U.K. based sales agency Film Republic has picked up Peru’s 2024 Oscar entry “The Erection of Toribio Bardelli,” the latest film from Adrián Saba, one of Peru’s most prominent auteurs on the festival scene.
Film Republic has also shared a first international trailer with Variety. The film screens this week in Los Angeles at the GuadaLAjara Film Festival LA, which runs Nov. 1-3. V&r Films distributes in Peru, Livres Distribution in Brazil.
Set in central Lima, “The Erection of Toribio Bardelli” captures the Bardelli family in deep grief at the death of the wife and mother, Toribio Bardelli, the father suffering erectile dysfunction.
Feeling out of place in a current world, clinging to old world values such as virility but, as captured in a first scene in a brothel, Toribio can’t even get it up.
He mourns the death of his wife, can’t get over...
Film Republic has also shared a first international trailer with Variety. The film screens this week in Los Angeles at the GuadaLAjara Film Festival LA, which runs Nov. 1-3. V&r Films distributes in Peru, Livres Distribution in Brazil.
Set in central Lima, “The Erection of Toribio Bardelli” captures the Bardelli family in deep grief at the death of the wife and mother, Toribio Bardelli, the father suffering erectile dysfunction.
Feeling out of place in a current world, clinging to old world values such as virility but, as captured in a first scene in a brothel, Toribio can’t even get it up.
He mourns the death of his wife, can’t get over...
- 11/2/2023
- by John Hopewell
- Variety Film + TV
Predicting the eventual five Oscar nominees for Best International Feature is made difficult by the three-step process that begins after the October 2, 2023 deadline for countries to submit entries. To be part of the selection process for this category, which was called Best Foreign Language Film before 2020, requires a great deal of dedication. (Scroll down for the most up-to-date 2024 Oscars Best International Feature predictions.)
In the days following the deadline for submissions, the academy determines each film’s eligibility. Then the several hundred academy members who serve on the International Feature screening committee are divided into groups and required to watch all their submissions over a six-week period that ends in early December. Their top 15 vote-getters will make it to the next round. That list of semi-finalists will be revealed on December 21, 2023.
These 15 films will be made available to the entire academy membership who can cast ballots for the final five...
In the days following the deadline for submissions, the academy determines each film’s eligibility. Then the several hundred academy members who serve on the International Feature screening committee are divided into groups and required to watch all their submissions over a six-week period that ends in early December. Their top 15 vote-getters will make it to the next round. That list of semi-finalists will be revealed on December 21, 2023.
These 15 films will be made available to the entire academy membership who can cast ballots for the final five...
- 9/25/2023
- by Paul Sheehan and Jacob Sarkisian
- Gold Derby
Screen is profiling every submission for best international feature at the 96th Academy Awards.
Entries for the 2024 Oscar for best international feature are underway, and Screen is profiling each one on this page.
The 96th Academy Awards is set to take place on March 10, 2024 at the Dolby Theatre in Los Angeles.
An international feature film is defined as a feature-length motion picture (over 40 minutes) produced outside the US with a predominantly (more than 50%) non-English dialogue track and can include animated and documentary features.
Submitted films must have been released theatrically in their respective countries between December 1, 2022, and October 31, 2023. The deadline...
Entries for the 2024 Oscar for best international feature are underway, and Screen is profiling each one on this page.
The 96th Academy Awards is set to take place on March 10, 2024 at the Dolby Theatre in Los Angeles.
An international feature film is defined as a feature-length motion picture (over 40 minutes) produced outside the US with a predominantly (more than 50%) non-English dialogue track and can include animated and documentary features.
Submitted films must have been released theatrically in their respective countries between December 1, 2022, and October 31, 2023. The deadline...
- 9/21/2023
- by Screen staff
- ScreenDaily
Screen is profiling every submission for best international feature at the 96th Academy Awards.
Entries for the 2024 Oscar for best international feature are underway, and Screen is profiling each one on this page.
The 96th Academy Awards is set to take place on March 10, 2024 at the Dolby Theatre in Los Angeles.
An international feature film is defined as a feature-length motion picture (over 40 minutes) produced outside the US with a predominantly (more than 50%) non-English dialogue track and can include animated and documentary features.
Submitted films must have been released theatrically in their respective countries between December 1, 2022, and October 31, 2023. The deadline...
Entries for the 2024 Oscar for best international feature are underway, and Screen is profiling each one on this page.
The 96th Academy Awards is set to take place on March 10, 2024 at the Dolby Theatre in Los Angeles.
An international feature film is defined as a feature-length motion picture (over 40 minutes) produced outside the US with a predominantly (more than 50%) non-English dialogue track and can include animated and documentary features.
Submitted films must have been released theatrically in their respective countries between December 1, 2022, and October 31, 2023. The deadline...
- 9/19/2023
- by Screen staff
- ScreenDaily
Screen is profiling every submission for best international feature at the 96th Academy Awards.
Entries for the 2024 Oscar for best international feature are underway, and Screen is profiling each one on this page.
The 96th Academy Awards is set to take place on March 10, 2024 at the Dolby Theatre in Los Angeles.
An international feature film is defined as a feature-length motion picture (over 40 minutes) produced outside the US with a predominantly (more than 50%) non-English dialogue track and can include animated and documentary features.
Submitted films must have been released theatrically in their respective countries between December 1, 2022, and October 31, 2023. The deadline...
Entries for the 2024 Oscar for best international feature are underway, and Screen is profiling each one on this page.
The 96th Academy Awards is set to take place on March 10, 2024 at the Dolby Theatre in Los Angeles.
An international feature film is defined as a feature-length motion picture (over 40 minutes) produced outside the US with a predominantly (more than 50%) non-English dialogue track and can include animated and documentary features.
Submitted films must have been released theatrically in their respective countries between December 1, 2022, and October 31, 2023. The deadline...
- 9/18/2023
- by Screen staff
- ScreenDaily
Screen is profiling every submission for best international feature at the 96th Academy Awards.
Entries for the 2024 Oscar for best international feature are underway, and Screen is profiling each one on this page.
The 96th Academy Awards is set to take place on March 10, 2024 at the Dolby Theatre in Los Angeles.
