miércoles, 31 de julio de 2013

TIME Interviews Woody Allen


Me quedé, interno, mágico, invisible


Emilio Prados llegó a México para vivir su exilio en el 39, y murió en el 62. De sus poemas, uno de los más ponedores para mi es Cerré mi puerta al mundo.

Cerré mi puerta al mundo;
se me perdió la carne por el sueño...
Me quedé, interno, mágico, invisible,
desnudo como un ciego.

Lleno hasta el mismo borde de los ojos,
me iluminé por dentro.

Trémulo, transparente,
me quedé sobre el viento,
igual que un vaso limpio
de agua pura,
como un ángel de vidrio
en un espejo.

My One And Only Love



John Coltrane & Johnny Hartman, My One And Only Love (1963)

The 25 Highest Grossing Indies of 2013 (A Running List)


Lista de IndieWire


1. The Place Beyond The Pines (Focus) - $21,403,519
2. Mud (Roadside Attractions) - $21,263,734
3. Quartet (The Weinstein Company) - $18,390,117
4. Spring Breakers (A24) - $14,124,284
5. The Way, Way Back (Fox Searchlight) - $9,077,255
6. Before Midnight (Sony Pictures Classics) - $7,598,767
7. Fruitvale Station (The Weinstein Company ) - $6,272,535
8. The Bling Ring (A24) - $5,726,447
9. The Company You Keep (Sony Pictures Classics) - $5,132,442
10. Much Ado About Nothing (Roadside Attractions)$3,978,404
11. Frances Ha (IFC Films) - $3,931,218
12. Emperor (Roadside Attractions) - $3,346,265
13. 20 Feet From Stardom (RADiUS) - $3,002,769   
14. Home Run (Samuel Goldwyn) - $2,861,020
15. Filly Brown (LGF) - $2,850,357
16. The Sapphires (The Weinstein Company) - $2,448,455
17. The Gatekeepers (Sony Pictures Classics) - $2,415,727
18. No (Sony Pictures Classics) - $2,343,664
19. Trance (Fox Searchlight) - $2,319,187
20. The East (Fox Searchlight) - $2,245,998   
21. Renoir (Samuel Goldwyn) - $2,229,539
22. 2013 Oscar Nominated Short Films (Shorts International) - $2,142,342
23. The Iceman (Millennium) -$1,943,239
24. Stoker (Fox Searchlight) - $1,703,125
25. Fill The Void (Sony Pictures Classics) - $1,644,666   

lunes, 29 de julio de 2013

Buñuel, Alcoriza y Márquez en el 65


Gabriel García Márquez con sus gafas puestas, sentado con Luis Alcoriza a la izquierda y Luis Buñuel a su derecha, en Acapulco en 1965.

Cartel del FICM para su edición 11


Se presentó el cartel de la edición 11 del Festival. Internacional de Cine de Morelia, que se llevará a cabo del 18 al 27 de octubre de 2013

domingo, 28 de julio de 2013

Top 10 de Stanley Kubrick


En 1963 Stanley Kubrick hizo una lista de sus (hasta entonces) 10 películas favoritas, que fue publicada en la revista Cinema, que trece años después en el 76, dejara de editarse. Acá dejo la chicha lista.

1. I Vitelloni (Fellini, 1953)
2. Wild Strawberries (Bergman, 1957)
3. Citizen Kane (Welles, 1941)
4. The Treasure of the Sierra Madre (Huston, 1948)
5. City Lights (Chaplin, 1931)
6. Henry V (Olivier, 1944)
7. La notte (Antonioni, 1961)
8. The Bank Dick (Fields, 1940)
9. Roxie Hart (Wellman, 1942)
10. Hell’s Angels (Hughes, 1930)

Spike Lee's List of Films All Aspiring Filmmakers Must See


Spike Lee (who writes everything in title case but won't tell you the title of the film he's raising money for on Kickstarter) has just posted a list of the films every aspiring director must see to his Kickstarter campaign.  It's the list he gives to all of his students on the first day of classes at NYU.
(Texto de IndieWire)


