUNGIU for pour DUPÃ DEALURI (Beyond The Hills)

SHORT FILMS

Palme d'Or

SESSIZ-BE DENG (Silent) by L. Rezan YESILBAS

Algunos números del Marché du Film de Cannes 2012

La edición 65 del Festival de Cannes ha reportado buenos números para el Marché du Film, que ha registrado un 8% de aumento de participantes con respecto al año anterior.En total han participado 109 países en el mercado de este año, con primerizos como Burkina Faso, Congo, Gabón, Madagascar, Ruanda, Curacao, Guatemala, Haití, Jamaica, Mongolia, Bangladesh, Kosovo y Malta.

El incremento más grande en el número de participantes se ha producido entre los mercados emergentes, América Latina (21%), y Asia (15%). De los profesionales llegados de Chile el aumento ha sido del 118%, de la Argentina del 42% y de Colombia del 22%.

En lo que a títulos se refiere participaron en el Marché un total de 4,659 películas, de ellas 2753 ya estaban terminadas y 3028 se presentaban en otros momentos de su producción. Se proyectaron 941 películas, de ellas, 741 fueron estrenos de mercado. El aproximado de proyecciones ha sido de 1500.

Cannes 2012: Cosmopolis and In the Fog

Imágenes de Cannes en el último día de competencia oficial

sábado, 26 de mayo de 2012

La cinta mexicana Después de Lucía ganadora de Un Certain Regard en Cannes

-PREMIO UN CERTAIN REGARD: DESPUÉS DE LUCIA, de Michel FRANCO (México)

-PREMIO ESPECIAL DEL JURADO: LE GRAND SOIR, de Benoît DELÉPINE y Gustave KERVERN (Bélgica-Francia)

-PREMIO A MEJOR ACTRIZ: Suzanne CLÉMENT por su trabajo en LAURENCE ANYWAYS, de Xavier DOLAN (Canadá-Francia) y Emilie DEQUENNE por À PERDRE LA RAISON, de Joachim LAFOSSE (Bélgica-Francia)

-MENCION ESPECIAL: DJECA (Children of Sarajevo), de Aida BEGIC (Bosnia)

viernes, 25 de mayo de 2012

Walk The Line Joaquin Phoenix Folsom Prison Blues

Una emotiva escena de Walk the Line con un Joaquin Phoenix luciéndose como Johnny Cash.

Cannes: Dardenne-led Cinéfondation Jury Awards Three Short Films

Winning films are listed below:

First Prize (€15,000):
"Doroga Na (The Road to)"
directed by Taisia Igumentseva
VGIK, Russia

Second Prize (€11,250):
"Abigail"
directed by Matthew James Reilly
NYU, USA

Third Prize (€7,500):
"The Hosts"
directed by Miguel Angel Moulet
EICTV, Cuba

Reygadas en Cannes con Post Tenebras Lux

La única cinta latina en la Competencia Oficial del Festival de Cannes se presentó el jueves, se trata de la mexicana con coproducción francesa Post Tenebras Lux de Carlos Reygadas. La reacción del público fue variada, hubo muchos abucheos, algunos alagos y un grito de ¡Viva Buñuel! al termino de una de sus proyecciones. De los abucheos se congratula Reygadas. Quien le conoce sabe que el director mexicano es de carácter difícil y poco simpático, pero con una capacidad de creación latente, prueba de ello es Stellet licht su anterior filme que en Cannes ganó el Premio del Jurado. Con Post Tenebras Lux ha llamado la atención, pero los críticos no esperan mucho de ella en la palmarés del festival, pues no es lo formalmente buena como lo presentado por Haneke y entre lo raro compite con la francesa Holy Motors de Leos Carax. Por cierto que en este nuevo filme de Reygadas, el director puso en pantalla a sus dos hijos, en una historia que muy a su estilo, por momentos sorprende y a veces deja un poco de lado a su público.

Cannes 2012: Who will win the Palme d'Or?

jueves, 24 de mayo de 2012

Imágenes de la novena jornada de Cannes

Conferencia de prensa de Reygadas en Cannes

Link para el audio

Carlos Reygadas went along with the press conference game for his film Post Tenebras Lux, the day after it was screened in Competition. His actors joined him to answer questions from journalists.

The importance of blurring in still photography explained by Carlos Reygadas
As regards the scenes shot outside, the sides are blurred but never the centre. The inside scenes are not blurred. It is simply a matter of aesthetics. It is the way I see life, we see double in a way. Life is a little transformed in this film.

Carlos Reygadas tells us how to interpret the scene in which one of the characters pulls his head off
It's an image that any Mexican may have in mind when he goes to sleep at night. It's just an image. Unfortunately, today, we have the record of this kind of thing. It is a powerful image which I came up with spontaneously.

The way Carlos Reygadas builds the film and how he sees things
I think it's better to let everything flow; this doesn't mean to say that this film is postmodernist. There is a logic which comes from instinct. I felt the need to transform everything I see. It's strange. I recently built a house and when it came to putting in the windows, I realised that I didn't like modern glass. We can see everything as if there is nothing there. I am nostalgic, I like windows that we can feel and through which we can see things differently.