Nominated for Best Actor In Supporting Role
Thursday
Monday
JAVIER BARDEM WINS GOLDEN GLOBE
BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A MOTION PICTURE
JAVIER BARDEM
No Country for Old Men
Congratulations!
Wednesday
NY TIMES REVIEWS "LIBERTY KID"
Two Drifting Life Rafts on a Sea of Circumstance
There’s not a single wrong note in “Liberty Kid,” Ilya Chaiken’s poignant drama about marginal lives strained to breaking by the aftermath of Sept. 11.
When the best friends Derrick (Al Thompson) and Tico (Kareem Saviñon) lose their concession-stand jobs at the Statue of Liberty after the terrorist attacks, they drift into low-level drug dealing and petty insurance scams. But the Dominican-born Derrick has higher aspirations for a college future and regular support payments for his two young children, and when Army recruiters come calling — assuring him that a war with Iraq is “not gonna happen” — he makes a decision he will come to regret.
Tender, wise and deceptively low-key, “Liberty Kid” reaches beyond its vulnerable protagonists to enfold an entire class of circumstantial victims. Gently nudging her story in unexpected directions, Ms. Chaiken never allows her small budget to show: from Eliot Rockett’s beautifully lighted photography to the ease with which the actors inhabit their roles, everything about this film feels effortless. Even a support-group scene featuring real Iraq war veterans, which could have appeared jarringly staged, rings with understated authenticity.
Focusing on the quotidian over the episodic, “Liberty Kid” quietly accumulates emotional power. Not until the graceful, perfectly judged conclusion do we realize how much we care.
LIBERTY KID
Opens on Wednesday in Manhattan.
Written and directed by Ilya Chaiken; director of photography, Eliot Rockett; edited by Dave Rock; music by Jeff Grace; production designer, Jesse Cain; produced by Larry Fessenden, Mike S. Ryan and Roger Kass; released by Glass Eye Pix. At the Two Boots Pioneer Theater, 155 East Third Street, at Avenue A, East Village. Running time: 1 hour 32 minutes. This film is not rated.
WITH: Al Thompson (Derrick), Kareem Saviñon (Tico), Raquel Jordan (Denice), Rosa Ramos (Awilda), Anny Mariano (Sister), Johnny Rivera (Nelson) and Rayniel Rufino (Mike).
Source: NY TIMES
Monday
LatinoReview Launches Exclusive Monthly Screening Series
LatinoReview (LR) announced today it's launch of a monthly film screening series with exclusive content on their website. Every month, the website will launch and exhibit the selected short film with its never seen before content in it's entirety on the LatinoReview site. To embark on this event, the first inaugural short for the new year and the month of January is RED PRINCESS BLUES ANIMATED: THE BOOK OF VIOLENCE.
LatinoReview who has reviewed many films in the past, decided this time they would switch it up and provide an opportunity for filmmakers. LR has always been able to provide exclusive interviews and reviews, but with the added content, this is sure to provide passage way for films that may not in the normal route obtain notoriety through regular media outlets. LR will launch once a month a short film that has not been viewed online before alongside with intimate review. This month's film will be reviewed by LR's notorious "El Mayimbe".
The short film RED PRINCESS BLUES ANIMATED: THE BOOK OF VIOLENCE (RPB) is written and produced by Alex Ferrari. Making his directorial debut is Dan Cregan. RPB is an animated short film prequel to Ferrari's feature film RED PRINCESS BLUES. The tale is about twelve year old girl who finds herself in a strange country looking for her father. She is taken in by a unique looking man who goes by Nino. The short film is narrated from the view of the girl and the things she is going through. She soon discovers the "Book of Violence" and the beginning of her journey that leads to vengeance. To see the premiere of RPB please go to: http://www.latinoreview.com/news/exclusive-red-princess-blues-7-min-short-3596
About LatinoReview
LatinoReview.com is a Web Site dedicated to bringing Reviews of the latest American Movies to the English speaking Latin-American audience. Their reviewers are young Latinos based in mainly in Los Angeles and New York (but have fast spread nationwide & internationally), and offer a fresh perspective of movies from the nations fastest growing markets. For more information please go to www.latinoreview.com
Thursday
NYILFF Youth Showcase--CALL FOR ENTRIES!!!
For the first time, NYILFF will showcase works by up-and-coming teen filmmakers and, at the same time, expose these aspiring talents to a living, breathing film festival environment.
(To receive an application please e-mail: NYILFFYouth@gmail.com)
(To receive an application please e-mail: NYILFFYouth@gmail.com)
NYILFF SHIRTS ON SALE
Anybody you've forgot to get a Christmas gift for?
A NYILFF 2007 T-Shirt would make a perfect gift.
Please visit the NYILFF STORE to purchase.
*Thanks to Devaughn Morgan for lending his photography skills to the NYILFF Store.
A NYILFF 2007 T-Shirt would make a perfect gift.
Please visit the NYILFF STORE to purchase.
*Thanks to Devaughn Morgan for lending his photography skills to the NYILFF Store.
Sunday
Bardem, Shakira, Ferrera- Nominated for Golden Globe
Best Performance by an Actor In A Supporting Role in a Motion Picture
Javier Bardem – No Country For Old Men
Best Original Song - Motion Picture
"Despedida" – Love In The Time Of Cholera
Music By: Shakira and Antonio Pinto
Lyrics By: Shakira
Best Performance by an Actress In A Television Series - Musical Or Comedy
America Ferrera – Ugly Betty (ABC)
Buena Suerte!
Thursday
"LIBERTY KID" - Coming to NYC in 2008
January 9-17, 2008
Pioneer Theater
155 East 3rd. St @ Ave. A
New York City
See below for detail
"a powerful drama… Chaiken works with a delicate touch… Potent,
thoroughly believable performances… Deeply poignant". Hollywood
Reporter
"Smoothly kinetic… Glaringly real." Variety
"Sensitively drawn… Strong performances". LA Weekly
Schedule and tix:
www.twoboots.com/pioneer/
more at:
www.libertykidmovie.com
www.myspace.com/libertykidthemovie
www.glasseyepix.com
Monday
VH1 asks, who wants to be a telenovela star?
Lifestyle cable network VH1 is beefing up its reality slate, ordering an eight-episode series featuring aspiring telenovela stars.
The network also has ordered new installments of "Celebrity Fit Club" and "ego trip's The (White) Rapper Show" -- both of which will feature a twist.
In "Viva Hollywood!" 12 bilingual Latino and Latina contestants will learn the "7 Deadly Sins of Telenovelas" -- passion, lust, charisma, drama, fire, seduction and scandal -- in order to impress the judges: actress-singer Maria Conchita Alonso and singer-songwriter Carlos Ponce. Astrologer Walter Mercado will give the contestants guidance.
The winner will land a role on a telenovela airing on Spanish-language broadcaster Telemundo, management representation, and a $100,000 prize. The hour-long series premieres in the spring.
"Fit Club's" sixth season, currently in production also for a spring premiere, will star former cast members competing with a new group of celebrities. Returning cast members Tina Yothers, Willie Aames, model Toccara Jones and Dustin Diamond comprise one team, while comedienne Sommore, Brian Dunkleman, Erin Moran and A.J. Benza comprise the other.
The follow-up to "Rapper," titled "ego trip's Miss Rap Supreme," will feature a search for the next great female MC. Rapper MC Serch will return to host "Miss Rap Supreme," which just wrapped production and also is set for spring. Female rapper Yo Yo is set to co-host.
This year, VH1 has launched 18 unscripted series or specials averaging at least 1 million viewers. Topping that list are "I Love New York's" first and second seasons (3.9 million and 3.7 million season-to-date, respectively), "Charm School" (3.3 million) and "Rock of Love With Bret Michaels" (2.5 million, with the finale drawing 5.4 million to become the second-most-watched VH1 telecast ever).
By Kimberly NordykeMon
Reuters/Hollywood Reporter
The network also has ordered new installments of "Celebrity Fit Club" and "ego trip's The (White) Rapper Show" -- both of which will feature a twist.
In "Viva Hollywood!" 12 bilingual Latino and Latina contestants will learn the "7 Deadly Sins of Telenovelas" -- passion, lust, charisma, drama, fire, seduction and scandal -- in order to impress the judges: actress-singer Maria Conchita Alonso and singer-songwriter Carlos Ponce. Astrologer Walter Mercado will give the contestants guidance.
