viernes, 30 de agosto de 2013

Seamus Heaney (1939 - 2013)


If self is a location, so is love:
Bearings taken, markings, cardinal points,
Options, obstinacies, dug heels, and distance,
Here and there and now and then, a stance.

(Seamus Heaney, District and Circle)

El Premio Donostia para Hugh Jackman

 
Anuncia la página del Festival de San Sebastián:

La 61 edición del Festival de San Sebastián otorgará su Premio Donostia a una de las estrellas más conocidas del panorama cinematográfico actual, Hugh Jackman. El actor recibirá el galardón el día 27 de septiembre, momentos antes de la proyección especial de Prisoners, la última película que ha protagonizado.

miércoles, 28 de agosto de 2013

Los once títulos que compiten en Horizontes Latinos en San Sebastián


AninA
Alfredo Soderguit (Uruguay-Colombia)
La ópera prima del ilustrador y animador Alfredo Soderguit, protagonizada por Anina, una niña de diez años. Su nombre capicúa provoca las risas de sus compañeros de escuela, en especial de Yisel a quién Anina llama "La elefanta". Cuando su paciencia se agota, las niñas se trenzan en una pelea. Este incidente termina con una extraña sanción para las niñas. Ambas reciben su castigo dentro de un sobre negro cerrado que no pueden abrir por una semana. Para Anina, entender el contenido del sobre se transforma, sin que ella lo sepa, en entender el mundo y su lugar en él.

De menor (Menor de edad)
Caru Alves de Souza (Brasil)
La historia de Helen, una abogada recién licenciada que trabaja como defensora de oficio de niños y adolescentes en el tribunal de la ciudad de Santos, Brasil, y de su hermano adolescente Caio, que cometerá un delito grave. Una película que participó en Cine en Construcción en la pasada edición del Festival de San Sebastián.

Heli
Amat Escalante (México)
El cineasta mexicano Amat Escalante se hizo con el Premio al Mejor Director en el Festival de Cannes gracias a esta película que tiene como protagonista a Heli, cadete en la academia de policía de una pequeña ciudad mexicana. Está enamorado de Estela, de 12 años. Sueñan con escaparse e irse a vivir juntos. Pero para ello, necesitan un dinero que no tienen. Tras la decomisión de una partida de droga, Heli consigue hacerse con una bolsa de cocaína. Pero pronto descubrirá qué les ocurre a quienes juegan con traficantes y  policías corruptos.

La jaula de oro
Diego Quemada-Díez (México-España)
Una coproducción entre México y España dirigida por Diego Quemada-Díez que se estrenó en la sección Un Certain Regard del último Festival de Cannes. Juan, Sara y Samuel, unos jóvenes de 15 años, huyen de Guatemala para intentar llegar a Estados Unidos. Los adolescentes aspiran a un mundo mejor más allá de las fronteras mexicanas, pero muy pronto van a enfrentarse a una realidad muy distinta.

O lobo atrás da porta
Fernando Coimbra (Brasil)
La ópera prima del brasileño Fernando Coimbra tendrá su presentación en el Festival de Toronto. Un niño es secuestrado. En la comisaría, Sylvia y Bernardo, los padres, y Rosa, principal sospechosa y amante de Bernardo, dan testimonios contradictorios que conducen a los más sombríos rincones del deseo, la mentira y la perversidad en las relaciones de esos tres personajes.

Pensé que iba a haber fiesta
Victoria Galardi (Argentina-España)
La cineasta argentina Victoria Galardi presenta su nuevo trabajo, que fue presentado en el Foro de Coproducción de la 60 edición del Festival. Esta coproducción entre Argentina y España narra la historia de Ana, una mujer que comienza una relación con el ex marido de su mejor amiga. Una película sobre la búsqueda del amor, la amistad, la soledad, los miedos, la culpa, el universo femenino... Interpretada por Elena Anaya y Valeria Bertucelli.