An international feature film is defined as a feature-length motion picture (over 40 minutes) produced outside the US with a predominantly (more than 50%) non-English dialogue track and can include animated and documentary features.
Submitted films must have been released theatrically in their respective countries between December 1, 2022, and October 31, 2023. The deadline...
Entries for the 2024 Oscar for best international feature are underway, and Screen is profiling each one on this page.
The 96th Academy Awards is set to take place on March 10, 2024 at the Dolby Theatre in Los Angeles.
An international feature film is defined as a feature-length motion picture (over 40 minutes) produced outside the US with a predominantly (more than 50%) non-English dialogue track and can include animated and documentary features.
Submitted films must have been released theatrically in their respective countries between December 1, 2022, and October 31, 2023. The deadline...
- 9/13/2023
- by Screen staff
- ScreenDaily
Screen is profiling every submission for best international feature at the 96th Academy Awards.
Entries for the 2024 Oscar for best international feature are underway, and Screen is profiling each one on this page.
The 96th Academy Awards is set to take place on March 10, 2024 at the Dolby Theatre in Los Angeles.
An international feature film is defined as a feature-length motion picture (over 40 minutes) produced outside the US with a predominantly (more than 50%) non-English dialogue track and can include animated and documentary features.
Submitted films must have been released theatrically in their respective countries between December 1, 2022, and October 31, 2023. The deadline...
Entries for the 2024 Oscar for best international feature are underway, and Screen is profiling each one on this page.
The 96th Academy Awards is set to take place on March 10, 2024 at the Dolby Theatre in Los Angeles.
An international feature film is defined as a feature-length motion picture (over 40 minutes) produced outside the US with a predominantly (more than 50%) non-English dialogue track and can include animated and documentary features.
Submitted films must have been released theatrically in their respective countries between December 1, 2022, and October 31, 2023. The deadline...
- 9/13/2023
- by Screen staff
- ScreenDaily
Screen is profiling every submission for best international feature at the 96th Academy Awards.
Entries for the 2024 Oscar for best international feature are underway, and Screen is profiling each one on this page.
The 96th Academy Awards is set to take place on March 10, 2024 at the Dolby Theatre in Los Angeles.
An international feature film is defined as a feature-length motion picture (over 40 minutes) produced outside the US with a predominantly (more than 50%) non-English dialogue track and can include animated and documentary features.
Submitted films must have been released theatrically in their respective countries between December 1, 2022, and October 31, 2023. The deadline...
Entries for the 2024 Oscar for best international feature are underway, and Screen is profiling each one on this page.
The 96th Academy Awards is set to take place on March 10, 2024 at the Dolby Theatre in Los Angeles.
An international feature film is defined as a feature-length motion picture (over 40 minutes) produced outside the US with a predominantly (more than 50%) non-English dialogue track and can include animated and documentary features.
Submitted films must have been released theatrically in their respective countries between December 1, 2022, and October 31, 2023. The deadline...
- 9/8/2023
- by Screen staff
- ScreenDaily
Screen is profiling every submission for best international feature at the 96th Academy Awards.
Entries for the 2024 Oscar for best international feature are underway, and Screen is profiling each one on this page.
The 96th Academy Awards is set to take place on March 10, 2024 at the Dolby Theatre in Los Angeles.
An international feature film is defined as a feature-length motion picture (over 40 minutes) produced outside the US with a predominantly (more than 50%) non-English dialogue track and can include animated and documentary features.
Submitted films must have been released theatrically in their respective countries between December 1, 2022, and October 31, 2023. The deadline...
Entries for the 2024 Oscar for best international feature are underway, and Screen is profiling each one on this page.
The 96th Academy Awards is set to take place on March 10, 2024 at the Dolby Theatre in Los Angeles.
An international feature film is defined as a feature-length motion picture (over 40 minutes) produced outside the US with a predominantly (more than 50%) non-English dialogue track and can include animated and documentary features.
Submitted films must have been released theatrically in their respective countries between December 1, 2022, and October 31, 2023. The deadline...
- 9/8/2023
- by Screen staff
- ScreenDaily
Screen is profiling every submission for best international feature at the 96th Academy Awards.
Entries for the 2024 Oscar for best international feature are underway, and Screen is profiling each one on this page.
The 96th Academy Awards is set to take place on March 10, 2024 at the Dolby Theatre in Los Angeles.
An international feature film is defined as a feature-length motion picture (over 40 minutes) produced outside the US with a predominantly (more than 50%) non-English dialogue track and can include animated and documentary features.
Submitted films must have been released theatrically in their respective countries between December 1, 2022, and October 31, 2023. The deadline...
Entries for the 2024 Oscar for best international feature are underway, and Screen is profiling each one on this page.
The 96th Academy Awards is set to take place on March 10, 2024 at the Dolby Theatre in Los Angeles.
An international feature film is defined as a feature-length motion picture (over 40 minutes) produced outside the US with a predominantly (more than 50%) non-English dialogue track and can include animated and documentary features.
Submitted films must have been released theatrically in their respective countries between December 1, 2022, and October 31, 2023. The deadline...
- 9/6/2023
- by Screen staff
- ScreenDaily
Screen is profiling every submission for best international feature at the 96th Academy Awards.
Entries for the 2024 Oscar for best international feature are underway, and Screen is profiling each one on this page.
The 96th Academy Awards is set to take place on March 10, 2024 at the Dolby Theatre in Los Angeles.
An international feature film is defined as a feature-length motion picture (over 40 minutes) produced outside the US with a predominantly (more than 50%) non-English dialogue track and can include animated and documentary features.
Submitted films must have been released theatrically in their respective countries between December 1, 2022, and October 31, 2023. The deadline...
Entries for the 2024 Oscar for best international feature are underway, and Screen is profiling each one on this page.
The 96th Academy Awards is set to take place on March 10, 2024 at the Dolby Theatre in Los Angeles.
An international feature film is defined as a feature-length motion picture (over 40 minutes) produced outside the US with a predominantly (more than 50%) non-English dialogue track and can include animated and documentary features.
Submitted films must have been released theatrically in their respective countries between December 1, 2022, and October 31, 2023. The deadline...
