La Bichota got her flowers!
On Thursday, Premio Lo Nuestro celebrated the best in Latin music at its annual awards show, welcoming unexpected collaborations onstage and awarding trophies to both newcomers and leaders of Spanish-language music across genres.
Leading the wins of the evening was Karol G, who — despite not being in the audience — won the most awards of the evening with nine. Along with four genre-specific trophies, the Mañana Será Bonito star won awards for Artist of the Year, Album of the Year, Remix of the Year for “Una...
On Thursday, Premio Lo Nuestro celebrated the best in Latin music at its annual awards show, welcoming unexpected collaborations onstage and awarding trophies to both newcomers and leaders of Spanish-language music across genres.
Leading the wins of the evening was Karol G, who — despite not being in the audience — won the most awards of the evening with nine. Along with four genre-specific trophies, the Mañana Será Bonito star won awards for Artist of the Year, Album of the Year, Remix of the Year for “Una...
- 2/23/2024
- by Tomás Mier
- Rollingstone.com
This year’s Baja Beach Fest in Rosarito, Mexico will feature headliners Peso Pluma, Kali Uchis, Fuerza Regida, and Rauw Alejandro. Uchis will be the first woman to headline the annual event.
The festival will also feature Becky G, Xavi, Sech, Mora, Jhayco, Latin Mafia, Yandel, Chencho Corleone, Jowell Y Randy, De La Ghetto, Alvaro Diaz and Omar Courtz, and Snow Tha Product among the a-list lineup. The fest, which enters its sixth year since launching in 2018, will run from Aug. 9 to 11.
Pluma had a monster year in 2023. His Eslabón...
The festival will also feature Becky G, Xavi, Sech, Mora, Jhayco, Latin Mafia, Yandel, Chencho Corleone, Jowell Y Randy, De La Ghetto, Alvaro Diaz and Omar Courtz, and Snow Tha Product among the a-list lineup. The fest, which enters its sixth year since launching in 2018, will run from Aug. 9 to 11.
Pluma had a monster year in 2023. His Eslabón...
- 2/20/2024
- by Charisma Madarang
- Rollingstone.com
The Conga Room is closing its doors.
The Los Angeles institution will bow out of the city’s nightlife scene after 25 years with one more final hurrah on March 27. Billed as a “farewell celebration,” the final night will be steered by investors Jimmy Smits and Paul Rodriguez and feature performances and appearances by Gilberto Santa Rosa (aka “el caballero de la salsa”) among other notable names (yet to be announced) from the worlds of music, politics and culture.
Opened in 1999 on Wilshire Boulevard by entrepreneur Brad Gluckstein, the Conga Room counted Smits, Rodriguez, Jennifer Lopez and Sheila E. as investors. The Conga Room became a go-to nightlife, special events and concert destination that boosted culture, music and entertainment. Over the years it has hosted the likes of Stevie Wonder, Snoop Dogg, Kendrick Lamar, Celia Cruz, the Buena Vista Social Club, Tito Puente, Carlos Santana, Alejandro Fernández, Jamie Foxx, Fito Páez,...
The Los Angeles institution will bow out of the city’s nightlife scene after 25 years with one more final hurrah on March 27. Billed as a “farewell celebration,” the final night will be steered by investors Jimmy Smits and Paul Rodriguez and feature performances and appearances by Gilberto Santa Rosa (aka “el caballero de la salsa”) among other notable names (yet to be announced) from the worlds of music, politics and culture.
Opened in 1999 on Wilshire Boulevard by entrepreneur Brad Gluckstein, the Conga Room counted Smits, Rodriguez, Jennifer Lopez and Sheila E. as investors. The Conga Room became a go-to nightlife, special events and concert destination that boosted culture, music and entertainment. Over the years it has hosted the likes of Stevie Wonder, Snoop Dogg, Kendrick Lamar, Celia Cruz, the Buena Vista Social Club, Tito Puente, Carlos Santana, Alejandro Fernández, Jamie Foxx, Fito Páez,...
- 1/31/2024
- by Chris Gardner
- The Hollywood Reporter - Movie News
Maluma’s vision was crystal clear as he delved into creating his hit single “Según Quién.” The record began during a studio session with Edgar Barrera and Keityn in Turks and Caicos as he locked into album mode for Don Juan, which has been nominated for Best Latin Pop Album for this year’s Grammys. The Colombian musician was ready to return to his roots for a bit, but when the pair of producers played him the first guitar chords that would form the foundation of the single, he had...
- 12/20/2023
- by Larisha Paul
- Rollingstone.com
A new Latino music festival is headed to Napa Valley. On Monday, BottleRock announced the stacked lineup for its first-ever Festival La Onda, which will be headlined by Maná, Fuerza Régida, Alejandro Fernandez, and Junior H. The event is set for June 1 and 2 in Napa Valley.
The festival’s lineup encompasses a wide array of genres, from Spanish rock and reggaetón to mariachi and Latin pop. Also on the lineup are reggaetonero Farruko, “Ella Baila Sola” performers Eslabón Armado, rock group Café Tacvba, cumbia legends Los Ángeles Azules, Chilean vocalist Mon Laferte,...
The festival’s lineup encompasses a wide array of genres, from Spanish rock and reggaetón to mariachi and Latin pop. Also on the lineup are reggaetonero Farruko, “Ella Baila Sola” performers Eslabón Armado, rock group Café Tacvba, cumbia legends Los Ángeles Azules, Chilean vocalist Mon Laferte,...
- 12/4/2023
- by Tomás Mier
- Rollingstone.com
It’s not that Alejandro Fernández wants to walk away, it’s that he knows he deserves better. On Thursday, the ranchera star premieres the video for “No Es Que Me Quiera Ir,” the newest single from his upcoming album, with Rolling Stone.
“It was an honor to work with my compa [and música Mexican songwriter] Edén Muñoz on this song. It’s one that so many can identify with: unrequited love and how sometimes the only option is to let go,” Fernández says. “Even if it hurts.”
The track features the mariachi sound Fernández is accustomed to,...
“It was an honor to work with my compa [and música Mexican songwriter] Edén Muñoz on this song. It’s one that so many can identify with: unrequited love and how sometimes the only option is to let go,” Fernández says. “Even if it hurts.”
The track features the mariachi sound Fernández is accustomed to,...
- 5/18/2023
- by Tomás Mier
- Rollingstone.com
If last year’s Bésame Mucho lineup was a Latino mom’s cleaning playlist, this year’s festival is that plus a Latino dad’s go-to songs on his way to work. On Tuesday, Bésame Mucho announced the lineup — including headliners Maná, Los Bukis, and Gloria Trevi — for its second consecutive festival.
Hosted at Dodger Stadium on Dec. 2, the massive festival is set to return with a stellar list of performers, including Alejandro Fernández, Pepe Aguilar, Natalia Lafourcade, Reik, Camila, and Belinda. It also features a number of returning acts from last year’s celebration.
Hosted at Dodger Stadium on Dec. 2, the massive festival is set to return with a stellar list of performers, including Alejandro Fernández, Pepe Aguilar, Natalia Lafourcade, Reik, Camila, and Belinda. It also features a number of returning acts from last year’s celebration.
- 2/22/2023
- by Tomás Mier
- Rollingstone.com
Nominations have arrived for the 2022 Premios Juventud, Univision’s awards show for Spanish-language pop culture, with J Balvin and Karol G leading the list at 11 nods each. The Colombian singers are followed by Rauw Alejandro, who holds nine, and Farruko, with eight.
Karol, Balvin, Rauw and Farruko overlap in three categories: favorite streaming artist, catchiest song, viral track of the year and the night’s biggest prize, album of the year. Also nominated for album of the year are Sebastian Yatra, Justin Quiles, Daddy Yankee, Rosalia, Camilo and Natti Natasha.
The show has added 10 new categories this year: female artist on the rise, male artist on the rise, my favorite actor, my favorite actress, best on-screen couple, favorite streaming artist, best couple song (which recognizes songs made by a romantic duo), tropical hit, the best beatmakers and best fandom.
In addition to the list of nominees, Univision has also announced bachata songster Prince Royce,...
Karol, Balvin, Rauw and Farruko overlap in three categories: favorite streaming artist, catchiest song, viral track of the year and the night’s biggest prize, album of the year. Also nominated for album of the year are Sebastian Yatra, Justin Quiles, Daddy Yankee, Rosalia, Camilo and Natti Natasha.
The show has added 10 new categories this year: female artist on the rise, male artist on the rise, my favorite actor, my favorite actress, best on-screen couple, favorite streaming artist, best couple song (which recognizes songs made by a romantic duo), tropical hit, the best beatmakers and best fandom.
In addition to the list of nominees, Univision has also announced bachata songster Prince Royce,...
- 6/15/2022
- by Thania Garcia
- Variety Film + TV
Vicente Fernández, the famed Mexican singer and actor, died on Sunday after months in the hospital following a fall at his ranch outside Guadalajara. He was 81.
His death was confirmed on his social media accounts, where his family had been updating fans on his condition and dispelling near-constant rumors of his death. He had undergone surgery for a cervical spine injury and spent weeks in intensive care, using a ventilator for respiratory support. He was briefly transferred out of intensive care, but returned after experiencing respiratory inflammation at the end of November.
His death was confirmed on his social media accounts, where his family had been updating fans on his condition and dispelling near-constant rumors of his death. He had undergone surgery for a cervical spine injury and spent weeks in intensive care, using a ventilator for respiratory support. He was briefly transferred out of intensive care, but returned after experiencing respiratory inflammation at the end of November.