Here's The List In Its Entirety:
"Bad Lieutenant," Abel Ferara (1992)
"Rashomon," Akira Kurosawa (1950)
"Yojimbo," "Akira Kurosawa (1961)
"Ran," Akira Kurosawa (1985)
"Rear Window," Alfred Hitchcock (1954)
"Vertigo," Alfred Hitchcock (1958)
"North by Northwest," Alfred Hitchcock (1959)
"Bonnie and Clyde," Arthur Penn (1967)
"The Conformist," Bernardo Bertolucci (1970)
"Last Tango in Paris," Bernardo Bertolucci (1972)
"Ace in the Hole," Billy Wilder (1951)
"Some Like It Hot," Billy Wilder (1959)
"Killer of Sheep," Charles Burnett (1977)
"Night of the Hunter," Charles Laughton (1955)
"Raising Arizona," The Coen Brothers (1987)
"The Bridge on the River Kwai," David Lean (1954)
"Lawrence of Arabia," David Lean (1962)
"On the Waterfront," Elia Kazan (1954)
"A Face in the Crowd," Elia Kazan (1957)
"La Strada," Federico Fellini (1954)
"La Dolce Vita," Federico Fellini (1960)
"8 1/2," Federico Fellini (1963)
"City of God," Ferando Meirelles, Katia Lund (2002)
"The Godfather," Francis Ford Coppola (1972)
"The Godfather: Part II," Francis Ford Coppola (1974)
"400 Blows," Francois Truffaut (1959)
"Day for Night," Francois Truffaut (1973)
"Patton," Franklin J. Schnaffner (1970)
"Mad Max," George Miller (1979)
"The Road Warrior," George Miller (1981)
"Battle of Algiers," Gillo Pontecorvo (1966)
"The Last Detail," Hal Ashby (1973)
"Breathless," Jean-Luc Godard (1960)
"West Side Story," Jerome Robbins & Robert Wise (1961)
"Stranger than Paradise," Jim Jarmusch (1984)
"The Train," John Frankenheimer (1964)
"The Maltese Falcon," John Huston (1941)
"The Treasure of the Sierra Madre," John Huston (1948)
"Fat City," John Huston (1972)
"Midnight Cowboy," John Schlesinger (1969)
"Marathon Man," John Schlesinger (1969)
"Boyz n the Hood," John Singleton (1991)
"Los Olivdados," Luis Bunuel (1950)
"Black Orpheus," Marcel Camus (1959)
"Home of the Brave," Mark Robson (1949)
"Mean Streets," Martin Scorsese (1973)
"Raging Bull," Martin Scorsese (1980)
"Apocalypto," Mel Gibson (2006)
"Casablanca," Michael Curtiz (1942)
"Thief," Michael Mann (1981)
"The Red Shoes," Michael Powell & Emeric Pressburger (1948)
"Coolie High," Michael Schultz (1975)
"I Am Cuba," Mikhail Kalatozov (1964)
"One Flew Over the Cuckoo's Nest," Milos Forman (1975)
"District 9," Neill Blomkamp (2009)
"In the Heat of the Night," Norman Jewison (1967)
"Touch of Evil," Orson Welles (1958)
"Blue Collar," Paul Schrader (1978)
"White Heat," Raoul Walsh (1949)
"Is Paris Burning?," Rene Clement (1966)
"M*A*S*H," Robert Altman (1970)
"To Kill a Mockingbird," Robert Mulligan (1962)
"Rome Open City," Roberto Rossellini (1945)
"Paisan," Roberto Rossellini (1946)
"Chinatown," Roman Polanski (1974)
"Black Rain," Shohei Imamura (1989)
"Dog Day Afternoon," Sidney Lumet (1975)
"Singin' in the Rain," Stanley Donen & Gene Kelly (1952)
"Paths of Glory," Stanley Kubrick (1957)
"Spartacus," Stanley Kubrick (1960)
"Dr. Strangelove," Stanley Kubrick (1964)
"Kung Fu Hustle," Stephen Chow (2004)
"Dirty Pretty Things," Stephen Frears (2002)
"Hoop Dreams," Steve James (1984)
"Close Encounters of the Third Kind," Steven Spielberg (1977)
"Empire of the Sun," Steven Spielberg (1987)
"Cool Hand Luke," Stuart Rosenberg (1967)
"Badlands," Terrence Malick (1973)
"Days of Heaven," Terrence Malick (1978)
"The Wizard of Oz," Victor Fleming (1939)
"An American in Paris," Vincente Minnelli (1951)
"Lust for Life," Vincente Minnelli (1956)
"The Bicycle Thief," Vittorio De Sica (1948)
"Miracle in Milan," Vittorio De Sica (1951)
"Dead End," William Wyler (1937)
"Zelig," Woody Allen (1983)

