Capping a year of extraordinary success among Bolivian filmmakers in the international arena, Rodrigo Bellott, a key driving force behind the tiny Central American country’s cinematic advances, has inked with the Gersh Talent Agency and is prepping his first U.S. feature, “Cutting Season.”
To be shot in English with an American cast, “Cutting Season” is written by actor-scribe Brock Yurich, who also stars. It tracks bodybuilder Eddie (Yurich) as he strives towards achieving Pro-card status. Once he realizes that his single mother/de-facto coach can’t help him reach the next level, he hires a new coach but faces a new set of challenges as their complex relationship unfolds.
“Brock has written an incredible script that explores profound aspects of masculinity and the relationship between Eddie and his coach,” said Bellott who has taken up body building himself to better understand the sport.
“I’ve been working with trainers,...
To be shot in English with an American cast, “Cutting Season” is written by actor-scribe Brock Yurich, who also stars. It tracks bodybuilder Eddie (Yurich) as he strives towards achieving Pro-card status. Once he realizes that his single mother/de-facto coach can’t help him reach the next level, he hires a new coach but faces a new set of challenges as their complex relationship unfolds.
“Brock has written an incredible script that explores profound aspects of masculinity and the relationship between Eddie and his coach,” said Bellott who has taken up body building himself to better understand the sport.
“I’ve been working with trainers,...
- 4/24/2023
- by Anna Marie de la Fuente
- Variety Film + TV
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI, and sign up for our weekly email newsletter by clicking here.NEWSStanley Kubrick in Filmworker.Stanley Kubrick’s long-lost passion project, a biopic of Napoleon Bonaparte, may soon be realized. This week at the Berlinale, Steven Spielberg expanded on plans to executive-produce a seven-part series for HBO based on Kubrick’s original script.In June, Terence Davies will begin filming an adaptation of Stefan Zweig’s The Post-Office Girl. According to a production announcement, the cast includes Sophie Cookson, Richard E. Grant, and Verena Altenberger.Recommended VIEWINGWe’ve been enjoying the “redefining the food film” video-essay series on Vittles, a food and culture newsletter. Below is Andrew Key’s discussion of A Woman Under the Influence, and the ways that food can tear us apart:Shellac has shared a first trailer for Angela Schanelec’s Music,...
- 2/22/2023
- MUBI
Natalia López Gallardo's Robe of Gems is now showing exclusively on Mubi in many countries—including Brazil, Germany, Italy, India, and the Netherlands—starting February 20, 2023, in the series Festival Focus: Berlinale.I have lived in the Mexican countryside for over fifteen years; it is a place to witness the progressive collapse of the social tissue and dream about falling heads. With two kids of my own, I have imagined, laterally through the mist, the daily lives of parents with murdered or missing children, which has awakened the darkest of sadnesses.I spent a year talking to people around my village for Robe of Gems’s casting process. I met a family that had abducted a man and kept him in their house. But from afar, everything seemed normal. The father was devoted to his work as a taxi driver and loved his children. The kids continued to go to school,...
- 2/17/2023
- MUBI
Sales include re-release deal for ’Welcome To The Dollhouse’ in UK.
Visit Films, which is jetting in to Berlin to launch EFM sales on Berlinale section Dreams’ Gate among other titles, has announced a wave of deals on recent festival hits including a US deal and multiple territories on last year’s Berlin Silver Bear winner Robe Of Gems.
Natalia Lopez’s tale of redemption, family and violence in Mexico will open in the US this summer through Monument Releasing and has also gone to Madman Entertainment for Australia and New Zealand, as well as Mubi for Italy, Baltics, Africa,...
Visit Films, which is jetting in to Berlin to launch EFM sales on Berlinale section Dreams’ Gate among other titles, has announced a wave of deals on recent festival hits including a US deal and multiple territories on last year’s Berlin Silver Bear winner Robe Of Gems.
Natalia Lopez’s tale of redemption, family and violence in Mexico will open in the US this summer through Monument Releasing and has also gone to Madman Entertainment for Australia and New Zealand, as well as Mubi for Italy, Baltics, Africa,...
- 2/10/2023
- by Jeremy Kay
- ScreenDaily
2022 saw the loss of one of my most admired film directors, a man who brought me to seek out different films and examine cinema on another level. Jean-Luc Goadard’s Pierrot le Fou, a film which I was so excited to see featured in this year’s updated Sight and Sound Greatest Films of All Time, and one that still brings me the same joy it did when I first watched it at University. Films, for me, alongside so much, are a vehicle of escapism allowing me to spend a few precious hours outside of the constant push and pulls of life and this year I have been awed and delighted by an incredible array of talent and features which have stuck with me long after the credits rolled.
Honourable Mentions: Barbarian, Speak No Evil, Athena, Pearl, God’s Creatures, Tár, Rrr, Kanaval: A People’s History of Haiti in Six Chapters.
Honourable Mentions: Barbarian, Speak No Evil, Athena, Pearl, God’s Creatures, Tár, Rrr, Kanaval: A People’s History of Haiti in Six Chapters.
