viernes, 29 de noviembre de 2013

Las 10 mejores películas de 2013 según Sight and Sound


The Act of Killing

Joshua Oppenheimer, Denmark / UK / Norway / Germany / Finland / Sweden / Netherlands / Poland
23 votes
“In Southeast Asia, as in other places, dictators appoint rats and cockroaches as their executors, and they live to tell their tales. This experimental documentary is a horror show, a dagger, a guillotine, a confession box in an insane asylum. It’s also a very frightening lesson on history and how we remember it”
— Kong Rithdee



Alfonso Cuáron
, Mexico / USA
18 votes
“Seven years, two huge stars and the most expensive digital rendering equipment dollars can buy”
— Tom Huddlestone


Blue Is the Warmest Colour

(La Vie d’Adèle Chapitres 1 et 2)
 Abdellatif KechicheBelgium / Spain / France
17 votes
“Few films dig so deeply (and with such sense of intimacy) into the complexities of human relations, the joys and pains of self discovery and the hurtful realisation that our bodies and mind can yearn opposite things.”
— Fernanda Solórzano


The Great Beauty

(La grande bellezza
) Paolo Sorrentino
, France / Italy
15 votes
“A film which consolidates Paolo Sorrentino’s status as the boldest of contemporary auteurs – and reminds the world there is such a thing as genuine cinematic euphoria”
— Jonathan Romney


Frances Ha

Noah Baumbach
, Brazil / USA
14 votes
“The perfect movie about what it is to be young and lost and hopeful.”
— Tom Charity


A Touch of Sin

(Tian zhu dingJia Zhangke, China
13 votes
“Jia’s astonishing wuxia update indicts with every kick and splash of red”
— Andrea Picard


Upstream Color

Shane Carruth, USA
13 votes
“Carruth’s enigmatic SF developed an extraordinary associative logic that left you unpicking the connections for days”
— Roger Luckhurst


The Selfish Giant

Clio Barnard, UK
12 votes
“Barnard’s first ‘proper’ feature left me unable to speak for some 15 minutes after I’d seen it, after which I button-holed everyone in sight to hail the most distinctive voice to emerge in British cinema since Shane Meadows: skilfully distilled screenplay, perfect locations, stylistically stunning”
— Nick Roddick


Norte, the End of History

(Norte, hangganan ng kasaysayanLav Diaz, Phillipines
11 votes
“Dense like literature and deeply rooted in the cave of cinema, Diaz’s film gives us the best and the worst of humanity.”
— Kong Rithdee


Stranger by the Lake

(L’Inconnu du lacAlain Guiraudie, France

Nunca veas una película de Robert De Niro con Robert De Niro

martes, 26 de noviembre de 2013

Nominados a los Spirit Awards 2014

Mejor película
Twelve Years a Slave
Inside Llewyn Davis
All Is Lost
Frances Ha

Mejor Direcot
J.C. Chandor por All Is Lost
Jeff Nichols por Mud
Shane Carruth por Upstream Color
Steve McQueen por Twelve Years a Slave
Alexander Payne por Nebraska

Mejor actor protagonista
Chiwetel Eijofor por Twelve Years a Slave
Bruce Dern por Nebraska
Robert Redford por All Is Lost
Oscar Isaac por Inside Llewyn Davis
Michael B. Jordan por Fruitvale Station
Matthew McConaughey por Dallas Buyers Club

Mejor actriz protagonista
Cate Blanchett por Blue Jasmine
Julie Delpy por Antes del amanecer
Gaby Hoffman por Crystal Fairy
Brie Larsson por Short Term 12
Shailene Woodley por The Spectacular Now

Mejor actor de reparto
Michael Fassbender por Twelve Years a Slave
Will Forte por Nebraska
James Gandolfini por Una segunda oportunidad
Jared Leto por Dallas Buyers Club
Keith Stanfield por Short term 12

Mejor actriz de reparto
Melonie Diaz por Fruitvale Station
Sally Hawkins por Blue Jasmine
Lupita Nyong’o por Twelve Years a Slave
Yolonda Ross por Go For Sisters
June Squibb por Nebraska