Raíz
Matías Rojas Valencia (Chile)
La ópera prima del director chileno Matías Rojas Valencia narra la historia de Amalia, una joven de 26 años que emprende un viaje junto a Cristóbal, un niño de nueve, a través de los recónditos paisajes del sur de Chile con el objetivo de encontrar al padre del niño. La búsqueda se transformará en un recorrido por la historia íntima de cada uno de ellos.

Tanta agua
Ana Guevara, Leticia Jorge (Uruguay-México-Holanda-Alemania)
Tras participar en Cine en Construcción de San Sebastián en 2012, esta película fue presentada en la sección Panorama del Festival de Berlín y ganó el Premio a la Mejor Ópera Prima en el de Guadalajara. Desde su divorcio, Alberto pasa poco tiempo con sus hijos Lucía y Federico. Los tres parten para las aguas termales una mañana tormentosa. Van a ser unas cortas vacaciones y quieren sacarles el mayor partido posible. Siempre entusiasta, Alberto no quiere arruinar sus planes. Pero las piscinas están cerradas hasta próximo aviso y los chicos lo miran con reproche, de manera que él empieza a perder la calma. Todos están hipersensibles a la vez que el tiempo se vuelve más asfixiante. Mientras tanto, la lluvia cae sin cesar y la casa que Alberto ha alquilado se hace más pequeña hora a hora.

Wakolda
Lucía Puenzo (Argentina-España-Francia-Noruega)
Estrenada en la sección Un Certain Regard del último Festival de Cannes, la nueva película de Lucía Puenzo, es la historia real de una familia argentina que vivió con uno de los criminales más grandes de la historia sin conocer su verdadera identidad.

Who is Dayani Cristal?
Marc Silver (Reino Unido-México)
Estrenado en el Festival de Sundance, este documental busca respuestas a las preguntas que surgen cuando en el desierto de Sonoma la policía fronteriza descubre un cadáver en descomposición con un tatuaje que reza "Dayani Cristal". ¿Quién es esta persona? ¿Qué le ha traído aquí? ¿Cómo ha muerto? ¿Quién es Dayani Cristal? El actor Gael García Bernal y el director Marc Silver reconstruyen la identidad de este don nadie que carece de nombre en el momento de su muerte para convertirlo en un ser de carne y hueso con una conmovedora historia detrás.

Workers
José Luis Valle (México-Alemania)
Presentada en la sección Panorama del Festival de Berlín y ganadora del Premio al Mejor Largometraje Mexicano en Guadalajara esta es la segunda película de José Luis Valle. Después de toda una vida de trabajo en Tijuana, Rafael y Lidia son víctimas de una injusticia contra sus derechos y dignidad. Rafael descubre que, debido a un error de papeleo, no tiene derecho a su pensión de jubilación. Lidia es una de las siete personas que mantiene la casa de una rica mexicana postrada en silla de ruedas que ha dedicado su vida a su perro "Princess", que come de un cuenco de oro y duerme en un cojín de seda. Cuando la señora muere y deja toda su fortuna al perro, Lidia se ve obligada a preguntarse qué significa tener a un perro como patrón...

martes, 27 de agosto de 2013

Iron Man 3 Feature Animatics :Finale Part 1



Un final alternativo para el Mandarín, interpretado por Ben Kingsley.

Criptogramas de un pueblo remotísimo


José Emilio Pacheco y Aceleración de la historia.

Escribo unas palabras
y al mismo tiempo
ya dicen otra cosa
significan
una intención distinta
son ya dóciles
al carbono 14
criptogramas
de un pueblo remotísimo
que busca
la escritura en tinieblas.

jueves, 22 de agosto de 2013

IndieWire entrevista a Wong Kar-Wai sobre The Grandmaster y sus directores favoritos




Was there ever a thought of perhaps putting more Bruce Lee into the movie? Since that's I think where at least Western audiences know the Ip Man story.
We all know, a lot of people follow Chinese martial arts through Bruce Lee. And why Bruce Lee is so iconic and so attractive [is] because not only is he a very good fighter, also he's very modern, charismatic, but most of all he's very civilized, he's well educated, he explored about his ideas and his philosophy about his gifts. In a way when you look at other books and interviews that are done by Bruce Lee you can see a lot of his inspiration is actually coming from Yip Man, the man who trained him. So when you look at the story of Yip Man it's very interesting because this guy hadn't done this kind of work before and he belonged to a certain class that is very different from our idea of a martial arts fighter. He's not a fighter, he took it as an art, so in a way, we can see, through Yip Man, where Bruce Lee got the idea.