- 9/1/2023
- by Screen staff
- ScreenDaily
Screen is profiling every submission for best international feature at the 96th Academy Awards.
Entries for the 2024 Oscar for best international feature are underway, and Screen is profiling each one on this page.
The 96th Academy Awards is set to take place on March 10, 2024 at the Dolby Theatre in Los Angeles.
An international feature film is defined as a feature-length motion picture (over 40 minutes) produced outside the US with a predominantly (more than 50%) non-English dialogue track and can include animated and documentary features.
Submitted films must have been released theatrically in their respective countries between December 1, 2022, and October 31, 2023. The deadline...
Entries for the 2024 Oscar for best international feature are underway, and Screen is profiling each one on this page.
The 96th Academy Awards is set to take place on March 10, 2024 at the Dolby Theatre in Los Angeles.
An international feature film is defined as a feature-length motion picture (over 40 minutes) produced outside the US with a predominantly (more than 50%) non-English dialogue track and can include animated and documentary features.
Submitted films must have been released theatrically in their respective countries between December 1, 2022, and October 31, 2023. The deadline...
- 8/30/2023
- by Screen staff
- ScreenDaily
Director Adrián Saba turned some heads with his first movie El Limpiador (The Cleaner) a minimalist drama with sci-fi elements that showed the relationship between an orphaned boy and the man in charge of cleaning up after the corpses left in the wake of a deadly virus which left the capital city of Lima a virtual ghost town, Essentially, it was a post-apocalyptic film filtered through the director's unique sensibilities; just the logistics behind making this chaotic, noisy city look abandoned and desolate on screen were worthy of praise. Now Saba's coming back to theaters with his sophomore feature El Soñador (The Dreamer), which premiered earlier this year at the Berlin Film Festival, in the Generation section. The film tells the story of Chaplin, a...
[Read the whole post on twitchfilm.com...]...
[Read the whole post on twitchfilm.com...]...
- 6/10/2016
- Screen Anarchy
Berlinale receives record number of submissions.
A total of 63 feature-length and short films produced or co-produced in 35 countries have been invited to participate in the two Berlinale (Feb 11-21) competitions Generation Kplus and Generation 14plus.
The programme, aimed at children and youths, was selected from around 2,000 feature-length and short films submitted to Generation this year, which is more than in any year previously.
The selected films shed light on and challenge the nature of contradictions such as being child-like and being an adult, what is forbidden and what is permitted or the difference between subjective and objective reality.
“Young people world-wide are constantly confronted by dystopic realities not of their own making,” said Maryanne Redpath, head of Generation. “In the diverse films of this year’s programme we see them taking matters into their own hands.”
Generation 14plus
Synopses provided by festival
Wp = World Premiere / IP = International Premiere / Ep = European Premiere
6A (Sweden) Wp
By Peter Modestij
Bullying...
A total of 63 feature-length and short films produced or co-produced in 35 countries have been invited to participate in the two Berlinale (Feb 11-21) competitions Generation Kplus and Generation 14plus.
The programme, aimed at children and youths, was selected from around 2,000 feature-length and short films submitted to Generation this year, which is more than in any year previously.
The selected films shed light on and challenge the nature of contradictions such as being child-like and being an adult, what is forbidden and what is permitted or the difference between subjective and objective reality.
“Young people world-wide are constantly confronted by dystopic realities not of their own making,” said Maryanne Redpath, head of Generation. “In the diverse films of this year’s programme we see them taking matters into their own hands.”
Generation 14plus
Synopses provided by festival
Wp = World Premiere / IP = International Premiere / Ep = European Premiere
6A (Sweden) Wp
By Peter Modestij
Bullying...
- 1/13/2016
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
The lineups for Generation Kplus and Generation 14plus, the Berlinale's two competition programs aimed at younger viewers, are now complete. 63 features and shorts will screen between February 11 and 21, including new work by Peter Modestij, Chloé Leriche, Adrián Saba, Renars Vimba, Ramzi Ben Sliman, Mehrdad Oskouei, Abbas Amini, Eliza Petkova, Emilie Deleuze, Ira Sachs, Ümet Köreken, Jayaraj Rajashekaran Nair, Pepa San Martín, Rasmus Sivertsen and Yoon Ga-eun. Says section head Maryanne Redpath: "Young people worldwide are constantly confronted by dystopic realities not of their own making. In the diverse films of this year’s program we see them taking matters into their own hands in a variety of ways." » - David Hudson...
- 1/13/2016
- Keyframe
The lineups for Generation Kplus and Generation 14plus, the Berlinale's two competition programs aimed at younger viewers, are now complete. 63 features and shorts will screen between February 11 and 21, including new work by Peter Modestij, Chloé Leriche, Adrián Saba, Renars Vimba, Ramzi Ben Sliman, Mehrdad Oskouei, Abbas Amini, Eliza Petkova, Emilie Deleuze, Ira Sachs, Ümet Köreken, Jayaraj Rajashekaran Nair, Pepa San Martín, Rasmus Sivertsen and Yoon Ga-eun. Says section head Maryanne Redpath: "Young people worldwide are constantly confronted by dystopic realities not of their own making. In the diverse films of this year’s program we see them taking matters into their own hands in a variety of ways." » - David Hudson...
- 1/13/2016
- Fandor: Keyframe
As the leading presenter of Latin American Cinema in the U.S. Cinema Tropical advocates for the Latino filmmaking community and honors their achievements. Cinema Tropical Awards now in its fourth edition have announced this year's nominees
The winners of the 4th Annual Cinema Tropical Awards will be announced at a special event at The New York Times Company headquarters in New York City in late January, 2014.
The nominees for this year’s Cinema Tropical Awards were selected by a nine-member jury panel from a list of Latin American and U.S. Latino feature films of a minimum of 60 minutes in length that were premiered between April 1, 2012 and March 31, 2013 (January 1, 2012 and March 31, 2013, for U.S. Latino productions). The list was culled by a nominating committee composed of 17 film professionals from Latin America, the U.S., Canada, and Europe.
The Cinema Tropical Awards are presented in partnership with Voces, Latino Heritage Network of The New York Times Company. Media Sponsors: LatAm Cinema and Remezcla. Special thanks to Mario Díaz, Andrea Betanzos, and Tatiana García.