Mejor guión
Woody Allen por Blue Jasmine
Nicole Holofcener por Una segunda oportunidad
John Ridley por Twelve Years a Slave
Julie Delpy, Ethan Hawke y Richard Linklater por Antes del atardecer
Scott Neustadter y Michael H. Weber por The Spectacular Now

Mejor primer guión
Lake Bell por In A World
Joseph Gordon-Levitt por Entre sus manos
Nelson por Nebraska
Jill Soloway por Afternoon Delight
Michael Starrbury por The Inevitable Defeat of Mister and Pete

Mejor fotografía
Sean Bobbitt por Twelve Years a Slave
Benoit Debie por Spring Breakers: Viviendo al límite
Bruno Delbonnel por Inside Llewyn Davis
Frank G. DeMarco por All Is Lost
Matthias Grunsky por Computer Chess

Mejor montaje
Shane Carruth y David Lowery por Upstream Color
Jem Cohen y Marc Vives por Museum Hours
Jennifer Lame por Frances Ha
Cindy Lee por Una Noche
Nat Sanders por Short Term 12

Mejor documental 
20 Feet From Stardom
Gideon’s Army 
The Act of Killing 
The Square

Mejor película extranjera 
A Touch of Sin (China). Director: Jia Zhang-Ke
La vida de Adele (Francia). Director: Abdellatif Kechiche
Gloria (Chile). Director: Sebastián Lelio
La grande bellezza (Italia). Director: Paolo Sorrentino
La cacería (Dinamarca). Director: Thomas Vinterberg

Premio Robert Altman
Mud de Jeff Nichols, su director de casting y el reparto completo.

Las diez mejores películas de 2013 según Cahiers du Cinéma

1. L'inconnu du Lac, de Alain Giruadie.
2. Spring Breakers: Viviendo al Límite, de Harmony Korine.
3. La Vie d'Adèle, de Abdellatif Kechiche.
4. Gravedad, de Alfonso Cuarón.
5. Tian-zhu ding, de Zhang-ke Jia.
6. Lincoln, de Steven Spielberg.
7. La Jalouise, de Philippe Garrel.
8. Nugu-ui ttal-do anin Haweon, de Sang-soo Hong.
9. Les Rencontres d'après Minuit, de Yann Gonzalez.
10. La Bataille de Solférino, de Justine Triet.

lunes, 25 de noviembre de 2013

Film as dream, film as music.

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

(Ingmar Bergman)

martes, 19 de noviembre de 2013

Convocatoria abierta para el Ariel 2014

Blanca Guerra, Presidenta de la AMACC, leyendo la convocatoria para la entrega del Ariel 2014, abierta desde hoy.

El Kickstarter de Anomalisa, lo nuevo de Charlie Kaufman

Oscar Isaac & Marcus Mumford - Fare Thee Well

Del Soundtrack de Inside Llewyn Davis.

Cinematographers on Why 3D Is 'Unnecessary,'

Barry Ackroyd ("Captain Phillips"), Sean Bobbitt ("12 Years a Slave"), Bruno Delbonnel ("Inside Llewyn Davis"), Stuart Dryburgh ("The Secret Life of Walter Mitty") and Phedon Papamichael ("Nebraska") reveal the biggest surprises about being a DP

domingo, 17 de noviembre de 2013

Las 10 cintas preseleccionadas para la terna a Mejor Película Iberoamericana del Goya

De esta lista se escogerán las 5 películas para la selección final de la terna. Los premios Goya se celebrarán el próximo nueve de febrero de 2014.

"Wacolda", de Lucía Puenzo (Argentina)
"Gloria", de Sebastián Leilo (Chile-España)
"La eterna noche de las doce lunas", de Priscilla Padilla Farfán (Colombia)
"La película de Ana", de Daniel Díaz Torres (Cuba)
"La jaula de oro", de Diego Quemada-Díez (México-España)
"Chicama", de Omar Forero (Perú)
"A ultima vez que vi Macau", de Joâo Pedro Rodrigues y Joâo Rui Guerra de Mata (Portugal)
"La montaña", de Tavaré Blancar e Iván Herrera (República Dominicana)
"El bella vista", de Alicia Cano Menoni (Uruguay)
"Azul y no tan rosa", de Miguel Ferrari (Venezuela)

lunes, 11 de noviembre de 2013

Cate Blanchett entrevista a Woody Allen

En la revista Harper's Bazaar viene una interesante entrevista de Cate Blanchett a Woody Allen, acá la pongo.