The winner will land a role on a telenovela airing on Spanish-language broadcaster Telemundo, management representation, and a $100,000 prize. The hour-long series premieres in the spring.
"Fit Club's" sixth season, currently in production also for a spring premiere, will star former cast members competing with a new group of celebrities. Returning cast members Tina Yothers, Willie Aames, model Toccara Jones and Dustin Diamond comprise one team, while comedienne Sommore, Brian Dunkleman, Erin Moran and A.J. Benza comprise the other.
The follow-up to "Rapper," titled "ego trip's Miss Rap Supreme," will feature a search for the next great female MC. Rapper MC Serch will return to host "Miss Rap Supreme," which just wrapped production and also is set for spring. Female rapper Yo Yo is set to co-host.
This year, VH1 has launched 18 unscripted series or specials averaging at least 1 million viewers. Topping that list are "I Love New York's" first and second seasons (3.9 million and 3.7 million season-to-date, respectively), "Charm School" (3.3 million) and "Rock of Love With Bret Michaels" (2.5 million, with the finale drawing 5.4 million to become the second-most-watched VH1 telecast ever).
By Kimberly NordykeMon
Reuters/Hollywood Reporter
SUZUKI AUTO LAUNCHES ANIMATION CONTEST TO CELEBRATE “LA VIDA SUZUKI”
SUZUKI AUTO LAUNCHES ANIMATION CONTEST TO CELEBRATE "LA VIDA SUZUKI"
Winner to be featured at the 2008 New York International Latino Film Festival
BREA, Calif. – (October 15, 2007) – Suzuki Auto, widely known for its exciting and life-enthusiast-focused products, has teamed with the New York International Latino Film Festival (NYILFF) and Cinedulce.com to announce the official call for entries for its first nationwide animation contest, ¡Anímate! – La vida Suzuki, which will run from October 15, 2007 through February 29, 2008 and conclude with the winning animation being featured at the 2008 NYILFF in July.
"Suzuki is thrilled to launch its first-ever animation contest in partnership with the New York International Latino Film Festival," said Gene Brown, vice president of marketing, Suzuki Auto. "This exciting contest is a unique opportunity to connect our company and products with the Latino creative community and with those who choose to live life instead of watch it go by."
The online animation contest gives animators over 18 years of age, and who are U.S. residents, an opportunity to create original animated work with an urban Latino feel that reflects the Suzuki "Way of Life" brand proposition, which promises vehicles for active lifestyles, adventurers and thrill-seekers. Submissions must be no more than three minutes in length and feature Suzuki Auto branding and a Suzuki automobile, such as the dynamic XL7 crossover SUV.
The Grand Prize winner, to be announced in March, will receive an all-expense paid trip for two to the 2008 NYILFF, where the winning animation will be featured, and a grant of $5,000 to produce a series of two webisodes that will run on Cinedulce.com site in June and July. Participants should visit www.cinedulce.com for complete submission guidelines and to submit the online Entry Form. Online animation video submissions will be accepted on the contest Web site starting on October 15, 2007.
"We are thrilled to have Suzuki as our official automotive partner," said NYILFF executive director and Cinedulce CEO, Elizabeth Gardner. "We are inspired by the company's commitment to support Latino talent, particularly in animation, a new programming addition for us. We are also honored Suzuki selected Cinedulce, our new Urban Latino digital distribution platform, as the online destination for this exciting contest."
Suzuki played a starring role as the official automotive sponsor of the 8th NYILFF in New York City last summer, when the ¡Anímate! – La vida Suzuki contest was first announced, and has committed to continue its partnership with the film festival at least through 2008. For more information on NYILFF, visit www.nylatinofilm.com.
About American Suzuki
The Brea, Calif.-based Automotive Operations of American Suzuki Motor Corporation was founded in 1985 by parent company Suzuki Motor Corporation (SMC) and currently markets its vehicles in the United States through a network of more than 500 automotive dealerships in 49 states. Based in Hamamatsu, Japan, SMC is a diversified worldwide automobile, motorcycle and outboard motor manufacturer with sales of more than two million new automobiles annually. Founded in 1909 and incorporated in 1920, SMC has operations in 187 countries. For more information, visit www.media.suzukiauto.com.
About NYILFF
Launched in 1999, the New York International Latino Film Festival (NYILFF) is now the premier Urban Latino film event in the country. Its mission is to showcase the works of the hottest emerging Latino filmmaking talent in the U.S. and Latin America, offer expansive images of the Latino experience, and celebrate the diversity and spirit of the Latino community. Programming includes the flagship film festival in NYC, new music and art showcases, family and community events, scholarships for aspiring filmmakers, and a nationally recognized short film competition in partnership with HBO. The NYILFF is the only film event to have had the endorsement of Mayor Michael Bloomberg's NYC Latin Media and Entertainment Commission since its formation in 2003. For more information, visit www.NYLatinoFilm.com.
About Cinedulce
Founded in 2007 by the directors of the New York International Latino Film Festival, the nation's premier Urban Latino film event, Cinedulce is the only filmed entertainment distribution platform created specifically for the Urban, Urban Latino and Latin audiences. For more information, visit www.Cinedulce.com.
Thursday
John Leguizamo's and Freddy Rodriguez's New Project
According to Variety, Freddy Rodriguez and John Leguizamo will star in Overture Films' family dramedy "Humboldt Park."
Alfredo De Villa ("Washington Heights") is attached to direct from a script penned by Rick Najera ("Latinolouges"), Ted Perkins and Alison Swan.
Story revolves around the return of three siblings to their parents' home for the holidays in Humboldt Park on Chicago's northwest side.
State Street Pictures and 2DS Prods. are producing.
State Street's Robert Teitel and George Tillman Jr. will produce, with Rene Rigal exec producing. Reid Brody and Paul Kim from 2DS will also exec produce alongside Rodriguez.
"Alfredo is an ambitious and talented director that we know will bring creative passion to this film," Overture chief operating officer Danny Rosett said.
Rodriguez's recent credits include "Grindhouse" and "Bobby."
Leguizamo starred in "The Happening" and "The Take."
Wednesday
Staged Reading of "Soledad Is Gone Forever"
One of our NYILFF 07 shorts, "Soledad Is Gone Forever" from director Mabel Valdiviezo, will be showcased on stage. The reading of the film will feature actors such as:
Lupe Ontiveros (Tortilla Heaven, Real Women Have Curves, Selena), Richard Yniguez (B Girl, Meet Me in Miami, Boulevard Nights), Omar Chagall (Frida, The Argentine), Lidia Pires (Ladrón Que Roba a Ladrón) and Yvette Yates as Soledad.
The purpose of this event is to determine the flow of the script and to obtain feedback from the actors and audience.
SYNOPSIS: When SOLEDAD GONZALEZ hears that her father’s body has been found in a mass grave, she returns to her Chilean homeland to confront her father’s killer, unaware that the murderer carries a secret that will threaten her life and challenge her to forgive him.
If you are located in the West Coast, here are the directions:
Date: Saturday, December 8
Time: 2-6 PM (please arrive no later than 1:45p)
Location: Lonny Chapman Group Repertory Theater
10900 Burbank Blvd.
North Hollywood, CA 91601
http://www.lcgrt.com
(818) 700-4878
-courtesy of NALIP's "Latinos In The Industry" newsletter
Latinos In Sundance
The Sundance Film Festival will take place January 17-27th in Utah.
Among the Latino films competing at this year’s festival are Mexico’s “Parpados Azules”, Colombia’s “Perro Come Perro”, Peru’s “The Wind and the Water” and “Sleep Dealer” directed by Alex Rivera and starring Jacob Vargas ("Bobby") and Leonor Varela ("Where God Left His Shoes")
-courtesy of latinoloop.com
NYILFF 2008 CALL FOR ENTRIES!
CALL FOR ENTRIES!
Official Deadline: March 14th
Late Deadline: April 11th
(We are now accepting films of all genres for the 2008 edition.)
Celebrating nine years of Latino cinematic excellence, NYILFF is committed to showcasing films and artists that offer expansive depictions of Latino culture to a cross-section of our diverse nationalities and communities. NYILFF screens films made by, about and/or for the Latino community. Emerging beyond just a film festival and into a premiere marketplace for Latino film, the festival attracts over 20,000 attendees and industry executives from throughout the U.S.