jueves, 25 de julio de 2013

Venice Festival Lineup



Here is a look at the lineup:

COMPETITION
Es-Stouh (The Rooftops), Merzak Allouache
L’intrepido, Gianni Amelio
Miss ViolenceAlexandros Avranas
Tracks, John Curran
Via Castellana Bandiera, Emma Dante
Tom at the Farm, Xavier Dolan
Child of God, James Franco
Philomena, Stephen Frears

La Jalousie, Philippe Garrel 

The Zero Theorem, Terry Gilliam
Ana Arabia, Amos Gitai 

Under the Skin, Jonathan Glazer
Joe, David Gordon Green
Die Frau des Polizisten (The Police Officer’s Wife), Philip Groning
Parkland, Peter Landsman
Kaze tachinuHayao Miyazaki
The Unknown Known: the Life and Times of Donald Rumsfeld, Errol Morris
Night Moves, Kelly Reichardt 

Sacro GRA, Gianfranco Rosi
Jiaoyou (Stray Dogs), Tsai Ming-liang

OUT OF COMPETITION

Gravity, Alfonso Cuaron
Moebius, Kim Ki-duk
Space Pirate Captain Harlock, Aramaki Shinji 

Locke, Steven Knight 

Yurusarezaru mono (Unforgiven), Lee Sang-Il
Wolf Creek 2, Greg McLean
Die Andere Heimat — Chronik einer Sehnsucht (Home from Home — Chronicle of a Vision), Edgar Reitz
The Canyons, Paul Schrader

Che strano chiamarsi Federico Scola racconta Fellini, Ettore Scola

Walesa. Czlowiek z nadziei (Walesa. Man of Hope), Andrzej Wajda, Ewa Brodzka

Dos caníbales que se devoran al mismo tiempo



A 108 años del nacimiento de Elias Canetti, un fragmento de El suplicio de las moscas:

"En el amor es donde menos existe la piedad: En el amor cuenta siempre lo más pequeño, Lo insignificante: Esa precisión minuciosa le otorga su ser. Nada se olvida, si uno dice, quiero todo, hay que entenderlo así: Todo. Acaso sólo un caníbal podría ser aquí consecuente, sin embargo, el canibalismo anímico es mucho más complicado. Hay que advertir que se trata de dos caníbales que se devoran al mismo tiempo"

Carte Blanche 2013: 7 Chilean films in post-production at Locarno


The films selected are:
  • RAUL by Matias Venables Brito, produced by Valentina Barros
  • R. LORENA by Isidora Marras, produced by Josefina Undurraga and Gregorio Gonzalez
  • SURIRE by Bettina Perut and Ivan Osnovikoff, produced by Bettina Perut and Ivan Osnovikoff
  • THE PRODIGAL SON by Carlos Araya Diaz, produced by Pablo Saez, Carlos Araya Diaz and Francia Aranda
  • THE WALTZ by Edison Cajas, produced by Catalina Donoso
  • TO KILL A MAN by Alejandro Fernandez, produced by Eduardo Villalobos Pino
  • VOLANTIN CORTAO by Anibal Jofré and Diego Ayala, produced by Soledad Trejo Troncoso

The jury, comprised of Frédéric Boyer, artistic director of TriBeCa Film Festival (USA), Gerwin Tamsma, programmer for the Rotterdam International Film Festival (the Netherlands) and Agustina Chiarino, producer (Uruguay), will award a prize of 10,000 CHF to the best film, to contribute to its completion.
The 66th edition of the Festival del film Locarno will take place 7-17 August 2013, the Industry Days are held 10-12 August.

