martes, 30 de abril de 2013

Marlon Brando's screen test Rebel without a Cause


Jurados de la sección Un Certain Regard


Presidente: Thomas Vinterberg (Réalisateur – Danemark)

Jurados

Zhang Ziyi (Comédienne - Chine)

Ludivine Sagnier (Comédienne - France)

Ilda Santiago (Directrice du Festival de Rio - Brésil)

Enrique Gonzalez Macho (Producteur, distributeur, exploitant – Espagne)


Dix-huit films figurent au Certain Regard. Ils seront projetés dans la salle Debussy du jeudi 16 au samedi 25 mai 2013. Le film d’Ouverture est The Bling Ring de Sofia Coppola.

L’an dernier, le jury du Certain Regard était présidé par l’acteur-réalisateur Tim Roth.

El corto en 3D "Les Trois Désastres" de Godard, en el cierre de la Semaine de la Critique


A l’occasion de sa soirée de clôture, la Semaine de la Critique, toujours curieuse des nouvelles expressions cinématographiques, explore la 3D et questionne son évolution dans le monde du cinéma. Les cinéastes Jean-Luc Godard, Peter Greenaway et Edgar Pêra présenteront un tryptique surprenant, constitué de 3 courts métrages, résultats de leurs expérimentations dans la ville millénaire de Guimarães. À travers 3X3D, le collectif pose des questions sur la démarche créatrice. Comment la 3D affecte-t-elle le public et ses perceptions ?

Dans Just in Time, Peter Greenaway creuse l’idée de surimpression et de superposition des images. Avec Les Trois Désastres, Jean-Luc Godard esquisse ce que pourrait être un Histoire(s) du Cinéma en 3D, prémices de son prochain long métrage. Edgar Pêra conclut ce triptyque avec Cinesapiens, autre histoire du cinéma sous une forme plus ludique

lunes, 29 de abril de 2013

Programa de Cannes Classics


RESTORED PRINTS
Borom Sarret (1963) by Ousmane Sembène
Charulata (Charulata: The Lonely Wife) (1964) by Satyajit Ray
Cleopatra (1963) by Joseph L. Mankiewicz
Fedora (1978) by Billy Wilder
Goha (1957) by Jacques Baratier
Hiroshima Mon Amour (1959) by Alain Resnais
Il Deserto Dei Tartari (The Desert Of Tartars) (1976) by Valerio Zurlini
La Grande Abbuffata (La Grande Bouffe) (1973) de Marco Ferreri
La Reine Margot (1994) by Patrice Chéreau
Le Joli Mai (1963, new 2013 cut) by Chris Marker and Pierre Lhomme
Les Parapluies De Cherbourg (The Umbrellas Of Cherbourg) (1964) by Jacques Demy
Lucky Luciano (1973) by Francesco Rosi
Maynila: Sa Mga Kuko Ng Liwanag (The Nail Of Brightness) (1975) by Lino Brocka
Plein Soleil (Blazing Sun) (1960) by René Clément
Sanma No Agi (An Autumn Afternoon) (1962) by Yasujirō Ozu
The Apprenticeship Of Duddy Kravitz (1974) by Ted Kotcheff
The Last Detail (1973) by Hal Ashby
The Last Emperor 3D (1987) by Bernardo Bertolucci
Visions Of Eight (1973) by Youri Ozerov, Milos Forman, Mai Zetterling, Claude Lelouch, Arthur Penn, Michael Pfleghar, John Schlesinger, Kon Ichikawa

DOCUMENTARIES ABOUT FILM
Con La Pata Qeubrada (2013) by Diego Galán (Spain)
A Story Of Children And Film (2013) by Mark Cousins (UK)

CINEMA DE LA PLAGE SCREENINGS
Jour De Fete (1949) by Jacques Tati
The General (1926) by Buster Keaton
The Birds (1963) by Alfred Hitchcock
The Big Blue (1988) by Luc Besson
The Ladies’ Man (1961) by Jerry Lewis
The Man From Rio (1964) by Philippe de Broca
Safety Last (1923) by Fred C. Newmeyer and Sam Taylor

Zissou y el Tiburón Jaguar



Me gusta el cine de Wes Anderson, y The Life Aquatic with Steve Zissou es mi favorita, acá dejo una gran escena, cuando Zissou por fin se encuentra con el Tiburón Jaguar.

Todas las cintas en la Competenia Oficial de Cannes y en Un certain Regard


Los filmes seleccionados para la competencia oficial de Cannes y la paralela de Un Certain Regard, ya con las actualizaciones.


Película de inauguración    
     
Baz LUHRMANN THE GREAT GATSBY (F.C.)
(EL GRAN GATSBY)
2h22
     
  ***  
     
Valeria BRUNI-TEDESCHI UN CHÂTEAU EN ITALIE 1h44
     
Ethan COEN, Joel COEN INSIDE LLEWYN DAVIS  1h45
     
Arnaud des PALLIÈRES MICHAEL KOHLHAAS 2h01
     
Arnaud DESPLECHIN JIMMY P. (PSYCHOTHERAPY OF A PLAINS INDIAN) 1h54
     
Amat ESCALANTE HELI 1h45
     
Asghar FARHADI LE PASSÉ 2h10
     
James GRAY THE IMMIGRANT 1h59
     
Mahamat-Saleh HAROUN GRIGRIS 1h41
     
Jim JARMUSCH ONLY LOVERS LEFT ALIVE 2h02
     
JIA Zhangke TIAN ZHU DING
(A TOUCH OF SIN)
2h18
     
KORE-EDA Hirokazu SOSHITE CHICHI NI NARU
(LIKE FATHER, LIKE SON)
2h
     
Abdellatif KECHICHE LA VIE D’ADELE - CHAPITRE 1 ET 2 3h07
     
Takashi MIIKE WARA NO TATE
(SHIELD OF STRAW)
 2h05
     
François OZON  JEUNE & JOLIE 1h35
     
Alexander PAYNE    NEBRASKA 1h50
     
Roman POLANSKI  VENUS IN FUR 1h36
     
Steven SODERBERGH     BEHIND THE CANDELABRA
1h58
     
Paolo SORRENTINO LA GRANDE BELLEZZA
(THE GREAT BEAUTY)
2h22

   
Alex VAN WARMERDAM     BORGMAN 1h53
     
Nicolas WINDING REFN ONLY GOD FORGIVES 1h30
     
  ***  
Película de clausura    
     
Jérôme SALLE ZULU (F.C.) 1h50

 