Best Feature Film
- Gloria (Sebastián Lelio, Chile/Spain, 2013)
- No (Pablo Larraín, Chile/USA/France/Mexico, 2012)
- Post Tenebras Lux (Carlos Reygadas, Mexico/France/Germany/Netherlands, 2012)
- Tanta Agua | So Much Water (Ana Guevara and Leticia Jorge, Uruguay/Germany/Mexico, 2013)
- VIolA (Matías Piñeiro, Argentina, 2012)
Best Director, Feature Film
- Sebastián Silva, Crystal Fairy (Chile, 2013)
- Pablo Larraín, No (Chile/USA/France/Mexico, 2012)
- Carlos Reygadas, Post Tenebras Lux (Mexico/ France/ Germany/ Netherlands, 2012)
-Ana Guevara and Leticia Jorge, Tanta Agua | So Much Water
(Uruguay/ Germany/ Mexico, 2013)
- Matías Piñeiro, Viola (Argentina, 2012)
Best Documentary Film
- El Alcalde | The Mayor (Emiliano Altuna, Carlos F. Rossini, Diego Osorno, Mexico, 2012)
- La Chica Del Sur | The Girl from the South (José Luis García, Argentina, 2012)
- La Gente Del RÍO | The River People (Martín Benchimol and Pablo Aparo, Argentina, 2012)
- El Huaso (Carlo Guillermo Proto, Chile/Canada, 2012)
- El Otro DÍA | The Other Day (Ignacio Agüero, Chile, 2012)
Best Director, Documentary Film
- José Luis García, La Chica Del Sur | The Girl from the South (Argentina, 2012)
- Priscilla Padilla, La Eterna Noche De Las Doce Lunas | The Eternal Night of the Twelve Moons (Colombia, 2013)
- Martín Benchimol, Pablo Aparo, La Gente Del RÍO | The River People (Argentina, 2012)
- Mercedes Moncada, Palabras MÁGICAS (Para Romper Un Encantamiento) | Magic Words (Breaking a Spell) (Mexico/Guatemala, 2012)
- Ignacio Agüero, El Otro DÍA | The Other Day (Chile, 2012)
Best First Film
- Carne De Perro | Dog Flesh (Fernando Guzzoni, Chile/France/Germany, 2012)
- El Limpiador | The Cleaner (Adrián Saba, Peru, 2012)
- Melaza | Molasses (Carlos Díaz Lechuga, Cuba/France/Panama, 2012)
- Tanta Agua | So Much Water (Ana Guevara and Leticia Jorge, Uruguay/Germany/Mexico, 2013)
- Los Salvajes | The Wild Ones (Alejandro Fadel, Argentina, 2012)
Best U.S. Latino Film
- American Promise (Joe Brewster and Michèle Stephenson, USA, 2013)
- Filly Brown (Youssef Delara and Michael D. Olmos, USA, 2012)
- Mosquita Y Mari (Aurora Guerrero, USA, 2012)
- Reportero (Bernardo Ruiz, USA, 2012)
- Wonder Women! The Untold Story Of American Superheroines (Kristy Guevara-Flanagan, USA, 2012)
2013 Jury:
Chris Allen, founder and director, UnionDocs; Melissa Anderson, film critic, Artforum; Beth Janson, executive director, Tribeca Film Institute; Daniel Loría, overseas editor, BoxOffice; Mike Maggiore, programmer, Film Forum; Paco de Onís, filmmaker; Anita Reher, executive director, Robert Flaherty Film Seminar; Julia Solomonoff, filmmaker; Maria-Christina Villaseñor, film curator and writer.
2013 Nominating Committee:
Cecilia Barrionuevo, programmer, Mar del Plata Film Festival, Argentina; Raúl Camargo, programmer, Valdivia Film Festival, Chile; John Campos Gómez, director, Transcinema Film Festival, Peru; Inti Cordera, director, DocsDF Film Festival, Mexico; Christine Davila, programmer, Sundance, Los Angeles Film Festival, Ambulante USA; Eugenio del Bosque, director, Cine Las Américas, USA; Raciel del Toro, Cinergia, Costa Rica; Vanessa Erazo, film programmer and journalist, indieWIRE/LatinoBuzz, Remezcla, USA; Lisa Franek, programmer, San Diego Latino Film Festival, USA; Robert A. Gomez, film journalist, Cinemathon, Venezuela; Jaie Laplante, director, Miami Film Festival, USA; Agustín Mango, film journalist, Hollywood Reporter, Argentina; Jim Mendiola, programmer, CineFestival, San Antonio, USA; Luis Ortiz, director, Latino Public Broadcasting, USA; Rafael Sampaio, programmer, Sao Paulo Latin American Film Festival, Brazil; Eva Sangiorgi, programmer, Ficunam, Mexico; Gerwin Tamsma, programmer, Rotterdam Film Festival, Netherlands.
The winners of the 4th Annual Cinema Tropical Awards will be announced at a special event at The New York Times Company headquarters in New York City in late January, 2014.
The nominees for this year’s Cinema Tropical Awards were selected by a nine-member jury panel from a list of Latin American and U.S. Latino feature films of a minimum of 60 minutes in length that were premiered between April 1, 2012 and March 31, 2013 (January 1, 2012 and March 31, 2013, for U.S. Latino productions). The list was culled by a nominating committee composed of 17 film professionals from Latin America, the U.S., Canada, and Europe.
The Cinema Tropical Awards are presented in partnership with Voces, Latino Heritage Network of The New York Times Company. Media Sponsors: LatAm Cinema and Remezcla. Special thanks to Mario Díaz, Andrea Betanzos, and Tatiana García.