- 12/30/2022
- by Sarah Smith
- Directors Notes
Part of the London Film Festival’s 2022 lineup, Writer/Director Natalia López Gallardo’s Berlinale Silver Bear Jury Prize-winning debut Robe of Gems (Manto de Gemas) strikes with a distinct portrayal of modern-day Mexico and the complexities faced by the country and those who call it home. Her film is a sensory experience where flashes of violence punctuate dreamlike sounds of rural life and shots of the rugged landscape. As Gallardo emphasises in our interview, she purposely didn’t set out with the intention of delivering a statement on the political or social climate of Mexico, but as we follow the lives of the three women whose individual stories are so delicately painted, an overall frame of corruption, violence and hideous disparities are inevitably felt. With a delicate mix of both professional and non-professional actors, Robe of Gems depicts lives brought together by tragedy but all more profoundly intertwined through...
- 10/14/2022
- by Sarah Smith
- Directors Notes
Festival runs November 9-20.
The Stockholm International Film Festival will present 130 films from 50 countries, opening on November 9 with Sweden’s international Oscar submission, Boy From Heaven by Tarik Saleh.
Political thriller Boy From Heaven premiered in competition at Cannes where it was awarded best screenplay.
Actor Fares Fares will receive the Stockholm Achievement Award on opening night. His credits include Easy Money, Safe House, Westworld and Chernobyl.
The Stockholm Visionary Award will go to Sam Mendes who will present the Nordic premiere of Empire Of Light.
Other notable selections include Luca Guadagnino’s Bones And All; Gina Prince-Bythewood’s The Woman King...
The Stockholm International Film Festival will present 130 films from 50 countries, opening on November 9 with Sweden’s international Oscar submission, Boy From Heaven by Tarik Saleh.
Political thriller Boy From Heaven premiered in competition at Cannes where it was awarded best screenplay.
Actor Fares Fares will receive the Stockholm Achievement Award on opening night. His credits include Easy Money, Safe House, Westworld and Chernobyl.
The Stockholm Visionary Award will go to Sam Mendes who will present the Nordic premiere of Empire Of Light.
Other notable selections include Luca Guadagnino’s Bones And All; Gina Prince-Bythewood’s The Woman King...
- 10/13/2022
- by Wendy Mitchell
- ScreenDaily
Thanks in part to a strong co-production drive, 13 Mexican-nationality movies play at San Sebastian this year, a major presence.
Perlak frames Alejandro G. Iñarritu Venice player “Bardo: False Chronicle of a Handful of Truths.” Much of the heat, in industry terms at least, will come from the the premieres and sneak peeks.
In one highlight, Natalia Beristáin will world premiere “Noise” (“Ruido”), before its Netflix November bow. In possibly another, Mexico’s Laura Pancarte (“Non-Western”) unveils “Sueño Mexicano” as a pic-in-post.
Eyes will also be turned to Mexico’s latest generation of auteurs. One director is suddenly very well known: Longtime editor Natalia López Gallardo, a Berlin Jury Prize winner for “Robe of Gems.”
Others are bubbling under: Juan Pablo González whose “Dos Estaciones” impressed at Sundance, Rodrigo Ruiz Patterson, director of “Summer White,” another Sundance title, and Bruno Santamaría, a Gold Hugo best doc winner at the 2020 Chicago Festival...
Perlak frames Alejandro G. Iñarritu Venice player “Bardo: False Chronicle of a Handful of Truths.” Much of the heat, in industry terms at least, will come from the the premieres and sneak peeks.
In one highlight, Natalia Beristáin will world premiere “Noise” (“Ruido”), before its Netflix November bow. In possibly another, Mexico’s Laura Pancarte (“Non-Western”) unveils “Sueño Mexicano” as a pic-in-post.
Eyes will also be turned to Mexico’s latest generation of auteurs. One director is suddenly very well known: Longtime editor Natalia López Gallardo, a Berlin Jury Prize winner for “Robe of Gems.”
Others are bubbling under: Juan Pablo González whose “Dos Estaciones” impressed at Sundance, Rodrigo Ruiz Patterson, director of “Summer White,” another Sundance title, and Bruno Santamaría, a Gold Hugo best doc winner at the 2020 Chicago Festival...
- 9/16/2022
- by John Hopewell
- Variety Film + TV
10 films underscoring Mexican cinemas drive into diversity:
“Huesera,” (Michelle Garza Cervera)
Valeria is pregnant, but something is wrong with the baby. Shades of “Rosemary’s Baby,” but “Huesera” goes its own way, as Valeria gradually realizes what for her is really horror.
Genre and LGBTQ, a double winner at Tribeca, taking its coveted New Narrative Director hardware, and picked up by XYZ Films for most world sales. “A terrifying, bone-breaking body horror nightmare,” said Variety. Produced by Mexico’s Napa Films and Machete Films, the latter behind Cannes winners “Leap Year” and “La Jaula de Oro.”
“Mom,” (“Mamá,” Xun Sero)
Selected for Canada’s Hot Docs, Guadalajara Mezcal Award competition, where it won an honorable mention, and now Morelia’s doc strand, one of the banner titles of a new Chiapas cinema. A portrait of Sero’s mom, yes, but also of a remarkable, resilient woman who defied the conventions of her village,...