Now was the love story an actual part of Ip Man's story?
Oh, no. That part of the film actually is fiction.

Do you have anything planned next?
There is nothing at this point, because I'm still in jet lag from 1930 to now.

Are there any types of movies you'd like to make that you haven't made yet?
I don't know. There are so many different options, at this point I think I'd need a break.

"In the Mood for Love" was originally supposed to be two different films — the other one was called "Beijing Summer." What was that about? Is that something you would ever return to?
No. I think that the reason we wanted to do that film is because it's before the handover, and we visit Beijing six months before the handover and we see there is a clock countdown at Tiananmen Square. So I think it would be interesting to make a film based on two Hong Kong couples working in Beijing, and have the story go against this chapter. And now the time is gone and I think we have to put it aside. Sometimes, it's really about the timing.
Yeah, do you watch contemporary cinema? Do you have favourite filmmakers who are working now?
Yes, of course. Christopher Nolan, Martin Scorsese of course and Quentin Tarantino, I think they are great filmmakers.

And what about their films inspire you?
I think each of them has their own world, it's like they are seeing things from a very specific angle, which gives you, something fascinating. 

I wanted to ask what it was like working with Megan Ellison?
She's the most hardworking producer I have ever seen.

And she let you shoot for 22 months over 3 years.
Yes she did. She's great, also she's very young, but she's very committed to the film.