- 12/12/2021
- by Julyssa Lopez
- Rollingstone.com
Gloria Estefan to Open Latin Grammys With All-Star Medley Featuring Anitta, Carlinhos Brown and More
Update (11/15): The Latin Grammys has finalized its performance lineup, tapping Gloria Estefan to open the 22nd iteration of the show. Estefan, per a press release, will kick things off with a three-song medley (“Abriendo Puertos,” “Cuando Hay Amor,” and “Magalenha”) and she’ll be joined on stage by an array of guests including Anitta, Carlinhos Brown, Laércio da Costa, Pedro Capó, Farina Giulia Be and Diego Torres.
Update (11/2): Christina Aguilera will return to the Latin Grammys for the first time in over 20 years for an “extended performance” at this year’s ceremony.
Update (11/2): Christina Aguilera will return to the Latin Grammys for the first time in over 20 years for an “extended performance” at this year’s ceremony.
- 11/15/2021
- by Jon Blistein
- Rollingstone.com
“It’s something we have in our soul,” says León Larregui, the frontman of Mexico’s celebrated alt-rock band Zoé. “We’re telepathically connected, even from far away and without speaking.” That uncanny bond between Larregui and his bandmates — one he calls a “karmic sonic identity” — informed the band’s seventh album, Sonidos de Karmática Resonancia (or Sounds of Karmic Resonance), out April 16th. “Our songs, some of which we wrote separately, would even have the same notes,” he continues. “It’s like we’re channeling from the same source.
- 4/14/2021
- by Isabela Raygoza
- Rollingstone.com
Brazilian superstar singer Anitta is the latest performer to join the lineup for the 21st Annual Latin Grammy Awards, taking place on Nov. 19.
She will be performing a medley including her latest hit “Me Gusta” from the Lapa Arches in Rio de Janeiro.
“I am so happy to once again join the Latin Grammys,” Anitta said. “It will be my second time performing in this important ceremony celebrating music and our cultures. This year will be different, but very special for me since it’s from my country, Brazil. I hope that people enjoy it. We are preparing something great!”
Anitta joins a lineup that includes Bad Bunny, Marc Anthony, Karol G, Kany García, Los Tigres del Norte, Pedro Capó, Alejandro Fernández, Christian Nodal, Fito Paéz and Nathy Peluso.
Each performance will take place in one of various cities around the world, but the main telecast will be anchored from Miami by host Carlos Rivera.
She will be performing a medley including her latest hit “Me Gusta” from the Lapa Arches in Rio de Janeiro.
“I am so happy to once again join the Latin Grammys,” Anitta said. “It will be my second time performing in this important ceremony celebrating music and our cultures. This year will be different, but very special for me since it’s from my country, Brazil. I hope that people enjoy it. We are preparing something great!”
Anitta joins a lineup that includes Bad Bunny, Marc Anthony, Karol G, Kany García, Los Tigres del Norte, Pedro Capó, Alejandro Fernández, Christian Nodal, Fito Paéz and Nathy Peluso.
Each performance will take place in one of various cities around the world, but the main telecast will be anchored from Miami by host Carlos Rivera.
- 11/6/2020
- by Jem Aswad
- Variety Film + TV
The Latin Grammys have announced the latest performance lineup for the award show’s 2020 ceremony.
Current nominees Anuel AA, Calibre 50, Julio Reyes Copello, Alex Cuba, Guaynaa, Víctor Manuelle, Ricardo Montaner, Debi Nova, Raquel Sofía, and Sebastián Yatra join the previously announced performers Bad Bunny, Pedro Capó, Alejandro Fernández, Karol G, Kany García, Los Tigres del Norte, Marc Anthony, Christian Nodal, Fito Páez, and Nathy Peluso.
Broadcast virtually from different cities around the world, the 21st Annual Latin Grammys will take place on Thursday, November 19th, 2020, at 8:00 p.m.
Current nominees Anuel AA, Calibre 50, Julio Reyes Copello, Alex Cuba, Guaynaa, Víctor Manuelle, Ricardo Montaner, Debi Nova, Raquel Sofía, and Sebastián Yatra join the previously announced performers Bad Bunny, Pedro Capó, Alejandro Fernández, Karol G, Kany García, Los Tigres del Norte, Marc Anthony, Christian Nodal, Fito Páez, and Nathy Peluso.
Broadcast virtually from different cities around the world, the 21st Annual Latin Grammys will take place on Thursday, November 19th, 2020, at 8:00 p.m.
- 10/27/2020
- by Claire Shaffer
- Rollingstone.com
Since his days as a hitmaker in the 1990s and early 2000s, the Mexican singer Alejandro Fernández has excelled at stately, immaculately orchestrated ballads — the perfect launching pad for his potent baritone.
On “Decepciones,” Fernández’s band works at a leisurely pace, with a gently strummed rhythm guitar keeping time and trilling horns ratcheting up the drama. There’s no string section here, which makes “Decepciones” more sinewy than some of the singer’s big early hits, and Fernández unleashes his tale of heartbreak in controlled gusts. To marvel at his operatic lung-power,...
On “Decepciones,” Fernández’s band works at a leisurely pace, with a gently strummed rhythm guitar keeping time and trilling horns ratcheting up the drama. There’s no string section here, which makes “Decepciones” more sinewy than some of the singer’s big early hits, and Fernández unleashes his tale of heartbreak in controlled gusts. To marvel at his operatic lung-power,...
- 2/19/2020
- by Elias Leight
- Rollingstone.com
She's back! Christina Aguilera has been promising fans new music for years, and on Thursday, May 3, she finally delivered by dropping the song "Acceleration" off her first album in six years, Liberation. The R&B tune features vocals from Ty Dolla $ign and 2 Chainz, and quite honestly, we can't stop listening! The music sensation took to social media on Wednesday, May 2, to tease anxious fans about her new tune. "I love you. I know you’ve been waiting," she said. "It needed to be perfect for you. For me. I’m ready. It’s time. I’m finally feeling liberated." She added in another, "I feel in life when you get to a place where you feel so comfortable and so routine, then you know you need to stop and start from scratch." Christina looks sexy in the newly-released music video as well (nothing like watching the blonde beauty...
- 5/3/2018
- by Samantha Faragalli
- Life and Style
Fans have been waiting for a new album from Christina Aguilera for years, and now, the 37-year-old pop star promises, “It’s coming, bitches.”
On Monday night, Aguilera let her fans know that new music was imminent in a message on her Instagram Story.
The news came attached to a popular meme that showed the “Come on Over (All I Want Is You)” singer’s star on the Hollywood Walk of Fame, flanked with a Post-It note asking, “Dear Christina Aguilera, Where the f— is the new album??”
Aguilera hasn’t released a new studio album since 2012’s Lotus. That record,...
On Monday night, Aguilera let her fans know that new music was imminent in a message on her Instagram Story.
The news came attached to a popular meme that showed the “Come on Over (All I Want Is You)” singer’s star on the Hollywood Walk of Fame, flanked with a Post-It note asking, “Dear Christina Aguilera, Where the f— is the new album??”
Aguilera hasn’t released a new studio album since 2012’s Lotus. That record,...
- 1/23/2018
- by Dave Quinn
- PEOPLE.com
The hottest stars stepped out for the 2017 Latin Grammy Awards to celebrate the biggest night in Latin music at the MGM Grand Garden Arena in Las Vegas, Nevada, on Thursday night.
The three-hour show, hosted by Roselyn Sanchez and Jaime Camil, included sizzling performances by Luis Fonsi, Steve Aoki, Alessia Cara, J Balvin, Maluma and Person of the Year Alejandro Sanz, among others.
Juanes and Luis Fonsi were among the first winners of the night, with the "Despactio" singer taking home all four awards he was nominated for, including Record of the Year and Song of the Year. Shakira, who is currently on vocal rest and absent from the ceremony, won Best Contemporary Pop Vocal Album for her latest record, El Dorado.
Et caught up with Fonsi, who was nominated for four Latin GRAMMYs, before the ceremony, where he expressed how much the awards show means to him.
Exclusive: Luis Fonsi on His Influential 20-Year Career and His Mission...
The three-hour show, hosted by Roselyn Sanchez and Jaime Camil, included sizzling performances by Luis Fonsi, Steve Aoki, Alessia Cara, J Balvin, Maluma and Person of the Year Alejandro Sanz, among others.
Juanes and Luis Fonsi were among the first winners of the night, with the "Despactio" singer taking home all four awards he was nominated for, including Record of the Year and Song of the Year. Shakira, who is currently on vocal rest and absent from the ceremony, won Best Contemporary Pop Vocal Album for her latest record, El Dorado.
Et caught up with Fonsi, who was nominated for four Latin GRAMMYs, before the ceremony, where he expressed how much the awards show means to him.
Exclusive: Luis Fonsi on His Influential 20-Year Career and His Mission...
- 11/17/2017
- Entertainment Tonight
Beyoncé is dipping her toe into the Latin music scene once again — and for a good cause.
The songstress, 36, released a new remix of J. Balvin & Willy William’s chart-topping single “Mi Gente” on Thursday.
The mother of three recorded her lyrics in Spanish. The song marks the first time in months she has debuted new material.
“I am donating my proceeds from this song to hurricane relief charities for Puerto Rico, Mexico and the other affected Caribbean islands. To help go to Beyonce.com/reliefefforts,” Beyoncé announced on social media.
“We’re heartbroken by the hurricanes and earthquakes that...
The songstress, 36, released a new remix of J. Balvin & Willy William’s chart-topping single “Mi Gente” on Thursday.