Best Feature Film
- Gloria (Sebastián Lelio, Chile/Spain, 2013)
- No (Pablo Larraín, Chile/USA/France/Mexico, 2012)
- Post Tenebras Lux (Carlos Reygadas, Mexico/France/Germany/Netherlands, 2012)
- Tanta Agua | So Much Water (Ana Guevara and Leticia Jorge, Uruguay/Germany/Mexico, 2013)
- VIolA (Matías Piñeiro, Argentina, 2012)
Best Director, Feature Film
- Sebastián Silva, Crystal Fairy (Chile, 2013)
- Pablo Larraín, No (Chile/USA/France/Mexico, 2012)
- Carlos Reygadas, Post Tenebras Lux (Mexico/ France/ Germany/ Netherlands, 2012)
-Ana Guevara and Leticia Jorge, Tanta Agua | So Much Water
(Uruguay/ Germany/ Mexico, 2013)
- Matías Piñeiro, Viola (Argentina, 2012)
Best Documentary Film
- El Alcalde | The Mayor (Emiliano Altuna, Carlos F. Rossini, Diego Osorno, Mexico, 2012)
- La Chica Del Sur | The Girl from the South (José Luis García, Argentina, 2012)
- La Gente Del RÍO | The River People (Martín Benchimol and Pablo Aparo, Argentina, 2012)
- El Huaso (Carlo Guillermo Proto, Chile/Canada, 2012)
- El Otro DÍA | The Other Day (Ignacio Agüero, Chile, 2012)
Best Director, Documentary Film
- José Luis García, La Chica Del Sur | The Girl from the South (Argentina, 2012)
- Priscilla Padilla, La Eterna Noche De Las Doce Lunas | The Eternal Night of the Twelve Moons (Colombia, 2013)
- Martín Benchimol, Pablo Aparo, La Gente Del RÍO | The River People (Argentina, 2012)
- Mercedes Moncada, Palabras MÁGICAS (Para Romper Un Encantamiento) | Magic Words (Breaking a Spell) (Mexico/Guatemala, 2012)
- Ignacio Agüero, El Otro DÍA | The Other Day (Chile, 2012)
Best First Film
- Carne De Perro | Dog Flesh (Fernando Guzzoni, Chile/France/Germany, 2012)
- El Limpiador | The Cleaner (Adrián Saba, Peru, 2012)
- Melaza | Molasses (Carlos Díaz Lechuga, Cuba/France/Panama, 2012)
- Tanta Agua | So Much Water (Ana Guevara and Leticia Jorge, Uruguay/Germany/Mexico, 2013)
- Los Salvajes | The Wild Ones (Alejandro Fadel, Argentina, 2012)
Best U.S. Latino Film
- American Promise (Joe Brewster and Michèle Stephenson, USA, 2013)
- Filly Brown (Youssef Delara and Michael D. Olmos, USA, 2012)
- Mosquita Y Mari (Aurora Guerrero, USA, 2012)
- Reportero (Bernardo Ruiz, USA, 2012)
- Wonder Women! The Untold Story Of American Superheroines (Kristy Guevara-Flanagan, USA, 2012)
2013 Jury:
Chris Allen, founder and director, UnionDocs; Melissa Anderson, film critic, Artforum; Beth Janson, executive director, Tribeca Film Institute; Daniel Loría, overseas editor, BoxOffice; Mike Maggiore, programmer, Film Forum; Paco de Onís, filmmaker; Anita Reher, executive director, Robert Flaherty Film Seminar; Julia Solomonoff, filmmaker; Maria-Christina Villaseñor, film curator and writer.
2013 Nominating Committee:
Cecilia Barrionuevo, programmer, Mar del Plata Film Festival, Argentina; Raúl Camargo, programmer, Valdivia Film Festival, Chile; John Campos Gómez, director, Transcinema Film Festival, Peru; Inti Cordera, director, DocsDF Film Festival, Mexico; Christine Davila, programmer, Sundance, Los Angeles Film Festival, Ambulante USA; Eugenio del Bosque, director, Cine Las Américas, USA; Raciel del Toro, Cinergia, Costa Rica; Vanessa Erazo, film programmer and journalist, indieWIRE/LatinoBuzz, Remezcla, USA; Lisa Franek, programmer, San Diego Latino Film Festival, USA; Robert A. Gomez, film journalist, Cinemathon, Venezuela; Jaie Laplante, director, Miami Film Festival, USA; Agustín Mango, film journalist, Hollywood Reporter, Argentina; Jim Mendiola, programmer, CineFestival, San Antonio, USA; Luis Ortiz, director, Latino Public Broadcasting, USA; Rafael Sampaio, programmer, Sao Paulo Latin American Film Festival, Brazil; Eva Sangiorgi, programmer, Ficunam, Mexico; Gerwin Tamsma, programmer, Rotterdam Film Festival, Netherlands.
- 1/8/2014
- by Sydney Levine
- Sydney's Buzz
In “The Cleaner” (“El Limpiador”), Peru’s submission for the best foreign film Oscar, writer/director Adrián Saba creates a world where a mysterious illness has killed much of the country’s population. Amid the death and devastation, a forensic cleaner must care for a young orphan who has survived. But to film this bleak, post-apocalyptic environment on a limited budget in Lima, a vibrant city of 9 million people, the first-time feature director had to re-envision his hometown. This was no small task. Also read: TheWrap Screening Series: ‘Porcelain Horse’ Writer-Director on the ‘Expectation’ of Freebase Addiction “The feeling I wanted was for foreigners to.
- 12/13/2013
- by David Eckstein
- The Wrap
The Cleaner, Peru's Submission for the Academy Award Nomination for Best Foreign Language Film. U.S. : None Yet . International Sales Agent: Film Republic
Needy of social interaction like no other creature, people tend go to extreme measures to satisfy their urge for intimacy. But what if such desire to be surrounded by others was to become the very thing that kills you. It would create a forceful isolation in order to survive making any attempt to connect a serious life-threading endeavor. Under this scenario, those previously adapted to be alone would be the most suited to thrive. Then, the predicament is whether to remain hidden or to risk it all to feel a bit more human. Set against the backdrop of an epidemic of apocalyptic proportions in Lima Peru, Adrián Saba’s The Cleaner is much more a film about unbearable loneliness than about deadly viruses. Ingeniously using this dangerous airborne disease as analogy to the alienation of certain people, his film evokes a certain odd warmth.