martes, 20 de agosto de 2013

Locarno 2013. Lifeforces: A Conversation with Abel Ferrara



ADAM COOK: So you’re trying to get Italian funding?
ABEL FERRARA: It would be nice to have Italian funding for an Italian movie. I’ve made two films there, for 4 or 5 million, and I lived in Rome for five years. The situation is worse and worse. Plus with these Italians seeing is believing, you can’t talk about making a movie, they gotta see you there doing it. The process is never cut and dry. Full-court press and the film gets made or it doesn’t get made.
COOK: Where did this project originate? Was it Willem [Dafoe] from day one?
FERRARA: We had the idea together for a while, it came naturally. When I started doing documentaries, and all of a sudden it becomes an important idea to me to do a films about real people: Dominique Strauss-Kahn, Pasolini. Maybe at one point I thought I could never do that, but now…
COOK: Welcome to New York is your first film based on a real person and story, and Pasolini will be the second in a row.
FERRARA: I don’t think The Driller Killer was a real person. [Laughs]
COOK: Why this interest in real figures?
FERRARA: If you’re doing Napoli Napoli Napoli, it just comes next…Mary was about a real person now that I think about it: Mary Magdelene. Was she real or not real? We were taking it in that direction.
COOK: Is it important to you to capture the reality of these situations, or..?
FERRARA: I’m interested but I don’t know if we ever get to it. You can make a film about Strauss-Kahn and in the end you’re filming [Gérard] Depardieu, and it’s a film about Depardieu. You gotta recreate an event that actually happened…The circumstances are ridiculous in Strauss-Kahn's story, and with Pasolini everything is mind-blowing, his whole life. Being such a genius, and then being addicted to picking up boys at a train station, we're talking 1975 and this aint the West Village.
COOK: What about Pasolini then—cause there’s so much that makes up his life and who he is—do you hope to emphasize?
FERRARA: I think it’s to satisfy this need to see how they go down in flames.  If you’re taking the last day in his life, I mean it’s a tragedy, a self-imposed tragedy, a fatalistic thing…this guy is a lifeforce…how does that end?? What was it that came together to end it? Himself? All these forces line up.
COOK: What can his death say about his life?
FERRARA: It can say everything. It’s like with JFK. Was it his ambition, his feeling of omnipotence, that he never saw it coming? He was a smart guy, did he have a hint that there was a coup d'etat being planned around him? Did he know? Was he not giving a fuck? Was he rolling the dice? A lifeforce like that doesn’t just come to an end it’s like the sun blowing up.
COOK: Last day on Earth.
FERRARA: Exactly.
COOK: So that’s why we’re looking at his last moments?
FERRARA: It gives it a narrative. I’m not really interested in someone’s death, but this is not a normal death. It’s not easy to kill somebody, let alone the way he died. A filmmaker trying to get back his stolen film, him blowing up a major plot, just with what he was doing on a day-to-day basis. He was an addict and they say if you’re an addict you end up in jail or dead. That was his deal. How many times can you roll the dice, pick up a guy at a train station at 11 at night. There was this story, that he came to New York, got an award at MOMA, stayed there for 5 minutes, couldn’t stand those bourgeois people, and went to Harlem. This is 1969, can you imagine this dude, can’t speak a word of fucking English, gay, a flaming queen, off and running up in Harlem, doesn’t know where he’s going, looking for guys in Harlem. Beyond a death wish. And he ends up with a bunch of Black Panthers or something. And he survived.
COOK: It’s something existential, living with that risk.
FERRARA: Yeah, he was a social critic and he used to say you guys are living in your fucking ivory tower, I’m actually going to live, out in the field.
COOK: Participating in the world.
FERRARA: Right, you wanna be a social critic: be social [Laughs]
COOK: I saw this amazing little drawing he did for Scorsese at an exhibition in Berlin.
FERRARA: Incredible, he was the best at whatever he did. Kurosawa did these amazing paintings for, what was it—
COOK: Kagemusha.
FERRARA: Yeah, you see those? They’re exactly the film, amazing. Both are brilliant dudes.
COOK: What do you see in common between your and Pasolini’s cinema?
FERRARA: We’re gonna find out. You’re gonna see. This is the test. We’re gonna shoot something from his script about St. Paul in Detroit. Awesome script. I’m gonna shoot a scene from it, I mean if the film takes us in that direction, we’re planning on it.
COOK: How do you shoot that? Do you try and assume Pasolini’s eye or do you just be you?
FERRARA: I’ve tried to put myself in his shoes before while shooting, I can’t help it. You absorb his films. We all worshiped the guy.
COOK: How do you relate to Pasolini spiritually and politically?
FERRARA: Marxist-Catholic, he was against birth control, he was chickenhawking guys and living with his mother. Walking contradiction. When you make a film like this you hold back until you’re there. You don’t make a last commitment on entering his soul until you’re shooting. We’re gonna find out.
COOK: You’ll be shooting in Rome, and it has changed so much over the years. What Rome do you hope to show us?
FERRARA: I think we have to create what 1975 was, pretty volatile, very political, violent. Go see Taxi Driver, that’s it. That’s the closest. It’s not about the clothes or the cars, Rome is eternal, the architecture is ancient. Different attitude now. You start with the Empire, it’s constantly changed, it’s a hard place to figure out.
COOK: Particularly in the 20th century, where Italy has transformed from a place of faith to a place of consumerism. It’s visible in the cinema, in stuff like Olmi's The Tree of the Wooden Clogs that takes a look back at it, it’s in Teorema on the other side.
FERRARA: Right, that was Pasolini’s big heartache. It’s one thing being connected to growing your own food, to everything, and it’s the same in America, people are poisoning themselves, you just go to Whole Foods. What is the hope of the Industrial Revolution…He outdid himself with Teorema, man…
COOK: Are there other figures you want to portray on film?
FERRARA: I think Strauss-kahn and Pasolini may give us our fill, we can go back to making up shit.
COOK: Driller Killer II [Laughs]
FERRARA: Yeah, Return of the Driller Killer.
COOK: It’s been harder and harder for you to get support for your films.
FERRARA: When I first started shooting, there used to be a social structure… We got the money to shoot for The King of New York just like that. Then the people who ran the film business ran the country and they ran it into the ground. But these films are long range get-backs in terms of money, so it’s hard to sell. I care about the movie being made and knowing there’s longevity to it, but they just want quick returns. Pasolini might be a period piece but it shouldn’t cost much more to make, if you know how to spend the money.
COOK: I imagine you go through a lot of headaches.
FERRARA: It’s not a headache, I live it. You gotta keep it real. You just can’t lose sight of what you’re trying to do which is make a good movie.
COOK: What is it you see in Dafoe beyond the obvious physical similarity?
FERRARA: He’s from the Midwest, Wisconsin, and he’s basically now a Roman citizen, he’s been living in Rome for seven years, married to an Italian director, he’s Italian as you’re going to get. He speaks the language. Pretty funny.
COOK: Things are all moving to the internet. How do you feel about that?
FERRARA: It’s out. You roll it out any way you can, any place. Who cares? I live in New York, people are watching movies on their phone for five minutes at a time on the subway. They watch the same clip eighteen times. People are gonna roll with it the way they roll with it, you know. Movies are supposed to be seen in a communal situation and now most people watch them by themselves, that’s just the way it is. You can go to a cinema these days and maybe there’s eight people there.
COOK: And two of them are texting the whole time.
FERRARA: No kidding, you could be the only guy really watching it. You get pissed off. In France you can’t even laugh at a comedy, you’ll piss someone off. What bullshit is that. My cinema-going experience was on 42nd St., so you scream at the film with everyone. It all depends. How to exploit a film after you’ve made it, I dunno, it’s someone else’s job, I’ll help ‘em, I got to, it makes it easier to make the next one, but I make things, that's what I do. 