Un Certain Regard

Película de inauguración    
     
Sofia COPPOLA THE BLING RING 1h30
     
  ***  
     
Hany ABU-ASSAD OMAR
1h37
     
Adolfo ALIX JR. DEATH MARCH 1h45
     
Ryan COOGLER
FRUITVALE STATION  1ª película 1h30
     
Claire DENIS LES SALAUDS 2h
     
Lav DIAZ   NORTE, HANGGANAN NG KASAYSAYAN 4h
     
James FRANCO AS I LAY DYING 2h
     
Katrin GEBBE TORE TANZT (RISING1st film 1h50
     
Valeria  GOLINO     MIELE  1ª película 1h36
     
Alain GUIRAUDIE     L'INCONNU DU LAC 1h32
     
Flora LAU BENDS 1ª película 1h32
     
Rithy PANH L'IMAGE MANQUANTE 1h30
     
Lucia PUENZO WAKOLDA 1h30
     
Diego QUEMADA-DIEZ LA JAULA DE ORO 1ª película
1h42
     
  ANONYMOUS 2h14
     
Chloé  ROBICHAUD  SARAH PRÉFÈRE LA COURSE
 1ª película 
1h34
     
Hiner SALEEM MY SWEET PEPPER LAND 1h40
     
Rebecca ZLOTOWSKI     GRAND CENTRAL 1h35
 

jueves, 25 de abril de 2013

Pienso que todos los filósofos dialécticos saben cómo tener humor


-¿Los filósofos tienen humor?

-Pienso que todos los filósofos dialécticos saben cómo tener humor. Hegel está lleno de bromas, hasta de bromas cínicas, si se quiere. Heidegger es un caso interesante porque es el único filósofo en cuya obra entera no encontrás ni una sola broma. Conozco a Heidegger muy bien, pero, para asegurarme, suelo preguntarles a amigos míos que son heideggerianos fanáticos si recuerdan algún chiste. Y aquí viene la ironía. El único lugar que conozco donde Heidegger formula algo como una broma es en una carta a un psiquiatra suizo que lo estaba tratando, Medard Boss. En esa carta, Heidegger le informa a su amigo suizo sobre su visita a Lacan a fines de los años 50. Y dice que Lacan le parecía un buen psiquiatra que a su vez... necesitaba de un buen psiquiatra. Es el único comentario irónico que le conozco a Heidegger.

( Fragmento de entrevista a Slavoj Zizek realizada por Hector Pavon) 

miércoles, 24 de abril de 2013

Baz Luhrmann's Despair, Drive and Gamble Behind 'Great Gatsby'

Fotos viejas

Esta foto fue tomada en Madrid en 1926, de izquierda a derecha están, Salvador Dalí, José Moreno Villa, Luis Buñuel, Federico García Lorca y José Antonio Rubio Sacristán.

¿Cómo va eso de Lorca de Cada canción?

Cada canción es un remanso del amor.
Cada lucero, un remanso del tiempo.
Un nudo del tiempo.
Y cada suspiro un remanso del grito.

Cannes anuncia a los jurados de la Competencia Oficial



Se anunciaron a los miembros del jurado de la Competencia Oficial de Cannes que preside Steven Spielberg, se trata de Nicole Kidman, la directora escocesa Lynne Ramsay, el director y actor francés Daniel Auteuil, Ang Lee, Vidya Balan, el japones Naomi Kawase, el director rumano Christian Mungiu y Christopher Waltz. La edición 66 de Cannes inicia el 15 de mayo.

martes, 23 de abril de 2013

Selección de la Quinzaine des Réalisateurs de Cannes



LONGS METRAGES
* Film concourant pour la Caméra d’Or

A Strange Course of Events de Raphaël Nadjari
Première mondiale
Les Apaches* de Thierry de Peretti
Première mondiale
Après la nuit* de Basil Da Cunha
Première mondiale
Blue Ruin de  Jeremy Saulnier
Première mondiale
Le Congrès de Ari Folman
La Danza de la realidad de Alejandro Jodorowsky
Première mondiale
L’Escale* de Kaveh Bakhtiari
Première mondiale
La Fille du 14 Juillet* de  Antonin Peretjatko
Première mondiale
Henri de Yolande Moreau
Première mondiale
Ilo Ilo* de Anthony Chen
Première mondiale
Jodorowsky’s Dune* de Frank Pavich
Première mondiale
Last Days on Mars* de Ruairi Robinson
Première mondiale
Les Garçons et Guillaume, à table !* de Guillaume Gallienne
Première mondiale
Magic Magic de Sebastian Silva
Première internationale
On the Job de Erik Matti
Première mondiale
The Selfish Giant de Clio Barnard
Première mondiale
Tip Top de Serge Bozon
Première mondiale
Ugly de Anurag Kashyap
Première mondiale
Un voyageur de Marcel Ophuls
Première mondiale
L’Eté des poissons volants de Marcela Said
Première mondiale
We Are What We Are de Jim Mickle
Première internationale

 COURTS METRAGES 
Gambozinos de João Nicolau
Première mondiale
Lágy Eső de Dénes Nagy
Première mondiale
LE QUEPA SUR LA VILNI ! de Yann Le Quellec
Première mondiale
Man kann nicht alles auf einmal tun, aber man kann alles auf einmal lassen de Marie-Elsa Sgualdo
Première internationale
O umbra de nor de Radu Jude
Première mondiale
Pouco mais de um mês de André Novais Oliveira
Première internationale
Que je tombe tout le temps ? de Eduardo Williams
Première mondiale
Solecito de Oscar Ruiz Navia
Première mondiale
Swimmer de Lynne Ramsay
Première internationale

In Performance: Michael Urie


lunes, 22 de abril de 2013

Selección de la Semaine de la Critique de Cannes




Film de apertura:
Suzanne, de Katell Quillévéré (Francia), con Sara Forestier
Largometrajes en competencia:
-Salvo, de Fabio Grassadonia y Antonio Piazza (Italia/Francia)
-The Lunchbox Dabba, de Ritesh Batra (India/Francia/Alemania)
-For Those in Peril, de Paul Wright (UK)
-Le Démantèlement / The Dismantlement, de Sébastien Pilote (Canadá)
-Nos héros sont morts ce soir, de David Perrault (Francia)
-Los dueños, de Agustín Toscano y Ezequiel Radusky (Argentina)
-The Major, de Yury Bykov (Rusia)

Funciones especiales:
-Les Rencontres d’après minuit, de Yann Gonzalez (Francia), con Béatrice Dalle, Alain-Fabien Delon (hijo del mítico de Alain Delon) y Eric Cantona.
-Les Amants du Texas / Ain’t Them Bodies Saints, de David Lowery (USA), con Rooney Mara, Casey Affleck, Ben Foster y Keth Carradine.