“Huesera,” (Michelle Garza Cervera)
Valeria is pregnant, but something is wrong with the baby. Shades of “Rosemary’s Baby,” but “Huesera” goes its own way, as Valeria gradually realizes what for her is really horror.
Genre and LGBTQ, a double winner at Tribeca, taking its coveted New Narrative Director hardware, and picked up by XYZ Films for most world sales. “A terrifying, bone-breaking body horror nightmare,” said Variety. Produced by Mexico’s Napa Films and Machete Films, the latter behind Cannes winners “Leap Year” and “La Jaula de Oro.”
“Mom,” (“Mamá,” Xun Sero)
Selected for Canada’s Hot Docs, Guadalajara Mezcal Award competition, where it won an honorable mention, and now Morelia’s doc strand, one of the banner titles of a new Chiapas cinema. A portrait of Sero’s mom, yes, but also of a remarkable, resilient woman who defied the conventions of her village,...
- 9/16/2022
- by John Hopewell
- Variety Film + TV
Eight of the 10 directors in the Morelia Festival’s main Mexican competition are women, led by two of the biggest Mexican fest hits of the year,“Robe of Gems,” Natalia López Gallardo’s Berlin Special Jury laureate, and “Huesera,” from Michelle Garza Cervera, a double Tribeca winner.
Features with Indigenous or Black Mexican protagonists have shot up in Mexico, from 14 in 2019 to 31 in 2019, according to Imcine’s Mexican Cinema Yearbook.
In 2017, Mexico’s biggest homegrown hit was Nicolas López’s “Do It Like an Hombre,” a merciless taunt of a Mexican macho’s helpless homophobia, which grossed 11.0 million in the country.
For centuries an entrenched bastion of machismo, in film terms, the dial is finally moving on diversity.
“When I started out, like 20 years ago, I could count with my fingers the female directors I knew in Mexico; and today, there are almost 100,” says Natalia Beristáin, director of 2017’s Morelia...
Features with Indigenous or Black Mexican protagonists have shot up in Mexico, from 14 in 2019 to 31 in 2019, according to Imcine’s Mexican Cinema Yearbook.
In 2017, Mexico’s biggest homegrown hit was Nicolas López’s “Do It Like an Hombre,” a merciless taunt of a Mexican macho’s helpless homophobia, which grossed 11.0 million in the country.
For centuries an entrenched bastion of machismo, in film terms, the dial is finally moving on diversity.
“When I started out, like 20 years ago, I could count with my fingers the female directors I knew in Mexico; and today, there are almost 100,” says Natalia Beristáin, director of 2017’s Morelia...
- 9/16/2022
- by John Hopewell
- Variety Film + TV
After 18 days of in-person screenings, over 370 movies and the allocation of a new prize fund totaling 210,000 Aud the Melbourne International Film Festival (Miff) has to be one of the lengthiest, liveliest and now most lucrative film festivals in the world. The winning films were announced at Saturday evening’s closing gala, with Afrofuturist sci-fi musical “Neptune Frost,” a U.S.-Rwandan co-production directed by Saul Williams and Anisia Uzeyman, taking the Bright Horizons top prize of 140,000 Aud. Jub Clerc, the Indigenous Australian director of coming-of-age road movie “Sweet As,” scooped the Blackmagic Design Australian Innovation Award of 70,000 Aud.
This is the first year of the Bright Horizons competition. After being selected from an exceptionally strong 11-film lineup, which included festival favourites like Charlotte Wells’ “Aftersun,” Laura Wandel’s “Playground” and Natalia López Gallardo’s “Robe of Gems,” Williams and Uzeyman were clearly moved while accepting the award via Zoom.
“It...
This is the first year of the Bright Horizons competition. After being selected from an exceptionally strong 11-film lineup, which included festival favourites like Charlotte Wells’ “Aftersun,” Laura Wandel’s “Playground” and Natalia López Gallardo’s “Robe of Gems,” Williams and Uzeyman were clearly moved while accepting the award via Zoom.
“It...
- 8/20/2022
- by Jessica Kiang
- Variety Film + TV
For its 70th edition, the Melbourne International Film Festival has announced its most ambitious ever program. After multiple Covid-19 lockdowns, it will be the festival’s first in-cinema Melbourne schedule since 2019, and run Aug. 4-21, 2022.
The 2022 line up will showcase 257 feature films, 177 Australian premiers, 18 world premieres including opening night film “Of an Age,” from Macedonian born, Melbourne-based writer-director, Goran Stolevski (“Won’t Be Alone”), as well as a record 61 titles fresh from Cannes.
“This is our first full-scale in-cinema return,” Miff artistic director, Al Cossar told Variety. The festival is expanding its footprint with a concurrent regional program and an online streaming platform through Miff Play, which will digitally screen 105 shorts and features that will be available Australia wide from 11- 28 August.
“This is a wonderful way to keep outreaching and meeting audiences where they are and is an opportunity for us to expand nationally,” said Cossar.
