The new Apple TV+ series “Sugar” isn’t shy about announcing its influences: It’s steeped in the traditions of film noir.
Creator Mark Protosevich leaned into the tropes of detective stories by Raymond Chandler and Dashiell Hammett when creating private investigator John Sugar (Colin Farrell), who himself is obsessed with classic Hollywood film noirs. Director Fernando Meirelles (“City of God”) and editor Fernando Stutz went so far as to edit in clips from those classic films, drawing parallels between Sugar’s investigation into the disappearance of Olivia Siegel (Sydney Chandler) to Humphrey Bogart’s spin as Phillip Marlowe in “The Big Sleep.”
“I wanted a character who carried themselves in a classic style, that this is a person who doesn’t necessarily seem from this time,” Protosevich told IndieWire. He wondered how out of place the noble heroes of classic ’30s and ’40s Hollywood movies would feel in modern...
Creator Mark Protosevich leaned into the tropes of detective stories by Raymond Chandler and Dashiell Hammett when creating private investigator John Sugar (Colin Farrell), who himself is obsessed with classic Hollywood film noirs. Director Fernando Meirelles (“City of God”) and editor Fernando Stutz went so far as to edit in clips from those classic films, drawing parallels between Sugar’s investigation into the disappearance of Olivia Siegel (Sydney Chandler) to Humphrey Bogart’s spin as Phillip Marlowe in “The Big Sleep.”
“I wanted a character who carried themselves in a classic style, that this is a person who doesn’t necessarily seem from this time,” Protosevich told IndieWire. He wondered how out of place the noble heroes of classic ’30s and ’40s Hollywood movies would feel in modern...
- 4/8/2024
- by Chris O'Falt
- Indiewire
Nikon aims to expand its reach in the cinematography business. The company revealed that it entered into an agreement to acquire cinematography camera maker Red, which would become a wholly-owned subsidiary of Nikon. Terms and value of the deal weren’t disclosed.
“Nikon will leverage this acquisition to expand the fast-growing professional digital cinema camera market, building on both companies’ business foundations and networks, promising an exciting future of product development that will continue to push the boundaries of what is possible in film and video production,” the company said in the announcement. “Nikon’s expertise in product development, exceptional reliability, and know-how in image processing, as well as optical technology and user interface along with Red’s knowledge in cinema cameras, including unique image compression technology and color science, will enable the development of distinctive products.”
Red cameras have been selected by leading cinematographers such as Erik Messerschmidt, who...
“Nikon will leverage this acquisition to expand the fast-growing professional digital cinema camera market, building on both companies’ business foundations and networks, promising an exciting future of product development that will continue to push the boundaries of what is possible in film and video production,” the company said in the announcement. “Nikon’s expertise in product development, exceptional reliability, and know-how in image processing, as well as optical technology and user interface along with Red’s knowledge in cinema cameras, including unique image compression technology and color science, will enable the development of distinctive products.”
Red cameras have been selected by leading cinematographers such as Erik Messerschmidt, who...
- 3/7/2024
- by Carolyn Giardina
- Variety Film + TV
Exclusive: Goodfellas has acquired world sales rights for Emilio Estevez’s The Way: Chapter 2, reuniting the actor-director with the cast members of his original 2010 hit, father Martin Sheen, Yorick Van Wageningen and James Nesbitt.
The sequel revisits protagonist Tom (Sheen) a decade after his first pilgrimage on Spain’s El Camino de Santiago in the footsteps of his deceased son Daniel (Estevez), as he reconnects with his walking companions Joost (van Wageningen) and Jack (Nisbitt).
Now embedded with Doctors Without Borders in northern Nigeria, performing surgery in a war zone, Tom is sent a copy of Jack’s bestselling book based on their shared experience, in which a disturbing secret is revealed.
Enraged, he leaves to search for Jack and find answers to questions that have haunted him for a decade. His journey reunites him with Joost and leads them through Amsterdam, Dublin, Brussels and France before returning to Spain and the Camino.
The sequel revisits protagonist Tom (Sheen) a decade after his first pilgrimage on Spain’s El Camino de Santiago in the footsteps of his deceased son Daniel (Estevez), as he reconnects with his walking companions Joost (van Wageningen) and Jack (Nisbitt).
Now embedded with Doctors Without Borders in northern Nigeria, performing surgery in a war zone, Tom is sent a copy of Jack’s bestselling book based on their shared experience, in which a disturbing secret is revealed.
Enraged, he leaves to search for Jack and find answers to questions that have haunted him for a decade. His journey reunites him with Joost and leads them through Amsterdam, Dublin, Brussels and France before returning to Spain and the Camino.
- 2/9/2024
- by Melanie Goodfellow
- Deadline Film + TV
O2 Play, the distribution-sales arm of Brazil’s O2 Filmes group, co-owned by “City of God” director Fernando Meirelles, has boarded “Broken” (“Partido”), which is co-directed by Oscar-nominated “City of God” Dp César Charlone.
O2 Play has acquired Brazilian and world sales rights to the doc feature. O2 Play founder Igor Kupstas will introduce “Broken” to buyers at Locarno Pro, which runs Aug.3-9.
Charlone, also “The Two Popes” Dp and director of “3%,” South America’s first Netflix series, has directed alongside Sebastián Bednarik and Joaquim Castro (“Máquina do Desejo – 60 Anos do Teatro Oficina”).
Produced by Uruguay’s Coral Cine, in co-production with Brazil’s Opy Filmes, “Broken” covers Brazil’s 2018 general election from the point of view of Fernando Haddad, currently Brazil’s minister of economy and then the candidate of Brazil’s now ruling Workers’ Party put up to face off with Jair Bolsonaro.
“Broken” will have its...
O2 Play has acquired Brazilian and world sales rights to the doc feature. O2 Play founder Igor Kupstas will introduce “Broken” to buyers at Locarno Pro, which runs Aug.3-9.
Charlone, also “The Two Popes” Dp and director of “3%,” South America’s first Netflix series, has directed alongside Sebastián Bednarik and Joaquim Castro (“Máquina do Desejo – 60 Anos do Teatro Oficina”).
Produced by Uruguay’s Coral Cine, in co-production with Brazil’s Opy Filmes, “Broken” covers Brazil’s 2018 general election from the point of view of Fernando Haddad, currently Brazil’s minister of economy and then the candidate of Brazil’s now ruling Workers’ Party put up to face off with Jair Bolsonaro.
“Broken” will have its...