Cortos en competencia
:
-Vikingar, de Magali Magistry (Francia/Islanda)
-Agit Pop, de Nicolas Pariser (Francia)
-Pátio, de Ali Muritiba (Brasil)
-Come and Play Komm und Spiel, de Daria Belova (Alemania)
-The Opportunist, de David Lassiter (USA)
-Pleasure, de Ninja Thyberg (Suecia)
-Océan, de Emmanuel Laborie (Francia)
-Tau Seru, de Rodd Rathjen (India/Australia)
-La lampe au beurre de Yak, de HU Wei (China/Francia)
-Breathe me, de HAN Eun-young (Corea del Sur)

We dance for the pure joy of it


 We dance for the pure joy of it. In the kitchen to the record player. Because we've got it in us. All over ... it's not just in the legs. It comes from inside and runs all through you. In waves. From down below to up above. All the way to the scalp.

(Gunter Grass, My Century)

Cannes proyectará una copia restaurada de Vertigo, con Kim Novak como invitada especial



Acá el comunicado de Cannes:

To mark the restoration of one of the masterpieces of world cinema, Alfred Hitchcock’s Vertigo, the Festival de Cannes has invited its heroine, Kim Novak, to grace the event with her presence.

Novak will attend the screening of Vertigo, filmed in 1958, which will be shown in its restored form as part of Cannes Classics.

She will also take part in the closing ceremony for the 66th Festival de Cannes where she will award one of the Prizes on Sunday 26 May 2013.

Novak first attended the Festival in 1959 for the presentation of Middle of the Night by Delbert Mann (Palme d’or 1955 for Marty).

Her most memorable roles included the prostitute with a big heart in Kiss Me, Stupid by Billy Wilder, the witch in Richard Quine’s Bell Book and Candle and the adulteress in another Quine film, Strangers When We Meet. But Kim Novak’s greatest performance was surely as the disturbing heroine of Vertigo, 1958 – Hitchock’s finest film, which he described as “a love story with a strange atmosphere.”

Of her role, Kim Novak said, “What was interesting was that the scene reflected what I was going through at the time: it was the story of a woman who was forced to be someone she wasn’t.” Unwilling to accept the iron rule of the studios, she left Hollywood prematurely in order to devote herself to painting.

11 películas que ver en Tribeca

El Festival de Cine de Tribeca inició el pasado 16 de abril y que se llevará a cabo hasta el 28 de este mes, acá 11 películas dentro de su programación que hay que ver.

1. Adult World

Adult World
Who's in it: Emma Roberts, Evan Peters, John Cusack, Armando Riesco, Cloris Leachman, Shannon Woodward
What it's about: Desperate to move out of her parents' house, Amy (Roberts) accepts a job at local sex shop Adult World. Meanwhile, she tries to recruit reclusive writer Rat Billings (Cusack) as her mentor.

2. Almost Christmas

Almost Christmas
Who's in it: Paul Rudd, Paul Giamatti, Sally Hawkins
What it's about: Dennis (Giamatti), an ex-con, and Rene (Rudd), the man who stole Dennis' ex-wife, travel to New York City for a get-rich-quick scheme selling Christmas trees. Their plans change when Dennis meets Olga (Hawkins).

3. Big Bad Wolves

Big Bad Wolves
Who's in it: Lior Ashkenazi, Tzachi Grad, Rotem Keinan, Dov Glickman, Menashe Noy, Dvir Benedek
What it's about: Two men, one a vigilante cop and the other a grieving father, kidnap an alleged serial killer. As they brutally interrogate the religious studies teacher, shocking truths are revealed.

4. Bridegroom

Bridegroom
Who directed it: Linda Bloodworth Thomason
What it's about: This documentary tells the story of Shane and Tom, and the legal and emotional struggles Shane faced following Tom's untimely death. Through Shane, we see the direct results of marriage inequality.

5. Byzantium

Byzantium
Who's in it: Gemma Arterton, Saoirse Ronan, Sam Riley, Jonny Lee Miller, Daniel Mays, Caleb Landry Jones
What it's about: Vampire sisters Clara (Arterton) and Eleanor (Ronan) are forced to live a life on the run. They find refuge in the run-down Byzantium Hotel, but the secrets of their existence soon come to light.

6. A Case of You

A Case of You
Who's in it: Evan Rachel Wood, Sam Rockwell, Peter Dinklage, Busy Philipps, Brendan Fraser, Sienna Miller, Justin Long, Vince Vaughn
What it's about: Sam (Long) has a crush on barista Birdie (Wood), so he makes up a fake online dating profile designed with her in mind. When Birdie predictably falls for the internet persona, Sam has to pretend to be someone he's not.

7. Deep Powder

Deep Powder
Who's in it: Shiloh Fernandez, Haley Bennet, Josh Salatin, Colby Minifie, Logan Miller, Dana Eskelson
What it's about: Boarding school student Natasha (Bennet) falls for Danny (Fernandez), a ski lift operator from the wrong side of the tracks. She enlists him to join her on a dangerous annual drug run to score high-quality cocaine from Ecuador.

8. Elaine Stritch: Shoot Me

Elaine Stritch: Shoot Me
Who directed it: Chiemi Karasawa
What it's about: Legendary Broadway star Elaine Stritch discusses her career and aging as she's documented during her final U.S. tour. The film includes interviews from countless people who have worked with Stritch over the years.

9. The English Teacher

The English Teacher
Who's in it: Julianne Moore, Michael Angarano, Greg Kinnear, Lily Collins, Nathan Lane
What it's about: English teacher Linda Sinclair (Moore) is inspired by the return of former student Jason Sherwood (Angarano). With the help of drama teacher Carl (Lane), she decides to turn Jason's script into an ambitious high school play.