Also new to...
The 2022 line up will showcase 257 feature films, 177 Australian premiers, 18 world premieres including opening night film “Of an Age,” from Macedonian born, Melbourne-based writer-director, Goran Stolevski (“Won’t Be Alone”), as well as a record 61 titles fresh from Cannes.
“This is our first full-scale in-cinema return,” Miff artistic director, Al Cossar told Variety. The festival is expanding its footprint with a concurrent regional program and an online streaming platform through Miff Play, which will digitally screen 105 shorts and features that will be available Australia wide from 11- 28 August.
“This is a wonderful way to keep outreaching and meeting audiences where they are and is an opportunity for us to expand nationally,” said Cossar.
Also new to...
- 7/12/2022
- by Katherine Tulich
- Variety Film + TV
International competition titles include ‘Broker’ and ‘Decision To Leave’ from South Korea.
Jerusalem Film Festival (Jff) has revealed the line-up of international competition titles for its 39th edition, which includes several award-winners from this year’s Cannes.
Ten features will compete in the international competition of Jff, which is set to host its 39th edition from July 21-31.
These include Hirokazu Kore-eda’s Broker and Park Chan-wook’s Decision To Leave from South Korea, which respectively picked up best actor for Song Kang-ho and best director for Park. Also selected is Abi Abbasi’s Holy Spider, which saw Zar Amir-Ebrahimi pick up best actress,...
Jerusalem Film Festival (Jff) has revealed the line-up of international competition titles for its 39th edition, which includes several award-winners from this year’s Cannes.
Ten features will compete in the international competition of Jff, which is set to host its 39th edition from July 21-31.
These include Hirokazu Kore-eda’s Broker and Park Chan-wook’s Decision To Leave from South Korea, which respectively picked up best actor for Song Kang-ho and best director for Park. Also selected is Abi Abbasi’s Holy Spider, which saw Zar Amir-Ebrahimi pick up best actress,...
- 7/7/2022
- by Michael Rosser
- ScreenDaily
Festivals
The world Premiere of local filmmaker Tearepa Kahi’s action-drama “Muru” will open the Auckland, Wellington, Christchurch, and Dunedin chapters of the New Zealand International Film Festival, while American filmmaker Sara Dosa’s Sundance-winning documentary “Fire of Love” will open all the other festival locations, which include Gore, Hamilton, Hawke’s Bay, Masterton, Matakana, Nelson, New Plymouth, Palmerston North, Tauranga and Timaru. Ruben Östlund’s Palme d’Or-winning “Triangle of Sadness” will close the festival in all centers.
Other Cannes titles joining the lineup include Charlotte Wells’ “Aftersun,” David Cronenberg’s “Crimes of the Future,” Queer Palm winner “Joyland,” from Saim Sadiq and “Sick of Myself,” by Kristoffer Borgli. Award winners from this year’s Berlin International Film Festival include Golden Bear winner “Alcarràs,” by Carla Simón and Natalia López Gallardo’s Silver Bear jury winning “Robe of Gems.”
Other local films include Fergus Grady and Noel Smyth’s “Gloriavale,...
The world Premiere of local filmmaker Tearepa Kahi’s action-drama “Muru” will open the Auckland, Wellington, Christchurch, and Dunedin chapters of the New Zealand International Film Festival, while American filmmaker Sara Dosa’s Sundance-winning documentary “Fire of Love” will open all the other festival locations, which include Gore, Hamilton, Hawke’s Bay, Masterton, Matakana, Nelson, New Plymouth, Palmerston North, Tauranga and Timaru. Ruben Östlund’s Palme d’Or-winning “Triangle of Sadness” will close the festival in all centers.
Other Cannes titles joining the lineup include Charlotte Wells’ “Aftersun,” David Cronenberg’s “Crimes of the Future,” Queer Palm winner “Joyland,” from Saim Sadiq and “Sick of Myself,” by Kristoffer Borgli. Award winners from this year’s Berlin International Film Festival include Golden Bear winner “Alcarràs,” by Carla Simón and Natalia López Gallardo’s Silver Bear jury winning “Robe of Gems.”
Other local films include Fergus Grady and Noel Smyth’s “Gloriavale,...
- 7/4/2022
- by Naman Ramachandran
- Variety Film + TV
Opening and closing films unveiled.
New Zealand International Film Festival (July 28 – August 31) is to open its 2022 edition with the world premiere of local filmmaker Tearepa Kahi’s action drama Muru and Sara Dosa’s US documentary Fire Of Love.
Muru will open the Auckland, Wellington, Christchurch, and Dunedin locations of the festival while Sundance-winner Fire Of Love will open all other festival sites. Ruben Östlund’s Palme d’Or-winner Triangle Of Sadness will close the festival in all locations.
It marks Nziff’s return as a full in-person festival after operating as a hybrid event in 2020 while last saw saw...
New Zealand International Film Festival (July 28 – August 31) is to open its 2022 edition with the world premiere of local filmmaker Tearepa Kahi’s action drama Muru and Sara Dosa’s US documentary Fire Of Love.