NYILFF will consider films made by, featuring, about and/or for the Latino community. The festival will consider all forms: feature narrative, short films, documentary and experimental shorts. All projects must have been completed by no earlier than 2006. Projects in a language other English must have English subtitles. Films cannot have been broadcast (television or Internet) or distributed commercially in the U.S. prior to the festival. Exceptions are made for short films and documentaries. All genres are welcome.
SUBMISSIONS ARE ONLY ACCEPTED THROUGH WWW.WITHOUTABOX.COM
Official Deadline: March 14th
Late Deadline: April 11th
(We are now accepting films of all genres for the 2008 edition.)
Celebrating nine years of Latino cinematic excellence, NYILFF is committed to showcasing films and artists that offer expansive depictions of Latino culture to a cross-section of our diverse nationalities and communities. NYILFF screens films made by, about and/or for the Latino community. Emerging beyond just a film festival and into a premiere marketplace for Latino film, the festival attracts over 20,000 attendees and industry executives from throughout the U.S.
NYILFF will consider films made by, featuring, about and/or for the Latino community. The festival will consider all forms: feature narrative, short films, documentary and experimental shorts. All projects must have been completed by no earlier than 2006. Projects in a language other English must have English subtitles. Films cannot have been broadcast (television or Internet) or distributed commercially in the U.S. prior to the festival. Exceptions are made for short films and documentaries. All genres are welcome.
SUBMISSIONS ARE ONLY ACCEPTED THROUGH WWW.WITHOUTABOX.COM
VARIETY reviews 'LIBERTY KID'
Liberty Kid
A Glass Eye Pix presentation, in association with RingTheJing Entertainment, of a Glass Eye Pix production. Produced by Roger Kass, Mike S. Ryan, Larry Fessenden. Executive producers, Claude Wasserstein, Andrea Van Beuren. Co-producer, Mike King. Directed, written by Ilya Chaiken.
With: Al Thompson, Kareem Savinon, Raquel Jordan, Rosa Ramos, Anny Mariano, Johnny Rivera, Rayniel Rufino.
(English, Spanish dialogue)
By RONNIE SCHEIB
In writer-director Ilya Chaiken's sophomore outing (after her well-received "Margarita Happy Hour"), almost everything of dramatic import transpires offscreen, starting with the attacks on the World Trade Center and ending with the Iraq war. Doodling in the margins of these two monumental events, Chaiken focuses on the fortunes of two Brooklyn homies who lose their jobs at the Statue of Liberty following 9/11. Winner of the top film prize at the New York Latino fest (leave it to Tribeca to corner every DV-shot 9/11 pic and miss the best one), the breezily indirect "Liberty Kid" could score with indie auds.
Self-styled visionary Derrick (Al Thompson) aspires to more than his dead-end job at the Liberty Island concession stand. He plans to pass his GED and go to college, though how he intends to do so while paying child support for his adorable 3-year-old twins remains hazy. Tico (Kareem Savinon), on the other hand, lives in the moment, savoring weed, women and song.
Chaiken's not one for straight-ahead exposition, and it takes viewers a while to sort out who's who in Derrick's extended Dominican family or Tico's network of homeboys and girls. From the outset, work gives shape and structure to the two friends' days as they wake each other up, hop the ferry, load and unload supplies and pick up pretty women with practiced ease, their daily routine presented in smooth-flowing montages before catastrophe strikes.
The first plane hitting the World Trade Center's north tower provides a rude awakening for Derrick, napping on the ferry on his way to work. But shock and incredulity immediately give way to more prosaic considerations. As Derrick, Tico and friends stride past walls covered with photos of the missing, the drama is not death and destruction, but a three-hour walk home over the Brooklyn Bridge and the shutdown of the Statue of Liberty.
Unable to find another job, Derrick reluctantly joins Tico, who has drifted into small-time drug-dealing, soon becoming accustomed to the good life. But a robbery and a romantic betrayal drive Derrick into the waiting clutches of army recruiters who buttonhole him after a GED exam, their slick "concerned" spiel expertly blending fact and fiction.
Chaiken represents Derrick's experience in Iraq as a simple fade to black. His return is unseen and unheralded as he wanders, almost shell-shocked, in and out of the story. His silence, sometimes broken by measured speech, manifests deep trauma.
Evident throughout is Chaiken's ability to patiently build a scene without fanfare or artifice. Her highly evolved feel for dialogue, here the soft-shoe patter of longtime friends, goes a long way toward naturalizing this rather high-concept undertaking, further helped by the seeming casualness of Thompson and Savinon's sharp thesping.
Tech credits are fine. Eliot Rockett's crisp HD lensing formulates abstract compositions within glaringly real locations,while smoothly kinetic editing by Chaiken and Dave Rock makes any discontinuity or sudden absence seem that much more jarring.
Camera (color, HD), Eliot Rockett; editor, Chaiken, Dave Rock; music, Jeff Grace; music supervisor, Alan Wilkis; production designer, Jesse Cain; sound, Josh Anderson; casting, Victoria Asness, Nate Williams. Reviewed at New York Latino Film Festival, July 28, 2007. (Also in Los Angeles Film Festival -- competing.) Running time: 91 MIN.
SOURCE: VARIETY
"Shut Up and Do It" SELLS OUT in Cinemafest Puerto Rico
One of our NYILFF 07 Domestic premires, "Shut Up and Do It" from director Bruno Irizarry, sold out in Cinemafest Puerto Rico last week:
"After a "sold out" first screening in Puerto Rico's San Juan Cinemafest, tickets sale for the final screening on Wednesday of SHUT UP AND DO IT! began to immediately heat up. "This is a great homecoming," stated Bruno Irizzary, who left Puerto Rico to pursue a career in acting in New York. "Just like the character in the movie I too, decided to "just shut up and do my own movie," I was sick and tired of being put into stereo types, and here I am returning to Puerto Rico after 18 years with my first feature film." Bruno is also the lead in the film, wrote, produced, and co-directed the film as well. Accompanying Bruno at the screening were cast members, Monica Steur, Darlene Vazquetelles, co-director; Veronica Caicedo and International recording artist CHELO, who's songs are featured in the movie, were also present. "This is the first time my music has been in a movie. It was a great feeling, the audience really seemed to enjoy it. I am looking forward to being involved in other movies in the near future."
-courtesy of Latin Cinema Showcase
Congrats to Bruno Irizarry, Veronica Caicedo and their Cast & Crew!
NYILFF On Facebook!
Hey Everyone, the New York International Latino Film Festival has a presence of facebook.
LINK: http://www.facebook.com/profile.php?id=676849191
Also, Cinedulce has also joined the facebook masses:
http://www.facebook.com/profile.php?id=675989298&hiq=cine%2Cdulce
Find Us and Friend Us!
Thanks!
Tuesday
NYILFF Alumni on American Latino TV
Bruno Irizarry who was fed up with stereotypical Latino roles in film and TV and directed his own movie, "Shut up and Do it
AMERICAN LATINO TV:
New York - WWOR My9 Sundays @ 4:00 PM
Chicago*** - WPWR My 50 Sunday @ 2:30 PM
Los Angeles - KABC Saturday nights @ 1:00 AM / Sundays @ 4:00 PM (check listings)
San Francisco - KTVU FOX 2 Saturdays @ 2:30 PM/ KICU TV36 Sundays @ 12 PM
Houston - KTXH My20 Sundays @ 10:30 AM
Corpus Christi - KZTV CBS 33 Late Night Sundays @ 1 AM
Go to www.AmericanLatino.tv/wheretowatch for a complete listing and more info.
New Latino Filmmakers to Watch
New York City is great in that being a melting pot of so many different immigrant and minority communities, the city often gives rise to new and exciting cultural movements that eventually have an impact upon America’s mainstream consciousness.
I am embarrassed to admit that I hadn’t even been aware of the existence of the NY International Latino Film Festival until late last year (the festival is now in its eighth year). Because smaller, regional, and often less prestigious film festivals often beget mixed results-- many of which are not always a pleasure to watch-- I wondered what caliber of work to expect from this particular venue. Moreover, despite the fact that I was a Spanish major in college, I unfortunately hadn’t been tapped into the Latino film scene for quite some time-- even less so that of the indie movement that has been burgeoning amongst the Latino film community in New York for the last few years. My only clue as to what the festival might hold was a little gem-- written, produced, and directed by my friend Tony Valles and his brother Jaime-- called, Casi Casi, which had had its New York premiere at the NYILFF back in the summer of 2006.