10. G.B.F.

G.B.F.
Who's in it: Michael J. Willett, Paul Iacono, Sasha Pieterse, Andrea Bowen, Xosha Roquemore, Molly Tarlov, Megan Mullally
What it's about: When Tanner (Willett) is outed, he becomes the hottest accessory at North Gateway High: the Gay Best Friend. Soon the three most popular girls engage in a heated battle for Tanner's attention.

11. Some Velvet Morning

Some Velvet Morning
Who's in it: Stanley Tucci, Alice Eve
What it's about: After four years without contact, Fred (Tucci) shows up unexpectedly at Velvet's (Eve) apartment with suitcases. Through their conversation, the history of their relationship is revealed.

25 escenas con actores que aún no eran famosos


domingo, 21 de abril de 2013

Ganadores del BAFICI 2013


COMPETENCIA INTERNACIONAL:

-Mejor película: Berberian Sound Studio (Gran Bretaña), de Peter Strickland.

-Premio Especial del Jurado: Leones (Argentina), de Jazmín López

-Mejor Director: Matt Porterfield, por I Used to be Darker (Estados Unidos)

-Mejores actrices: María Villar, Agustina Muñoz, Elisa Carricajo y Romina Paula, por Viola (Argentina), de Matías Piñeiro

-Mejor actor: Francesco Carril, por Los ilusos(España), de Jonás Trueba

-Mención Especial: Playback (Suiza), de Antoine Cattin y Pavel Kostomarov


COMPETENCIA ARGENTINA:

-Mejor película: La Paz, de Santiago Loza

-Mejor director: Raúl Perrone, por P3ND3JO5

-Mención Especial: El loro y el cisne, de Alejo Moguillansky


VANGUARDIA Y GENERO

-Gran Premio: Arraianos (España), de Eloy Enciso

-Mejor Largometraje: Joven y alocada (Chile), de Marialy Rivas

-Mejor Cortometraje: A Story for the Modlins (España), de Sergio Oksman


COMPETENCIA DE DERECHOS HUMANOS

-Mejor Película: Materia oscura (Italia), de Massimo D'Anolfi y Martina Parenti

-Mención Especial: My Afghanistan, Life in the Forbidden Zone (Dinamarca), de Nagieb Khaja


COMPETENCIA DE CORTOMETRAJES

-Primer Premio: 9 vacunas (Argentina), de Iair Said

-Segundo Premio: Yo y Maru 2012 (Argentina), de Juan Renau

-Menciones Especiales: La mujer perseguida, de Jerónimo Quevedo, y Un sueño recurrente, de Santiago Esteves


PREMIOS DEL PUBLICO CINECOLOR / I.SAT:

-Mejor películas argentina: Ramón Ayala, de Marcos López (en la foto de aquí arriba)

-Mejor película internacional: AninA (Uruguay-Colombia), de Alfredo Soderguit

-Mejor film del BAFICITO: Rodencia y el diente de la princesa (Argentina), de David Bisbano


Premios no oficiales:

-Premio FIPRESCI de la crítica internacional: Viola (Argentina), de Matías Piñeiro

-Premio FEISAL: Soy mucho mejor que vos (Chile), de Che Sandoval

-Premio SIGNIS: Su Re (Italia), de Giovanni Columbu

-Premio ADF (Directores de fotografía): Nic Knowland, por su trabajo en Berberian Sound Studio

-Premio de la Asociación de Cronistas Cinematográficos (ACCA): La Paz (Argentina), de Santiago Loza

jueves, 18 de abril de 2013

Ganadores de la Palma de Oro en Cannes de 2000 a 2012

Después del anuncio de la Sección Oficial de Cannes en su edición 66, va un recuento de las ganadoras de Cannes de 2000 a la fecha. El festival ha premiado cintas muy distintas entre si, de mis favoritas están The tree of life de Malick, Amour y The White Ribbon de Heneke y The Pianist de Polanski, y también me parece que se han mandado desiciones muy malas, como premiar a Von Trier con Dancer in the dark el año que estuvo en competencia la maravillosa In the Mood for Love de Wong Kar Wai.


En 2000 la ganadora fue Dancer in the dark de Lars von Trier con una dramática Björk y Catherine Deneuve en el reparto, el presidente del jurado fue Luc Besson. Por cierto que esta es una de las cintas que recuerdo con un mayor número de países coproductores, Dinamarca, Alemania, Italia, USA, UK, Francia, Suecia, España, Argentina, Finlandia, Islandia y Noruega.


Para 2001 el presidente del jurado fue Liv Ullmann a quien le pareció que La habitación del hijo de Nanni Moretti era la merecedora de la Palma de Oro. en el reparto de este drama están Nanni Moretti, Laura Morante y Jasmine Trinca y es una coproducción Italia-Francia.


En 2002 ganó The pianist de Roman Polanski, cruda biografía de un pianista judío en medio de la Segunda Guerra Mundial, con un gran reparto Adrien Brody, Thomas Kretschmann y Frank Finlay entre otros. El jurado en aquella ocasión fue presidido por David Linch. La cinta es coproducción Francia-Polonia-Alemania-UK. Entre los premios recibidos están varios en diferentes categorías de los Oscar y los BAFTA.


2003 fue el año de Elephant de Gus Van Sant, cinta de USA donde un anodino John Robinson interpreta a un joven que entra a una escuela a disparar a diestra y siniestra, no esta mal esta película que Patrice Chéreau presidente del jurado escogió, aunque para mi gusto había mucho mejores que merecían ser premiadas, como Carandiru de Hector Bebenco, Mystic River de Clint Eastwood o Barbarian Invasions de Denys Arcand.


En 2004 la ganadora de la Palma de Oro fue otra vez un filme de USA, esta vez el documental Fahrenheit 9/11 de Michael Moore, acerca del sistema de seguridad estadounidense y de los ataques del 11 de septiembre en 2001. El presidente del jurado en aquella ocasión fue Quentin Tarantino, de nuevo ese año había grandes filmes que merecieron más, como 2046 de Wong Kar Way y Old Boy de Park Chan Wook.


Una cinta francesa coproducida con Belgica fue la ganadora de 2005, se trata de El niño de los hermanos Luc y Jean-Pierre Dardenne. El reparto de este drama tiene a Jérémie Renier, Déborah François y Jérémie Segard. El presidente del jurado en aquella ocasión fue Emir Kusturica. Entre los filmes que competían estaban History of violence de Cronenberg y Hidden de Heneke.