Muru will open the Auckland, Wellington, Christchurch, and Dunedin locations of the festival while Sundance-winner Fire Of Love will open all other festival sites. Ruben Östlund’s Palme d’Or-winner Triangle Of Sadness will close the festival in all locations.
It marks Nziff’s return as a full in-person festival after operating as a hybrid event in 2020 while last saw saw...
- 7/4/2022
- by Michael Rosser
- ScreenDaily
Opening and closing films unveiled.
New Zealand International Film Festival (July 28 – August 7) is to open its 2022 edition with the world premiere of local filmmaker Tearepa Kahi’s action drama Muru and Sara Dosa’s US documentary Fire Of Love.
Muru will open the Auckland, Wellington, Christchurch, and Dunedin locations of the festival while Sundance-winner Fire Of Love will open all other festival sites. Ruben Östlund’s Palme d’Or-winner Triangle Of Sadness will close the festival in all locations.
It marks Nziff’s return as a full in-person festival after operating as a hybrid event in 2020 and 2021. However, while the...
New Zealand International Film Festival (July 28 – August 7) is to open its 2022 edition with the world premiere of local filmmaker Tearepa Kahi’s action drama Muru and Sara Dosa’s US documentary Fire Of Love.
Muru will open the Auckland, Wellington, Christchurch, and Dunedin locations of the festival while Sundance-winner Fire Of Love will open all other festival sites. Ruben Östlund’s Palme d’Or-winner Triangle Of Sadness will close the festival in all locations.
It marks Nziff’s return as a full in-person festival after operating as a hybrid event in 2020 and 2021. However, while the...
- 7/4/2022
- by Michael Rosser
- ScreenDaily
Bolivian-Mexican filmmaker Natalia López Gallardo enjoyed tandem careers in editing and acting (“Nuestro Tiempo”), as she made her debut as auteur with the short film “En el cielo como en la tierra.” In her first feature-length project, “Robe of Gems,” she tackles the parallel individual struggles of three women against a backdrop of unrelenting cartel infiltration.
What lured you into directing after careers in editing and acting? Was it a natural progression?
Definitely, yes, it was there, but I think maybe it took time to accumulate the big necessity. I think it’s very important to have that need to do a film. It’s not a desire; it’s not an objective; you have to need it because that impulse that makes you start a film has to last maybe five years with the same power. The necessity has to be big.
“Robe of Gems” not only deals with...
What lured you into directing after careers in editing and acting? Was it a natural progression?
Definitely, yes, it was there, but I think maybe it took time to accumulate the big necessity. I think it’s very important to have that need to do a film. It’s not a desire; it’s not an objective; you have to need it because that impulse that makes you start a film has to last maybe five years with the same power. The necessity has to be big.
“Robe of Gems” not only deals with...
- 2/13/2022
- by Holly Jones
- Variety Film + TV
I made the mistake of worrying about plot while watching Natalia López’s feature directorial debut Robe of Gems. The synopsis dares you to worry with its talk of three women colliding courtesy of a missing person in Mexican cartel territory, asking us to wonder how things will resolve. Except we already know. The bodies found in landfills and marshes throughout the film prove it. If those who are kidnapped aren’t already found dead, you can assume they will be soon. That doesn’t mean María (Antonia Olivares) won’t continue to hope for her sister’s return, though. Nor does it stop her recently-returned-to-the-countryside boss Isabel (Nailea Norvind) from joining the cause. Add Roberta’s police chief (Aida Roa) to the mix and know the woman’s memory isn’t forgotten.
The problem with having expectations for a resolution, however, stems from the fact that María’s sister...
The problem with having expectations for a resolution, however, stems from the fact that María’s sister...
- 2/11/2022
- by Jared Mobarak
- The Film Stage
Supernova
It’s always a noteworthy point of interest when an artist who excels in one film department crosses over into the directors’ chair. Apart from a 2006 Rotterdam selected short (En el cielo como en la tierra), this is Natalia López feature film debut after editing such noteworthy titles as 2007’s Silent Light, 2012’s Post Tenebras Lux, 2013’s Heli, 2014’s Jauja, and 2016’s The Darkness – plus she appeared alongside her hubby Carlos Reygadas in Nuestro tiempo. We didn’t really take notice of the project when it was making the film coin rounds circa 2018, but it was among the projects selected for Venice Gap-Financing in 2020.…...
It’s always a noteworthy point of interest when an artist who excels in one film department crosses over into the directors’ chair. Apart from a 2006 Rotterdam selected short (En el cielo como en la tierra), this is Natalia López feature film debut after editing such noteworthy titles as 2007’s Silent Light, 2012’s Post Tenebras Lux, 2013’s Heli, 2014’s Jauja, and 2016’s The Darkness – plus she appeared alongside her hubby Carlos Reygadas in Nuestro tiempo. We didn’t really take notice of the project when it was making the film coin rounds circa 2018, but it was among the projects selected for Venice Gap-Financing in 2020.…...
- 1/8/2022
- by Eric Lavallée
- IONCINEMA.com
Gap financing event to present 56 feature film and Vr projects.