A light-hearted, teen-caper comedy, Casi Casi is neither representative of nor does it go against any of the current trends in Puerto Rican cinema, namely because up until this point, there really hadn’t been a significant body Puerto Rican cinema of which to speak. Until the Valles brothers’ project came along, the Puerto Rican film industry had been mostly limited to producing just a handful of politically-driven and moralistic films each year. Meanwhile, Tony and Jaime, both children of the late ‘70s and early ‘80s, grew up watching such American teen cult classics as Ferris Bueller’s Day Off, Pretty in Pink, Sixteen Candles, and The Breakfast Club. Determined to make up for the glaring absence of the teen comedy genre in Puerto Rican cinema, Tony and Jaime set out in 2005 to make their own movie, which would speak to Puerto Rican youth. And indeed, this little indie hit about the misadventures of a group of middle-class, Puerto Rican teens trying to escape the wrath of their formidable principal has proven to appeal to audiences across all age groups. The film was an official selection of numerous Latino film festivals throughout the United States in 2006, including the San Diego Latino Film Festival, where Casi Casi won the Audience Award. In October of 2007, the movie aired on the HBO Latino channel and was subsequently kept on HBO’s regular roster of rotating On-Demand films for a number of weeks.
I first viewed Casi Casi on DVD in the privacy of my own home. While the film isn’t necessarily the most complex stylistically or compositionally (its set-design and mis en scene are pretty bare bones) it nonetheless boasts a smartly-written script, fairly polished and fluid editing, and features a cast of winning, young, first-time actors whose exuberance emanates through every frame. The directors also cast an affectionate gaze upon the lovely city of San Juan, where both Tony and Jaime grew up. Impressive is the fact that Casi Casi was the directors’ first foray into filmmaking ever. (The Valles brothers come from a theatrical and operatic background.) In fact, neither Tony nor Jaime had ever even operated any of the equipment they used to film and edit their project until a scant few weeks before production began (talk about DIY!). Thus, their achievement has been all the more extraordinary given the film’s relatively widespread mainstream success-- a boon to all native Puerto Rican filmmakers for whom exposure is highly coveted yet has often been elusive.
This year, I was able to attend a few programs at the NYILFF and found myself continually surprised by the level of passion, originality of vision, and production values of so many of the films there. No small feat, considering that the majority of works I caught were shorts. Indeed, based solely upon the caliber of talent on display at this year's festival, there can be no mistake that Latino filmmakers working in the U.S. are currently on the rise. Even more compelling still is the overwhelming sense of community that seems to pervade the scene, an esprit de corps that explains why so many of the directors at every screening seemed to know one another. It soon became apparent that many in attendance at the festival had at one point or another worked on another director's crew, or at the very least had worked with several of the same actors. One very much got the feeling that the NY-based Latino film community is not only a network of business associates, but is in fact a space in which artists who share a common language and diaspora are able to share in a specific cultural dialogue that perpetuates artistic growth.
The first film I saw was second-time director Nestor Miranda’s feature comedy, The Startup. A bit of a mad-cap, screwball affair, The Startup is at its core a story about the coming of age-- via one of the worst thought-out sociological experiments ever. In an attempt to finally strike out on their own, three bumbling friends from Queens set up house in a ramshackle brownstone in Harlem, only to realize too late that their limited financial resources won’t be nearly enough to cover the bills. Ben (played by Rafael Sardina), the most responsible and only one of the trio who is actually employed, leaves on a business trip and returns a week later to find that things in the house have changed. A lot. In order to generate a source of income, Ben’s friends Will (Ramon Rodriguez) and Rick (Steven Leon) have turned their house into an international youth hostel-- for which they have no license, no staff, no experience, and no apparent sense of responsibility. Despite his initial misgivings, Ben quietly agrees to let his friends continue renting out beds when he sees how profitable the ill-conceived venture might be. But what neither he nor his friends are prepared for is just how involved running a legitimate business (even one without a license) can be. Things only become more complicated when a young boy named Reymond (played by the irrepressible Reymond Witmann) is abandoned at the hostel by his negligent mother.
The Startup doesn’t claim to be any more than what it intends to be-- that is, indulgently silly and playful entertainment. Considering how the recently christened “mumblecore” movement-- which is partially yet ostensibly characterized by its predominantly white, middle-class casts-- has so inundated the indie film scene with angst-ridden, overly-serious, sometimes overly pretentious films about twenty-somethings trying to “find their way,” it’s refreshing to see a film about the quarter-life experience told from a different perspective (one that is more spontaneously comical at that). The Startup has no aspirations of social weight other than by virtue of the fact that it is performed entirely by an all-minority cast and was made entirely outside of the Hollywood system. This is not to say that the film is without its flaws: with three main characters-- each with his own individual storyline to develop-- and all the zany antics of new characters who are constantly being introduced, Miranda at times lets the structure of the film slip, lapsing into moments that are neither crucial to the plot, nor are they always that funny. Nevertheless, the film’s immensely likable cast prove to be the film’s greatest assets, without whom our suspension of belief would be impossible. (The Startup’s real breakout stars are Rodriguez and Aro Sanchez, both of whom turn out energetic and endearing performances.)
The second film worth mentioning is “Hero the Great,” a short that might be considered The Startup’s sister film if only because its writer/director, Juan Caceres, served on the producing team for the latter project. In “Hero,” our attention is focused solely upon the daily travails of a young boy living with his maternal grandmother in what looks to be the Lower East Side. The milieu and concept behind the film may be somewhat reminiscent of the 2002 feature flick, Raising Victor Vargas; but the tone, look, and sensibility of Caceres’ work are most assuredly and delightfully original. Whereas Raising Victor Vargas revolves around a teenager blossoming into adulthood, “Hero the Great” is very much about that stage in between adolescence and childhood, when children are only beginning to become aware of themselves as self-realized individuals, yet are still very much children in that they retain their sense of innocence and play. Furthermore, Caceres’ visual style is decidedly rich, drawing from such influences as disparate as Francois Truffaut, Michel Gondry, and Spike Lee. The director does an extraordinary job directing his actors: Dennis Torres, who is mature beyond his years in the title role, and once again Reymond Witmann, this time re-incarnated as Hero’s rather puckish, cheeky side-kick, Biscuit. Together, this modern-day Quijote and Panza run, skip, skate, and skulk through Caceres’ verité-styled digital lens and emerge onto the screen as beautifully idiosyncratic, entertaining, and poignantly drawn characters. The film is not so much plot-driven as it is a uniquely rendered portrait of an old soul filtered through the eyes of youth.
Finally, while the majority of other shorts at the festival were all competently made, only one other film truly captured my attention with its brutally visceral visual style and a message as thought-provoking as it is emotionally affecting. Shot on location in black and white 35mm and using non-professional actors, “Primera Comunión” ("First Communion") focuses upon the desperation of a young boy, Eleuterio, and his suffering as the result of society’s capacity for negligence, cruelty, and religious hypocrisy. At the film’s outset, we are immediately plunged into the final moments of Eleuterio’s young life, a frenetically cut montage of images showing the boy lying on the ground, struggling to breathe, interspersed with memories of his family members, both alive and dead. The rest of the film is one long, neo-realistically shot flashback sequence, detailing Eleuterio’s day to day efforts to steal and beg in order to survive. In a mere fifteen minutes, we are able to grasp the totality of Eleuterio’s simple life, comprised mostly of a series of encounters with fellow denizens in his rural Mexican village, as well as the tragic pointlessness of his imminent demise when the film posits the question: who is really to blame for the boy’s hapless fate? Those who would wield a knife against him in order to better their own situation? Or those bystanders (specifically members of the Catholic church) who would deign to lift a finger in order to save him? The director chooses to magnify the film’s dramatic impact by having his principal characters played by children, lending to the final scenes in which Eleuterio is both assaulted and ignored by his peers a categorically chilling effect. Written and directed by Daniel Eduvijes Carrera, a graduate of Columbia's filmmaking program, “Primera Comunión” is one of those rare cinematic debuts which heralds to the world the arrival of an exciting new talent.