En 2006 la ganadora fue The Wind That Shakes the Barley de Ken Loach con Cillian Murphy, Padraic Delaney y Liam Cunningham en el reparto. Esta cinta histórica esta hablada en inglés, Gaélico irlandés y latín. El presidente del jurado fue Wong Kar Wai y tuvo que escoger entre varios filmes muy buenos, como Volver de Almodóvar y El laberinto del Fuano de Guillermo del Toro. La cinta de Loach es coproducción Irlanda-UK-Alemania-Italia-España-Francia-Belgica-Suiza.


En 2007 otra decisión dividida, la ganadora fue la rumana coproducida con Belgica 4 meses, 3 semanas, 2 días de Cristian Mungiu. El reparto se compone de Anamaria Marinca, Vlad Ivanov y Laura Vasiliu. Stephen Frears fue el presidente del jurado.


Para 2008 el filme francés Entre les murs de Laurent Cantet ganó la Palma de Oro, con François Bégaudeau, Agame Malembo-Emene y Angélica Sancio en el reparto. El presidente del jurado fue Sean Penn y entre las cintas de la sección oficial estaban Synecdoche New York de Charlie Kaufman y Blindness de Meirelles.


En 2009 la ganadora fue The White Ribbon de Michael Haneke coprocucción entre Alemania-Austria-Francia-Italia y con Christian Friedel, Ernst Jacobi y Leonie Benesch en el reparto. Ese año en Cannes participaron grandes filmes, recuerdo la travesía para poder entrar a ver el estreno de Inglourious Basterds en el Lumiere. Otra muy buena es Fish Tank, y que decir de Enter de Void de Gaspar Noé. Ese año la presidenta del jurado fue Isabelle Huppert.


En 2010 la ganadora fue la cinta El tio Boonmee recuerda sus vidas pasadas de Apichatpong Weerasethakul con Thanapat Saisaymar, Jenjira Pongpas and Sakda Kaewbuadee en el raparto. El presidente del jurado fue Tim Burton quien quedó impresionado con este filme thailandes coproducido con UK-Francia-Alemania-España-Holanda. Esta cinta es muy diferente no sólo al cine occidental, también al asiático que acostumbramos ver.
En 2011 la ganadora fue The Tree of Life de , con , y en el reparto. El presidente del jurado fue Robert de Niro. Ese año también estaban en competencia Le Hevre de Aki Kaurismaki, Habemus Papam de Nanni Moretti y Melancholia de , aunque para gusto de muchos, incluyéndome, The tree of life no tenía competencia. 
En 2012 la ganadora fue Amour de , con , y en el reparto. El presidente del jurado fue Nanni Moretti, quien escogió esta enorme cinta coproducción entre Francia, Alemania y Austria, ganadora también del Oscar a Mejor Película Extranjera. 
 

Seleccionados en Un Certain Régard de Cannes



Apertura: THE BLING RING, de Sofia COPPOLA (1h30)

-OMAR, de Hany ABU-ASSAD (1h37)

-DEATH MARCH, de Adolfo ALIX JR. (1h45)

-FRUITVALE STATION, de Ryan COOGLER (1º film) (1h30)

-LES SALAUDS, de Claire DENIS (2h)

-NORTE, HANGGANAN NG KASAYSAYAN, de Lav DIAZ (4h)

-AS I LAY DYING, de James FRANCO (2h)

-MIELE, de Valeria GOLINO (1º film) (1h36)

-L'INCONNU DU LAC, de Alain GUIRAUDIE (1h32)

-BENDS, de Flora LAU (1º film) (1h32)

-L'IMAGE MANQUANTE, de Rithy PANH (1h30)

-LA JAULA DE ORO (LA CAGE DORÉE), de Diego QUEMADA-DIEZ  (1º film) (1h42)

-ANONYMOUS, de Mohammad RASOULOF (2h14)

-SARAH PRÉFÈRE LA COURSE, de Chloé ROBICHAUD (1º film) (1h34)

-GRAND CENTRAL, de Rebecca ZLOTOWSKI (1h35)


Fuera de competencia :

-ALL IS LOST, de J.C CHANDOR (1h45)

-BLOOD TIES, de Guillaume CANET (2h24)


Funciones de medianoche:

-MONSOON SHOOTOUT, de Amit KUMAR( 1º film) (1h22)

-BLIND DETECTIVE, de Johnnie TO (2h07)

Sección Oficial de la edición 66 del Festival de Cannes 2013



Apertura:  THE GREAT GATSBY, de Baz LUHRMANN -Fuera de competencia- (1h45)

-UN CHÂTEAU EN ITALIE, de Valeria BRUNI-TEDESCHI ( 1h44)

-INSIDE LLEWYN DAVIS, de Ethan COEN y Joel COEN (1h45)

-MICHAEL KOHLHAAS, de Arnaud des PALLIÈRES (2h05)

-JIMMY P. (PSYCHOTHERAPY OF A PLAINS INDIAN), de Arnaud DESPLECHIN (2h)

-HELI, de Amat ESCALANTE (1h45)

-LE PASSÉ, de Asghar FARHADI (2h10)

-THE IMMIGRANT, de James GRAY (2h)

-GRIGRIS, de Mahamat-Saleh HAROUN (1h40)

-TIAN ZHU DING (A TOUCH OF SIN), de JIA Zhang-ke 2h15

-SOSHITE CHICHI NI NARU (LIKE FATHER, LIKE SON), de  KORE-EDA Hirokazu (2h)

-LA VIE D’ADЀLE, de Abdellatif KECHICHE (3h07)

-WARA NO TATE (SHIELD OF STRAW), de Takashi MIIKE  (2h05)

-JEUNE ET JOLIE, de François OZON (1h30)

-NEBRASKA, de Alexander PAYNE( 1h50)

-LA VÉNUS ÀLA FOURRURE, de Roman POLANSKI (1h30)

-BEHIND THE CANDELABRA (MA VIE AVEC LIBERACE), de Steven SODERBERGH  (1h58)

-LA GRANDE BELLEZZA (THE GREAT BEAUTY), de Paolo SORRENTINO (2h30)

-BORGMAN, de Alex VAN WARMERDAM (1h58)

-ONLY GOD FORGIVES, de Nicolas WINDING REFN (1h30)

Clausura: ZULU, de Jérôme SALLE -Fuera de competencia- (1h45)

miércoles, 17 de abril de 2013

Cinco filmes de Anne Shirley


A 95 años del nacimiento de , cinco películas imperdibles con ella.