UK director Steve McQueen’s upcoming documentary The Occupied City is among 56 projects selected for the Venice Production Bridge, the gap financing event of the Venice Film Festival, which is due to take place from September 2-12.
The three-day industry event, running September 4-6, will unveil 28 feature-length fiction and documentary projects and 12 immersive story projects.
It will also present 13 Vr projects and three cinema projects developed under the auspices of the Biennale College Cinema programme aimed at supporting emerging talents.
More than 270 project were submitted in total.
The event, involving pitches and one-on-one meetings,...
UK director Steve McQueen’s upcoming documentary The Occupied City is among 56 projects selected for the Venice Production Bridge, the gap financing event of the Venice Film Festival, which is due to take place from September 2-12.
The three-day industry event, running September 4-6, will unveil 28 feature-length fiction and documentary projects and 12 immersive story projects.
It will also present 13 Vr projects and three cinema projects developed under the auspices of the Biennale College Cinema programme aimed at supporting emerging talents.
More than 270 project were submitted in total.
The event, involving pitches and one-on-one meetings,...
- 6/23/2020
- by 1100388¦Melanie Goodfellow¦69¦
- ScreenDaily
Transcending the metaphysical impenetrability of “Post Tenebras Lux” and evading the unrestrained grotesqueness of “Battle in Heaven,” illustrious Mexican auteur Carlos Reygadas has spawned his most narratively accessible and emotionally open work to date, “Our Time” (“Nuestro tiempo”), an unhurriedly paced three-hour study of marital anguish caused by idealist parameters of love.
Told with his signature epic visuals — wide shots of majestic landscapes captured under stunning natural light — that lend grandeur to the intimate, the film is personal in essence, even if specifics differ from the director’s off-set life. That line between the personal and the autobiographical might blur a bit; “Our Time” was shot on Reygadas’ family ranch in the small Mexican state of Tlaxcala near Mexico City, with him, his wife Natalia López, and their children cast as lead actors.
Before we meet the couple in disarray, a sun-dappled sequence of children and adolescents engaged in rowdy...
Told with his signature epic visuals — wide shots of majestic landscapes captured under stunning natural light — that lend grandeur to the intimate, the film is personal in essence, even if specifics differ from the director’s off-set life. That line between the personal and the autobiographical might blur a bit; “Our Time” was shot on Reygadas’ family ranch in the small Mexican state of Tlaxcala near Mexico City, with him, his wife Natalia López, and their children cast as lead actors.
Before we meet the couple in disarray, a sun-dappled sequence of children and adolescents engaged in rowdy...
- 6/14/2019
- by Carlos Aguilar
- The Wrap
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSBarry Jenkins by Liz Seabrook for Little White LiesBarry Jenkins is set to direct a film about the life of the late Alvin Ailey, the choreographer considered one of the most important of the twentieth century. Recommended Viewinga wonderfully lush and eerie trailer for the 4K restoration of Nicolas Roeg's Don't Look Now, which opens in theaters on July 5. The BFI and the Royal Astronomical Society have uncovered the very first film of a solar eclipse, captured by British magician Nevil Maskelyne in 1900. One century after the solar eclipse was first captured on film, arrives the first trailer for James Gray's Ad Astra, which stars Brad Pitt as an astronaut searching for his missing father—who was involved in a government project on extraterrestrial life—in space. The official trailer for Carlos Reygadas's Our Time,...
- 6/5/2019
- MUBI
"This is the best place on Earth, Juan." Monument has debuted an official Us trailer for the film Our Time, also known as Nuestro Tiempo, the latest from acclaimed Mexican filmmaker Carlos Reygadas. This initially premiered at the prestigious Venice and Toronto Film Festivals last year to much discussion - some think it's a masterpiece, others not so much, but at least people are talking about Reygadas again. The film is about a family that lives in the Mexican countryside raising fighting bulls. Esther is in charge of running the ranch, while her husband Juan, a renowned poet, raises the beasts. When Esther becomes infatuated with a horse-breaker, Juan seems incapable to reach his own expectations about himself. Indeed a "soul-searching" drama about life and humanity. Starring Carlos Reygadas as Juan, with Natalia López, Natalia López, Maria Hagerman, and Yago Martínez. Definitely worth a watch. Here's the new official Us...
- 5/30/2019
- by Alex Billington
- firstshowing.net
After wowing audiences with his scorching and personal dramas “Post Tenebras Lux” and “Silent Light,” lauded Mexican auteur Carlos Reygadas returns with his most intimate work yet: a film about a crumbling marriage which stars the filmmaker and his own wife, Natalia López, as a couple dealing with the pain of an unfolding affair. The film also features the couple’s three children, starring as the kids of their characters, bull-breaker Juan and his whipsmart wife Esther.
Per the film’s official synopsis, it follows “a family [that] lives in the Mexican countryside raising fighting bulls. Esther is in charge of running the ranch, while her husband Juan, a world-renowned poet, raises and selects the beasts. When Esther becomes infatuated with a horse-breaker, Juan seems incapable to reach his own expectations about himself.”