- 7/6/2023
- by John Hopewell
- Variety Film + TV
“Goya, Carrière and the Ghost of Buñuel” by Spain’s José Luis López Linares clinched the best film prize out of 15 entries in competition at the Arca Festival of Films on Art.
Lopez was bestowed the valuable Arca prize, a bronze sculpture designed and crafted by Uruguay’s preeminent artist Pablo Atchugarry whose foundation is the principal sponsor of the festival. The festival’s second edition ran Jan. 2–7.
Expressing his delight and appreciation for winning the prize, Lopez said in a video message: “The film begins with Goya and ends with Goya through the memories of Carrière who deeply loved Spain and everything Spanish. He had a fantastic collaboration and most of all, a deep friendship with Buñuel.”
In the docu, the late French screenwriter, author and playwright Jean-Claude Carrière, best known as the co-writer of Spain’s foremost surrealist filmmaker Luis Buñuel, reacts in a few deft but penetrating...
Lopez was bestowed the valuable Arca prize, a bronze sculpture designed and crafted by Uruguay’s preeminent artist Pablo Atchugarry whose foundation is the principal sponsor of the festival. The festival’s second edition ran Jan. 2–7.
Expressing his delight and appreciation for winning the prize, Lopez said in a video message: “The film begins with Goya and ends with Goya through the memories of Carrière who deeply loved Spain and everything Spanish. He had a fantastic collaboration and most of all, a deep friendship with Buñuel.”
In the docu, the late French screenwriter, author and playwright Jean-Claude Carrière, best known as the co-writer of Spain’s foremost surrealist filmmaker Luis Buñuel, reacts in a few deft but penetrating...
- 1/9/2023
- by Anna Marie de la Fuente
- Variety Film + TV
Uruguay’s Coral Cine is closing Spanish distribution rights with Barcelona-based A Contracorriente Films for its documentary “Benedetti, 60 Años con Luz,” which chronicles the 60-year love story of renowned Uruguayan author-poet Mario Benedetti and his wife Luz López Alegre, helmed by Coral Cine’s Andres Varela and shot by Oscar-nominated DoP Cesar Charlone (“City of God”).
Charlone is the sole juror of the ongoing 2nd Arca International Festival of Films on Art (Jan. 2-7).
Mexico’s Vendo Cine is snagging Mexican rights while Buenos Aires and L.A.-based international sales company Punctum, which focuses exclusively on Latin American documentaries, has grabbed worldwide sales rights.
A Contracorriente first eyed the doc at the Iberseries & Platino Iberoamerican film-tv event last September in Madrid. Doc has since opened in Uruguay where it played for an unprecedented 12 weeks, said Varela.
In other exclusive news, Fernando Meirelles’ O2 Filmes has boarded Coral Cine...
Charlone is the sole juror of the ongoing 2nd Arca International Festival of Films on Art (Jan. 2-7).
Mexico’s Vendo Cine is snagging Mexican rights while Buenos Aires and L.A.-based international sales company Punctum, which focuses exclusively on Latin American documentaries, has grabbed worldwide sales rights.
A Contracorriente first eyed the doc at the Iberseries & Platino Iberoamerican film-tv event last September in Madrid. Doc has since opened in Uruguay where it played for an unprecedented 12 weeks, said Varela.
In other exclusive news, Fernando Meirelles’ O2 Filmes has boarded Coral Cine...
- 1/6/2023
- by Anna Marie de la Fuente
- Variety Film + TV
It’s a fully in-person edition for the 2nd Arca International Festival of Films on Arts in Uruguay as it shakes off the pandemic blues that saw some guest cancellations last year.
“Despite the peak Covid situation last January, we had approximately 5,000 attendees,” says fest director Mercedes Sader, who pointed out that the event’s outdoor screenings were ideal for the times.
Running Jan. 2-7 this year, Arca kicked off in 2022 to coincide with the inauguration of the coastal resort town’s first contemporary art museum, the Museo de Arte Contemporaneo Atchugarry (MacA). The 75,000 sq. ft. museum designed by architect Carlos Ott commands vistas of a 99-acre sculpture park and sweeping grounds that include an outdoor amphitheater, a smaller outdoor theatre for video art screenings, forests and a helipad. The museum houses Cine MacA, an indoor theatre with a 100-seat capacity.
“We learned last year how to integrate the outdoor screenings in this spectacular setting,...
“Despite the peak Covid situation last January, we had approximately 5,000 attendees,” says fest director Mercedes Sader, who pointed out that the event’s outdoor screenings were ideal for the times.
Running Jan. 2-7 this year, Arca kicked off in 2022 to coincide with the inauguration of the coastal resort town’s first contemporary art museum, the Museo de Arte Contemporaneo Atchugarry (MacA). The 75,000 sq. ft. museum designed by architect Carlos Ott commands vistas of a 99-acre sculpture park and sweeping grounds that include an outdoor amphitheater, a smaller outdoor theatre for video art screenings, forests and a helipad. The museum houses Cine MacA, an indoor theatre with a 100-seat capacity.
“We learned last year how to integrate the outdoor screenings in this spectacular setting,...
- 1/2/2023
- by Anna Marie de la Fuente
- Variety Film + TV
Pamplona — No presentation at Conecta Fiction is as important as its CoPro Pitching Sessions, packed this year with 12 scripted series projects from Latin America and Europe. 2020’s hybrid edition – with Spanish producers and creators pitching in Pamplona, Latin Americans mostly online – is proving no exception. Following, a drill down on the 12 projects, half of which were presented on stage Wednesday morning at Conecta Fiction, whose budgetary level and historical setting reveal a heightened ambition in drama series from the Spanish-speaking world:
“Chained”
June 1940: Dunkirk ends with British defeat, France falls to Hitler’s troops. Two spies – English party girl – or so it seems – June Robinson and Spanish bon vivant Alejandro Salvatierra are recruited in a desperate attempt by Winston Churchill’s government to stop Spain entering WWII and the Dukes of Windsor negotiating Britain’s capitulation. A two programe type genre blender, mixing period drama and espionage thriller, an...
“Chained”
June 1940: Dunkirk ends with British defeat, France falls to Hitler’s troops. Two spies – English party girl – or so it seems – June Robinson and Spanish bon vivant Alejandro Salvatierra are recruited in a desperate attempt by Winston Churchill’s government to stop Spain entering WWII and the Dukes of Windsor negotiating Britain’s capitulation. A two programe type genre blender, mixing period drama and espionage thriller, an...
- 9/2/2020
- by John Hopewell
- Variety Film + TV
Anyone dreading discord over a holiday table can take faith from Fernando Meirelles’ superb, open-hearted acknowledgment of theological divisions. If the diametrically different leaders in “The Two Popes” can find common ground, surely there’s hope for us all.