1- All That Money Can Buy
2- City Girl
3- Murder, My Sweet
4- Stella Dallas
5- Three on a Match

martes, 16 de abril de 2013

25 escenas celebres con improvisación


The 2013 Cinéfondation Selection

A menos de un mes de la edición 66 del Festival de Cannes, se dan a conocer los seleccionados para la Cinéfondation, que incluye a Alejandro Iglesias de México, Sebastián Schjaer de la Argentina y Camila Luna de Chile.


THE CINÉFONDATION SELECTION:


Evgeny BYALO THE NORM OF LIFE 23’   High Courses for Scriptwriters and Film Directors
Russia
Ana CARO THE MAGNIFICENT LION BOY 10’ NFTS
United Kingdom
Eliška CHYTKOVÁ O ŠUNCE
(Ham Story)
6’ Tomas Bata University in Zlίn
Czech Republic
Navid DANESH DUET 24’ Karnameh Film School
Iran
Gan DE LANGE BABAGA 26’ The Sam Spiegel Film & TV School
Israel
Anahita GHAZVINIZADEH NEEDLE 21’ The School of the Art Institute of Chicago
USA
Sarah HIRTT EN ATTENDANT LE DÉGEL
(Waiting for the Thaw)
20’ INSAS
Belgium
Alejandro IGLESIAS
MENDIZÁBAL
CONTRAFÁBULA DE UNA NIÑA DISECADA
(Fable of a Blood-Drained Girl)
25’ CCC
Mexico
Joey IZZO STEPSISTER 18’ San Francisco State University
USA
JOW Zhi Wei AU-DELÀ DE L’HIVER
(After the Winter)
19' Le Fresnoy
France
Tudor Cristian JURGIU ÎN ACVARIU
(In the Fishbowl)
20' UNATC
Romania
KIM Soo-Jin SEON
(The Line)
27' Chung-Ang University
South Korea
Camila LUNA TOLEDO ASUNCIÓN 21' Pontificia Universidad Católica
Chile
Jefferson MONEO GOING SOUTH 15' Columbia University
USA
Małgorzata RŻANEK DANSE MACABRE 5' Academy of Fine Arts in Warsaw
Poland
Sebastián SCHJAER MAÑANA TODAS LAS COSAS
(Tomorrow All the Things)
17' UCINE
Argentina
Vladilen VIERNY EXIL
(Exile)
16' La fémis
France
Matúš VIZÁR PANDY
(Pandas)
12' FAMU
Czech Republic

Johnny Depp about Charly Chaplin


lunes, 15 de abril de 2013

Transacciones absurdas, ilógicas e incomprensibles

Las manías de la lujuria incluyen muchas transacciones absurdas, ilógicas e incomprensibles.

(El Teatro de Sabbath de Philip Roth)

Water war with Tom Cruise and Jimmy Fallon


domingo, 14 de abril de 2013

25 quotes about writing


  1. “Writing is easy. All you have to do is cross out the wrong words.” Mark Twain
  2. “I only achieve simplicity with enormous effort.” Clarice Lispector
  3. “A woman must have money and a room of her own if she is to write fiction.” Virginia Woolf
  4. “I’ve put in so many enigmas and puzzles that it will keep the professors busy for centuries arguing over what I meant, and that’s the only way of insuring one’s immortality.” James Joyce
  5. “The first draft of anything is shit.” Ernest Hemingway
  6. “Always be a poet, even in prose.” Charles Baudelaire
  7. “Literature — creative literature — unconcerned with sex, is inconceivable.” Gertrude Stein
  8. “If you do not breathe through writing, if you do not cry out in writing, or sing in writing, then don’t write, because our culture has no use for it.” Anaïs Nin
  9. “One can be absolutely truthful and sincere even though admittedly the most outrageous liar. Fiction and invention are of the very fabric of life.” Henry Miller
  10. “Writers aren’t people exactly. Or, if they’re any good, they’re a whole lot of people trying so hard to be one person.” F. Scott Fitzgerald
  11. “The true writer has nothing to say. What counts is the way he says it.” Alain Robbe-Grillet
  12. “James Joyce was a synthesizer, trying to bring in as much as he could. I am an analyzer, trying to leave out as much as I can.” Samuel Beckett
  13. “Life is painful and disappointing. It is useless, therefore, to write new realistic novels. We generally know where we stand in relation to reality and don’t care to know any more.” Michel Houellebecq
  14. “Do you realize that all great literature is all about what a bummer it is to be a human being? Isn’t it such a relief to have somebody say that?” Kurt Vonnegut
  15. “Skill alone cannot teach or produce a great short story, which condenses the obsession of the creature; it is a hallucinatory presence manifest from the first sentence to fascinate the reader, to make him lose contact with the dull reality that surrounds him, submerging him in another that is more intense and compelling.” Julio Cortázar
  16. “Don’t bend; don’t water it down; don’t try to make it logical; don’t edit your own soul according to the fashion. Rather, follow your most intense obsessions mercilessly.” Franz Kafka
  17. “Reading is more important than writing.” Roberto Bolaño
  18. “The artist is always beginning. Any work of art which is not a beginning, an invention, a discovery is of little worth.” Ezra Pound
  19. “The next real literary “rebels” in this country might well emerge as some weird bunch of anti-rebels, born oglers who dare somehow to back away from ironic watching, who have the childish gall actually to endorse and instantiate single-entendre principles. Who treat of plain old untrendy human troubles and emotions in U.S. life with reverence and conviction. Who eschew self-consciousness and hip fatigue. These anti-rebels would be outdated, of course, before they even started. Dead on the page. Too sincere. Clearly repressed. Backward, quaint, naive, anachronistic. Maybe that’ll be the point. Maybe that’s why they’ll be the next real rebels. Real rebels, as far as I can see, risk disapproval. The old postmodern insurgents risked the gasp and squeal: shock, disgust, outrage, censorship, accusations of socialism, anarchism, nihilism. Today’s risks are different. The new rebels might be artists willing to risk the yawn, the rolled eyes, the cool smile, the nudged ribs, the parody of gifted ironists, the “Oh how banal.” To risk accusations of sentimentality, melodrama. Of overcredulity. Of softness. Of willingness to be suckered by a world of lurkers and starers who fear gaze and ridicule above imprisonment without law. Who knows.” David Foster Wallace
  20. “The person born with a talent they are meant to use will find their greatest happiness in using it.” Johann Wolfgang von Goethe
  21. “We live not only in a world of thoughts, but also in a world of things. Words without experience are meaningless.” Vladimir Nabokov
  22. “…Describe your sorrows and desires, the thoughts that pass through your mind and your belief in some kind of beauty – describe all these with heartfelt, silent, humble sincerity and, when you express yourself, use the Things around you, the images from your dreams, and the objects that you remember. If your everyday life seems poor, don’t blame it; blame yourself; admit to yourself that you are not enough of a poet to call forth its riches; because for the creator there is not poverty and no poor, indifferent place. And even if you found yourself in some prison, whose walls let in none of the world’s sounds – wouldn’t you still have your childhood, that jewel beyond all price, that treasure house of memories? Turn your attentions to it. Try to raise up the sunken feelings of this enormous past; your personality will grow stronger, your solitude will expand and become a place where you can live in the twilight, where the noise of other people passes by, far in the distance. — And if out of this turning-within, out of this immersion in your own world, poems come, then you will not think of asking anyone whether they are good or not. Nor will you try to interest magazines in these works: for you will see them as your dear natural possession, a piece of your life, a voice from it. A work of art is good if it has arisen out of necessity. That is the only way one can judge it.” Rainer Maria Rilke
  23. “The words of my book nothing, the drift of it everything.” Walt Whitman
  24. “All I know is what the words know, and dead things, and that makes a handsome little sum, with a beginning and a middle and an end, as in the well-built phrase and the long sonata of the dead.” Samuel Beckett
  25. “Do you know what I was smiling at? You wrote down that you were a writer by profession. It sounded to me like the loveliest euphemism I had ever heard. When was writing ever your profession? It’s never been anything but your religion. Never. I’m a little overexcited now. Since it is your religion, do you know what you will be asked when you die? But let me tell you first what you won’t be asked. You won’t be asked if you were working on a wonderful, moving piece of writing when you died. You won’t be asked if it was long or short, sad or funny, published or unpublished. You won’t be asked if you were in good or bad form while you were working on it. You won’t even be asked if it was the one piece of writing you would have been working on if you had known your time would be up when it was finished—I think only poor Soren K. will get asked that. I’m so sure you’ll only get asked two questions. Were most of your stars out? Were you busy writing your heart out? If only you knew how easy it would be for you to say yes to both questions. ” J.D. Salinger