Source:
http://www.scarlettcinema.blogspot.com/
I am embarrassed to admit that I hadn’t even been aware of the existence of the NY International Latino Film Festival until late last year (the festival is now in its eighth year). Because smaller, regional, and often less prestigious film festivals often beget mixed results-- many of which are not always a pleasure to watch-- I wondered what caliber of work to expect from this particular venue. Moreover, despite the fact that I was a Spanish major in college, I unfortunately hadn’t been tapped into the Latino film scene for quite some time-- even less so that of the indie movement that has been burgeoning amongst the Latino film community in New York for the last few years. My only clue as to what the festival might hold was a little gem-- written, produced, and directed by my friend Tony Valles and his brother Jaime-- called, Casi Casi, which had had its New York premiere at the NYILFF back in the summer of 2006.
A light-hearted, teen-caper comedy, Casi Casi is neither representative of nor does it go against any of the current trends in Puerto Rican cinema, namely because up until this point, there really hadn’t been a significant body Puerto Rican cinema of which to speak. Until the Valles brothers’ project came along, the Puerto Rican film industry had been mostly limited to producing just a handful of politically-driven and moralistic films each year. Meanwhile, Tony and Jaime, both children of the late ‘70s and early ‘80s, grew up watching such American teen cult classics as Ferris Bueller’s Day Off, Pretty in Pink, Sixteen Candles, and The Breakfast Club. Determined to make up for the glaring absence of the teen comedy genre in Puerto Rican cinema, Tony and Jaime set out in 2005 to make their own movie, which would speak to Puerto Rican youth. And indeed, this little indie hit about the misadventures of a group of middle-class, Puerto Rican teens trying to escape the wrath of their formidable principal has proven to appeal to audiences across all age groups. The film was an official selection of numerous Latino film festivals throughout the United States in 2006, including the San Diego Latino Film Festival, where Casi Casi won the Audience Award. In October of 2007, the movie aired on the HBO Latino channel and was subsequently kept on HBO’s regular roster of rotating On-Demand films for a number of weeks.
I first viewed Casi Casi on DVD in the privacy of my own home. While the film isn’t necessarily the most complex stylistically or compositionally (its set-design and mis en scene are pretty bare bones) it nonetheless boasts a smartly-written script, fairly polished and fluid editing, and features a cast of winning, young, first-time actors whose exuberance emanates through every frame. The directors also cast an affectionate gaze upon the lovely city of San Juan, where both Tony and Jaime grew up. Impressive is the fact that Casi Casi was the directors’ first foray into filmmaking ever. (The Valles brothers come from a theatrical and operatic background.) In fact, neither Tony nor Jaime had ever even operated any of the equipment they used to film and edit their project until a scant few weeks before production began (talk about DIY!). Thus, their achievement has been all the more extraordinary given the film’s relatively widespread mainstream success-- a boon to all native Puerto Rican filmmakers for whom exposure is highly coveted yet has often been elusive.
This year, I was able to attend a few programs at the NYILFF and found myself continually surprised by the level of passion, originality of vision, and production values of so many of the films there. No small feat, considering that the majority of works I caught were shorts. Indeed, based solely upon the caliber of talent on display at this year's festival, there can be no mistake that Latino filmmakers working in the U.S. are currently on the rise. Even more compelling still is the overwhelming sense of community that seems to pervade the scene, an esprit de corps that explains why so many of the directors at every screening seemed to know one another. It soon became apparent that many in attendance at the festival had at one point or another worked on another director's crew, or at the very least had worked with several of the same actors. One very much got the feeling that the NY-based Latino film community is not only a network of business associates, but is in fact a space in which artists who share a common language and diaspora are able to share in a specific cultural dialogue that perpetuates artistic growth.
The first film I saw was second-time director Nestor Miranda’s feature comedy, The Startup. A bit of a mad-cap, screwball affair, The Startup is at its core a story about the coming of age-- via one of the worst thought-out sociological experiments ever. In an attempt to finally strike out on their own, three bumbling friends from Queens set up house in a ramshackle brownstone in Harlem, only to realize too late that their limited financial resources won’t be nearly enough to cover the bills. Ben (played by Rafael Sardina), the most responsible and only one of the trio who is actually employed, leaves on a business trip and returns a week later to find that things in the house have changed. A lot. In order to generate a source of income, Ben’s friends Will (Ramon Rodriguez) and Rick (Steven Leon) have turned their house into an international youth hostel-- for which they have no license, no staff, no experience, and no apparent sense of responsibility. Despite his initial misgivings, Ben quietly agrees to let his friends continue renting out beds when he sees how profitable the ill-conceived venture might be. But what neither he nor his friends are prepared for is just how involved running a legitimate business (even one without a license) can be. Things only become more complicated when a young boy named Reymond (played by the irrepressible Reymond Witmann) is abandoned at the hostel by his negligent mother.
The Startup doesn’t claim to be any more than what it intends to be-- that is, indulgently silly and playful entertainment. Considering how the recently christened “mumblecore” movement-- which is partially yet ostensibly characterized by its predominantly white, middle-class casts-- has so inundated the indie film scene with angst-ridden, overly-serious, sometimes overly pretentious films about twenty-somethings trying to “find their way,” it’s refreshing to see a film about the quarter-life experience told from a different perspective (one that is more spontaneously comical at that). The Startup has no aspirations of social weight other than by virtue of the fact that it is performed entirely by an all-minority cast and was made entirely outside of the Hollywood system. This is not to say that the film is without its flaws: with three main characters-- each with his own individual storyline to develop-- and all the zany antics of new characters who are constantly being introduced, Miranda at times lets the structure of the film slip, lapsing into moments that are neither crucial to the plot, nor are they always that funny. Nevertheless, the film’s immensely likable cast prove to be the film’s greatest assets, without whom our suspension of belief would be impossible. (The Startup’s real breakout stars are Rodriguez and Aro Sanchez, both of whom turn out energetic and endearing performances.)
The second film worth mentioning is “Hero the Great,” a short that might be considered The Startup’s sister film if only because its writer/director, Juan Caceres, served on the producing team for the latter project. In “Hero,” our attention is focused solely upon the daily travails of a young boy living with his maternal grandmother in what looks to be the Lower East Side. The milieu and concept behind the film may be somewhat reminiscent of the 2002 feature flick, Raising Victor Vargas; but the tone, look, and sensibility of Caceres’ work are most assuredly and delightfully original. Whereas Raising Victor Vargas revolves around a teenager blossoming into adulthood, “Hero the Great” is very much about that stage in between adolescence and childhood, when children are only beginning to become aware of themselves as self-realized individuals, yet are still very much children in that they retain their sense of innocence and play. Furthermore, Caceres’ visual style is decidedly rich, drawing from such influences as disparate as Francois Truffaut, Michel Gondry, and Spike Lee. The director does an extraordinary job directing his actors: Dennis Torres, who is mature beyond his years in the title role, and once again Reymond Witmann, this time re-incarnated as Hero’s rather puckish, cheeky side-kick, Biscuit. Together, this modern-day Quijote and Panza run, skip, skate, and skulk through Caceres’ verité-styled digital lens and emerge onto the screen as beautifully idiosyncratic, entertaining, and poignantly drawn characters. The film is not so much plot-driven as it is a uniquely rendered portrait of an old soul filtered through the eyes of youth.
Finally, while the majority of other shorts at the festival were all competently made, only one other film truly captured my attention with its brutally visceral visual style and a message as thought-provoking as it is emotionally affecting. Shot on location in black and white 35mm and using non-professional actors, “Primera Comunión” ("First Communion") focuses upon the desperation of a young boy, Eleuterio, and his suffering as the result of society’s capacity for negligence, cruelty, and religious hypocrisy. At the film’s outset, we are immediately plunged into the final moments of Eleuterio’s young life, a frenetically cut montage of images showing the boy lying on the ground, struggling to breathe, interspersed with memories of his family members, both alive and dead. The rest of the film is one long, neo-realistically shot flashback sequence, detailing Eleuterio’s day to day efforts to steal and beg in order to survive. In a mere fifteen minutes, we are able to grasp the totality of Eleuterio’s simple life, comprised mostly of a series of encounters with fellow denizens in his rural Mexican village, as well as the tragic pointlessness of his imminent demise when the film posits the question: who is really to blame for the boy’s hapless fate? Those who would wield a knife against him in order to better their own situation? Or those bystanders (specifically members of the Catholic church) who would deign to lift a finger in order to save him? The director chooses to magnify the film’s dramatic impact by having his principal characters played by children, lending to the final scenes in which Eleuterio is both assaulted and ignored by his peers a categorically chilling effect. Written and directed by Daniel Eduvijes Carrera, a graduate of Columbia's filmmaking program, “Primera Comunión” is one of those rare cinematic debuts which heralds to the world the arrival of an exciting new talent.