Desensitized by his constant involvement with the dead, Eusebio (Víctor Prada) works handling deceased bodies, cleaning the spaces they were in contact with, and disposing of their belongings. His shifts have become more frequent due to the innumerable amount of sudden deaths in the Peruvian capital, product of a fatal illness that kills the victim within 12 hours of showing symptoms. Forcing the lucky ones who have been infected to stay out of the streets, this unexplained and highly contagious virus can be easily mistaken for the common cold. On one of his routine trips to sanitize the interior of a house, the cleaner finds a young boy, Joaquin (Adrian du Bois), the son of yet another casualty. Unable to find the boy’s father Eusebio cares for him while they figure out their next step. However, they are both equally afraid of each other at first, as the man is not used to having people around and the kid has witnessed too much tragedy for his age.
Lacking any sort of meaningful human connection, Joaquin represents an anchor to life for the seemingly apathetic adult in the midst of the heartbreaking disaster. In an adorable gesture Eusebio builds a robot-like mask for the boy out of a cardboard box. This serves as a safety blanket to help him come out of his hiding spot in the close where he remains, hiding and fearful he might catch the disease. Once out of his shell and with Eusebio’s knowledge that, miraculously, children are not being affected by the epidemic, the duo forms an unlikely friendship sharing moments never experienced by either of them before. His reignited interest in people pushes him to visit his senile father, a decision that is of little significance for the elderly man, but which provides Eusebio with peaceful closure. Now, his life’s purpose is to get Joaquin to safety with his aunt, a mission that will put him at risk, but which is well worth the danger.
Economical in its depiction of the desolation, the vastly vacant urban landscapes are intensely more powerful than what the inclusion of gruesome sequences could have delivered. Empty stadiums, deserted avenues, and a bleak atmosphere overall add to the cinematographic choice of draining the frames of any saturated color. The opaque visual palette is equivalent to the monotonous and gloomy existence led by protagonist who demonstrates that dying in happiness and fulfillment is better than living in obscurity. Victor Prada as Eusebio succeeds at giving a wonderfully nuanced performance within the indifference and insensitivity that surround his world. Suddenly turned into a father, he finds his priorities changed and the loving transformation what occurs from within rids him of his profound solitude, a harsher affliction than any viral infection. Fresh-faced newcomer Adrian du Bois completes the picture fatalistically with the tender vulnerability of a child grappling with the concept of death and the feeling, just like his caregiver, of being alone in the world.
Eventually, the terrible events that set the plot in motion, stop being about cleaning surfaces for Eusebio and become an opportunity for a spiritual cleansing, a reinvigorating experience to connect with others once again and to rejoice in the juvenile wonder of his companion. Writer/ director Adrian Saba scores a marvelous debut, full of heart that takes advantage of its intelligent minimalism and expands on it via two memorable characters as he succeeds in telling a story with a truly original premise. Saba is aware that the only infallible cure for heartache is selfless love. Delightfully worthy of praise, The Cleaner is subtly comedic, profoundly affecting, and an endearing rare treat.
Read more about all the 76 Best Foreign Language Film Submission for the 2014 Academy Awards...
Needy of social interaction like no other creature, people tend go to extreme measures to satisfy their urge for intimacy. But what if such desire to be surrounded by others was to become the very thing that kills you. It would create a forceful isolation in order to survive making any attempt to connect a serious life-threading endeavor. Under this scenario, those previously adapted to be alone would be the most suited to thrive. Then, the predicament is whether to remain hidden or to risk it all to feel a bit more human. Set against the backdrop of an epidemic of apocalyptic proportions in Lima Peru, Adrián Saba’s The Cleaner is much more a film about unbearable loneliness than about deadly viruses. Ingeniously using this dangerous airborne disease as analogy to the alienation of certain people, his film evokes a certain odd warmth.
Desensitized by his constant involvement with the dead, Eusebio (Víctor Prada) works handling deceased bodies, cleaning the spaces they were in contact with, and disposing of their belongings. His shifts have become more frequent due to the innumerable amount of sudden deaths in the Peruvian capital, product of a fatal illness that kills the victim within 12 hours of showing symptoms. Forcing the lucky ones who have been infected to stay out of the streets, this unexplained and highly contagious virus can be easily mistaken for the common cold. On one of his routine trips to sanitize the interior of a house, the cleaner finds a young boy, Joaquin (Adrian du Bois), the son of yet another casualty. Unable to find the boy’s father Eusebio cares for him while they figure out their next step. However, they are both equally afraid of each other at first, as the man is not used to having people around and the kid has witnessed too much tragedy for his age.
Lacking any sort of meaningful human connection, Joaquin represents an anchor to life for the seemingly apathetic adult in the midst of the heartbreaking disaster. In an adorable gesture Eusebio builds a robot-like mask for the boy out of a cardboard box. This serves as a safety blanket to help him come out of his hiding spot in the close where he remains, hiding and fearful he might catch the disease. Once out of his shell and with Eusebio’s knowledge that, miraculously, children are not being affected by the epidemic, the duo forms an unlikely friendship sharing moments never experienced by either of them before. His reignited interest in people pushes him to visit his senile father, a decision that is of little significance for the elderly man, but which provides Eusebio with peaceful closure. Now, his life’s purpose is to get Joaquin to safety with his aunt, a mission that will put him at risk, but which is well worth the danger.
Economical in its depiction of the desolation, the vastly vacant urban landscapes are intensely more powerful than what the inclusion of gruesome sequences could have delivered. Empty stadiums, deserted avenues, and a bleak atmosphere overall add to the cinematographic choice of draining the frames of any saturated color. The opaque visual palette is equivalent to the monotonous and gloomy existence led by protagonist who demonstrates that dying in happiness and fulfillment is better than living in obscurity. Victor Prada as Eusebio succeeds at giving a wonderfully nuanced performance within the indifference and insensitivity that surround his world. Suddenly turned into a father, he finds his priorities changed and the loving transformation what occurs from within rids him of his profound solitude, a harsher affliction than any viral infection. Fresh-faced newcomer Adrian du Bois completes the picture fatalistically with the tender vulnerability of a child grappling with the concept of death and the feeling, just like his caregiver, of being alone in the world.