At first, the schisms in Meirelles’ biopic appear insurmountably deep. We’re brought right into Vatican City in 2005, where a successor must be chosen immediately after the death of Pope John Paul II. As anxious crowds and impatient media buzz together outside, the genial papal conclave looks much like any back-room dealing. There’s campaigning, glad-handing, even a little gossip. The best politician, everyone agrees, is Germany’s Cardinal Ratzinger, who is soon to be known as Pope Benedict XVI (Anthony Hopkins). But even he notices that Argentina’s Cardinal Bergoglio (Jonathan Pryce) earned nearly as many votes, despite espousing a markedly different approach.
Seven years later, Bergoglio travels back to...
At first, the schisms in Meirelles’ biopic appear insurmountably deep. We’re brought right into Vatican City in 2005, where a successor must be chosen immediately after the death of Pope John Paul II. As anxious crowds and impatient media buzz together outside, the genial papal conclave looks much like any back-room dealing. There’s campaigning, glad-handing, even a little gossip. The best politician, everyone agrees, is Germany’s Cardinal Ratzinger, who is soon to be known as Pope Benedict XVI (Anthony Hopkins). But even he notices that Argentina’s Cardinal Bergoglio (Jonathan Pryce) earned nearly as many votes, despite espousing a markedly different approach.
Seven years later, Bergoglio travels back to...
- 12/19/2019
- by Elizabeth Weitzman
- The Wrap
"You try to be as invisible as possible, because all this paraphernalia and lighting can be distracting for actors," says Rodrigo Prieto, 54, of working on Martin Scorsese's The Irishman. Also sharing their trade secrets in The Hollywood Reporter's Sept. 29 cinematographer roundtable in downtown Los Angeles was Roger Deakins, 70 (1917 and The Goldfinch), Caleb Deschanel, 75 (The Lion King), Robert Richardson, 64 (Once Upon a Time in Hollywood), César Charlone, 61 (The Two Popes), and Natasha Braier, 44 (Honey Boy). Diversity (and the lack thereof) was discussed, with Mexico-born Prieto saying, "The seeds are being ...
- 12/14/2019
- The Hollywood Reporter - Film + TV
"You try to be as invisible as possible, because all this paraphernalia and lighting can be distracting for actors," says Rodrigo Prieto, 54, of working on Martin Scorsese's The Irishman. Also sharing their trade secrets in The Hollywood Reporter's Sept. 29 cinematographer roundtable in downtown Los Angeles was Roger Deakins, 70 (1917 and The Goldfinch), Caleb Deschanel, 75 (The Lion King), Robert Richardson, 64 (Once Upon a Time in Hollywood), César Charlone, 61 (The Two Popes), and Natasha Braier, 44 (Honey Boy). Diversity (and the lack thereof) was discussed, with Mexico-born Prieto saying, "The seeds are being ...
- 12/14/2019
- The Hollywood Reporter - Movie News
When Mark Tildesley read Anthony McCarten’s script for “The Two Popes,” he saw how integral the Sistine Chapel was to the narrative. As the film’s production designer, he knew he couldn’t film inside the Vatican, which meant he’d have to reproduce the location. “We did visit it with a leading expert — [producer] Enzo Sisti. His father was a sacristan there who had dressed two of the popes. He took us on a tour and explained the place to us. It was the first time I’d ever been in the chapel. It was a daunting task to imagine that we were going to reproduce this.”
Through discussions with the film’s director, Fernando Meirelles, and cinematographer, César Charlone, Tildesley knew Michelangelo’s iconic frescoes would be featured prominently. “We were going to do these close-ups,” he says. “We went to Cinecittà Studios, and it’s big enough...
Through discussions with the film’s director, Fernando Meirelles, and cinematographer, César Charlone, Tildesley knew Michelangelo’s iconic frescoes would be featured prominently. “We were going to do these close-ups,” he says. “We went to Cinecittà Studios, and it’s big enough...
- 12/6/2019
- by Nick Vivarelli and Jazz Tangcay
- Variety Film + TV
Of all the films I’ve seen in 2019, none has emerged as quite the pleasant surprise that The Two Popes has. On the surface, nothing about this project interested me. I’m not religious, I don’t especially see religious figures as compelling characters, and so one. Yet, here we are with this movie representing one of the most enjoyable character studies of the year. With a pair of excellent performances, sumptuous writing, and an open hearted way of tackling faith, it turns out to be a huge success. Netflix has a real embarrassment of riches this year, and it’s to their credit that this one isn’t being lost in the shuffle. The film is a character study, mixing some light comedy with some potent dramatic elements. The focus is on a crisis in the Catholic Church and two dramatic transitions of power. First, there’s the election...
- 11/27/2019
- by Joey Magidson
- Hollywoodnews.com
Do the principles of God change with the shifting tides of culture? This theological question is at the heart of The Two Popes. As unanswerable as the question may be, it presents an engaging-if-scattered platform for the spiritual sparring that Jonathan Pryce and Anthony Hopkins devour. Directed by Fernando Meirelles with the kind of hyperactivity that worked so well in his kinetic breakthrough City of God, that trait is unfortunately not helped here with Anthony McCarten’s script, which attempts to pack a life’s worth of history in between a few conversations.
The life at the center of the story–which takes place over many decades, but mostly 2012–is that of Argentinian Cardinal Jorge Mario Bergoglio (Pryce), who is not shy about his desire for the Catholic Church to change their stodgy, conservative ways. As the planet is being destroyed and the inequality gap continues to grow, the world...
The life at the center of the story–which takes place over many decades, but mostly 2012–is that of Argentinian Cardinal Jorge Mario Bergoglio (Pryce), who is not shy about his desire for the Catholic Church to change their stodgy, conservative ways. As the planet is being destroyed and the inequality gap continues to grow, the world...
- 11/26/2019
- by Jordan Raup
- The Film Stage
Further prizes awarded to Quentin Tarantino, Edward Norton, Peter Greenaway and Richard Gere.
Joker cinematographer Lawrence Sher won the Golden Frog at Poland’s EnergaCamerimage International Film Festival on Saturday (November 16).
The box-office hit, starring Joaquin Phoenix and directed by Todd Phillips, also won the audience award at the festival, which returned to Torun, Poland.
Scroll down for full list of winners
The Silver Frog went to cinematographer César Charlone for his work on Fernando Meirelles’ The Two Popes, while Vladimír Smutný won the Bronze Frog for Vaclav Marhoul’s The Painted Bird.