martes, 23 de julio de 2013

Dennis Farina (1944–2013)


Toronto Film Festival Lineup




World PremieresAll Is By My Side (John Ridley)
The Art of the Steal (Jonathan Sobol)
Attila Marcel (Sylvain Chomet)
Bad Words (Jason Bateman)
Belle Amma (Asante)
Can a Song Save Your Life? (John Carne)
Cannibal (Manuel Martín Cuenca)
Devil's Knot (Atom Egoyan)
Dom Hemingway (Richard Shepard)
The Double Richard (Ayoade)
Enough Said Nicole (Holofcener)
For Those Who Can Tell No Tales (Jasmila Žbanić)
Going Away (Nicole Garcia)
The Grand Seduction (Don McKellar)
Half of a Yellow Sun (Biyi Bandele)
Hateship Loveship (Liza Johnson)
Ida (Pawel Pawlikowsk)
The Invisible Woman (Ralph Fiennes)
Labor Day (Jason Reitman)
Life of Crime (Daniel Schechter)
The Love Punch (Joel Hopkins)
Prisoners (Denis Villeneuve)
Quai d'Orsay (Bertrand Tavernier)
The Railway Man (Jonathan Teplitzky)
Starred Up (David Mackenzie)
Those Happy Years (Daniele Luchetti)
Violette (Martin Provost)
Visitors (Godfrey Reggio)
Le Week-End (Roger Michel)




International/North American/Canadian PremieresAmerican Dreams in China (Peter Ho-Sun Chan)
Blue Is The Warmest Color (Abdellatif Kechiche)
Cold Eyes (Cho Ui-seok and Kim Byung-seo)
Dallas Buyers Club (Jean-Marc Vallée)
The Disappearance of Eleanor Rigby: Him and Her (Ned Benson)
Don Jon (Joseph Gordon-Levitt)
Exit Marrakech (Caroline Link)
Felony (Matthew Saville)
Gloria (Sebastián Lelio)
Gravity (Alfonso Cuarón)
The Great Beauty (Paolo Sorrentino)
L'intrepido (Gianni Amelio)
The Love Punch (Joel Hopkins)
Joe (David Gordon Green)
Kill Your Darlings (John Krokidas)
Like Father, Like Son (Hirokazu Kore-eda)
Man of Tai Chi (Keanu Reeves)
MARY Queen of Scots (Thomas Imbach)
Omar (Hany Abu-Assad)
One Chance (David Frankel)
Only Lovers Left Alive (Jim Jarmusch)
Parkland (Peter Landesman)
The Past (Asghar Farhadi)
Philomena (Stephen Frears)
Pioneer (Erik Skjoldbjærg)
REAL (Kiyoshi Kurosawa)
The Right Kind of Wrong (Jeremiah Chechik)
Rush (Ron Howard)
Shuddh Desi Romance (Maneesh Sharma)
Tracks (John Curran)
Under the Skin (Jonathan Glazer)
Walesa. Man of Hope. (Andrzej Wajda)
We are the Best! (Lukas Moodysson)
Young and Beautiful (François Ozon)

lunes, 22 de julio de 2013

Ni piedra de una audiencia, ni piedra de un palacio


Esta tarde está como para el poema de Como tú de León Felipe.

Así es mi vida,
piedra,
como tú. Como tú
piedra pequeña:
como tú,
piedra ligera;
como tú,
canto que ruedas
por las calzadas
y por las veredas;
como tú,
guijarro humilde de las carreteras;
como tú,
que en días de tormenta
te hundes
en el cieno de la tierra
y luego centelleas
bajo los cascos
y bajo las ruedas;
como tú, que no has servido
para ser ni piedra
de una lonja,
ni piedra de una audiencia,
ni piedra de un palacio,
ni piedra de una iglesia...
como tú, piedra aventurera...
como tú,
que tal vez estás hecha
sólo para una honda...
piedra pequeña
y
ligera...