The mother of three recorded her lyrics in Spanish. The song marks the first time in months she has debuted new material.
“I am donating my proceeds from this song to hurricane relief charities for Puerto Rico, Mexico and the other affected Caribbean islands. To help go to Beyonce.com/reliefefforts,” Beyoncé announced on social media.
“We’re heartbroken by the hurricanes and earthquakes that...
- 9/29/2017
- by Karen Mizoguchi
- PEOPLE.com
Marc Anthony and Jennifer Lopez announced the creation of Somos Una Voz (We're Once Voice) on Wednesday, a humanitarian relief initiative and alliance which includes some of the biggest names in Hollywood, the world of sports and the arts. Together they have over 1 billion social media followers to help raise awareness of the critical situation and also raise donations for those in need. The Somos Una Voz alliance is working together to rush food, shelter, medicine, power, and communications to those in need that were affected by recent natural disasters. Alliance members include Alejandro Fernandez, Alejandro Sanz, Alex Rodriguez, Alex Sensation, Bruno...
- 9/27/2017
- E! Online
Flawless!
Jennifer Lopez rocked a show-stopping Julian Macdonald designed black dress to the Billboard Latin Music Awards at the Watsco Center in Miami, Florida on Thursday
Related: Jennifer Lopez and Alex Rodriguez Are All Smiles at Lunch in NYC After She Calls Him 'The Greatest of All Time'
The Shades of Blue star hit the red carpet (sans boyfriend Alex Rodriguez) in a sheer black dress complete with a plunging neckline and cutouts showing off her curves.
Keeping her hair in a simple but chic ponytail and smokey-eye makeup, Lopez complimented her fierce look with black heels and a matching clutch.
Getty ImagesGetty Images
Watch: Jennifer Lopez Sports Sexy Sheer Dress on Miami Date Night With Alex Rodriguez
Besides slaying the carpet, the 47-year-old entertainer will be taking the stage to perform the first single from her forthcoming Spanish album.
The show's star-studded performance lineup is packed with Latin music stars including Yandel, Daddy Yankee, Pedro...
Jennifer Lopez rocked a show-stopping Julian Macdonald designed black dress to the Billboard Latin Music Awards at the Watsco Center in Miami, Florida on Thursday
Related: Jennifer Lopez and Alex Rodriguez Are All Smiles at Lunch in NYC After She Calls Him 'The Greatest of All Time'
The Shades of Blue star hit the red carpet (sans boyfriend Alex Rodriguez) in a sheer black dress complete with a plunging neckline and cutouts showing off her curves.
Keeping her hair in a simple but chic ponytail and smokey-eye makeup, Lopez complimented her fierce look with black heels and a matching clutch.
Getty ImagesGetty Images
Watch: Jennifer Lopez Sports Sexy Sheer Dress on Miami Date Night With Alex Rodriguez
Besides slaying the carpet, the 47-year-old entertainer will be taking the stage to perform the first single from her forthcoming Spanish album.
The show's star-studded performance lineup is packed with Latin music stars including Yandel, Daddy Yankee, Pedro...
- 4/28/2017
- Entertainment Tonight
Because it doesn't get any more romantic than being serenaded? Just ask Criss Angel who had his "amor" Belinda sing to him and his family. It all started when the 27-year-old Baywatch star sang the timeless class "Si Nos Dejan." The 49-year-old magician was moved as his family clapped and cheered. He gave Belinda a kiss and proceeded to ask her to sing just one more song and said, "Do one more! Whatever you want." The singer then spoke with the group to see which song they could perform next and that's when she began to sing Alejandro Fernández's "Como Quien Pierde Una Estrella." In the middle of her impromptu performance,...
- 1/26/2017
- E! Online
When the 2016 Billboard Latin Music awards ceremony airs live April 28 on Telemundo, it will, for the first time, be presented in a special edition called “Billboard Duets.” All musical performances will feature an exclusive duet or a collaboration between performers. Top artists who will hit the Billboard Latin Music Awards “Billboard Duets” stage for never-before-seen performance include: Juan Gabriel and Alejandro Fernandez Juanes joins Juan Gabriel Marco Antonio Solís with Marc Anthony Lucero with Banda Sinaloense Ms de Sergio Lizarraga Yandel with Victor Manuelle Alejandro Fernandez with Camila Fernandez Daddy Yankee with Don Omar Performances will also include Alejandra … Continue reading →
The post 2016 Billboard Latin Music Awards Will Be Presented in Special “Billboard Duets” Edition appeared first on Channel Guide Magazine.
The post 2016 Billboard Latin Music Awards Will Be Presented in Special “Billboard Duets” Edition appeared first on Channel Guide Magazine.
- 4/28/2016
- by Jeff Pfeiffer
- ChannelGuideMag
Read More: The Complete 2016 Sundance Film Festival Lineup Chilean filmmaker Alejandro Fernandez Almendras is bringing "Much Ado About Nothing" to the World Cinema Dramatic Competition at the Sundance Film Festival this year, but the final product certainly is not what you would think from the title. Known in Chile as "Aqui no ha pasado nada," the Shakespearean title is getting a rather serious retooling as the director replaces marriage and trickery with Chilean political struggle. A follow up to Almendras' "To Kill a Man," which won the World Cinema Grand Jury Prize in 2014, "Much Ado About Nothing" finds young, wealthy Vicente wrapped up in a fatal hit and run that changes his life. The film is premiering at Sundance and has yet to find a distributer. See the exclusive poster below. Read More: Sundance Review: A Father Is Transformed By The Remorseful Burden That Comes From Taking...
- 1/15/2016
- by Bryn Gelbart
- Indiewire
It’s become a great breaking in the new year traditional here at Ioncinema.com. We begin our countdown to the our most anticipated foreign films (anything outside the U.S.) with our own Nicholas Bell curating the best bets for 2016. Here are the titles and filmmakers that didn’t make our final Top 100 cut, but are nonetheless “radar” worthy.
101. El Rey del Once – Daniel Burman
102. The Dancer – Stephanie Di Giusto
103. Le Cancre – Paul Vecchiali
104. While the Women are Sleeping – Wayne Wang
105. Tomorrow – Martha Pinson
106. Spring Again – Gael Morel
107. Crowhurst – Simon Rumley
108. Le Garcon – Philippe Lioret *
109. Marie and the Misfits – Sebastien Betbeder
110. Le Caravage – Alain Chevalier
111. Night Song – Raphael Nadjari
112. Réparer les vivants – Katell Quillevere *
113. Project Lazarus – Mateo Gil
114. Afterimages – Andrzej Wajda
115. Don’t Knock Twice – Caradog James
116. Detour – Christopher Smith
117. The Bride of Rip Van Winkle – Shunji Iwai
118. Three on the Road – Johnnie To
119. Le Vin et le Vent...
101. El Rey del Once – Daniel Burman
102. The Dancer – Stephanie Di Giusto
103. Le Cancre – Paul Vecchiali
104. While the Women are Sleeping – Wayne Wang
105. Tomorrow – Martha Pinson
106. Spring Again – Gael Morel
107. Crowhurst – Simon Rumley
108. Le Garcon – Philippe Lioret *
109. Marie and the Misfits – Sebastien Betbeder
110. Le Caravage – Alain Chevalier
111. Night Song – Raphael Nadjari
112. Réparer les vivants – Katell Quillevere *
113. Project Lazarus – Mateo Gil
114. Afterimages – Andrzej Wajda
115. Don’t Knock Twice – Caradog James
116. Detour – Christopher Smith
117. The Bride of Rip Van Winkle – Shunji Iwai
118. Three on the Road – Johnnie To
119. Le Vin et le Vent...
- 1/4/2016
- by Eric Lavallee
- IONCINEMA.com
Kate Plays ChristineThe lineup for the 2016 Sundance Film Festival, taking place between January 21 -31, has been announced.U.S. Dramatic COMPETITIONAs You Are (Miles Joris-Peyrafitte, USA): As You Are is the telling and retelling of a relationship between three teenagers as it traces the course of their friendship through a construction of disparate memories prompted by a police investigation. Cast: Owen Campbell, Charlie Heaton, Amandla Stenberg, John Scurti, Scott Cohen, Mary Stuart Masterson. World Premiere The Birth of a Nation (Nate Parker, USA): Set against the antebellum South, this story follows Nat Turner, a literate slave and preacher whose financially strained owner, Samuel Turner, accepts an offer to use Nat’s preaching to subdue unruly slaves. After witnessing countless atrocities against fellow slaves, Nat devises a plan to lead his people to freedom. Cast: Nate Parker, Armie Hammer, Aja Naomi King, Jackie Earle Haley, Gabrielle Union, Mark Boone Jr. World PremiereChristine (Antonio Campos,...
- 12/7/2015
- by Notebook
- MUBI
The Sundance Film institute has released the line-up of film for the 2016 Sundance Film Festival. Going to Sundance is one of my favorite events of the year. I love going because you never know what kind of movies you're going to see. Sometimes they are great films that amaze and entertain, other times they completely suck ass, but that's all part of the fun of going to the festival. It's an awesome experience for any hardcore movie geek, and if you ever get a chance to go, you need to.
The event takes place in Park City, Utah next year from January 21st to the 31st. It looks like there's a great line-up of movies at next year's event. My favorite portion of the event is the Midnight section because it deals more with geeky genre type movies, but I also enjoy the various sections of other line-ups.
Some of...
The event takes place in Park City, Utah next year from January 21st to the 31st. It looks like there's a great line-up of movies at next year's event. My favorite portion of the event is the Midnight section because it deals more with geeky genre type movies, but I also enjoy the various sections of other line-ups.