miércoles, 10 de abril de 2013

Pistas sábado 29

Tin Tan

Bonita -completa
http://www.youtube.com/watch?v=8_QCNJzdVQg

Para primer corte - Redemption Song - Bob Marley -
http://www.youtube.com/watch?v=-cHHObtbGHg
____________________________________________________

Películas zombie

World War Z

Trailer, primeros 50 segundos
http://www.youtube.com/watch?v=HcwTxRuq-uk

____________________________________________________

Shaun of the Dead

The Smiths - Panic - Competa
http://www.youtube.com/watch?v=9AlH2oYedfk

_____________________________________________________

Santo contra los zombies

Fragmento- primeros 26 segundos
http://www.youtube.com/watch?v=D06oBdvWH68

_____________________________________________________

Juan de los muertos

Trailer completo
http://www.youtube.com/watch?v=dOquktXvkT4

_____________________________________________________

I Am Legend

Trailer - Hasta minuto 1:12
http://www.youtube.com/watch?v=ewpYq9rgg3w

_______________________________________________________


White Zombie
http://www.imdb.com/title/tt0023694/

http://www.youtube.com/watch?v=lOzgz1Ddmz8
Trailer hasta minuto 1:02

_______________________________________________________

Zombieland

Reglas - Hasta el minuto 2:18
http://www.youtube.com/watch?v=NcwETmj86mk

________________________________________________________


Trailer Una pistola en cada mano- completo
http://www.youtube.com/watch?v=M6EuKQHLUPo


Talking Heads -This must be the place - completa
http://www.youtube.com/watch?v=UGa52pQ-z4E

sábado, 6 de abril de 2013

Entrevista a Bigas Luna



Una entrevista con Bigas Luna, quien murió hoy a los 67 años.

viernes, 5 de abril de 2013

What Mad Men says about women -The Guardian-

Artículo de The Guardian, a dos días del estreno de la sexta temporada de Mad Men.


The women of Mad Men
With all the recent talk about the end of men and the rise of women, it's tempting to imagine that male anxiety in the face of women's increasing demands is a new phenomenon. If you watch Mad Men, you'll know these tensions have been around for decades. The show begins its sixth season without any characters mentioning the word 'feminism', but the pressures of shifting gender roles affect all characters, from the aspiring businesswomen to the happy homemakers, and, of course, their male counterparts, who don't know how to handle the erosion of male dominance. Despite its title, Mad Men is as much a show about the dramatic changes in women's lives in the 1960s as it is about those men. Unusually for the television industry, the majority of its writers are women.
The show begins in the early 60s, an era in which it was assumed that women only worked if they couldn't find a man to support them. Still, cracks in the facade of the Leave It To Beaver ideal were showing. Wives languish in suburban homes, succumbing to what Betty Friedan describes as a "devastating boredom with life". In Mad Men, husbands invariably grow tired of their housewives and cheat with urban-dwelling women whose minds aren't dulled by being trapped in the house all day.
Their wives respond by trying to squelch their suspicions in the name of keeping up appearances. Alison Brie, whose character Trudy Campbell is being routinely cheated on by her ad executive husband Pete, describes the dynamic. "Like most women at that time, Trudy is able to turn a blind eye to anything she finds off-putting for as long as she is able," she says. "Trudy had always been concerned with what others think, so she's able to project a state of sunniness in public, even if things at home aren't perfect."
Christina Hendricks as Joan Harris Christina Hendricks as Joan Harris There are female characters who reject these expectations and choose to work instead. Joan Holloway begins as an office manager who believes she can't wait to get married and quit working, but slowly realises she needs the excitement and validation she gets from running the administrative side of the advertising agency. Joan also discovers a major benefit of having a job in the fifth season, when she decides to divorce the husband she had once thought she needed to complete her life. Joan boots him out the door while informing him that she doesn't need him, a decision she can only make because she has a pay cheque of her own to depend on. Contrast this with an earlier season: Don's wife Betty can only leave him after she lines up another husband to take care of her.
One of the series' central characters is Peggy Olson, a younger woman who starts the first season as a secretary but quickly climbs the ladder to become first a junior copywriter, and then the top copywriter in the office. Peggy doesn't just work to pay the bills but stays late at the office, pounding away at ad copy like it's a religious calling. Elisabeth Moss plays Peggy, and she describes her journey with an enthusiasm reminiscent of her character. "She doesn't set out to be this great feminist and go for equal rights and equal pay. She's just trying to do what she loves." She talks about how thoroughly Peggy rejects the constraints put on women at the time: "She keeps crashing against the glass ceiling because she doesn't know it's there."
The genius of Moss's performance is that she compels the audience to believe, as Peggy does, that selling baked beans and cigarettes is not just crass commercialism but an art. "I like the idea of this person who treats it like an art form," Moss says. "We've all seen ads that made us cry, made us think. Peggy, if she were around, would be making those great Apple ads that came out in the 80s."