Second World War drama The Painted Bird,...
Joker cinematographer Lawrence Sher won the Golden Frog at Poland’s EnergaCamerimage International Film Festival on Saturday (November 16).
The box-office hit, starring Joaquin Phoenix and directed by Todd Phillips, also won the audience award at the festival, which returned to Torun, Poland.
Scroll down for full list of winners
The Silver Frog went to cinematographer César Charlone for his work on Fernando Meirelles’ The Two Popes, while Vladimír Smutný won the Bronze Frog for Vaclav Marhoul’s The Painted Bird.
Second World War drama The Painted Bird,...
- 11/18/2019
- by 1100613¦Tiffany Pritchard¦0¦
- ScreenDaily
Joker lenser Lawrence Sher scooped the top prize this weekend at Camerimage, the Polish film festival dedicated to the art of cinematography.
Sher picked up the Golden Frog for his work on the Todd Philips-directed pic, which stars Joaquin Phoenix as the iconic Batman villain and has been heavily tipped to be a major contender this coming awards season. It has grossed more than $1B globally. The film also won the audience award at the Polish festival.
Elsewhere at Camerimage, DoP César Charlone picked up the Silver Frog prize for his work on Fernando Meirelles’ The Two Popes, while Vladimír Smutný got the Bronze Frog for Václav Marhoul’s The Painted Bird.
In the event’s Polish Films Competition, Marcin Krzyształowicz’s Mister T was awarded best Polish film; it was lensed by Adam Bajerski. Luke Lorentzen’s Midnight Family was named best documentary feature. Paxton Winters’s Pacficied...
Sher picked up the Golden Frog for his work on the Todd Philips-directed pic, which stars Joaquin Phoenix as the iconic Batman villain and has been heavily tipped to be a major contender this coming awards season. It has grossed more than $1B globally. The film also won the audience award at the Polish festival.
Elsewhere at Camerimage, DoP César Charlone picked up the Silver Frog prize for his work on Fernando Meirelles’ The Two Popes, while Vladimír Smutný got the Bronze Frog for Václav Marhoul’s The Painted Bird.
In the event’s Polish Films Competition, Marcin Krzyształowicz’s Mister T was awarded best Polish film; it was lensed by Adam Bajerski. Luke Lorentzen’s Midnight Family was named best documentary feature. Paxton Winters’s Pacficied...
- 11/18/2019
- by Tom Grater
- Deadline Film + TV
Camerimage, the festival in Toruń, Poland dedicated to the art of cinematography, handed out its prestigious Frog prizes this evening. The big winner was “Joker” cinematographer Lawrence Sher, who won the top prize, the Golden Frog, in addition to the Audience Prize. The Bronze Frog was awarded to “The Painted Bird” Dp Vladimír Smutný, while “The Two Popes” Dp César Charlone won the Silver Frog. A full list of winners at the end of this article.
Now in its 27th year, Camerimage has become homecoming week for cinematographers from around the globe, with a vast number of the best DPs, past and present, in attendance. From an awards perspective — considering cinematographers nominate their colleagues — it’s hard to overestimate the value of DPs presenting their work and discussing their craft with their tight-knit community during the week-long celebration.
Sher — whose “Joker” screened early in the fest, and has been in...
Now in its 27th year, Camerimage has become homecoming week for cinematographers from around the globe, with a vast number of the best DPs, past and present, in attendance. From an awards perspective — considering cinematographers nominate their colleagues — it’s hard to overestimate the value of DPs presenting their work and discussing their craft with their tight-knit community during the week-long celebration.
Sher — whose “Joker” screened early in the fest, and has been in...
- 11/16/2019
- by Chris O'Falt
- Indiewire
Despite persistent backlash dating up to and throughout its release, Todd Phillips’ “Joker” isn’t going away anytime soon. It’s almost redundant at this point to rehash the numerous takedowns levied upon the movie. It’s a celebration of violence! It will incite incels! Horrid acts of cruelty are committed against women and other innocent people! No matter, because the movie, having now crossed the $1 billion box-office mark, which is unheard of for an R-rated film, is here to stay.
“Joker” cinematographer Lawrence Sher took the top prize at this weekend’s EnergaCamerimage festival in Torun, Poland, on Saturday. For his gritty lensing of early 1980s New York in a DC origin story that finds Joaquin Phoenix manically turning into the iconic Batman nemesis, Sher won the Golden Frog. This cinematography prize has gone to such films as “The Fortress,” “On Body and Soul,” “Lion,” “Carol,” “Leviathan,” and “Ida,...
“Joker” cinematographer Lawrence Sher took the top prize at this weekend’s EnergaCamerimage festival in Torun, Poland, on Saturday. For his gritty lensing of early 1980s New York in a DC origin story that finds Joaquin Phoenix manically turning into the iconic Batman nemesis, Sher won the Golden Frog. This cinematography prize has gone to such films as “The Fortress,” “On Body and Soul,” “Lion,” “Carol,” “Leviathan,” and “Ida,...
- 11/16/2019
- by Ryan Lattanzio
- Indiewire
Camerimage, the Polish film festival dedicated to the art of cinematography, has become homecoming week for directors of photography from around the globe. And while Camerimage organizers say they have no interest in the American awards season, cinematographers nominate cinematographers for the Oscars — and the 13 films that compete for the Golden Frog for Best Cinematography have become a predictor of the Academy’s Best Cinematography nominees.
The Camerimage 2019 Main Competition includes: “Ford v Ferrari” (Dp Phedon Papamichael), “The Irishman” (Dp Rodrigo Prieto), “Joker” (Dp Lawrence Sher), “The Last Black Man in San Francisco” (Dp Adam Newport-Berra), “Motherless Brooklyn” (Dp Dick Pope), “The Two Popes” (Dp César Charlone), “The Painted Bird” (Dp Vladimír Smutný), “An Officer and a Spy” (Dp Paweł Edelman), “Never Look Away” (Dp Caleb Deschanel), “Mr. Jones” (Dp Tomasz Naumiuk), “Shadow” (Dp Xiaoding Zhao), “Bolden” (Dp Neal Norton), and “Amundsen” (Dp Paal Ulvik Rokseth).
IndieWire has confirmed that...