Source:
http://www.scarlettcinema.blogspot.com/
Monday
The 2007 24fps Official Jury Awards Are Revealed
Twenty-two Official Selection short films were in competition during the fest, which presented work from the United States, Canada, England, Ireland, Japan and Spain.
The festival’s Horizon Award for most promising filmmaker was given to Brooklyn, New York filmmaker Yuri Alves, whose brutal “Chronicles of a Hitman,” was a jury and audience favorite. “Chronicles,” shot as a modern film noir, follows the collision between a professional hitman, a group of assassins trying to find him, and an innocent woman. Alves, a recent graduate of New Jersey City University, was given the award by the jury whose official citation read: “This young filmmaker has everything it takes to succeed in the film industry. His extraordinary visual sense and emotional maturity elevated his work above very strong competition.
Best Action Film
“Replay”
Director: Reynier Molenaar
Best Sound Editing/Foley
“Replay”
Editor: Reynier Molenaar
The festival’s Horizon Award for most promising filmmaker was given to Brooklyn, New York filmmaker Yuri Alves, whose brutal “Chronicles of a Hitman,” was a jury and audience favorite. “Chronicles,” shot as a modern film noir, follows the collision between a professional hitman, a group of assassins trying to find him, and an innocent woman. Alves, a recent graduate of New Jersey City University, was given the award by the jury whose official citation read: “This young filmmaker has everything it takes to succeed in the film industry. His extraordinary visual sense and emotional maturity elevated his work above very strong competition.
Best Action Film
“Replay”
Director: Reynier Molenaar
Best Sound Editing/Foley
“Replay”
Editor: Reynier Molenaar
Latinos in Cinema
Check out the latest films in theatres with Latino actors:
Violence and mayhem ensue after a hunter stumbles upon some dead bodies, a stash of heroin and more than $2 million in cash near the Rio Grande.
STARRING: Javier Bardem
In 1970s America, a detective works to bring down the drug empire of Frank Lucas, a heroin kingpin from Manhattan, who is smuggling the drug into the country from the Far East in the midst of the Vietnam War.
FEATURING: John Ortiz ("El Cantante", "Carlito's Way")
Florentino (Bardem), rejected by the beautiful Fermina (Mezzogiorno) at a young age, devotes much of his adult life to carnal affairs as a desperate attempt to heal his broken heart.
STARRING: Javier Bardem, John Leguizamo, and Benjamin Bratt
A New York nightclub manager tries to save his brother and father from Russian mafia hit men.
STARRING: Eva Mendes
An international soccer star is on his way to sign a multi-million dollar contract when something happens that brings his career to an abrupt end.
STARRING: Eduardo Verástegui, Ramon Rodriguez, and Manny Perez
Violence and mayhem ensue after a hunter stumbles upon some dead bodies, a stash of heroin and more than $2 million in cash near the Rio Grande.
STARRING: Javier Bardem
In 1970s America, a detective works to bring down the drug empire of Frank Lucas, a heroin kingpin from Manhattan, who is smuggling the drug into the country from the Far East in the midst of the Vietnam War.
FEATURING: John Ortiz ("El Cantante", "Carlito's Way")
Florentino (Bardem), rejected by the beautiful Fermina (Mezzogiorno) at a young age, devotes much of his adult life to carnal affairs as a desperate attempt to heal his broken heart.
STARRING: Javier Bardem, John Leguizamo, and Benjamin Bratt
A New York nightclub manager tries to save his brother and father from Russian mafia hit men.
STARRING: Eva Mendes
An international soccer star is on his way to sign a multi-million dollar contract when something happens that brings his career to an abrupt end.
STARRING: Eduardo Verástegui, Ramon Rodriguez, and Manny Perez
Calle 13 to appear in film
Rene Perez, also known as "Residente" from the reggaeton duo, Calle 13, is going to be partcipating the upcoming film "Old Dogs" along side John Travolta and Robin Williams. Shooting has already started and is planned to be released summer 2008.
-courtesy of www.tajevi.net
Bond Lands A Latina
We've known for awhile that the producers of Bond 22 have been on the lookout for a smokin' hot Latina actress to join the production. And so we now have....Ms. Mayrin Villanueva.
The news that Mayrin Villanueva comes from MI6 who in turn got it from a Mexican television news show. Yes, yes, a bunch of he said, she said, but I don't care much after looking at Mayrin. I think she burned my retinas, I can't see the computer that...well....
Courtsey of LatinoReview.com
Latin American film fans ask, Where are our movies?
Latin American cinema may be enjoying a Golden Age, but the movies must sometimes travel the world before they can get a showing on their home turf.
The governments of Venezuela, Mexico, Brazil and others are handing out money to encourage local productions, and the results are gaining wide acclaim, but they are struggling in a continent saturated with Hollywood blockbusters.
Films must first reach international festivals like Cannes or Venice to have a chance of getting a distributor and running around the world, before maybe coming home to Latin America.
"Even being so close, it is very difficult to watch Latin American movies in Latin American cinemas," said Daniel Andrade, who was in Sao Paulo for a film festival October 19 to November 8, where he was showing his new movie "Esas no Son Penas" (Anytime Soon).
He said "Cidade de Deus" (City of God) and "Central do Brasil" (Central Station) both Oscar-nominated Brazilian movies of recent years, got to his native Ecuador only through their North American distributors. "Carandiru," a top Brazilian movie of 2003, was never shown in Ecuadorean theaters.
Adhemar Oliveira, an independent distributor who runs theaters in Sao Paulo, said he must go to Europe to get Latin American movies to show in Brazil, such as the acclaimed Chilean movie "Machuca."
"It's the same price to bring a movie from Asia, Europe, USA or Latin America," Oliveira said.
Brazil is now making so many movies -- 70 per year, up from 30 in the 1990s -- that its 2,000 movie theaters hardly have room for all of them, let alone movies from the rest of Latin America. A deal with Cuba to exchange a few movies was put aside. "How do you find space in a market inundated by American blockbusters for all the Brazilian productions plus five Cuban titles?" said cinema researcher Maria do Rosario Caetano.
DVD PIRATES
Piracy has provided a solution, at least in some countries, said Bolivian filmmaker Marcos Loayza.
"People who like movies in Bolivia have two options. Going abroad or buying pirate DVDs," said Loayza, who was showing his documentary "El Estado de las Cosas" (The State of Things) at the Sao Paulo festival.
"You can find everything in DVD copies -- Latin American movies, Greek movies, Iranian movies," he said. Bolivia has only 50 movie theaters, showing mostly Hollywood movies dubbed into Spanish.
Piracy was the route to box office success for "Tropa de Elite" (Elite Squad), a controversial story about police killings in the shanty towns of Rio de Janeiro and the most successful Brazilian movie this year.
After viral success as a pirate DVD, it was released in Brazil by Paramount, and has sold 2.1 million tickets compared with 6.1 million for "Spider Man 3."
In Venezuela, production has jumped from a half dozen movies per year to an expected 20 in 2008 thanks to help from President Hugo Chavez, said Mariana Rondon, who was presenting her second feature, "Postales de Leningrado" (Postcards from Leningrad).
Her first movie was not even shown in her country because no distributor was interested. "Postcards" has been in Venezuelan theaters only because of a new rule that gives local movies a mandatory showing, she said.
In Ecuador, the government is helping three or four movies to be released next year, almost doubling production. In Mexico, a new law will let companies invest tax money in the cinema.
"There is a small cinema revolution happening right now in Mexico, with a lot of people and companies with money to invest," said filmmaker Sergio Umansky, who spent seven months looking for a distributor for his movie "Mejor es que Gabriela no se muera" (It's Better If Gabriela Doesn't Die).
"But I hope the movies will start to be known and seen, not just the ones made by big studios."