Some of...
- 12/6/2015
- by Joey Paur
- GeekTyrant
In last year’s section which included Ariel Kleiman’s Partisan and Anne Sewitsky’s Homesick, it was John Maclean’s debut Slow West claimed the World Cinema Grand Jury Prize, Alanté Kavaïté’s The Summer of Sangailé landed the Directing Award: World Cinema Dramatic, Umrika was the audience’s won the Audience Award: World Cinema Dramatic. In this year’s dozen offerings we have names we normally associate with Cannes in The Misfortunates‘ Felix van Groeningen (Belgica), The Other Side of Sleep‘s Rebecca Daly (Mammal – see pic above) and A Stray Girlfriend‘s Ana Katz (Mi Amiga del Parque). Here are the selections.
Belgica / Belgium, France, Netherlands (Director: Felix van Groeningen, Screenwriters: Felix van Groeningen, Arne Sierens) — In the midst of Belgium’s nightlife scene, two brothers start a bar and get swept up in its success.Cast: Stef Aerts, Tom Vermeir, Charlotte Vandermeersch, Hélène De Vos. World Premiere.
Belgica / Belgium, France, Netherlands (Director: Felix van Groeningen, Screenwriters: Felix van Groeningen, Arne Sierens) — In the midst of Belgium’s nightlife scene, two brothers start a bar and get swept up in its success.Cast: Stef Aerts, Tom Vermeir, Charlotte Vandermeersch, Hélène De Vos. World Premiere.
- 12/2/2015
- by Eric Lavallee
- IONCINEMA.com
Titles include Tallulah starring Ellen Page and Allison Janney, and Chad Hartigan’s Morris From America (pictured); Next strand also announced.Scroll down for full list
Sundance Institute has announced the 65 films selected for the Us Competition, World Competition and out-of-competition Next categories set to screen at the 2016 Sundance Film Festival (Jan 21-31) in Park City.
Us Dramatic Competition selections include Sian Heder’s Tallulah with Ellen Page and Allison Janney; Antonio Campos’ Christine; Clea DuVall’s feature directorial debut The Intervention; and Richard Tanne’s Southside With You, about Barack Obama’s first date with the First Lady.
Among the Us Documentary Competition selections are: Holy Hell by undisclosed; Jeff Feuerzeig’s Author: The Jt LeRoy Story; and Sara Jordenö’s Kiki.
The World Cinema Dramatic Competition entries include: Belgica (Belgium-France-Netherlands), Felix van Groeningen’s follow-up to The Broken Circle Breakdown; Manolo Cruz and Carlos del Castillo’s Between Sea And Land (Colombia); and Nicolette Krebitz’s Wild...
Sundance Institute has announced the 65 films selected for the Us Competition, World Competition and out-of-competition Next categories set to screen at the 2016 Sundance Film Festival (Jan 21-31) in Park City.
Us Dramatic Competition selections include Sian Heder’s Tallulah with Ellen Page and Allison Janney; Antonio Campos’ Christine; Clea DuVall’s feature directorial debut The Intervention; and Richard Tanne’s Southside With You, about Barack Obama’s first date with the First Lady.
Among the Us Documentary Competition selections are: Holy Hell by undisclosed; Jeff Feuerzeig’s Author: The Jt LeRoy Story; and Sara Jordenö’s Kiki.
The World Cinema Dramatic Competition entries include: Belgica (Belgium-France-Netherlands), Felix van Groeningen’s follow-up to The Broken Circle Breakdown; Manolo Cruz and Carlos del Castillo’s Between Sea And Land (Colombia); and Nicolette Krebitz’s Wild...
- 12/2/2015
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Co-production market has three prizes including new Wouter Barendrecht Award in conjunction with Fortissimo Films.
A host of global auteurs, along with new voices, have been selected for The International FIlm Festival Rotterdam’s famed CineMart co-production market.
Filmmakers who have projects selected include Miss Lovely director Ashim Ahluwalia from India; Ukranian director of multi-award-winning The Tribe Myroslav Slaboshpytskiy; Argentina’s Benjamin Naishtat (History of Fear); Fellipe Barbosa (Casa Grande); American duo Jason Cortlund and Julia Halperin, whose previous film Now, Forager played at Rotterdam; Dutch director Nanouk Leopold [pictured]; and Sacha Polak (Hemel). Full list of selected projects below.
CineMart is one of the industry’s first co-production markets, now in its 32nd edition. There are three awards — The Eurimages Co-production Development Award of €20,000, The Arte International Price of €7,000 and the inaugural Wouter Barendrecht Award of €5,000 which is awarded by CineMart in conjunction with Fortissimo Films.
CineMart runs Jan 25-28 as part of Iffr which runs Jan...
A host of global auteurs, along with new voices, have been selected for The International FIlm Festival Rotterdam’s famed CineMart co-production market.
Filmmakers who have projects selected include Miss Lovely director Ashim Ahluwalia from India; Ukranian director of multi-award-winning The Tribe Myroslav Slaboshpytskiy; Argentina’s Benjamin Naishtat (History of Fear); Fellipe Barbosa (Casa Grande); American duo Jason Cortlund and Julia Halperin, whose previous film Now, Forager played at Rotterdam; Dutch director Nanouk Leopold [pictured]; and Sacha Polak (Hemel). Full list of selected projects below.
CineMart is one of the industry’s first co-production markets, now in its 32nd edition. There are three awards — The Eurimages Co-production Development Award of €20,000, The Arte International Price of €7,000 and the inaugural Wouter Barendrecht Award of €5,000 which is awarded by CineMart in conjunction with Fortissimo Films.
CineMart runs Jan 25-28 as part of Iffr which runs Jan...
- 12/16/2014
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
Dealing with the some of the darkest shades of the human experience, Alejandro Fernández Almendras’ “To Kill a Man” (Matar a un Hombre) is an unsettling character study about an individual that leaves life as a passive man to get revenge on a man that has been harassing his family. It’s been almost a year since the film premier at the Sundance Film Festival, and during this year it has earned numerous awards from Rotterdam to Cartagena and everywhere in between. Now, Fernandez Almendras latest work, which will be distributed in the U.S. by Film Movement, is Chile’s Official Oscar Submission for the Best Foreign Language Film Award.
“To Kill a Man” is not only another outstanding example of the great films coming out of the South American country, but is also a thought-provoking work that explores crime and its consequences. Director Alejandro Fernandez Almendras recently sat down with us to discuss his intriguing film and what pushes a man over the edge.
Read the review Here
Aguilar: How was the idea for “To Kill a Man” born? Was it your interest in the nature of crime or was it something else that set in motion the creation of this project?
Alejandro: The origin of the story is sort of funny. I was inspired by a Chilean TV series called “Mea Culpa”, which is a sort of a true crime docudrama. The cases were very intriguing but the reenactments were incredibly cheesy. The format was very funny. During the reenactments, the characters would suddenly freeze, sort of like a corny version of a tableau vivant. Then smoke would appear out of nowhere and from behind the smoke a presenter or narrator would appear and say something like, “This morning was his last time.” He would say it in this ridiculously serious tone [Laughs].
Aguilar: Sort of like “The Twilight Zone”
Alejandro: Yes, but this was terrible [Laughs]. However, the cases were actually really good. They were very interesting. For some reason a phrase that the protagonist in a particular episode said stuck with me. I never saw that episode of the show after the original release about 7 or 8 years ago, but I was certain that the character had said this phrase. In my mind this show probably blended with other information. Recently, a magazine in Chile announced that they were going to publish an article on the actual case from this particular episode. When I heard about this I looked for this episode again and I finally found it. After watching it I realize that I had constructed this film based on a phrase that I thought the character in this show had said, but he never did! [Laughs].
The case is very similar to what’s on the film. In the show when they ask the character “If this events would happen again, would you commit this crime again?” In my mind, I could have sworn his answer was, “No, you don’t know what it means to kill a man” and in reality the character just says “ No, is not worth it,” {Laughs]. That’s how it started, but I just found out I was wrong recently. I was never really interested in finding out if that was what he had actually said or what was the truth about this case. This just served for me to think about what would happen to a regular person in this situation if he/she commits this crime.
I think that cinema is not always about delivering an answer. It’s more about putting myself in a situation and trying to understand how would I behave in that situation. That’s what interests me.
Aguilar: The film starts as a very familiar, everyday type of story and then it evolves into this transformative experience for the protagonist.
Alejandro : Exactly. For example, the scene that involves the car alarm going off came to me from something very familiar. I knew the location and I knew I wanted to shoot there because I like this particular look that these housing projects have. Then I put myself in the character’s place and thought, “If I’m trying to get someone to come downstairs, I’m not coming directly towards the place because then he would see me. I have to wait for him to turn around and follow him up the stairs, but if that happens then I will probably not reach him until he is almost back in his house. That wouldn’t work. I have to think of how to make the “victim” come towards me by getting his attention.” At this point I thought about the one thing that always makes people, including myself, come out of their house to see what’s happening, and that is the car alarm.
In the film we see our protagonist hiding behind the car, but in real life he would have had to be face down on the ground not to be seen. Daniel, the actor had to lay on his stomach not to be seen and this wasn’t working for the rest of the scene. We decided to alter reality in order to make it work [Laughs]. In cinema we can lie a little bit and change reality.
Aguilar: Tell me about this duality that’s at the center of “To Kill a Man.” The division between the victim and the executer is blurred through the protagonist’s actions.