Academy Conversations: Before Midnight


sábado, 20 de julio de 2013

Frases de Fernando Luján en el homenaje que le rindió el GIFF



"Me da mucho gusto que exista una gran cantidad de jóvenes interesados en hacer cine en México, hay mucho talento y soy partidario de que se haga mucho cine, bueno o malo, pero que se vaya consolidando una industria fílmica en el país"

"Los cineastas aprendían a hacer cine haciéndolo y tuvimos grandes directores en México, ahora muchos jóvenes egresados hacen una película y sólo piensan en los premios, mejor deberían dedicarse a hacer más cine y dejar el ego a un lado"

"Creo que casi no se hace cine pensando en la juventud, está bien que se haga cine de denuncia, pero el público mexicano también quiere reírse con lo que ve en pantalla y un ejemplo de ello es el éxito de Nosotros los Nobles".

jueves, 18 de julio de 2013

El NYT entrevista a Woody Allen


Q.
Were you specifically looking at standup comedians for the roles  in “Blue Jasmine”?
A.
No, I wasn’t at all. We had a hard time finding someone to play the Andrew Dice Clay role. One person was too old, one person was a little too mafia, one person had something else wrong. We couldn’t find anybody. Years ago I had seen Andrew Dice Clay do his standup act on television for a few minutes, and I thought, this guy would be a very good character for a movie. It’s a good bet that comedians can act. The other way around doesn’t work so much. If you see Marlon Brando or the greatest dramatic actors, they can’t always do comedy. But I thought he would be great. Andrew Dice Clay was more sympathetic than I imagined writing the husband. When it got into his hands, there’s something about him – your heart goes out to him.
Q.
Did you know Louis C.K.’s work before you cast him in this movie?
A.
I didn’t know Louis C.K. at all. But someone showed me a tape of Bobby Cannavale – it was to see Bobby Cannavale, and he was in a skit with Louis C.K. Cannavale, I thought, yes, he’s great and right for this part. And I said but who’s that guy with him? He’s wonderful. So we had him in originally for the Andrew Dice Clay part. And he read it, and he read it very well. We thought, he’s so likeable. He’s clearly such a sweet guy. I was dying to use him in something, so we used him to play the sweeter guy. I’d love to do a movie with him and me, a comedy. I’m looking for some idea that would work, for the two of us to do. Of course I hope that people aren’t disappointed that I don’t act with him [in "Blue Jasmine"], and he doesn’t have a commensurately comic part with his talent. But some day, I will get something that we could do together, because I do think it would be fun. I’m such a great fan of his.
Q.
What prevented this team-up from happening?
A.
When I finished this picture, I went into my room and thought, What would be a fun picture? My first thought for a while was, Can I come up with something at the moment that I could do with Louis C.K.? But I wasn’t able to get the right idea, and time was starting to move. And I thought, well, here’s an idea that would make a very fun movie, so I started writing it, and I finished it, and I thought, this is a perfect movie for Colin Firth and Emma Stone, so that’s what I did.
Q.
Does working with comedians ever inspire you to revisit your own career as a standup?
A.
I was inspired the other night – in the other room here where I play [the Cafe Carlyle at the Carlyle Hotel], I saw Mort Sahl. He flew in from San Francisco, and he worked three late shows and he was wonderful. He’s slowed up a little now because he’s 85. He’s not as rapid as he was when was he was 35. But all the stuff is still there. Watching him, I had the same feeling now, in 2013, as I had when I saw him in 1950-something. Of, “Hey, I’d like to get back onstage and do standup again.” He inspired me then to be a standup comic, and all these years later, I thought of it again because of him. He makes that phenomenon so enticing.
Q.
Could you  fit a standup tour into your schedule when you’re making a new movie every year?
A.
I was thinking of it. Since I saw him, I’ve just been toying with the idea. I would love to see if I could. Just getting together an hour of stuff to talk  about would be a lot of work.
Q.
I would think you’ve had an experience or two to draw from since your days at N.Y.U.
A.
Yes, yes, I’ve had some things to talk about. Learned nothing.

domingo, 14 de julio de 2013

A 95 años del nacimiento de Ingmar Bergman


 Film as dream, film as music. No art passes our conscience in the way film does, and goes directly to our feelings, deep down into the dark rooms of our souls.