Courtsey of Fernanda Ezabella from Reuters
The governments of Venezuela, Mexico, Brazil and others are handing out money to encourage local productions, and the results are gaining wide acclaim, but they are struggling in a continent saturated with Hollywood blockbusters.
Films must first reach international festivals like Cannes or Venice to have a chance of getting a distributor and running around the world, before maybe coming home to Latin America.
"Even being so close, it is very difficult to watch Latin American movies in Latin American cinemas," said Daniel Andrade, who was in Sao Paulo for a film festival October 19 to November 8, where he was showing his new movie "Esas no Son Penas" (Anytime Soon).
He said "Cidade de Deus" (City of God) and "Central do Brasil" (Central Station) both Oscar-nominated Brazilian movies of recent years, got to his native Ecuador only through their North American distributors. "Carandiru," a top Brazilian movie of 2003, was never shown in Ecuadorean theaters.
Adhemar Oliveira, an independent distributor who runs theaters in Sao Paulo, said he must go to Europe to get Latin American movies to show in Brazil, such as the acclaimed Chilean movie "Machuca."
"It's the same price to bring a movie from Asia, Europe, USA or Latin America," Oliveira said.
Brazil is now making so many movies -- 70 per year, up from 30 in the 1990s -- that its 2,000 movie theaters hardly have room for all of them, let alone movies from the rest of Latin America. A deal with Cuba to exchange a few movies was put aside. "How do you find space in a market inundated by American blockbusters for all the Brazilian productions plus five Cuban titles?" said cinema researcher Maria do Rosario Caetano.
DVD PIRATES
Piracy has provided a solution, at least in some countries, said Bolivian filmmaker Marcos Loayza.
"People who like movies in Bolivia have two options. Going abroad or buying pirate DVDs," said Loayza, who was showing his documentary "El Estado de las Cosas" (The State of Things) at the Sao Paulo festival.
"You can find everything in DVD copies -- Latin American movies, Greek movies, Iranian movies," he said. Bolivia has only 50 movie theaters, showing mostly Hollywood movies dubbed into Spanish.
Piracy was the route to box office success for "Tropa de Elite" (Elite Squad), a controversial story about police killings in the shanty towns of Rio de Janeiro and the most successful Brazilian movie this year.
After viral success as a pirate DVD, it was released in Brazil by Paramount, and has sold 2.1 million tickets compared with 6.1 million for "Spider Man 3."
In Venezuela, production has jumped from a half dozen movies per year to an expected 20 in 2008 thanks to help from President Hugo Chavez, said Mariana Rondon, who was presenting her second feature, "Postales de Leningrado" (Postcards from Leningrad).
Her first movie was not even shown in her country because no distributor was interested. "Postcards" has been in Venezuelan theaters only because of a new rule that gives local movies a mandatory showing, she said.
In Ecuador, the government is helping three or four movies to be released next year, almost doubling production. In Mexico, a new law will let companies invest tax money in the cinema.
"There is a small cinema revolution happening right now in Mexico, with a lot of people and companies with money to invest," said filmmaker Sergio Umansky, who spent seven months looking for a distributor for his movie "Mejor es que Gabriela no se muera" (It's Better If Gabriela Doesn't Die).
"But I hope the movies will start to be known and seen, not just the ones made by big studios."
Courtsey of Fernanda Ezabella from Reuters
Javier Bardem: Transformation on Film
Check out this event:
Javier Bardem: Transformation on Film
Come hear Javier Bardem, the first Spanish actor to have been nominated for an Academy Award for Best Actor, discuss his work and his current film, "No Country for Old Men," based on the novel by Cormac McCarthy and directed by the Coen Brothers. The award-winning actor ("Before Night Falls," "The Sea Inside," "Collateral," "The Dancer Upstairs") is one of the special honorees of the IFP's Gotham Awards this year. Moderated by Lynn Hirschberg, New York Times Magazine editor at large.
It will take place on Wednesday, November 28, 2007
from 8:00 PM - 9:15 PM at:
The TimesCenter, 242 West 41st Street, New York City
Javier Bardem: Transformation on Film
Come hear Javier Bardem, the first Spanish actor to have been nominated for an Academy Award for Best Actor, discuss his work and his current film, "No Country for Old Men," based on the novel by Cormac McCarthy and directed by the Coen Brothers. The award-winning actor ("Before Night Falls," "The Sea Inside," "Collateral," "The Dancer Upstairs") is one of the special honorees of the IFP's Gotham Awards this year. Moderated by Lynn Hirschberg, New York Times Magazine editor at large.
It will take place on Wednesday, November 28, 2007
from 8:00 PM - 9:15 PM at:
The TimesCenter, 242 West 41st Street, New York City
Cristina Kotz Cornejo's "3 Americas" premiered at Woodstock Film Festival
Wild Wimmin Films is pleased to announce that 3 Américas
the feature film debut of Cristina Kotz Cornejo had its World Premiere at the Woodstock Film Festival on October 11-14.
3 Américas was developed in the NALIP 2004 Latino Writers Lab with mentor Alfredo DeVilla and participated in the NALIP 2005 Sundance Development Program.
Here is what one reviewer said about the film (excerpt from a longer review at www.aivf.org):
An Upstate State of Mind
Day One at the Woodstock Film Festival, by Sarah Coleman
"The film is beautifully shot, and the screenplay is a marvel of minimalism in which every word matters. As América, newcomer Kristen Gonzalez gives an utterly compelling performance, her smoldering temper perfectly offset by the bone-weariness portrayed by veteran Argentinian actress Ana Maria Colombo. If the story has a somewhat predictable arc – two prickly, difficult women gradually come to care for each other – it's handled gracefully and with infinite subtlety. Kotz Cornejo based some of the narrative on her own experiences as a teen, and in the post-screening Q&A she described how she had to resist a producer who "wanted me to change the script to include tango, because I didn't want to be that clichéd." Luckily, she succeeded: the film is a cliché-free zone, and a richly nuanced character study."
For more information on the film visit www.3americasmovie.com.
For press info contact Neyda Martinez at monserrat536@msn.com
Great News for "BELLA"
“BELLA had another amazing performance at the box office this weekend, giving us the momentum we need for a large expansion,” said executive producer Sean Wolfington. “Thanks to strong word-of-mouth support, BELLA will expand to nearly 50 new cities in the coming weeks. We couldn’t be happier or more thankful for the tremendous support audiences have shown BELLA thus far.”
* BELLA grossed over $1 million this weekend, maintaining its spot as the only film on less than 300 screens to rank in the top 20.
* BELLA’s per screen average of $5,381 “continued to surprise” according to IndieWire.com, finishing third behind new releases “American Gangster” and “Bee Movie”, both with estimated budgets in excess of $100 million.
* BELLA continued to show resilience on Sunday, indicating abnormally strong word-of-mouth momentum from the previous two days. While every other film’s ticket sales declined by a minimum of 30% from Saturday to Sunday, BELLA dipped a mere 1.8%.
As a result of BELLA’s performance this weekend, Roadside Attractions will expand BELLA’s release to nearly 50 additional cities in the next two weeks. Specific theaters in each city can be found online at www.bellatheaters.com.
"Lola" screening
Earlier tonight, the cast and crew of the short film, "Lola" had a screening today at the Bubble Lounge (228 West Broadway).
The screening was sponsored by Karlsson's Gold Vodka and produced by Monkeyscorpio Productions in association with Coco Pictures.
SYNOPSIS OF LOLA:
"Lola,” is a short film starring Francisca Vargas (Dreaming in Cuban) and Andy Señor Jr. (Rent). It tells the story of Lola, an immigrant young Latina. Caught in a web of passion and self- delusion, Lola longs for freedom to pursue her dreams and make it in NYC. But her world takes a bizarre and thrilling turn when she answers an Internet ad looking for a job and instead finds herself running for her life. The short drama inspired by true events is written and directed by up and coming Latina filmmaker Betty Marisol García.
Congrats to Betty Marisol Garcia and the cast and crew!
Friday
NYILFF Theatrical: Bella
One of our festival premires. Bella, is also getting it's turn at nationwide play!