Alejandro: The more I think about he film it becomes more difficult to see who the victim is. There was a moment when I thought I knew who this character was as a person. For most of the film we empathize with him, we suffer with him. We even think about doing the same thing he does, but after he kills a man it’s harder to be on his side. I had trouble during editing because I couldn’t find the right tone for what happens after the murder.
Then, I watched one of those shows on Investigation Discovery - which is a channel I like a lot – in which a girl killed her boyfriend because he was violent and abused her. The interesting part was how strange her behavior was. She stabbed him multiple times, and though she knew he was dead, she returned the next day to make sure he was dead. It was crazy. From that point on I felt my character had crossed a threshold and, just like with the girl in this true crime show, it was impossible to follow him in a logical manner anymore. The film had to become sort of a dream, or better said, a nightmare. From this point on the editing became much more ethereal, less grounded on reality.
Aguilar: Is he the victim or the perpetrator?
Alejandro: I see him as both. He goes from being a victim to becoming the perpetrator. I’ve notice that the film is more shocking for people from more developed countries like the Netherlands or countries in Scandinavia where they have highest standards of living. In this countries prisons are truly seen as places that help people reintegrate into society. In my film the protagonist takes justice into his own hands, which is a politically complex act because it’s something sort of protofascist. His actions are justifiable in his mind, but they really have no justification. He is very intuitive to this notion but not in a moral or ethical way, it’s physical. His actions are on the border between being justifiable and being the worst crime of all.
Aguilar: In a sense justifying his crime is the worst thing one can do
Alejandro: Yes, if societies worked this way every time you got robbed on the street you could pull out your shotgun and shoot the criminal. That’s much more terrible.
Aguilar: Would you say everyone is capable of committing such a crime?
Alejandro: This character is the in the middle of the spectrum between those who would jump at the chance and the last person capable or killing somebody. In on side there are those who would do it without remorse and on other side there are those, like me, who would never do it. I would probably just move to another neighborhood. In Chile there are other cases similar to this, at least two more that I know of. In one, a man killed his neighbor because this neighbor would threaten his family, very similar to what happens in the film. He continued disturbing the family until this man shot him. When this story appeared on the news, people online would voice their opinions and many of them would say, “I know that crazy man. He lived across the street and he would threaten our family as well, so I understand why this man killed him. We just moved to another city.”
In a sense other people also wanted to kill this man, but none of them were taken over the edge, except for the one man that actually killed him. Not everyone is capable of doing something like this, but most people understand his reasoning behind it. Other people would comment, “I was very close to killing him myself” or “I knew someone would end up killing that disturbed man.” Yet, this people didn’t do it.
Aguilar: There had to be something that pushed this person over the edge, something that separated him from those who wouldn’t do it and turn him into someone capable of killing.
Alejandro: Absolutely, in Jorge’s case this happens when he loses his family’s support.
Aguilar: I feel like it also has to do with the pressure he feels to be the protector. His family expects him to defend them and be this archetypal male that won’t let anyone push him around.
Alejandro: When his own family shuts him out for not being “man enough” to do something drastic about the situation, that’s what tips the scale. That’s what turns him into something else. His own family abandons him, judges him, and considers him a coward, and he feels like he needs to prove himself.
Aguilar: He is expected to do something to defeat this villain that’s harassing them, but is it unthinkable for them to give up and just move to another city?
Alejandro: Besides the fact that it could be practically difficult for some people to move to a different house, what plays a big part as well is the fact that people don’t want to accept defeat. The thought process is more like, “This is my territory, I’m not moving from here.” Recently a Chilean critic interpreted the film in a very interesting way, he wrote that the first time Jorge resorts to violence is when he grabs the shotgun to protect the property he works at.
It’s interesting that we think police exists to protect people. In reality the police as we know it appeared after the Industrial Revolution when business owners needed to protect their factories and other private property. That’s when police as an institution appeared. Jorge feels like he must defend that property. The fact that his family doesn’t move to a different house has to do with this instinct to protect what’s “theirs.”
Aguilar: I also think that Jorge feels like justice has failed him. The corrupt and indifferent bureaucracy has failed him. Do you think this story would work the same in other parts of the world where people have more trust in their institutions?
Alejandro: The only places in the world where I’ve felt like people didn’t fully understand it were those I mentioned before, which have higher standards of living and less corruption. In countries like Japan, in which 80% of homicide cases are solved, it probably wouldn’t make much sense either. Impunity is not such a familiar concept in these places, but there only a few places like these in the world. In the U.S. people seem to understand it very well. In Miami a woman said to me during the Q&A, “I would have killed that man in the first five minutes of the movie. Why did he take so long to kill him?” [Laughs].
In France people also understood what I was trying to say. Unfortunately the idea that police is not impartial and that it can be bought is something very familiar in many places around the world. In Russia people evidently understood it. Russians are very familiar with what corruption is and some people there were angry with Jorge for not taking justice into his own hands sooner. Obviously, all over Latin America people related to this story, it’s much more common than what it should be. This feeling that justice doesn’t exist for you but only for those with money is sadly very common.
Aguilar: The visual style of the film is almost impersonal. It’s very realist and it’s beautifully done, but it almost feels like you didn’t want to get emotionally close to this man. We are looking at him from afar in a solemn manner.
Alejandro: I fell that was the only way to not pollute the film with any judgment towards the character. There are two handheld shots at the beginning of the film. One is when Jorge gets robbed outside his house and the other when his son gets shot. These represent instances in which he is the victim. Then there are two other moments in which he is clearly the perpetrator. One is when he chases the man in the woods with his shotgun and the other when he kidnaps his victim.
We have to note that this film is politically dangerous. If I formally accentuate a feeling of empathy with this character I lose the distance that I need to question him and his actions. This is very important. Having this distance allows the audience to create their own judgment. I didn’t want to label him as a hero or a villain through my images. If I would have gotten closer to this man I might have empathize with him. I didn’t want that. In the Dardenne Brothers’ films, you always loves their characters regardless of what they do because the way they make their films forces you to follow the characters all the time. You end up siding with them even if what they do is bad, like with Rosetta who almost drowns her best friend. Since we are so close to the character all the time, we are tempted to condone or justify her actions.
If I was trying to make more of a genre film in which this political issues are not approached in a serious manner and the spectacle was the most important thing, then in that case I would make a film that’s less about restraint and more visceral. In this case I wanted to keep that distance because I still don’t feel like I know who this character is. Because of this distance I can form a more complex opinion of him, one that is not only driven by emotion.
Aguilar: At the end of the film we are not sure of the consequences Jorge will face in terms of what his family will think of him or how society will perceive his actions.
Alejandro: I feel like leaving some questions unanswered allows me to explore just this part of the story. If I wanted to understand what happens after I would have to dive in even further, but I think that his family wouldn’t understand what he did. Even if they did understand that he did it for them, they wouldn’t allow him to return to the family.
Aguilar: He has crossed a line and he can’t come back
Alejandro : Exactly, and I feel that this line was crossed before he actually committed the crime through all the circumstances around him. His family won’t say, “You killed him, you did good!” It might be the opposite. I picture his wife telling him, “You are so dumb for doing that. Why didn’t you just scare him? “ Or “Nobody asked you to do it.” He is going to be the villain no matter what. They might understand it as, “He did it for us, but what he did was still wrong.”
Aguilar: Is there a way for Jorge to redeem himself?
Alejandro: No because he made this decision on his own. If this had been a mutual decision between him and his wife or between him and his son, then he would have some support from his family. But he did it by himself. I’m very interested in crime as a disassociation of reality. There is a Romanian film called “ Aurora” by Cristi Puiu, which is three hours long, and is about a man that murders four people. In the end it’s very clear that crime is a consequence of the isolation this character experiences.
Aguilar: It’s difficult to see crime in such a pragmatic manner. We usually have very emotional reactions to criminal acts. Finding a specific reason for it is not easy.
Alejandro: Crime is definitely not a normal state in human beings. Even during the worst moments in World War II, soldiers would train at least for about two weeks because you can’t just teach a man how to use weapons. You have to teach him to obey orders, which is a way to place the guilt on the institution. Is not you who is killing people, it’s the institution through you. You have to disassociate yourself from your conscience in order to be able to do terrible things.
In this types of situations like in the army or a in a gang, people do terrible things as part of a group and they justify it as doing something for their country or their partners. Jorge is alone. However, even if you find comfort in justifying these acts through something else, they still damage you. Many soldiers come back from war very damaged emotionally.
Aguilar: Like we were discussing before, the act of taking another person’s life is a line that once crossed can’t be uncrossed or taken back.
Alejandro: Thankfully most people haven’t and will not cross this line, but films cross this line often and without consequences. My film doesn’t use over-the-top violence, but it brings you closer to the violence we experience everyday day. I would say the most violent scene in my film is when the villain harasses the young girl. Most of us will never know what being in a war is, but we all know what being humiliated or being afraid feels like.
I’ve been robbed in several occasions and I felt that way. In the great scale of things being robbed is nothing compared to the violence other people experience, but it’s very personal. Some films show too much violence without any emotional context, I wanted to show less but give it more recognizable emotion.
Aguilar: With such a thought-provoking and morally challenging story, how difficult was it to find the right actors to play these parts?
Alejandro: The actors that play the two protagonists, Jorge and Kalule, are theater actors. I chose Daniel Candia, who plays Jorge, because he is a very particular actor in Chilean cinema. He is not the typically handsome guy. He is very real and I believe everything he does on screen. Coincidentally, he used to work in a forest and he knew how to cut down a tree. This knowledge also helped me understand how to direct him.