Woody Allen ‘So, what are we talking about?’
Cate Blanchett We’ve already talked about prunes for breakfast.
Harper’s Bazaar Why? Are both of you prune eaters?
Woody Allen I’ll let Cate handle that one.
Cate Blanchett (Smiling) I prefer kiwi fruit. Anyway, where should we start?

On the casting couch…
CB Can I ask about the casting couch that people barely get to sit on? Why do you bother? What are you looking for in the five seconds that you meet people for a role?
WA I bother because [the casting director] Juliet Taylor makes me. If I know the person, there is no problem. I don’t have to meet Alec Baldwin. But let’s say it’s someone she’s introducing me to. She shows me a film, I’ve never heard of that person, I see them on film, they look right for the part. But then she says: ‘But I don’t want you to cast that person until you meet them…’
CB (Laughing) Until you form a deep bond? A connection?
WA She wants to know that I’ve hit it off with them, whatever that means. So I have to go through the excruciating process of meeting someone I don’t really want to meet and who I am happy to cast without meeting. They come in, I have nothing to say, I am embarrassed, they are tense because they want the job, we already want them; the whole situation is so awkward.
CB It is funny because I often feel the only way to have something to talk about with someone is to work together. Then at least you’ve got something to discuss. Are you good at social events?
WA No, I am not into any of that.
CB Well, when you cast me, I was lucky because I lived so far away and we could keep it brief on the phone.  We didn’t even have to see one another.
WA Even the phone terrified me. When we sent you the script and you wanted to do it that was fine with me. Then I got the call from Juliet Taylor saying: ‘Cate would like to speak to you on the phone.’
CB (Indignantly) You told me to call you when I’d read it. I wasn’t going to call  you otherwise.
WA There is no way I would have said that. That happened when I cast Marion Cotillard. They said: ‘She wants to do it, but she would like to talk to you on the phone for a few minutes.’ And Colin Firth too: he wanted to talk to me on the phone. My heart always sinks.
CB I thought you had asked to talk to me. My knees were sweating. It was your request, that’s why I had nothing to say.
WA No, I knew you could act.
CB And I knew you could direct and write.
WA I just wanted you to show up and do it.
CB (Laughs) You had high expectations, then.
WA I thought you could come in and be great. I knew if you had a question you could ask it. Though I would prefer you put it in writing. (They both laugh) You’d show up, do it and leave me out of it. There is nothing you need from me. We don’t have to have a conversation about what the character might be wearing…
CB I never expected to have that conversation.
WA Or any conversation. It would’ve been fine with me to never speak. I don’t like that we’re talking now.
CB I know. It’s excruciating… You say you don’t like to talk but once we got going, you had interesting things to say.

On directing…
WA Once in a while, I remember saying: ‘Do this scene a little faster,’ or a peripheral comment. But I had seen you in a number of movies and there was no question in my mind that you were perfect for this. I always feel if you hire great people, the best thing is to get out of their way and let them do the things they have been doing for years.
CB What I really welcomed was that if you didn’t like something, you’d say it. What happens a lot in film, though not so much in the theatre, is that you get stroked and sort of massaged, like a little guinea pig. Whereas you’re very clear. I don’t know whether it’s your history in stand-up; it works or it doesn’t work, it’s interesting or it’s boring. Is that easier when you’re acting in a film, because you can feel it from the inside?
WA People always think it’s harder – how can you be in it and direct yourself – when in fact it’s twice as easy, because you don’t have  to explain the scene to another actor. Most of the time, the people  I work with don’t need me to explain it to them.
CB I love being directed, and whatever this man says, he does direct, but it is different when you feel that somebody hasn’t liked something and they’re frightened that they’re going to wound you by telling you. I think actors are much more robust than that. Often I find it’s not until you’ve made a monumental blunder that you realise you’ve turned the wrong corner. Maybe that’s because I’m used to working in theatre and having six weeks in rehearsal to screw up and work out you’ve being going in the wrong direction so you can work out what the right direction is. But the tone in Blue Jasmine was tricky.
WA You found it. Maybe the first couple of days you were not as sure. By the third day you’d found what you wanted to know and then I could hide for the rest of the shoot and let the actors take over. The same with the crew: I work with terrific people who do a very good job under difficult circumstances, often because there is no money.