The Camerimage 2019 Main Competition includes: “Ford v Ferrari” (Dp Phedon Papamichael), “The Irishman” (Dp Rodrigo Prieto), “Joker” (Dp Lawrence Sher), “The Last Black Man in San Francisco” (Dp Adam Newport-Berra), “Motherless Brooklyn” (Dp Dick Pope), “The Two Popes” (Dp César Charlone), “The Painted Bird” (Dp Vladimír Smutný), “An Officer and a Spy” (Dp Paweł Edelman), “Never Look Away” (Dp Caleb Deschanel), “Mr. Jones” (Dp Tomasz Naumiuk), “Shadow” (Dp Xiaoding Zhao), “Bolden” (Dp Neal Norton), and “Amundsen” (Dp Paal Ulvik Rokseth).
IndieWire has confirmed that...
- 10/21/2019
- by Chris O'Falt
- Indiewire
Sometimes, when Netflix releases a “date announcement,” it’s little more than a text on a screen. And sometimes, it’s a proper teaser that gives us a true taste of what’s in store for the upcoming season.
The latter is the case when it comes to the below teaser for “3%” Season 2, which we now know will premiere on April 27. What we don’t know is what comes next for Michele (Bianca Camparato) and the others, as the world of the gritty sci-fi drama looks like it’s about to get a whole lot bigger, even as the danger grows.
“3%,” the first original Netflix series from Brazil, was an unexpected pleasure when it premiered in November 2016. In classic dystopian fashion, the show, set in the not-too-distant future, depicted a world where 97 percent of the population lives in squalor, while a select few are able to move to the paradise known as the Offshore…...
The latter is the case when it comes to the below teaser for “3%” Season 2, which we now know will premiere on April 27. What we don’t know is what comes next for Michele (Bianca Camparato) and the others, as the world of the gritty sci-fi drama looks like it’s about to get a whole lot bigger, even as the danger grows.
“3%,” the first original Netflix series from Brazil, was an unexpected pleasure when it premiered in November 2016. In classic dystopian fashion, the show, set in the not-too-distant future, depicted a world where 97 percent of the population lives in squalor, while a select few are able to move to the paradise known as the Offshore…...
- 3/19/2018
- by Liz Shannon Miller
- Indiewire
Stars: Tom Cruise, Domhnall Gleeson, Sarah Wright Olsen, Alejandro Edda, Caleb Landry Jones, Jayma Mays, Jesse Plemons, Lola Kirke | Written by Gary Spinelli | Directed by Doug Liman
Tom Cruise reteams with Edge of Tomorrow director Doug Liman for this slickly entertaining, if slightly familiar comedy thriller based on the true story of pilot-turned-drug smuggler-slash-CIA conscript Barry Seale.
American Made begins in 1978, with bored Twa pilot Seale (Cruise) being tapped by CIA agent Schafer (Domhnall Gleeson) to fly covert surveillance missions over Central America. When those missions involve Colombia, Seale is approached by the Medellín Cartel, who offer him large sums of cash if he smuggles cocaine into America. Things quickly spiral out of control as the CIA task Barry with running Russian guns to the Contras in Nicaragua, only for the Cartel to make him a better offer for them, which he cheerfully accepts. Meanwhile, having relocated to smalltown Mena,...
Tom Cruise reteams with Edge of Tomorrow director Doug Liman for this slickly entertaining, if slightly familiar comedy thriller based on the true story of pilot-turned-drug smuggler-slash-CIA conscript Barry Seale.
American Made begins in 1978, with bored Twa pilot Seale (Cruise) being tapped by CIA agent Schafer (Domhnall Gleeson) to fly covert surveillance missions over Central America. When those missions involve Colombia, Seale is approached by the Medellín Cartel, who offer him large sums of cash if he smuggles cocaine into America. Things quickly spiral out of control as the CIA task Barry with running Russian guns to the Contras in Nicaragua, only for the Cartel to make him a better offer for them, which he cheerfully accepts. Meanwhile, having relocated to smalltown Mena,...
- 12/29/2017
- by Matthew Turner
- Nerdly
Every decade or two, Tom Cruise seems to be compelled to take part in a biopic. Back in the late 80’s, it was his Academy Award nominated turn in Born on the Fourth of July. About 20 years later, it was Valkyrie. Now, this week sees him back playing a real person with American Made, a look at Barry Seal, a pilot who nearly ended up bringing down the Reagan Administration with his drug running. It’s still close to action hero territory at times for Cruise, but compared to many of his recent outings, this is downright a prestige picture. He’s a great movie star, endlessly compelling in action flicks, but serious films always contain his best performances. The movie is a biopic, albeit an unconventional one. Barry Seal (Cruise) is an unhappy Twa pilot who ends up recruited by the CIA during the 1980’s. Monty ‘Schafer’ (Domhnall Gleeson) sees something in Barry,...
- 9/26/2017
- by Joey Magidson
- Hollywoodnews.com
Review by Matthew Turner
Stars: Tom Cruise, Domhnall Gleeson, Sarah Wright Olsen, Alejandro Edda, Caleb Landry Jones, Jayma Mays, Jesse Plemons, Lola Kirke | Written by Gary Spinelli | Directed by Doug Liman
Tom Cruise reteams with Edge of Tomorrow director Doug Liman for this slickly entertaining, if slightly familiar comedy thriller based on the true story of pilot-turned-drug smuggler-slash-cia conscript Barry Seale.
American Made begins in 1978, with bored Twa pilot Seale (Cruise) being tapped by CIA agent Schafer (Domhnall Gleeson) to fly covert surveillance missions over Central America. When those missions involve Colombia, Seale is approached by the Medellín Cartel, who offer him large sums of cash if he smuggles cocaine into America.
Things quickly spiral out of control as the CIA task Barry with running Russian guns to the Contras in Nicaragua, only for the Cartel to make him a better offer for them, which he cheerfully accepts. Meanwhile,...
Stars: Tom Cruise, Domhnall Gleeson, Sarah Wright Olsen, Alejandro Edda, Caleb Landry Jones, Jayma Mays, Jesse Plemons, Lola Kirke | Written by Gary Spinelli | Directed by Doug Liman
Tom Cruise reteams with Edge of Tomorrow director Doug Liman for this slickly entertaining, if slightly familiar comedy thriller based on the true story of pilot-turned-drug smuggler-slash-cia conscript Barry Seale.
American Made begins in 1978, with bored Twa pilot Seale (Cruise) being tapped by CIA agent Schafer (Domhnall Gleeson) to fly covert surveillance missions over Central America. When those missions involve Colombia, Seale is approached by the Medellín Cartel, who offer him large sums of cash if he smuggles cocaine into America.
Things quickly spiral out of control as the CIA task Barry with running Russian guns to the Contras in Nicaragua, only for the Cartel to make him a better offer for them, which he cheerfully accepts. Meanwhile,...