The film premiered last year at the Venice Film Festival, and went on to screen at Tiff, Havana,...
Per the film’s official synopsis, it follows “a family [that] lives in the Mexican countryside raising fighting bulls. Esther is in charge of running the ranch, while her husband Juan, a world-renowned poet, raises and selects the beasts. When Esther becomes infatuated with a horse-breaker, Juan seems incapable to reach his own expectations about himself.”
The film premiered last year at the Venice Film Festival, and went on to screen at Tiff, Havana,...
- 5/30/2019
- by Kate Erbland
- Indiewire
Carlos Reygadas's Battle in Heaven (2005) and Silent Light (2007) are showing April and May, 2019 on Mubi in the United States as part of the series What Is an Auteur?Battle in HeavenEmerging six years after Post Tenebras Lux (2012), Our Time, the latest film from Mexican auteur Carlos Reygadas, offers an unsparing account of a marriage in crisis. Starring the director and his real-life spouse Natalia López (and their children), the film depicts a couple navigating the difficult terrain of an open relationship. Characteristically, Our Time disavows many of the conventions of cinema, adopting an approach that mirrors non-fiction filmmaking to capture the beauty and intimacy of the daily life of the couple and their clan. Shifting his gaze from the human drama at the center of the narrative to the rich environment of the family’s ranch and its surroundings, the director asks challenging questions about the nature of romantic...
- 4/21/2019
- MUBI
The camera flies over the plains of the Mexican countryside. After crossing a series of clouds, it happens upon a monumental city. The sound tells us that we observe it from an airplane. As this stunning vision reveals itself, Esther (Natalia López), a rancher and mother of three, reads in voice over a statement of her intimate world to Juan (Carlos Reygadas), her husband, a renowned poet lost in a vortex of jealousy because his wife has fallen in love with Phil (Phil Burgers), an American horse trainer. While we experience the airplane’s ordinary landing, a sensory manifestation happens, through a masterful use of sound and image. Of what? Of feelings itself. As in this sequence, the controversial Mexican auteur Carlos Reygadas takes us into the intimate, sentimental and psychological universe of his characters in his most recent feature film, Our Time. His epic fifth feature film is more...
- 10/6/2018
- MUBI
Early into Carlos Reygadas’ Our Time (Nuestro Tiempo), the camera follows Esther (Reygadas’ spouse Natalia López) as she drives home to her ranch, husband Juan (Reygadas himself) and kids. Esther is coming home from a motel where she met and slept with Phil (Phil Burgers), an affair Juan is slowly coming to terms with and will later encourage, in a toxic cuckolding game that will anchor the most part of Our Time’s whopping 173 minutes. The camera stays on her face, and then, as in a magic trick, moves into the car’s engine. It’s a moment of ineffable beauty: Esther drives home, enamored, a mellow tune engulfs the car, and a whole world vibrates inside of it, filling the screen with a cacophony of pistons, valves, and energy. The scene comes at the end of Our Time’s first act—if the word could ever apply to Reygadas...
- 9/7/2018
- MUBI
Our Time stars Carlos Reygadas and his wife Natalia López as Juan and Ester, a married couple whose definitely fictional open relationship in no way bears any resemblance to the performers. Even the Tiff write-up barely pretends to believe in this author-vs-character divide: “It’s fascinating when you realize that the director is effectively filming himself secretly watching his real wife’s affair.” Setting this aside (at least until someone asks Reygadas about it in an interview), the premise isn’t a huge change of pace: for all its Dreyer trappings, Silent Light is an adulterous love triangle, and Reygadas’s manic peak Post Tenebras Lux made one […]...
- 9/7/2018
- by Vadim Rizov
- Filmmaker Magazine-Director Interviews
Our Time stars Carlos Reygadas and his wife Natalia López as Juan and Ester, a married couple whose definitely fictional open relationship in no way bears any resemblance to the performers. Even the Tiff write-up barely pretends to believe in this author-vs-character divide: “It’s fascinating when you realize that the director is effectively filming himself secretly watching his real wife’s affair.” Setting this aside (at least until someone asks Reygadas about it in an interview), the premise isn’t a huge change of pace: for all its Dreyer trappings, Silent Light is an adulterous love triangle, and Reygadas’s manic peak Post Tenebras Lux made one […]...
- 9/7/2018
- by Vadim Rizov
- Filmmaker Magazine - Blog
Those hoping the narrative wackiness of “Post tenebras lux” was an aberration in Carlos Reygadas’ career might long for the earlier film’s Dadaist jumps after watching “Our Time,” a maddeningly over-indulgent bid at self-analysis on screen that even the director’s shrink might find banal. Once again corralling his family into the picture, the director stars as a rancher-poet whose ideas about open marriage are challenged when his wife (naturally played by Reygadas’ wife Natalia López) rather too much enjoys an affair with their American horse-whisperer. Shots of testosterone-charged bulls are flagrantly inserted to ensure audiences get the mundane commentary on masculinity, though they’re far preferable to scenes between husband and wife.
The director’s collaborations with cinematographers have always resulted in visuals of remarkable, unnerving beauty, yet even in this department “Our Time” has less to astonish than in previous films. Die-hard acolytes will argue that the...