Eventually, the terrible events that set the plot in motion, stop being about cleaning surfaces for Eusebio and become an opportunity for a spiritual cleansing, a reinvigorating experience to connect with others once again and to rejoice in the juvenile wonder of his companion. Writer/ director Adrian Saba scores a marvelous debut, full of heart that takes advantage of its intelligent minimalism and expands on it via two memorable characters as he succeeds in telling a story with a truly original premise. Saba is aware that the only infallible cure for heartache is selfless love. Delightfully worthy of praise, The Cleaner is subtly comedic, profoundly affecting, and an endearing rare treat.
Read more about all the 76 Best Foreign Language Film Submission for the 2014 Academy Awards...
- 12/2/2013
- by Carlos Aguilar
- Sydney's Buzz
The Peruvian Ministry of Culture announced today the country's official submission for Best Foreign Language Film at the 2014 Academy Awards; the honor goes to The Cleaner ("El Limpiador"), from first-time director Adrián Saba,A drama with science fiction overtones, the film shows the nation's capital as it's never been seen before: a city struck by a devastating virus of unknown origin which is rapidly killing off the population. We follow a forensic worker named Eusebio, who cleans up after the dead and lives in near-isolation, awaiting the inevitable. His lonely existence changes when he is forced to care for a young boy named Joaquín, who is alone and searching for his family.After a local theatrical run earlier this year, the movie has made an impression...
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[Read the whole post on twitchfilm.com...]...
- 9/27/2013
- Screen Anarchy
The debut feature of India’s Anand Gandhi adds to prizes won in Dubai and Tokyo.
This year’s Transilvania International Film Festival (Tiff) came to a close at the weekend in Cluj-Napoca with the awarding of the main prize, the Transilvania Trophy, to Indian feature debutant Anand Gandhi’s Ship Of Theseus.
The Competition Jury - comprising directors Cristi Puiu and György Pálfi, UK producer Lynda Myles, German actress Franziska Petri and Tribeca’s Artistic Director Frédéric Boyer - said Ship Of Theseus was evidence of “a new major talent of world cinema”.
The film’s also won the Best Cinematography Award for the work of DoP Pankaj Kumar.
Both prizes were accepted in Cluj on their behalf by the film’s Hungarian sound designer Gabor Erdelyi who spoke about the shoot as being a life-changing experience.
Fortissimo Films is handling international sales.
The Best Directing Award went to Japan’s Rikiya Imaizumi for I Catch...
This year’s Transilvania International Film Festival (Tiff) came to a close at the weekend in Cluj-Napoca with the awarding of the main prize, the Transilvania Trophy, to Indian feature debutant Anand Gandhi’s Ship Of Theseus.
The Competition Jury - comprising directors Cristi Puiu and György Pálfi, UK producer Lynda Myles, German actress Franziska Petri and Tribeca’s Artistic Director Frédéric Boyer - said Ship Of Theseus was evidence of “a new major talent of world cinema”.
The film’s also won the Best Cinematography Award for the work of DoP Pankaj Kumar.
Both prizes were accepted in Cluj on their behalf by the film’s Hungarian sound designer Gabor Erdelyi who spoke about the shoot as being a life-changing experience.
Fortissimo Films is handling international sales.
The Best Directing Award went to Japan’s Rikiya Imaizumi for I Catch...
- 6/10/2013
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
Still from English Vinglish
Gauiri Shinde’s English Vinglish is one of the runners – up of the Mercedes-Benz Audience Award for Best Narrative Feature at the Palm Springs International Film Festival that concludes on Monday. The 24th edition of the festival screened 182 films from 68 countries.
The other runners-up are Gert Embrechts’ Allez, Eddy! (Belgium/ Luxembourg / The Netherlands), Travis Fine’s Any Day Now (USA), Peter Webber’s Emperor (Japan), Thomas Vinterberg’s The Hunt (Denmark), Glenn Gaylord’s I Do (USA), Inuk (Greenland), Kon-Tiki (Norway/UK) by Joachim Rønning and Espen Sandberg, Nikolaj Arcel’s A Royal Affair (Denmark), Michael McGowan’s Still (Canada) and Darko Mitrevski’s The Third Half (Macedonia).
The Sapphires by Wayne Blair won the Mercedes-Benz Audience Award for Best Narrative Feature. Don’t Stop Believin’: Everyman’s Journey by Ramona Diaz was awarded the Audience Award Best for Documentary Feature. The Fipresci Prize for...
Gauiri Shinde’s English Vinglish is one of the runners – up of the Mercedes-Benz Audience Award for Best Narrative Feature at the Palm Springs International Film Festival that concludes on Monday. The 24th edition of the festival screened 182 films from 68 countries.
The other runners-up are Gert Embrechts’ Allez, Eddy! (Belgium/ Luxembourg / The Netherlands), Travis Fine’s Any Day Now (USA), Peter Webber’s Emperor (Japan), Thomas Vinterberg’s The Hunt (Denmark), Glenn Gaylord’s I Do (USA), Inuk (Greenland), Kon-Tiki (Norway/UK) by Joachim Rønning and Espen Sandberg, Nikolaj Arcel’s A Royal Affair (Denmark), Michael McGowan’s Still (Canada) and Darko Mitrevski’s The Third Half (Macedonia).
The Sapphires by Wayne Blair won the Mercedes-Benz Audience Award for Best Narrative Feature. Don’t Stop Believin’: Everyman’s Journey by Ramona Diaz was awarded the Audience Award Best for Documentary Feature. The Fipresci Prize for...
- 1/14/2013
- by NewsDesk
- DearCinema.com
The Guadalajara International Film Festival (Ficg) is taking part in the year’s first celebration of the seventh art—the Palm Springs International Film Festival—where it is slated to present the Cine Latino Award to the best Iberoamerican film screened at the 24th edition of the California festival, which will run from January 3rd to 14th, 2013.
The award is accompanied by a cash prize of Us$5,000 contributed by the Guadalajara International Film Festival and the University of Guadalajara Foundation/USA located in Los Angeles, California.
The Cine Latino Award highlights the enormous creativity of new talents in the world of Iberoamerican cinema, at the same time underlining the commitment of the Ficg and the University of Guadalajara Foundation/USA to the consolidation of culture and the arts in the region and to the wider interchange of ideas within a global context.