- 8/26/2017
- by Guest
- Nerdly
It has been a good long while since Tom Cruise has been a contender for an Academy Award nomination. Yesterday, a Trailer dropped for the upcoming Cruise vehicle American Made, which looks to put the action hero in something slightly weightier than usual. Now, it doesn’t look like a straight up drama, but the adventure is tinged with a potentially heavier destination. Even if that’s not the case, the last time he worked with Doug Liman, we got something kind of awesome in Edge of Tomorrow. Hopefully, history can repeat itself here. We’ll have the Trailer for you at the end of the piece, but first…let’s talk about the movie itself for a moment. The film is based on a true story, though obviously the final product will only have a passing resemblance to what actually happened. Set during the 1980’s, pilot Barry Seal (Cruise...
- 6/6/2017
- by Joey Magidson
- Hollywoodnews.com
A Change in Oscar Rules Makes One Category More Exclusive, Another More Inclusive, But with an AsteriskWhen the Academy closes a door it opens a window, but only halfway.
This week The Academy of Motion Pictures Arts and Sciences — the Oscar people — made a couple of significant changes to the nomination guidelines for two major categories, Best Documentary Film and Best Animated Film. In the case of the former, the changes make the category more exclusive, and in the case of the latter, they opened the category to a wider range of voters. Allow me to explain, via Deadline, who broke the news.
The changes in the doc category came about owing to the most recent winner, O.J.: Made in America, which caused some controversy when it was nominated seeing as it’s a 7 ½-hour multi-part, limited-run series that premiered at Sundance but then was released on television, specifically Espn, who...
This week The Academy of Motion Pictures Arts and Sciences — the Oscar people — made a couple of significant changes to the nomination guidelines for two major categories, Best Documentary Film and Best Animated Film. In the case of the former, the changes make the category more exclusive, and in the case of the latter, they opened the category to a wider range of voters. Allow me to explain, via Deadline, who broke the news.
The changes in the doc category came about owing to the most recent winner, O.J.: Made in America, which caused some controversy when it was nominated seeing as it’s a 7 ½-hour multi-part, limited-run series that premiered at Sundance but then was released on television, specifically Espn, who...
- 4/10/2017
- by H. Perry Horton
- FilmSchoolRejects.com
Intrigued by the mysteries of Netflix’s “3%”? You’re in luck, as Netflix has officially announced that the Brazilian dystopian thriller, created by Pedro Aguilera and executive produced by director Cesar Charlone (the notable cinematographer of 2002’s “City of God”) has been renewed for a second season.
Read More: Netflix’s ‘3%’ Review: Season 1 of Brazil’s ‘Hunger Games’ Finds Its Own Voice
Netflix VP of Marketing Latin America Vini Losacco revealed the news at Ccxp (Aka the Sao Paulo Comic Con Experience) during a panel devoted to the series. While in classic Netflix tradition, no statistics are available as to how the series performed, an audience of 3,500 was there to watch the cast, including Bianca Comparato, Vaneza Oliveira, Michel Gomes, Rafael Lozano, Viviane Porto and Rodolfo Valente, learn the news. Based on the photo below, they were perhaps happy to hear it.
“3%” depicts a future world in which 20-year-olds living...
Read More: Netflix’s ‘3%’ Review: Season 1 of Brazil’s ‘Hunger Games’ Finds Its Own Voice
Netflix VP of Marketing Latin America Vini Losacco revealed the news at Ccxp (Aka the Sao Paulo Comic Con Experience) during a panel devoted to the series. While in classic Netflix tradition, no statistics are available as to how the series performed, an audience of 3,500 was there to watch the cast, including Bianca Comparato, Vaneza Oliveira, Michel Gomes, Rafael Lozano, Viviane Porto and Rodolfo Valente, learn the news. Based on the photo below, they were perhaps happy to hear it.
“3%” depicts a future world in which 20-year-olds living...
- 12/7/2016
- by Liz Shannon Miller
- Indiewire
Have you finished watching “3%,” Netflix’s first original series from Brazil and one of the more intriguing dystopian thrillers we’ve seen in a while? Then keep reading. Our initial review of “3%” was deliberately kept spoiler-free, but people are discovering “3%” every day, and some of the biggest ideas presented by the series are worth discussing a bit more in depth… especially that final episode. Boy, did it make an impact.
Spoiler-Free Review: Season 1 of Brazil’s ‘Hunger Games’ Finds Its Own Voice
[Editor’s note: spoilers for “3%,” through the finale, below.]
The first season, created by Pedro Aguilera and directed by Cesar Charlone, tracks a group of 20-year-olds who are attempting to complete a brutal selection ritual that will elevate them from the slums of a ruined world to the Offshore, a place of abundance and plenty. The whole time, we’d been noticing the prominently displayed vaccination scars of those select few who’d already succeeded in completing The Process,...
Spoiler-Free Review: Season 1 of Brazil’s ‘Hunger Games’ Finds Its Own Voice
[Editor’s note: spoilers for “3%,” through the finale, below.]
The first season, created by Pedro Aguilera and directed by Cesar Charlone, tracks a group of 20-year-olds who are attempting to complete a brutal selection ritual that will elevate them from the slums of a ruined world to the Offshore, a place of abundance and plenty. The whole time, we’d been noticing the prominently displayed vaccination scars of those select few who’d already succeeded in completing The Process,...
- 12/2/2016
- by Liz Shannon Miller
- Indiewire
3%, Netflix’s futuristic sci-fi thriller in which countless twenty-year-olds undergo a ruthless elimination process in hopes of becoming part of an elite few with access to their holy land, appears destined to remain in viewers’ queues unfinished or unwatched.
Adapted from creator Pedro Aguilera’s made-for-tv movie of the same name, 3% is Netflix’s first entirely Brazilian production, and no doubt a byproduct of the streaming service’s success with the crime drama Narcos. The eight-episode first season, looking to capitalize on its timely themes and painfully deliberate diversity, showcases a wealth of well-intentioned observations and opinions on modern society and governing bodies. And yet, the series ultimately fails to produce the compelling, compassionate, bone-deep commentary its setup could elicit.
In a not-too-distant dystopian future, the show opens as some combination of overpopulation and lack of a sustainable food and/or water supply have led to slum-like living conditions for all.
Adapted from creator Pedro Aguilera’s made-for-tv movie of the same name, 3% is Netflix’s first entirely Brazilian production, and no doubt a byproduct of the streaming service’s success with the crime drama Narcos. The eight-episode first season, looking to capitalize on its timely themes and painfully deliberate diversity, showcases a wealth of well-intentioned observations and opinions on modern society and governing bodies. And yet, the series ultimately fails to produce the compelling, compassionate, bone-deep commentary its setup could elicit.