The director’s collaborations with cinematographers have always resulted in visuals of remarkable, unnerving beauty, yet even in this department “Our Time” has less to astonish than in previous films. Die-hard acolytes will argue that the...
- 9/5/2018
- by Jay Weissberg
- Variety Film + TV
To know Carlos Reygadas is to be perplexed; it’s hard to say exactly what happens in his films, or even if they’re enjoyable. His most recent, “Post Tenebras Lux,” earned him Best Director laurels at Cannes even as it divided everyone who wasn’t on the jury. That elliptical, two-hour exploration of the family unit encompassed everything from an anatomically correct Satan to a little girl getting lost in a field. However, the film also contained moments of great beauty amid the willful abstraction.
“Nuestro tiempo” (“Our Time”), which runs 173 character-building minutes, is likely to be received as another fans-only proposition that converts few but pleases those already inclined to enjoy his work. Those who don’t will sigh to learn that it’s set on a bull ranch (the animals in Reygadas’ films have as difficult a time as the humans), and is another family drama in which the director casts himself,...
“Nuestro tiempo” (“Our Time”), which runs 173 character-building minutes, is likely to be received as another fans-only proposition that converts few but pleases those already inclined to enjoy his work. Those who don’t will sigh to learn that it’s set on a bull ranch (the animals in Reygadas’ films have as difficult a time as the humans), and is another family drama in which the director casts himself,...
- 9/5/2018
- by Michael Nordine
- Indiewire
"Have you been drinking, or what?" A trailer has premiered for the film Our Time, originally Nuestro Tiempo, the latest film from acclaimed Mexican filmmaker Carlos Reygadas. This is premiering at the Venice and Toronto Film Festivals this week, which is why the trailer is out now, even though the film is still looking for a distributor. Reygadas is a vibrant, visual filmmaker and this film runs almost three hours. The story follows a family in the Mexican countryside who raise fighting bulls. When Esther becomes infatuated with a horse trainer named Phil, the couple struggles to stride through the emotional crisis. Reygadas states: "When we love someone, do we want her or his well-being above all else? Or only to the extent that such implicit act of generosity does not affect us too much? In short: Is love a relative matter?" Starring Carlos Reygadas himself, plus Natalia López, Eleazar Reygadas,...
- 9/3/2018
- by Alex Billington
- firstshowing.net
Six years after Post Tenebras Lux, Mexican filmmaker Carlos Reygadas is returning. The highly-anticipated Our Time (aka Nuestro Tiempo) will premiere at the Venice International Film Festival next week, followed by a stop at Toronto International Film Festival, and now the first trailer has landed.
The film follows Reygadas himself alongside his real-life wife Natalia López in a story of a marriage in crisis, though the trailer teases a film far more expansive than that logline, especially considering its 173-minute runtime. Shot by Diego García, the cinematographer behind Neon Bull, Cemetery of Splendor, and the forthcoming Wildlife, we know it’ll at least be thoroughly gorgeous.
Reygadas has said in a director’s statement, “When we love someone, do we want her or his wellbeing above all else? Or only to the extent that such implicit act of generosity does not affect us too much? In short: Is love a relative matter?...
The film follows Reygadas himself alongside his real-life wife Natalia López in a story of a marriage in crisis, though the trailer teases a film far more expansive than that logline, especially considering its 173-minute runtime. Shot by Diego García, the cinematographer behind Neon Bull, Cemetery of Splendor, and the forthcoming Wildlife, we know it’ll at least be thoroughly gorgeous.
Reygadas has said in a director’s statement, “When we love someone, do we want her or his wellbeing above all else? Or only to the extent that such implicit act of generosity does not affect us too much? In short: Is love a relative matter?...
- 8/28/2018
- by Jordan Raup
- The Film Stage
Post Tenebras Lux, the film that won Mexican director Carlos Reygadas the award for Best Director at the 2012 Cannes Film Festival, has a story. But what it’s about, first and foremost, isn’t narrative but texture: The grainy wetness of mud in an open field. The harsh bristle of matted dog fur. The wet steam of a tiled sauna. It’s also about sound, from the giggle of a boy being tickled by his father to the thunder of rugby cleats on a hard floor.
Shot in an box-y 4:3 aspect ratio with intermittently blurred, rippled edges, Post Tenebras Lux unfolds in a fragile half-light. The film’s textures and sounds are so intense that experiencing it is nearly intoxicating. These qualities do not come through when watching the film’s trailer on a phone or computer. Post Tenebras Lux (the title translates as After Darkness, Light) ought be projected,...
Shot in an box-y 4:3 aspect ratio with intermittently blurred, rippled edges, Post Tenebras Lux unfolds in a fragile half-light. The film’s textures and sounds are so intense that experiencing it is nearly intoxicating. These qualities do not come through when watching the film’s trailer on a phone or computer. Post Tenebras Lux (the title translates as After Darkness, Light) ought be projected,...
- 9/13/2012
- by Livia Bloom
- Filmmaker Magazine - Blog
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