miércoles, 10 de julio de 2013

El NYT entrevista a Mads Mikkelsen



Q. You seem to hold a lot back in your acting. Is that your trademark?
A. I’ve never been a big fan of making telepathy to the audience. That would be too much a wink in the eye. That would make people around me fools, right?
You were a latecomer to acting, weren’t you?
I’m a youngster — 47 and a half. I started when I was 30. I was a late bloomer, but I had a career as a contemporary dancer before that, so I had some kind of connection to this world. But I was always a little more in love with the drama of dancing than the aesthetics, so I thought, “Why don’t you give it a chance if you think you can do it a little different?”
Your wife, Hanne Jacobsen, was a dancer and choreographer. How did you meet?
I met her when I was dressed up like a woman in “La Cage aux Folles.” There must be some Freudian stuff happening there. I was a Chinese girl, and I think I was quite good. I have women’s legs.
How did you come to play the role of Lucas in “The Hunt”?
Thomas and I have known each other for years. He started with his group of people, and I was with a different group, and in the early days, it was required somehow that we stay loyal to our little groups. Fifteen or 16 years later, we discovered that the other guys were doing stuff that was interesting as well. He came to me with the script, and I found it extremely beautiful and very brutal and heartbreaking. Obviously it’s a story about injustice in many ways, but it’s also a story about how society or community can implode with fear.
Tell me about Annika Wedderkopp, who plays the little girl, Klara.
She was very unspoiled and she hadn’t done anything before. And she was heartbreaking good. She didn’t act, she reacted. She knew quite a lot about what was going on with the subject, though not in detail. Even though she did an emotional scene, right after she would just go over in the corner and play with her friends.
You’ve played some notable villains. What’s your preference: good guy or bad guy?
I have pursued both in the sense that if I play the bad guy, I will have to find something likable about them. And if I play the good guy, I’ll have to find his mistakes, his flaws. I think they go hand in hand.
You’ve also played several roles in which you had a problem with your left eye.
One of my characters [in “Valhalla Rising”] was called One Eye, another character [Rochefort in “The Three Musketeers”] had an eye patch, and Le Chiffre [in “Casino Royale”] was something that the director came up with. He wanted to have some kind of iconic villain’s symbol, so I had to have a milk-colored eye that was spilling blood. I think perhaps you can put that in the book of coincidences. I don’t take it that seriously.
Did you take being named Denmark’s sexiest man seriously?
I did take that very seriously when it happened. That was 14 years ago. I can still pull it out from the drawer and say: “Honey, do you realize who you’re married to? The sexiest man 14 years ago.”
What does your wife say?
The first time she said, “Well, you’re married to the most hot girl in the world.”
Are you going to compete against your American contemporaries — George Clooney, Brad Pitt — for the international title?
They’re slightly older in the States, and they can get away with it. And I did end up in a magazine once that my daughter was buying when she was 12. Orlando Bloom was in there. And all of the sudden her father’s picture came up and she was like: “Yuck! What is this?” It just seemed a little wrong.

Y a propósito de Pascal


 En algún tiempo Ernesto Sabato participó con sus artículos en el diario La Nación, esa es la faceta que más me gusta de su obra, acá dejo algo de Sabato en carácter de ensayo.

Y a propósito de Pascal

Es característico que ni él, ni Kierkegaard, ni Nietzsche fuesen filósofos sistemáticos: fueron irregulares, fragmentarios; y tal vez porque en ellos la vida y el misterio son más importantes que la explicación y el sistema. Los tres son emocionales, místicos, atormentados. Devolvieron el pathos al pensamiento, y fueron grandes escritores. Si es cierto que el Absoluto no se alcanza como pretendía Hegel sino por arrebatos y éxtasis, de modo parcial, por pedazos, ellos revelaron vastas regiones de ese misterioso continente.

domingo, 7 de julio de 2013

jueves, 4 de julio de 2013

Nota en El País de No quiero dormir sola


El link a la nota acerca de No quiero dormir sola, de Natalia Beristaín, que este 5 de julio se estrena en México. Nota de El país.