An international soccer star (Eduardo Verástegui) is on his way to sign a multi-million dollar contract when something happens that brings his career to an abrupt end. A waitress (Tammy Blanchard), struggling to make it in New York City, discovers something about herself that she's unprepared for. In one irreversible moment, their lives are turned upside down...until an impetuous action brings them together and turns an ordinary day into an unforgettable experience. Once a famous athlete, and now a cook at his brother's Mexican restaurant, José has retreated from the world but he recognizes something in Nina, a young waitress, and reaches out to her. In the course of a single day, he not only confronts his past but shows her how the healing power of a family can help her embrace the future.
(synopsis courtesy of imdb.com)
Peace!
NYILFF ON DVD
Coming soon to DVD.
EL CANTANTE
The Hector Lavoe bio-pic is planned to be released on DVD, October 30th.
On DVD now!
90 MILES
The winner of the NYILFF 2001 Best Bocumentary, is available on DVD now, throught it's website:
www.90miles.org
Peace!
EL CANTANTE
The Hector Lavoe bio-pic is planned to be released on DVD, October 30th.
On DVD now!
90 MILES
The winner of the NYILFF 2001 Best Bocumentary, is available on DVD now, throught it's website:
www.90miles.org
Peace!
Thursday
SUZUKI AUTO LAUNCHES ANIMATION CONTEST TO CELEBRATE “LA VIDA SUZUKI”
SUZUKI AUTO LAUNCHES ANIMATION CONTEST TO CELEBRATE “LA VIDA SUZUKI”
Winner to be featured at the 2008 New York International Latino Film Festival
BREA, Calif. – (October 15, 2007) – Suzuki Auto, widely known for its exciting and life-enthusiast-focused products, has teamed with the New York International Latino Film Festival (NYILFF) and Cinedulce.com to announce the official call for entries for its first nationwide animation contest, ¡Anímate! – La vida Suzuki, which will run from October 15, 2007 through February 29, 2008 and conclude with the winning animation being featured at the 2008 NYILFF in July.
“Suzuki is thrilled to launch its first-ever animation contest in partnership with the New York International Latino Film Festival,” said Gene Brown, vice president of marketing, Suzuki Auto. “This exciting contest is a unique opportunity to connect our company and products with the Latino creative community and with those who choose to live life instead of watch it go by.”
The online animation contest gives animators over 18 years of age, and who are U.S. residents, an opportunity to create original animated work with an urban Latino feel that reflects the Suzuki "Way of Life" brand proposition, which promises vehicles for active lifestyles, adventurers and thrill-seekers. Submissions must be no more than three minutes in length and feature Suzuki Auto branding and a Suzuki automobile, such as the dynamic XL7 crossover SUV.
The Grand Prize winner, to be announced in March, will receive an all-expense paid trip for two to the 2008 NYILFF, where the winning animation will be featured, and a grant of $5,000 to produce a series of two webisodes that will run on Cinedulce.com site in June and July. Participants should visit www.cinedulce.com for complete submission guidelines and to submit the online Entry Form. Online animation video submissions will be accepted on the contest Web site starting on October 15, 2007.
“We are thrilled to have Suzuki as our official automotive partner,” said NYILFF executive director and Cinedulce CEO, Elizabeth Gardner. “We are inspired by the company’s commitment to support Latino talent, particularly in animation, a new programming addition for us. We are also honored Suzuki selected Cinedulce, our new Urban Latino digital distribution platform, as the online destination for this exciting contest.”
Suzuki played a starring role as the official automotive sponsor of the 8th NYILFF in New York City last summer, when the ¡Anímate! – La vida Suzuki contest was first announced, and has committed to continue its partnership with the film festival at least through 2008. For more information on NYILFF, visit www.nylatinofilm.com.
About American Suzuki
The Brea, Calif.-based Automotive Operations of American Suzuki Motor Corporation was founded in 1985 by parent company Suzuki Motor Corporation (SMC) and currently markets its vehicles in the United States through a network of more than 500 automotive dealerships in 49 states. Based in Hamamatsu, Japan, SMC is a diversified worldwide automobile, motorcycle and outboard motor manufacturer with sales of more than two million new automobiles annually. Founded in 1909 and incorporated in 1920, SMC has operations in 187 countries. For more information, visit www.media.suzukiauto.com.
About NYILFF
Launched in 1999, the New York International Latino Film Festival (NYILFF) is now the premier Urban Latino film event in the country. Its mission is to showcase the works of the hottest emerging Latino filmmaking talent in the U.S. and Latin America, offer expansive images of the Latino experience, and celebrate the diversity and spirit of the Latino community. Programming includes the flagship film festival in NYC, new music and art showcases, family and community events, scholarships for aspiring filmmakers, and a nationally recognized short film competition in partnership with HBO. The NYILFF is the only film event to have had the endorsement of Mayor Michael Bloomberg's NYC Latin Media and Entertainment Commission since its formation in 2003. For more information, visit www.NYLatinoFilm.com.
About Cinedulce
Founded in 2007 by the directors of the New York International Latino Film Festival, the nation’s premier Urban Latino film event, Cinedulce is the only filmed entertainment distribution platform created specifically for the Urban, Urban Latino and Latin audiences. For more information, visit www.Cinedulce.com.
Monday
PVC-1
Shot in real time, PVC-1 is based on the true story of a woman who is turned into a human time bomb in a bizarre act of terrorism.
Check out the trailer above.
The screening at Cannes was so successful that agents descended on Stahalopoulous like Bees on honey. Then all this noise about the entire film being shot in one take.
The film has merit. Besides the incredible camerawork, it hits at the heart of the worldwide problem of terrorism and highlights the pandemic of violence that plagues Latin America.
Courtesy of LATINOREVIEW.COM
Hispaniola: On HBO on Demand & A Special Message from Freddy Vargas
Hi friends. I just wanted to let you know that my short film "Hispaniola", winner of the 2007 HBO/NYILFF Short Film Competition is playing on HBO on Demand from September 10 through October 28. After this it will go on the regular HBO rotation.
Hispaniola is an endearing story of two boys from different worlds – one Haitian, the other Dominican – who develop a strong bond through baseball.
Thank you Youssel Abreu, Karina Narpier, Francisco Valdez, Angel Muniz, Adrian Agramonte, Omar Narpier, la UASD, Greg Rhem, Denis Williams, Calixto Chinchilla, HBO, NYILFF and so many wonderful people that made the film possible in DR and in NYC. Carlos Mi Plasencia for his continuing support.
¿Que tal Amigos? Quiero darles la noticia de que mi cortometraje “Hispaniola”, ganador del concurso del 2007 del HBO/NYILFF Short Film Competition esta siendo transmitido por HBO on Demand desde el 10 de Septiembre hasta el 28 de Octubre. Luego pasara a la programación regular de HBO.
Hispaniola es una historia entrañable sobre dos chicos que pertenecen a mundos diferentes - uno haitiano y el otro dominicano - que desarrollan un sólido lazo de amistad a través del béisbol.
Gracias a Youssel Abreu, Karina Narpier, Francisco Valdez, Angel Muniz, Adrian Agramonte, Omar Narpier, la UASD, Greg Rhem, Denis Williams, Calixto Chinchilla, HBO, NYILFF y tantas personas maravillosas que hicieron este corto una realidad tanto en RD como NYC. A Carlos Ml Plasencia por su desinteresado apoyo.
Link to HBO on demand site:
https://www.hbo.com/apps/hodschedule/hod/details.do?FID=PMRS95976
Hispaniola's Link to IMDB:
http://www.imdb.com/title/tt1085821/
Peace!
nyilffblog@gmail.com
Friday
Feel The Noise
FEEL THE NOISE
(Alejandro Chomski, 2007, USA, 86 min.)
After a run-in with local thugs, aspiring Harlem rapper Rob (Omarion Grandberry) flees to a place and father (Giancarlo Esposito) he never knew, and finds his salvation in Reggaeton, a spicy blend of hip-hop, reggae and Latin beats. Puerto Rico, the spiritual home of Reggaeton, inspires Rob and his half-brother Javi (Victor Rasuk, RAISING VICTOR VARGAS) to pursue their dream of becoming Reggaeton stars. Together with a dancer named C.C., they learn what it means to stay true to themselves
and each other, while overcoming obstacles in love, greed and pride, all culminating in an explosive performance at New York's Puerto Rican Day Parade. From producer Jennifer Lopez and Alejandro Chomski, the Argentinean director of HOY Y MANANA.
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