In a not-too-distant dystopian future, the show opens as some combination of overpopulation and lack of a sustainable food and/or water supply have led to slum-like living conditions for all.
- 11/29/2016
- by Joseph Falcone
- We Got This Covered
If Netflix’s algorithms know that you’re a “Hunger Games” fan, you might have noticed the appearance of the new Brazilian drama “3%” in your recommended series queue. The eight-episode first season, created by Pedro Aguilera, depicts a dystopian world where 3 percent of an impoverished society have the opportunity to ascend to a better life… if they survive the selection process.
Read More: ‘3%’ Trailer: Netflix’s First Brazilian Original Series Is a Dystopian Thriller
It’s not quite the kill-or-be-killed world that Katniss Everdeen sought to tear down, but there’s no denying the similarities between the two properties (as well as the flood of “Hunger Games” imitators that flooded the market in the years following its release). However, “3%” brings with it some unique elements and compelling characters, plus a strong take on the social implications of the premise.
The series begins at the beginning of The Process, as the...
Read More: ‘3%’ Trailer: Netflix’s First Brazilian Original Series Is a Dystopian Thriller
It’s not quite the kill-or-be-killed world that Katniss Everdeen sought to tear down, but there’s no denying the similarities between the two properties (as well as the flood of “Hunger Games” imitators that flooded the market in the years following its release). However, “3%” brings with it some unique elements and compelling characters, plus a strong take on the social implications of the premise.
The series begins at the beginning of The Process, as the...
- 11/26/2016
- by Liz Shannon Miller
- Indiewire
1. “Gilmore Girls: A Year in the Life” (available November 25)
Why Should I Watch It? Capping America’s year of nostalgia, Netflix is finally releasing the much-anticipated “Gilmore Girls” revival. Told in four 90-minutes segments, the new episodes will reunite the stars and creator of the early aughts favorite, similar to recent continuations on Netflix and elsewhere. Needles to say, anyone who visited Stars Hollow before is quite eager to see where on the ‘member berries spectrum “A Year in the Life” will fall: the high of “Stranger Things” or the low of “Fuller House”?
Best Episode: From what we’ve seen of the new footage, things are looking good for Amy Sherman-Palladino’s fresh stories. That being said, we haven’t snagged a screener of any episodes, so we’re on pins and needles with the rest of you.
Read More: ‘Gilmore Girls: A Year in the Life’: Amy Sherman-Palladino...
Why Should I Watch It? Capping America’s year of nostalgia, Netflix is finally releasing the much-anticipated “Gilmore Girls” revival. Told in four 90-minutes segments, the new episodes will reunite the stars and creator of the early aughts favorite, similar to recent continuations on Netflix and elsewhere. Needles to say, anyone who visited Stars Hollow before is quite eager to see where on the ‘member berries spectrum “A Year in the Life” will fall: the high of “Stranger Things” or the low of “Fuller House”?
Best Episode: From what we’ve seen of the new footage, things are looking good for Amy Sherman-Palladino’s fresh stories. That being said, we haven’t snagged a screener of any episodes, so we’re on pins and needles with the rest of you.
Read More: ‘Gilmore Girls: A Year in the Life’: Amy Sherman-Palladino...
- 11/1/2016
- by Ben Travers
- Indiewire
With the premieres of “Love,” “Stranger Things,” and “Luke Cage,” Netflix is having quite a busy year for original series, but soon they will debut their first Brazilian original production “3%.” Created by Pedro Aguilera and directed and executive produced by Cesar Charlone (“City of God”), “3%” follows a dystopian future Brazil in which the surviving population resides in the Inland, a place that lacks basic resources. But at the age of 20, everyone is given a chance to apply for the Process, which allows 3% of applicants to live in the glorious Mar Alto. The cast includes Joao Miguel (“Xingu”), Bianca Comparator (“Pure Beauty”), Zeze Motta (“Chica da Silva”), Mel Fronckowiak (“Rebelde”), and more.Watch the teaser trailer for the series below.
Read More: ’13th’ Review: Ava DuVernay’s Netflix Documentary Is the Most Relevant Movie of the Year — Nyff
Based off a 2011 web series also created by Pedro Aguilera, , “3%” marks the first Netflix series to be filmed,...
Read More: ’13th’ Review: Ava DuVernay’s Netflix Documentary Is the Most Relevant Movie of the Year — Nyff
Based off a 2011 web series also created by Pedro Aguilera, , “3%” marks the first Netflix series to be filmed,...
- 10/10/2016
- by Vikram Murthi
- Indiewire
It’s been a couple months since the last edition of What’s Up Doc? placed Michael Moore’s surprise world premiere of Where To Invade Next at the top of this list and in the meantime much shuffling has taken place and much time has been spent on various new endeavors (namely my Buffalo-based film series, Cultivate Cinema Circle). Finally taking its rightful place at the top, D.A. Pennebaker and Chris Hagedus’ Unlocking the Cage is in the midst of being scored by composer James Lavino, according to Lavino’s own personal site. Though the project has been taking shape at its own leisurely pace, I’d expect to see the film making its festival debut in early 2016.
Right behind, the American direct cinema masters is a Texan soon to make his non-fiction debut with Voyage of Time. Just two weeks ago indieWIRE reported that Ennio Morricone, who scored...
Right behind, the American direct cinema masters is a Texan soon to make his non-fiction debut with Voyage of Time. Just two weeks ago indieWIRE reported that Ennio Morricone, who scored...
- 11/5/2015
- by Jordan M. Smith
- IONCINEMA.com
The fall festival rush is upon us. Locarno is currently ramping up. Venice has released their line-up and Thom Powers and the Toronto International Film Festival team have dropped a bomb with a previously unannounced new feature from powerhouse docu-provocateur Michael Moore. It is truly a miracle that the production of a film such as Moore’s upcoming Where To Invade Next (see still above) managed to go completely undetected by the filmmaking community until it was literally announced to world premiere at one of the largest film festivals in the world. Programmed as a one of the key films in the Special Presentations section at Tiff, the film sees Moore telling “the Pentagon to ‘stand down’ — he will do the invading for America from now on.” Also announced to premiere at Tiff was Avi Lewis’ This Changes Everything, which has slowly been rising up this list, as well as...