lunes, 19 de agosto de 2013

Conversación entre Jean-Luc Godard y Fritz Lang



El dinosaurio y el bebé (conversación entre Jean-Luc Godard y Fritz Lang)

jueves, 15 de agosto de 2013

Selección oficial DocsDF 2013

Largometraje internacional

  • This Aint California
    This Ain’t California
  • Sickfuckpeople
    Sickfuckpeople
  • Open heart
    Open Heart
  • Pussy Riot
    Pussy Riot. A Punk Prayer
  • The silent chaos
    The Silent Chaos
  • The human scale
    The Human Scale
  • Blush of fruit
    Blush of Fruit
  • Un gran desorden
    Un gran desorden bajo el cielo
  • Which Way is the front line
    Which Way is the Front Line from Here? The Life and Time of Tim Hetherington.
  • Smash & Grab
    Smash & Grab. The Story of the Pink Panthers

Documental iberoamericano

  • Don ca
    Don Ca
  • La gente del río
    La gente del río
  • Flowers of the Frontier
    Flowers of the Frontier
  • Elena
    Elena
  • refugiados en su tierra
    Refugiados en su tierra
  • Los mundos sutiles
    Los mundos sutiles
  • Leontina
    Leontina
  • 138 segundos 1
    138 segons. L’enigma Gironès
  • Mais naufragos que navegantes
    Mais náufragos que navegantes
  • The eternal night
    La eterna noche de las 12 lunas

Largometraje mexicano

  • Foto rota La Rosa y El Diablo
    La Rosa y el Diablo
  • Tochi
    Tochi
  • Somos viento
    Somos viento
  • Salaverna 2
    Salaverna
  • rosario 2
    Rosario
  • de cometas y fronteras
    Of Kites and Borders
  • Luz en el encierro
    Luz en el encierro
  • Darkmoon
    Darkmoon

Largometraje para televisión

  • Entangled
    Uwikłani
  • The captain and his pirate
    The Captain and his Pirate
  • SONY DSC
    Shepherds of Paradise
  • In the shadow
    In the Shadow of the Sun
  • Battery Man
    Biba Struja
  • IntheEyeofGod
    W oku Boga
  • Faces from places
    Portraits de Voyages
  • Forced cofessions
    Forced Confessions
  • Donkeymentary_3
    Donkeymentary
  • What a circus
    What a Circus!