On ‘that’ Hermes Kelly Bag…
WA I was shocked to learn by reading in The New York Times that the costume designer on Blue Jasmine, Suzy Benzinger, had a budget of only $35,000 for every costume in the film. I knew the budget was limited, but I had no idea.
CB Yes, she pulled in a lot of favours.
WA Well, it worked. She did a very good job. I mean, people buy  a dress for $35,000.
CB The Hermès bag I was carrying was worth more than her whole budget, and there I was, throwing it on the sidewalk again and again. I felt her blood pressure go up every time it hit the pavement.
WA How did we get it?
CB We borrowed it. But the waiting list for those bags is decades. You’re in wheelchairs before they arrive. I think I borrowed the PR girl’s bag, but I didn’t find that out until I’d thrown it on the sidewalk for the seventh time.
WA It’s to their advantage for you to be seen in their clothes with their bag. My wife took me on a tour – or forced me into going on the tour – of the Hermès bag factory.
CB That’s a very sneaky way of getting one, by showing you the craftsmanship that goes into making them.
WA They made it clear there were no discounts.
CB (Laughs.)
WA They showed us every step in the making of a bag. You can imagine how hard it was to keep awake. But the bags are beautiful, especially the ones made from the grey skins of crocodiles.
CB It’s that thing: if something is exclusive, it’s desirable. A bit like you.

On film-making…
CB I have a question: what do you find hardest about film-making?
WA I guess shooting is the toughest part. Writing it, you can throw away what you’ve written and start over; editing is OK because you are sitting in a comfortable room with friends, you can order a  few sandwiches and change things; but when you’re shooting, the clock is ticking, you’re spending more than $100,000 a day and you’ve got to keep it going.
CB For me, publicity is the hardest. I was trying to explain to someone yesterday that the decisions you make as an actor have  to be instinctual, it has to come alive between you and the other actors. Maybe because I am a goldfish, when a shoot ends I leave behind the reasons I’ve done what I have done. To come back six months later and dredge all that stuff up for publicity is difficult.
WA And you’re all over the place playing six million different characters. I couldn’t do that. I’m like Groucho Marx: I am happy to do the same thing, to be the guy that gets dropped into a situation and makes the jokes.
CB Maybe you’ve gotten used to it, but  the public has such a sense of ownership of ‘Woody Allen’ in inverted commas because you have played that character in so many  of your films. Does that ever get tiresome?
WA That’s fine. I can play maybe two  things. I’m happy with it. I don’t have any acting ambitions. I’ve no interest in being Uncle Vanya.

On performing…
CB I think the trickiest thing about performing is allowing  yourself to be looked at. Some people feel very comfortable. Maybe because I am not from the social-media generation, I don’t really engage in all of that. That sense of constantly wanting to present myself is not something I do. It took me a long time to feel comfortable on-screen because the camera sees everything. It is so interesting when you meet an actor in real life and they look completely different. The camera sees something in their face, the camera loves them and they come alive.
WA Yes, the camera likes certain people and is apathetic to other people, even if they are very fine stage actors. I’ve seen actors onstage who were terrific but never had the charisma of some of the great movie stars, who are not nearly as good actors but have some kind of connection with the camera.
CB It’s a different energy. I mean, I’m from Australia where the film industry is potent but small. I didn’t expect to have a career in film.  I went to drama school to work in the theatre. In actress years, I came into film quite late. Playing the part of Jasmine was pretty intense, but strangely, having done primarily theatre for the last five years probably helped because onstage you have such a well-defined sense of audience. I remember you saying I needed to do a scene again because the audience had already left the theatre; it was too slow  or languid. You are very clear about who you are making a film for.