On the other hand, I chose Daniel Antivilo to play Kalule because he is a very tall man. He has a deep voice, and is very imposing. I knew it had to be him. I also knew that he would be on screen for a brief period of time because this wasn’t his story. I needed someone that just by looking at him a couple times could produce fear or make people uncomfortable. He captured that very well even though he is a really charming man in real life.
When I met him I told him, “We are going to have a barbeque at my house. All the other actors will be there and I want you to behave like Kalule in front of them to see if you can pull it off.” He arrived pretending to be the character and he annoyed everyone. He was insufferable [Laughs]. He broke several plates and he searched my entire house looking for liquor while playing this character. It was horrible but he proved he could do it. [Laughs]
Aguilar: This has been an incredible year for you and the film. First winning at Sundance, then Rotterdam, Cartagena, among many others. Did all the success catch you by surprise?
Alejandro: It’s been a great year. I never thought the film would be so well received because it’s a very rough and dark film. Some people have even told me that after watching it they’ve had nightmares. What’s more surprising to me is the fact that it has won different awards from Best Actor, to Best Screenplay, to Best Supporting Actor, Best Director, and even Audience Awards. This shows me that people like it for different reasons. I didn’t expect this because my first film did very well in festivals and my second film didn’t do well at all.
I love my second film but it didn’t connect with other people. However, I feel like I’m still working in the same way even if the theme and the situations are different. I’m true to the way I like to make films but you never know if people will respond. We were lucky, we were about to submit the film to the Berlinale, but they wanted to see the final version of the film on a Dcp and we finished the film the week before Sundance. Berlin didn’t get to see it in the best quality and then Sundance wanted us to confirm because they needed to announce the lineup. We said no to Berlin. Maybe if the film had premiered in Berlin nothing would have happened and it would have been just another film. We won at Sundance and then we sold the film to many territories in the Berlinale market. After that we won in Rotterdam, in Cartagena, in Miami, and many other festivals.
Aguilar: And now the film is the Chilean Oscar submission
Alejandro: This has been great for the film. We got great reviews in Chile probably because it’s very different to other films being made in Chile. This is a film about real people, about the working class in a small town. It’s not the typical Chilean film about a certain economic or social class. “ To Kill a Man” is different. Whatever happens now is out of our hands...
“To Kill a Man” is not only another outstanding example of the great films coming out of the South American country, but is also a thought-provoking work that explores crime and its consequences. Director Alejandro Fernandez Almendras recently sat down with us to discuss his intriguing film and what pushes a man over the edge.
Read the review Here
Aguilar: How was the idea for “To Kill a Man” born? Was it your interest in the nature of crime or was it something else that set in motion the creation of this project?
Alejandro: The origin of the story is sort of funny. I was inspired by a Chilean TV series called “Mea Culpa”, which is a sort of a true crime docudrama. The cases were very intriguing but the reenactments were incredibly cheesy. The format was very funny. During the reenactments, the characters would suddenly freeze, sort of like a corny version of a tableau vivant. Then smoke would appear out of nowhere and from behind the smoke a presenter or narrator would appear and say something like, “This morning was his last time.” He would say it in this ridiculously serious tone [Laughs].
Aguilar: Sort of like “The Twilight Zone”
Alejandro: Yes, but this was terrible [Laughs]. However, the cases were actually really good. They were very interesting. For some reason a phrase that the protagonist in a particular episode said stuck with me. I never saw that episode of the show after the original release about 7 or 8 years ago, but I was certain that the character had said this phrase. In my mind this show probably blended with other information. Recently, a magazine in Chile announced that they were going to publish an article on the actual case from this particular episode. When I heard about this I looked for this episode again and I finally found it. After watching it I realize that I had constructed this film based on a phrase that I thought the character in this show had said, but he never did! [Laughs].
The case is very similar to what’s on the film. In the show when they ask the character “If this events would happen again, would you commit this crime again?” In my mind, I could have sworn his answer was, “No, you don’t know what it means to kill a man” and in reality the character just says “ No, is not worth it,” {Laughs]. That’s how it started, but I just found out I was wrong recently. I was never really interested in finding out if that was what he had actually said or what was the truth about this case. This just served for me to think about what would happen to a regular person in this situation if he/she commits this crime.
I think that cinema is not always about delivering an answer. It’s more about putting myself in a situation and trying to understand how would I behave in that situation. That’s what interests me.
Aguilar: The film starts as a very familiar, everyday type of story and then it evolves into this transformative experience for the protagonist.
Alejandro : Exactly. For example, the scene that involves the car alarm going off came to me from something very familiar. I knew the location and I knew I wanted to shoot there because I like this particular look that these housing projects have. Then I put myself in the character’s place and thought, “If I’m trying to get someone to come downstairs, I’m not coming directly towards the place because then he would see me. I have to wait for him to turn around and follow him up the stairs, but if that happens then I will probably not reach him until he is almost back in his house. That wouldn’t work. I have to think of how to make the “victim” come towards me by getting his attention.” At this point I thought about the one thing that always makes people, including myself, come out of their house to see what’s happening, and that is the car alarm.
In the film we see our protagonist hiding behind the car, but in real life he would have had to be face down on the ground not to be seen. Daniel, the actor had to lay on his stomach not to be seen and this wasn’t working for the rest of the scene. We decided to alter reality in order to make it work [Laughs]. In cinema we can lie a little bit and change reality.
Aguilar: Tell me about this duality that’s at the center of “To Kill a Man.” The division between the victim and the executer is blurred through the protagonist’s actions.
Alejandro: The more I think about he film it becomes more difficult to see who the victim is. There was a moment when I thought I knew who this character was as a person. For most of the film we empathize with him, we suffer with him. We even think about doing the same thing he does, but after he kills a man it’s harder to be on his side. I had trouble during editing because I couldn’t find the right tone for what happens after the murder.
Then, I watched one of those shows on Investigation Discovery - which is a channel I like a lot – in which a girl killed her boyfriend because he was violent and abused her. The interesting part was how strange her behavior was. She stabbed him multiple times, and though she knew he was dead, she returned the next day to make sure he was dead. It was crazy. From that point on I felt my character had crossed a threshold and, just like with the girl in this true crime show, it was impossible to follow him in a logical manner anymore. The film had to become sort of a dream, or better said, a nightmare. From this point on the editing became much more ethereal, less grounded on reality.
Aguilar: Is he the victim or the perpetrator?
Alejandro: I see him as both. He goes from being a victim to becoming the perpetrator. I’ve notice that the film is more shocking for people from more developed countries like the Netherlands or countries in Scandinavia where they have highest standards of living. In this countries prisons are truly seen as places that help people reintegrate into society. In my film the protagonist takes justice into his own hands, which is a politically complex act because it’s something sort of protofascist. His actions are justifiable in his mind, but they really have no justification. He is very intuitive to this notion but not in a moral or ethical way, it’s physical. His actions are on the border between being justifiable and being the worst crime of all.
Aguilar: In a sense justifying his crime is the worst thing one can do
Alejandro: Yes, if societies worked this way every time you got robbed on the street you could pull out your shotgun and shoot the criminal. That’s much more terrible.
Aguilar: Would you say everyone is capable of committing such a crime?
Alejandro: This character is the in the middle of the spectrum between those who would jump at the chance and the last person capable or killing somebody. In on side there are those who would do it without remorse and on other side there are those, like me, who would never do it. I would probably just move to another neighborhood. In Chile there are other cases similar to this, at least two more that I know of. In one, a man killed his neighbor because this neighbor would threaten his family, very similar to what happens in the film. He continued disturbing the family until this man shot him. When this story appeared on the news, people online would voice their opinions and many of them would say, “I know that crazy man. He lived across the street and he would threaten our family as well, so I understand why this man killed him. We just moved to another city.”
In a sense other people also wanted to kill this man, but none of them were taken over the edge, except for the one man that actually killed him. Not everyone is capable of doing something like this, but most people understand his reasoning behind it. Other people would comment, “I was very close to killing him myself” or “I knew someone would end up killing that disturbed man.” Yet, this people didn’t do it.
Aguilar: There had to be something that pushed this person over the edge, something that separated him from those who wouldn’t do it and turn him into someone capable of killing.
Alejandro: Absolutely, in Jorge’s case this happens when he loses his family’s support.
Aguilar: I feel like it also has to do with the pressure he feels to be the protector. His family expects him to defend them and be this archetypal male that won’t let anyone push him around.
Alejandro: When his own family shuts him out for not being “man enough” to do something drastic about the situation, that’s what tips the scale. That’s what turns him into something else. His own family abandons him, judges him, and considers him a coward, and he feels like he needs to prove himself.
Aguilar: He is expected to do something to defeat this villain that’s harassing them, but is it unthinkable for them to give up and just move to another city?
Alejandro: Besides the fact that it could be practically difficult for some people to move to a different house, what plays a big part as well is the fact that people don’t want to accept defeat. The thought process is more like, “This is my territory, I’m not moving from here.” Recently a Chilean critic interpreted the film in a very interesting way, he wrote that the first time Jorge resorts to violence is when he grabs the shotgun to protect the property he works at.
It’s interesting that we think police exists to protect people. In reality the police as we know it appeared after the Industrial Revolution when business owners needed to protect their factories and other private property. That’s when police as an institution appeared. Jorge feels like he must defend that property. The fact that his family doesn’t move to a different house has to do with this instinct to protect what’s “theirs.”
Aguilar: I also think that Jorge feels like justice has failed him. The corrupt and indifferent bureaucracy has failed him. Do you think this story would work the same in other parts of the world where people have more trust in their institutions?