I will have the pleasure of being on the jury along with Juan Carlos Arciniegas (Ccn en Español), a journalist with an established career in the area of motion picture and entertainment criticism and analysis—and Iván Trujillo Bolio, director of the Guadalajara International Film Festival.
Listed below are the 22 films eligible for the award. They include some of the productions from Iberoamerican countries nominated by the Academy of Motion Picture Arts and Sciences in the Foreign Language Film category of the 85th Academy Awards, to be held on February 24th, 2013.
7 Boxes (Paraguay), (Isa:Shoreline Entertainment)
Director: Juan Carlos Maneglia, Tana Schémbori
After Lucia (Mexico), (Isa: Bac Films)
Director: Michel Franco
Beauty (Argentina), (Isa: Campo Cine)
Director: Daniela Seggiaro
Blancanieves (Spain/France) (Dreamcatchers)
Director: Pablo Berger
Checkmate (Dominican Republic)
Director: José María Cabral
Clandestine Childhood (Argentina/Brazil/Spain)
Director: Benjamín Ávil
The Cleaner (Peru) (Isa: Flamingo Films)
Director: Adrian Saba
The Clown (Brazil)
Director: Selton Mellobr
The Dead Man and Being Happy (Spain) (Isa: Udi)
Director: Javier Rebollo
Drought (Mexico) (Isa:imcine)
Director: Everardo González
The Girl (USA/Mexico) (Isa: Goldcrest Fims)
Director: David Riker
Here and There (Spain/USA/Mexico) (Isa: Alpha Violet)
Director: Antonio Méndez Esparza
La Playa D.C. (Colombia/Brazil/France) (Isa: Cineplex)
Director: Juan Andrés Arango García
Multiple Visions (The Crazy Machine) (Mexico/France/Spain)
Director: Emilio Maillé
The Passion of Michelangelo (Chile/France)
Director: Esteban Larraín
Sadourni’s Butterflies (Argentina)
Director: Darío Nardi
The Sleeping Voice (Spain) (Isa: The Match Factory)
Director: Benito Zambrano
The Snitch Cartel (Colombia)
Director: Carlos Moreno
Tabu (Portugal/Brazil/France/Germany)
Director: Miguel Gomes
The End (Spain)
Director: Jorge Torregrossa
Una Noche (Cuba/UK/USA)
Director: Lucy Mulloy
White Elephant (Argentina/Spain/France)
Director: Pablo Trapero
Festival Internacional de Cine en Guadalajara.
Nebulosa 2916, Jardines del Bosque C.P. 44520 Guadalajara, Jal., México
Teléfonos: +52 (33) 3121-7461, 3122-7827, 3121-6860
Fax: 3121 7426
www.ficg.mx
Todos los derechos reservados ® Pficg | Patronato del Festival Internacional de Cine en Guadalajara.
The award is accompanied by a cash prize of Us$5,000 contributed by the Guadalajara International Film Festival and the University of Guadalajara Foundation/USA located in Los Angeles, California.
The Cine Latino Award highlights the enormous creativity of new talents in the world of Iberoamerican cinema, at the same time underlining the commitment of the Ficg and the University of Guadalajara Foundation/USA to the consolidation of culture and the arts in the region and to the wider interchange of ideas within a global context.
I will have the pleasure of being on the jury along with Juan Carlos Arciniegas (Ccn en Español), a journalist with an established career in the area of motion picture and entertainment criticism and analysis—and Iván Trujillo Bolio, director of the Guadalajara International Film Festival.
Listed below are the 22 films eligible for the award. They include some of the productions from Iberoamerican countries nominated by the Academy of Motion Picture Arts and Sciences in the Foreign Language Film category of the 85th Academy Awards, to be held on February 24th, 2013.
7 Boxes (Paraguay), (Isa:Shoreline Entertainment)
Director: Juan Carlos Maneglia, Tana Schémbori
After Lucia (Mexico), (Isa: Bac Films)
Director: Michel Franco
Beauty (Argentina), (Isa: Campo Cine)
Director: Daniela Seggiaro
Blancanieves (Spain/France) (Dreamcatchers)
Director: Pablo Berger
Checkmate (Dominican Republic)
Director: José María Cabral
Clandestine Childhood (Argentina/Brazil/Spain)
Director: Benjamín Ávil
The Cleaner (Peru) (Isa: Flamingo Films)
Director: Adrian Saba
The Clown (Brazil)
Director: Selton Mellobr
The Dead Man and Being Happy (Spain) (Isa: Udi)
Director: Javier Rebollo
Drought (Mexico) (Isa:imcine)
Director: Everardo González
The Girl (USA/Mexico) (Isa: Goldcrest Fims)
Director: David Riker
Here and There (Spain/USA/Mexico) (Isa: Alpha Violet)
Director: Antonio Méndez Esparza
La Playa D.C. (Colombia/Brazil/France) (Isa: Cineplex)
Director: Juan Andrés Arango García
Multiple Visions (The Crazy Machine) (Mexico/France/Spain)
Director: Emilio Maillé
The Passion of Michelangelo (Chile/France)
Director: Esteban Larraín
Sadourni’s Butterflies (Argentina)
Director: Darío Nardi
The Sleeping Voice (Spain) (Isa: The Match Factory)
Director: Benito Zambrano
The Snitch Cartel (Colombia)
Director: Carlos Moreno
Tabu (Portugal/Brazil/France/Germany)
Director: Miguel Gomes
The End (Spain)
Director: Jorge Torregrossa
Una Noche (Cuba/UK/USA)
Director: Lucy Mulloy
White Elephant (Argentina/Spain/France)
Director: Pablo Trapero
Festival Internacional de Cine en Guadalajara.
Nebulosa 2916, Jardines del Bosque C.P. 44520 Guadalajara, Jal., México
Teléfonos: +52 (33) 3121-7461, 3122-7827, 3121-6860
Fax: 3121 7426
www.ficg.mx
Todos los derechos reservados ® Pficg | Patronato del Festival Internacional de Cine en Guadalajara.
- 1/9/2013
- by Sydney Levine
- Sydney's Buzz
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