On family…
WA To me, family and work are two divorced things. Work is work, with or without a family. It doesn’t matter. Coincidentally, on Blue Jasmine, it was my wife who had the idea for the picture. I was having lunch with her and she told me about this woman who had lost everything. In this case, my family was very influential on my work, but otherwise, whether I am single, dating or with a family, work has remained separate and compartmentalised.
CB After I had children, I think by necessity I became a lot more economical in the way that I worked. My first question when my agent calls is: ‘Who’s directing and when are they shooting?’ I always ask: ‘How long do they need me?’ Which sounds banal, but it helps keep you rational. Like you were saying, you shoot in the school holidays. Of course, my children’s summer holidays are entirely different, as we live in the hemisphere that fills Woody with horror: that hot, faraway, long-haul hemisphere.
WA Your summer is my winter, right?
CB Yes. Nothing fills Woody with more terror… But children are hilarious. My children were very impressed when I became a piece of Lego [for Indiana Jones and the Kingdom of the Crystal Skull]. I warned them there wouldn’t be any merchandise from Blue Jasmine.
WA My children have expressly said: ‘Dad, you are such a loser.’ I am quoting directly there. They are totally unimpressed with what I do, or by me.
CB Have you forced them to watch your films?
WA I’ve made 45 movies or so, and I think one of the girls has seen two of them, and that’s it. They go to the movies with their friends and see the drivel that their peer group watches. You know they’re nice kids but they have no interest in  me. They see me as an idiot savant who can make films but can’t change his typewriter ribbon.
CB I showed my children Vertigo the other night and they loved it. Even our five-year-old watched. We’ve been teaching them about suspense. I want them to watch Rope just to show them how long you can play it out.
WA I would have died for that as a kid.
CB Do you take your kids to films?
WA I’ve tried, but they never want to go. I’ve shown them one or two Marx Brothers movies and Shadow of  a Doubt, but they have no real interest. I could put all the riches of  the celluloid world at their disposal and they wouldn’t exhibit the slightest interest in any of it – or in me, for that matter. They love me, but they are very underwhelmed by me.

sábado, 9 de noviembre de 2013

Películas nominadas a los Premios de la Academia de Cine Europeo

Película: La mejor oferta (Giuseppe Tornatore). Blancanieves (Pablo Berger). The broken circle breakdown (Feliz van Groeningen). La gran belleza (Paolo Sorrentino). Oh Boy¡ (Jan Ole Gerster). La vida de Adele (Adelatiff Kechiche)

Comedia: Los amantes pasajeros (Pedro Almodóvar). Benvenuto presidente! (Rioccardo Milani). Amor es todo lo que necesitas (Susanne Bier). Svecenikova (Vinko Bresan).

Director: Pablo Berger (Blancanieves). Felix van Groeningen (The broken circle breakdown). Abdellatif Kechiche (La vida de Adèle). François Ozon (En la casa). Paolo Sorrentino (La gran belleza). Giuseppe Tornatore (La mejor oferta).

Actriz: Keira Knightley (Anna Karenina). Veerle Baetens (The broken circle Breakdown). Barbara Sukowa (Hannah Arendt). Naomi Watts (Lo imposible). Luminita Gheorghiu (Pozitia Copilului).

Actor: Jude Law (Anna Karenina). Johan Heldenbergh (The broken circle breakdown). Fabrice Luchini (En la casa). Toni Servillo (La gran belleza). Tom Schilling (Oh Boy!).

Guion: Tom Stoppard (Anna Karenina). Giuseppe Tornatore (La mejor oferta). Carl Joos y Felix van Groeningen (The broken circle breakdown). François Ozon (En la casa). Paolo Sorrentino y Umberto Contarello (La gran belleza).