Alejandro: The only places in the world where I’ve felt like people didn’t fully understand it were those I mentioned before, which have higher standards of living and less corruption. In countries like Japan, in which 80% of homicide cases are solved, it probably wouldn’t make much sense either. Impunity is not such a familiar concept in these places, but there only a few places like these in the world. In the U.S. people seem to understand it very well. In Miami a woman said to me during the Q&A, “I would have killed that man in the first five minutes of the movie. Why did he take so long to kill him?” [Laughs].
In France people also understood what I was trying to say. Unfortunately the idea that police is not impartial and that it can be bought is something very familiar in many places around the world. In Russia people evidently understood it. Russians are very familiar with what corruption is and some people there were angry with Jorge for not taking justice into his own hands sooner. Obviously, all over Latin America people related to this story, it’s much more common than what it should be. This feeling that justice doesn’t exist for you but only for those with money is sadly very common.
Aguilar: The visual style of the film is almost impersonal. It’s very realist and it’s beautifully done, but it almost feels like you didn’t want to get emotionally close to this man. We are looking at him from afar in a solemn manner.
Alejandro: I fell that was the only way to not pollute the film with any judgment towards the character. There are two handheld shots at the beginning of the film. One is when Jorge gets robbed outside his house and the other when his son gets shot. These represent instances in which he is the victim. Then there are two other moments in which he is clearly the perpetrator. One is when he chases the man in the woods with his shotgun and the other when he kidnaps his victim.
We have to note that this film is politically dangerous. If I formally accentuate a feeling of empathy with this character I lose the distance that I need to question him and his actions. This is very important. Having this distance allows the audience to create their own judgment. I didn’t want to label him as a hero or a villain through my images. If I would have gotten closer to this man I might have empathize with him. I didn’t want that. In the Dardenne Brothers’ films, you always loves their characters regardless of what they do because the way they make their films forces you to follow the characters all the time. You end up siding with them even if what they do is bad, like with Rosetta who almost drowns her best friend. Since we are so close to the character all the time, we are tempted to condone or justify her actions.
If I was trying to make more of a genre film in which this political issues are not approached in a serious manner and the spectacle was the most important thing, then in that case I would make a film that’s less about restraint and more visceral. In this case I wanted to keep that distance because I still don’t feel like I know who this character is. Because of this distance I can form a more complex opinion of him, one that is not only driven by emotion.
Aguilar: At the end of the film we are not sure of the consequences Jorge will face in terms of what his family will think of him or how society will perceive his actions.
Alejandro: I feel like leaving some questions unanswered allows me to explore just this part of the story. If I wanted to understand what happens after I would have to dive in even further, but I think that his family wouldn’t understand what he did. Even if they did understand that he did it for them, they wouldn’t allow him to return to the family.
Aguilar: He has crossed a line and he can’t come back
Alejandro : Exactly, and I feel that this line was crossed before he actually committed the crime through all the circumstances around him. His family won’t say, “You killed him, you did good!” It might be the opposite. I picture his wife telling him, “You are so dumb for doing that. Why didn’t you just scare him? “ Or “Nobody asked you to do it.” He is going to be the villain no matter what. They might understand it as, “He did it for us, but what he did was still wrong.”
Aguilar: Is there a way for Jorge to redeem himself?
Alejandro: No because he made this decision on his own. If this had been a mutual decision between him and his wife or between him and his son, then he would have some support from his family. But he did it by himself. I’m very interested in crime as a disassociation of reality. There is a Romanian film called “ Aurora” by Cristi Puiu, which is three hours long, and is about a man that murders four people. In the end it’s very clear that crime is a consequence of the isolation this character experiences.
Aguilar: It’s difficult to see crime in such a pragmatic manner. We usually have very emotional reactions to criminal acts. Finding a specific reason for it is not easy.
Alejandro: Crime is definitely not a normal state in human beings. Even during the worst moments in World War II, soldiers would train at least for about two weeks because you can’t just teach a man how to use weapons. You have to teach him to obey orders, which is a way to place the guilt on the institution. Is not you who is killing people, it’s the institution through you. You have to disassociate yourself from your conscience in order to be able to do terrible things.
In this types of situations like in the army or a in a gang, people do terrible things as part of a group and they justify it as doing something for their country or their partners. Jorge is alone. However, even if you find comfort in justifying these acts through something else, they still damage you. Many soldiers come back from war very damaged emotionally.
Aguilar: Like we were discussing before, the act of taking another person’s life is a line that once crossed can’t be uncrossed or taken back.
Alejandro: Thankfully most people haven’t and will not cross this line, but films cross this line often and without consequences. My film doesn’t use over-the-top violence, but it brings you closer to the violence we experience everyday day. I would say the most violent scene in my film is when the villain harasses the young girl. Most of us will never know what being in a war is, but we all know what being humiliated or being afraid feels like.
I’ve been robbed in several occasions and I felt that way. In the great scale of things being robbed is nothing compared to the violence other people experience, but it’s very personal. Some films show too much violence without any emotional context, I wanted to show less but give it more recognizable emotion.
Aguilar: With such a thought-provoking and morally challenging story, how difficult was it to find the right actors to play these parts?
Alejandro: The actors that play the two protagonists, Jorge and Kalule, are theater actors. I chose Daniel Candia, who plays Jorge, because he is a very particular actor in Chilean cinema. He is not the typically handsome guy. He is very real and I believe everything he does on screen. Coincidentally, he used to work in a forest and he knew how to cut down a tree. This knowledge also helped me understand how to direct him.
On the other hand, I chose Daniel Antivilo to play Kalule because he is a very tall man. He has a deep voice, and is very imposing. I knew it had to be him. I also knew that he would be on screen for a brief period of time because this wasn’t his story. I needed someone that just by looking at him a couple times could produce fear or make people uncomfortable. He captured that very well even though he is a really charming man in real life.
When I met him I told him, “We are going to have a barbeque at my house. All the other actors will be there and I want you to behave like Kalule in front of them to see if you can pull it off.” He arrived pretending to be the character and he annoyed everyone. He was insufferable [Laughs]. He broke several plates and he searched my entire house looking for liquor while playing this character. It was horrible but he proved he could do it. [Laughs]
Aguilar: This has been an incredible year for you and the film. First winning at Sundance, then Rotterdam, Cartagena, among many others. Did all the success catch you by surprise?
Alejandro: It’s been a great year. I never thought the film would be so well received because it’s a very rough and dark film. Some people have even told me that after watching it they’ve had nightmares. What’s more surprising to me is the fact that it has won different awards from Best Actor, to Best Screenplay, to Best Supporting Actor, Best Director, and even Audience Awards. This shows me that people like it for different reasons. I didn’t expect this because my first film did very well in festivals and my second film didn’t do well at all.
I love my second film but it didn’t connect with other people. However, I feel like I’m still working in the same way even if the theme and the situations are different. I’m true to the way I like to make films but you never know if people will respond. We were lucky, we were about to submit the film to the Berlinale, but they wanted to see the final version of the film on a Dcp and we finished the film the week before Sundance. Berlin didn’t get to see it in the best quality and then Sundance wanted us to confirm because they needed to announce the lineup. We said no to Berlin. Maybe if the film had premiered in Berlin nothing would have happened and it would have been just another film. We won at Sundance and then we sold the film to many territories in the Berlinale market. After that we won in Rotterdam, in Cartagena, in Miami, and many other festivals.
Aguilar: And now the film is the Chilean Oscar submission
Alejandro: This has been great for the film. We got great reviews in Chile probably because it’s very different to other films being made in Chile. This is a film about real people, about the working class in a small town. It’s not the typical Chilean film about a certain economic or social class. “ To Kill a Man” is different. Whatever happens now is out of our hands...
- 12/9/2014
- by Carlos Aguilar
- Sydney's Buzz
Titles such as Eskil Vogt’s Blind and David Wnendt’s Wetlands landed the most acclaim and Alejandro Fernandez Almendras’ To Kill a Man won the World Cinema Grand Jury Prize in the dozen offerings. This year we have John Maclean’s Slow West (starring Michael Fassbender), previous Sundance winner Anne Sewitsky returning with Homesick, and the highly anticipated title from Ariel Kleiman in the Vincent Cassel starrer, Partisan and a Nicole Kidman vehicle in Kim Farrant’s Strangerland (see pic above). Here are the dirty dozen from all corners of the world:
Chlorine / Italy (Director: Lamberto Sanfelice, Screenwriters: Lamberto Sanfelice, Elisa Amoruso) — Jenny, 17, dreams of becoming a synchronized swimmer. Family events turn her life upside down and she is forced move to a remote area to look after her ill father and younger brother. It won’t be long before Jenny starts pursuing her dreams again. Cast: Sara Serraiocco,...
Chlorine / Italy (Director: Lamberto Sanfelice, Screenwriters: Lamberto Sanfelice, Elisa Amoruso) — Jenny, 17, dreams of becoming a synchronized swimmer. Family events turn her life upside down and she is forced move to a remote area to look after her ill father and younger brother. It won’t be long before Jenny starts pursuing her dreams again. Cast: Sara Serraiocco,...
- 12/3/2014
- by Eric Lavallee
- IONCINEMA.com
54th edition of Ficci to feature eight world premieres in Colombian official competition.
The 54th International Film Festival of Cartagena de Indias (Ficci) in Colombia has unveiled its competition lineup.
Eight of the twelve films in the Colombian Official Competition are world premieres, while half of the films selected for the festival’s Official Dramatic Competition are Latin American Premieres.
Speaking at the launch in Bogota, Ficci’s director Monika Wagenberg commented: “We have managed to achieve the goal we set four years ago: becoming the main national and international launching platform of local films.”