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Peggy's status as an outsider in her world – not just because she's female, but also because of her roots in working-class Brooklyn in a world made by Ivy Leaguers – makes her highly attuned to the aspirational feelings that drive good advertising. "It's about not being satisfied with who you are," Moss argues. "A lot of artists want to make change; are not satisfied in the world they're in." For Peggy, advertising is the perfect art form to project an image of the carefree, single woman she wants to be.
It's not all fun and games for Peggy, of course. Moss points out that women who wanted to invest so much in their careers back then had to make sacrifices that we now demand they shouldn't have to make. "Women today," she jokes, "we all watch Oprah. We know about balancing our lives." For Peggy, however, that balance is elusive. "For Peggy, having a great job, and also having a boyfriend and getting married, is foreign."
Not that Peggy has given up. On the contrary, she routinely resists the heavy pressure to choose between having a private life and having a career. On Mad Men, women who are just a little younger than Peggy are starting to find the idea that one should have to choose between having a husband and having a career too preposterous to acknowledge, much less fret over. Megan, Don's bohemian second wife who listens to the Beatles, is far more worried about what career she wants to have – copywriter or actress? – than whether she should have one at all.
Elisabeth Moss as Peggy Olsen  
Elisabeth Moss as Peggy Olsen
Megan had been a background character until the last two episodes of the fourth season, which portrayed her whirlwind courtship by and marriage to Don. This was not without controversy among the section of the audience who preferred old school Mad Men, much like Don prefers Sinatra to the Stones. Artistically, however, the choice turned out to be a remarkable one, encapsulating the rapid gallop of cultural change that left many older people behind. Don loves his new wife, but he doesn't understand her, and he especially doesn't understand her new, self-assured kind of womanhood.
"Megan is not concerned with doing everything exactly right," explains Jessica Paré, who plays her. "She just wants to contribute to the world in a way she feels is important."
Like Moss, Paré sees Peggy and Megan as reflections of real-life women who aren't responding directly to feminist ideology, but whose enthusiasm for living more self-directed lives helped create the context for feminism to exist in the first place. "Women were starting to feel like they could lead their own lives and not define themselves by their fathers and husbands. It was a bit of a groundswell."
Don doesn't seem to know quite what to do with this eager young wife who feels entitled to live life by her own rules. He keeps setting traps for her, and she evades them. He pushes for her to have babies, and she laughs him off. He gives her a job in his office so he can have her near, and she resigns. He even tries to make her eat orange sherbet, and her dislike of it – and more importantly, her unwillingness to hide her dislike – sets off an ugly fight that ends in Don chasing Megan around their flat and tackling her, trying to gain physical control over the woman who won't let him own her spirit. In a later episode, she hands him her Beatles record to listen to while she takes off to pursue her life as a bright young artist in New York. He gives Tomorrow Never Knows half a listen, and then grumpily shuts it off, frustrated at his inability to contain or even really understand a wife that has no use for the old way of doing things.
Jessica Par as Megan Draper Jessica Par as Megan Draper Sally Draper, the youngest female character on the show, gained screen time as she aged into her middle school years, and now Kiernan Shipka, the actor who portrays her, has graduated from guest star to series regular. Sally's adventures during the fifth season read like Judy Blume's Are You There God? It's Me, Margaret, which was published in 1970 and mines similar territory of a girl growing up in an era of rapid social change. Sally repeatedly experiments with acting more adult, but usually ends up feeling overwhelmed and running away. Part of the problem, Shipka says, is Sally's lack of role models. "When she looks at the people who are grown-up around her, she doesn't want to be like them, because she doesn't like them very much."
This is the dark side of the 60s: the children who were left adrift because the old ways of doing things – particularly the old gender roles – weren't working any more, and petulant adults were too busy pouting to find new ways to make things work. Sally's mother childishly uses her daughter to toy with her ex-husband and punish him for seemingly moving on and forgetting about her. But Sally pushes back, and hard. "Sally has some of Betty in her," Shipka suggests, which makes their difficult battles "a Betty versus Betty fight".
Sally finds herself bouncing back and forth between her more traditional mother, whom she understandably loathes at times, to her romantically independent stepmother. "She looks at Megan as more of a friend figure, because Megan is young and fun," says Shipka. As Sally grows more into her teen years, this struggle over what kind of woman she would rather be will only grow more complicated.
Kiernan Shipka as Sally Draper  
Kiernan Shipka as Sally Draper
When we last saw Mad Men, it was spring 1967. Women's roles were already changing, but they were still living in the time right before an avalanche of change pushed feminism to the forefront of people's consciousness. This is before the 1968 Miss America protest, the 1970 Ladies' Home Journal sit-in, or the state of New York legalising abortion in 1970. It's before cigarette brand Virginia Slims used the feminism-inspired slogan "You've come a long way, baby", a fictionalised version of which Peggy comes up with in the fifth season. Watching characters grapple as the pace of change speeds up even more should be fascinating business. So much has changed for these women in the past five series, but in many ways, change is only just beginning.