La entrega de premios será el 7 de diciembre en Berlín.

martes, 5 de noviembre de 2013

Películas en competencia en el Festival Internacional del Nuevo Cine Latinoamericano de La Habana

Club Sándwich/Fernando Eimbcke
Tercera llamada/Francisco Franco
Las horas muertas/Aarón Fernández Lesur
Heli/Amat Escalante
El mudo/Daniel Vega, Diego Vega

CONCURSO DE FICCIÓN (Mediometrajes y Cortometrajes)
Jerusalén/Alicia Segovia Juárez
Porcelana/Betzabé García
Ratitas/David Figueroa García
Un lugar/Daniel Andrés Touron de Alba

Halley/Sebastián Hofmann
Las lágrimas/Pablo Delgado Sánchez
La jaula de oro/Diego Quemada-Díez
Los insólitos peces gato/Claudia Sainte-Luce
Tanta agua/Ana Guevara Pose, Leticia Jorge Romero

ABC nunca más/Pedro Ultreras
Mi amiga Bety/Diana Garay
Quebranto/Roberto Fiesco
Purgatorio, un viaje al corazón de la frontera/Rodrigo Reyes

¿Qué es la guerra?/Luis Beltrán
El regreso del vampiro/Christian Alain Vázquez Carrasco
Electrodoméstico/Erik de Luna
Hip/Diana Tapia Munguía
Un día en familia/Pedro «Zulu» González

sábado, 2 de noviembre de 2013

Ganadores DocsDF 2013

- Premio del Público Reto DocsDF: Muchacho en la barra, dirigido por Julián Hernández de México.

- Premio del Fideicomiso del Centro Histórico Reto DocsDF: Batucada, dirigido por Carlos Hernández de México.

- Premio del Jurado Reto DocsDF: Kisses in Zocalo, dirigido por Maida Hals de Noruega.

- Premio Doctubre: Bajo tortura, dirigido por Cristina Juárez de México.

- Premio DocsDF Mejor Cortometraje Internacional: El lago celeste, dirigido por Diana Aszyk de Polonia.

- Premio DocsDF Mejor Cortometraje Mexicano: La ahorcadita, dirigido por Carlos Torres y Pierre Saint-Martin.

- Premio DocsDF Mejor Documental para Televisión: Uwiklani, dirigido por Lidia Duda de Polonia.

- Premio DocsDF Mejor Largometraje Iberoamericano: Elena, dirigido por Pietra Costa de Brasil.

- Premio DocsDF Mejor Largometraje Internacional: Sickfuckpeople, dirigido por Juri Rechinsky de Austria.

- Premio DocsDF Mejor Largometraje Mexicano: De cometas y fronteras, dirigido por Yolanda Pividal.

Además, recibieron menciones honoríficas:

- En la categoría Doctubre: La agenda setting. Palestina en los medios, dirigido por Helena Bengoetxea (País Vasco), y Two americans, dirigido por Valeria Fernández (Estados Unidos).

- En Premio DocsDF Mejor Cortometraje Mexicano, Las montañas invisibles, dirigido por Ángel Linares, y El imaginario y su túnel, dirigido por Javier Quiñones.

- En Premio DocsDF Mejor Documental para Televisión, In the shadow of the sun, dirigido por Harry Freeland (Reino Unido), y The captain and his pirate, dirigido por Andy Wolff (Alemania-

- En Premio DocsDF Mejor Largometraje Iberoamericano, La gente del río, dirigido por Martín Benchimol y Pablo Aparo (Argentina) y Refugiados en su tierra, dirigido por Fernando Molina y Nicolás Bietti (Argentina).

- En Premio DocsDF Mejor Largometraje Internacional, Pussy Riot. A punk prayer, dirigido por Mike Lerner (Reino Unido) y Blush of fruit, dirigido por Jakeb Anhvu (Australia-Vietnam).

- En Premio DocsDF Mejor Largometraje Mexicano, La rosa y el diablo, dirigido por Sandra Castillo.

viernes, 1 de noviembre de 2013

Encuentro de Realizadores Mexicanos 2013 (FICM)

El video completo del encuentro de realizadores mexicanos que contó con la participación de Fernando Eimbcke, Michel Franco, Gaz Alazraki y Eugenio Derbez, moderado por Jean-Christophe Berjon.