This year’s Official Dramatic Competition features the Latin American premieres of the likes of Celina Murga’s Berlinale entry La Tercera Orilla and Alejandro Fernández’s Sundance winner Matar A Un Hombre [pictured], as well as the world premiere of Rubén Mendoza’s Tierra En La Lengua.
World premieres of Sergio Wolf’s El Color Que Cayó Del Cielo and Germán Piffano...
The 54th International Film Festival of Cartagena de Indias (Ficci) in Colombia has unveiled its competition lineup.
Eight of the twelve films in the Colombian Official Competition are world premieres, while half of the films selected for the festival’s Official Dramatic Competition are Latin American Premieres.
Speaking at the launch in Bogota, Ficci’s director Monika Wagenberg commented: “We have managed to achieve the goal we set four years ago: becoming the main national and international launching platform of local films.”
This year’s Official Dramatic Competition features the Latin American premieres of the likes of Celina Murga’s Berlinale entry La Tercera Orilla and Alejandro Fernández’s Sundance winner Matar A Un Hombre [pictured], as well as the world premiere of Rubén Mendoza’s Tierra En La Lengua.
World premieres of Sergio Wolf’s El Color Que Cayó Del Cielo and Germán Piffano...
- 2/11/2014
- by ian.sandwell@screendaily.com (Ian Sandwell)
- ScreenDaily
Six films from Argentina, Chile and Colombia to be presented during the San Sebastian International Film Festival.
Films in Progress 24 will run in San Sebastian from Sept 23-25 as part of the 61st edition of the festival. This year, for the first time, Films in Progress will last for three days to coincide with the II Europe-Latin America Co-production Forum.
The titles programmed for presentation in Films in Progress 24 are:
La comodidad en la distancia (Chile) Jorge Yacoman SaavedraHistoria del Miedo (Argentina-Uruguay-France-Germany) Benjamín NaishtatMatar a un hombre (Chile-France) Alejandro Fernández AlmendrasNacimiento (Colombia) Martín Mejía RugelesPantanal (Argentina) Andrew SalaLa Salada (Argentina) Juan Martín Hsu.
Films in Progress is the programme of aid to Latin American cinema called twice yearly by the San Sebastian Festival and Cinélatino Rencontres de Toulouse.
For this edition a total of 82 submissions from 16 countries were received.
The Films in Progress Industry Award will be granted at the event.
The companies...
Films in Progress 24 will run in San Sebastian from Sept 23-25 as part of the 61st edition of the festival. This year, for the first time, Films in Progress will last for three days to coincide with the II Europe-Latin America Co-production Forum.
The titles programmed for presentation in Films in Progress 24 are:
La comodidad en la distancia (Chile) Jorge Yacoman SaavedraHistoria del Miedo (Argentina-Uruguay-France-Germany) Benjamín NaishtatMatar a un hombre (Chile-France) Alejandro Fernández AlmendrasNacimiento (Colombia) Martín Mejía RugelesPantanal (Argentina) Andrew SalaLa Salada (Argentina) Juan Martín Hsu.
Films in Progress is the programme of aid to Latin American cinema called twice yearly by the San Sebastian Festival and Cinélatino Rencontres de Toulouse.
For this edition a total of 82 submissions from 16 countries were received.
The Films in Progress Industry Award will be granted at the event.
The companies...
- 8/20/2013
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Christina Aguilera and Alejandro Fernández in an abandoned house, she’s in black lingerie...is there anything sexier than that?
At first the songstress and Mexican singer simply combined their voices for “Hoy Tengo Ganas De Ti” but in the video, released via Vevo on Friday, it seems their bodies were also ready to come together for their latest single.
Christina took to Twitter to share the news. The music video was directed by Colombia’s Simón Brand, who has worked with Enrique Iglesias, Paulina Rubio, Ricky Martin, Shakira and more in the past.
#HoyTengoGanasDeTi video is here! XoXtina http://t.co/4kyDq34476
— Christina Aguilera (@xtina) July 19, 2013
The song will be included in Fernandez’s upcoming album “Confidencias” and is currently the theme song for the telenovela “La Tempestad,” which stars William Levy and former Miss Universe Ximena Navarrete.
Check out the music video above.
At first the songstress and Mexican singer simply combined their voices for “Hoy Tengo Ganas De Ti” but in the video, released via Vevo on Friday, it seems their bodies were also ready to come together for their latest single.
Christina took to Twitter to share the news. The music video was directed by Colombia’s Simón Brand, who has worked with Enrique Iglesias, Paulina Rubio, Ricky Martin, Shakira and more in the past.
#HoyTengoGanasDeTi video is here! XoXtina http://t.co/4kyDq34476
— Christina Aguilera (@xtina) July 19, 2013
The song will be included in Fernandez’s upcoming album “Confidencias” and is currently the theme song for the telenovela “La Tempestad,” which stars William Levy and former Miss Universe Ximena Navarrete.
Check out the music video above.
- 7/22/2013
- by The Huffington Post
- Huffington Post
The much-awaited duet with Christina Aguilera and Alejandro Fernández is out, and moving fast through the Internet. “Hoy Tengo Ganas de Ti” (“Today I Want You") will be the single for Univision’s soap opera “La Tempestad” ("The Storm") starring William Levy and former Miss Universe Ximena Navarrete.
"This album is a classic, a gem from my point of view. It has taken a long time because good things take time,” said Fernández in a press release. “Christina has an amazing voice, sweet but also very powerful and full of feeling. I feel very happy and proud of the result.”
It is not the first time Aguilera sings in Spanish. In 2000 the star of Ecuadorian roots released an album entirely in Spanish called "Mi Reflejo.” The singer has also recorded duets in the same language in the past with Latin artists like Ricky Martin and Luis Fonsi.
Listen to Aguilera singing in Spanish above,...
"This album is a classic, a gem from my point of view. It has taken a long time because good things take time,” said Fernández in a press release. “Christina has an amazing voice, sweet but also very powerful and full of feeling. I feel very happy and proud of the result.”
It is not the first time Aguilera sings in Spanish. In 2000 the star of Ecuadorian roots released an album entirely in Spanish called "Mi Reflejo.” The singer has also recorded duets in the same language in the past with Latin artists like Ricky Martin and Luis Fonsi.
Listen to Aguilera singing in Spanish above,...
- 5/10/2013
- by The Huffington Post
- Huffington Post
Check out new clips and images from Dan Bridgeman's Hecho en México documentary, with Adanowsky, Rubén Albarrán and Amandititita. The opens in select theaters from November 30th. The doc from Pantelion Films and Lionsgate is helmed by Bridgeman (1 Giant Leap, What About Me?) who weaves a beautiful and rhythmic cinematic tapestry composed of original songs, conversations, reflections, wisdom and humor featuring many of the greatest performers and sharpest minds of Mexico today. The film showcases the richness of Mexican music both young and old, from traditional music to pop rock, and rap blended with interviews and songs of some of the most popular artists of Latin America such as Alejandro Fernández, Diego Luna, Calle 13, Lila Downs , Los Tucanes de Tijuana, and many more leading personalities. The result is an inspiring and often funny musical road trip through the modern day "Mexicanity", which resonates globally.
- 11/22/2012
- Upcoming-Movies.com
Check out new clips and images from Dan Bridgeman's Hecho en México documentary, with Adanowsky, Rubén Albarrán and Amandititita. The opens in select theaters from November 30th. The doc from Pantelion Films and Lionsgate is helmed by Bridgeman (1 Giant Leap, What About Me?) who weaves a beautiful and rhythmic cinematic tapestry composed of original songs, conversations, reflections, wisdom and humor featuring many of the greatest performers and sharpest minds of Mexico today. The film showcases the richness of Mexican music both young and old, from traditional music to pop rock, and rap blended with interviews and songs of some of the most popular artists of Latin America such as Alejandro Fernández, Diego Luna, Calle 13, Lila Downs , Los Tucanes de Tijuana, and many more leading personalities. The result is an inspiring and often funny musical road trip through the modern day "Mexicanity", which resonates globally.
- 11/22/2012
- Upcoming-Movies.com
Watch the trailer for Pantelion Films' Hecho en Mexico (Made in Mexico) music documentary starring Diego Luna. Duncan Bridgeman writes and directs the film, weaving a cinematic tapestry composed of original songs and insights from the most iconic artists and performers of contemporary Mexico. With striking visuals, the movie captures the rich diversity of Mexican geography, art, music, and culture. It is a rare look at the country's real identity, and an unparalleled celebration of what it truly means to be Hecho en Mexico. The cast includes Alejandro Fernández, Kinky, Lupe Esparza, Los Tucanes de Tijuana, Rubén Albarrán, Carla Morrison, Amandititita, Don Cheto and Chavela Vargas...
- 10/20/2012
- Upcoming-Movies.com
Watch the trailer for Pantelion Films' Hecho en Mexico (Made in Mexico) music documentary starring Diego Luna. Duncan Bridgeman writes and directs the film, weaving a cinematic tapestry composed of original songs and insights from the most iconic artists and performers of contemporary Mexico. With striking visuals, the movie captures the rich diversity of Mexican geography, art, music, and culture. It is a rare look at the country's real identity, and an unparalleled celebration of what it truly means to be Hecho en Mexico. The cast includes Alejandro Fernández, Kinky, Lupe Esparza, Los Tucanes de Tijuana, Rubén Albarrán, Carla Morrison, Amandititita, Don Cheto and Chavela Vargas...
- 10/20/2012
- Upcoming-Movies.com
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