- 8/7/2015
- by Jordan M. Smith
- IONCINEMA.com
Netflix has given a series order to “3%,” a futuristic thriller that will be shot entirely in Brazil, the company announced Wednesday. The first season of the streaming service’s first-ever series to be made in the South American country will be directed by Oscar-nominee Cesar Charlone (“City of God”), and star João Miguel (“Xingu”) and Bianca Comparato (“Irmã Dulce”). “3%” is set in a world divided into progress and devastation. The once-in-a-lifetime chance to pass to the “better side” is through a cruel – and not always fair – process where only 3 percent of the candidates succeed. “Ultimately, the series questions the dynamics of.
- 8/5/2015
- by Joe Otterson
- The Wrap
Netflix has picked up its first Brazilian original series, 3%, which will start filming in early 2016 and will debut exclusively on Netflix later in the year. Produced by Boutique Filmes, the first season, will be directed by Oscar–nominated Cesar Charlone, cinematographer of City of God, starring João Miguel (Estômago) and Bianca Comparato (Avenida Brasil). 3%, which executive producer Tiago Mello had originally developed a few years ago, is described as a dramatic…...
- 8/5/2015
- Deadline TV
It’s been a surprisingly interesting month of moving and shaking in terms of doc development. Just a month after making his first public funding pitch at Toronto’s Hot Docs Forum, legendary doc filmmaker Frederick Wiseman took to Kickstarter to help cover the remaining expenses for his 40th feature film In Jackson Heights (see the film’s first trailer below). Unrelentingly rigorous in his determination to capture the American institutional landscape on film, his latest continues down this thematic rabbit hole, taking on the immensely diverse New York City neighborhood of Jackson Heights as his latest subject. According to the Kickstarter page, Wiseman is currently editing the 120 hours of rushes he shot with hopes of having the film ready for a fall festival premiere (my guess would be Tiff, where both National Gallery and At Berkeley made their North American debut), though he’s currently quite a ways away from his $75,000 goal.
- 7/6/2015
- by Jordan M. Smith
- IONCINEMA.com
Well folks, after a rather long and brutal winter (at least for me here in Buffalo), we are finally heading into the wonderful warmth of summer, but with that blast of sunshine and steamy humidity comes the mid-year drought of major film fests. After the Sheffield Doc/Fest concludes on June 10th and AFI Docs wraps on June 21st, we likely won’t see any major influx in our charts until Locarno, Venice, Telluride and Tiff announce their line-ups in rapid succession. In the meantime, we can look forward to the intriguing onslaught of films making their debut in Sheffield, including Brian Hill’s intriguing examination of Sweden’s most notorious serial killer, The Confessions of Thomas Quick, and Sean McAllister’s film for which he himself was jailed in the process of making, A Syrian Love Story, the only two films world premiering in the festival’s main competition.
- 6/1/2015
- by Jordan M. Smith
- IONCINEMA.com
It should come as no surprise that Cannes Film Festival will play host to Kent Jones’s doc on the touchstone of filmmaking interview tomes, Hitchcock/Truffaut (see photo above). The film has been floating near the top of this list since it was announced last year as in development, while Jones himself has a history with the festival, having co-written both Arnaud Desplechin’s Jimmy P. and Martin Scorsese’s My Voyage To Italy, both of which premiered in Cannes. The film is scheduled to screen as part of the Cannes Classics sidebar alongside the likes of Stig Björkman’s Ingrid Bergman, in Her Own Words, which will play as part of the festival’s tribute to the late starlet, and Gabriel Clarke and John McKenna’s Steve McQueen: The Man & Le Mans (see trailer below). As someone who grew up watching road races with my dad in Watkins Glen,...
- 5/1/2015
- by Jordan M. Smith
- IONCINEMA.com
Now that the busy winter fest schedule of Sundance, Rotterdam and the Berlinale has concluded, we’ve now got our eyes on the likes of True/False and SXSW. While, True/False does not specialize in attention grabbing world premieres, it does provide a late winter haven for cream of the crop non-fiction fare from all the previously mentioned fests and a selection of overlooked genre blending films presented in a down home setting. This year will mark my first trip to the Columbia, Missouri based fest, where I hope to catch a little of everything, from their hush-hush secret screenings, to selections from their Neither/Nor series, this year featuring chimeric Polish cinema of decades past, to a spotlight of Adam Curtis’s incisive oeuvre. But truth be told, it is SXSW, with its slew of high profile world premieres being announced, such as Alex Gibney’s Steve Jobs...
- 2/27/2015
- by Jordan M. Smith
- IONCINEMA.com
Stumbling across that list of best-edited films yesterday had me assuming that there might be other nuggets like that out there, and sure enough, there is American Cinematographer's poll of the American Society of Cinematographers membership for the best-shot films ever, which I do recall hearing about at the time. But they did things a little differently. Basically, in 1998, cinematographers were asked for their top picks in two eras: films from 1894-1949 (or the dawn of cinema through the classic era), and then 1950-1997, for a top 50 in each case. Then they followed up 10 years later with another poll focused on the films between 1998 and 2008. Unlike the editors' list, though, ties run absolutely rampant here and allow for way more than 50 films in each era to be cited. I'd love to see what these lists would look like combined, however. I imagine "Citizen Kane," which was on top of the 1894-1949 list,...
- 2/4/2015
- by Kristopher Tapley
- Hitfix
Slovenian film Karpotrotter wins best documentary; No One’s Child gets audience awardScroll down for full list of winners
The 12th Zagreb Film Festival (Oct 19-26) ended with Georgian director Levan Koguashvili’s Blind Dates winning the main award of the festival, the Golden Pram and €4,000.
The Berlinale title, which also scooped prizes at Wiesbaden and Sofia, beat ten other first or second films by their directors.
Zeresenay Berhane Mehari’s Difret and Benedikt Erlingsson’s Of Horses And Men received special mentions from the jury comprised of producer Čedomir Kolar, director Konstantin Bojanov, and cinematographer Cesar Charlone.
The same jury also awarded Romania’s Andrei Creţulescu the Golden Pram for Best Short Film and €1,000 euro for his 18-minute Kowalski.
In the documentary competition, the jury made up of film theoretician Alice Bardan, and directors Željka Suková and Petra Seliškar, gave the Golden Pram for Best Documentary and €1,000 to Slovenian film-maker Matjaž Ivanišin’s Karpotrotter, a lyrical...
The 12th Zagreb Film Festival (Oct 19-26) ended with Georgian director Levan Koguashvili’s Blind Dates winning the main award of the festival, the Golden Pram and €4,000.
The Berlinale title, which also scooped prizes at Wiesbaden and Sofia, beat ten other first or second films by their directors.
Zeresenay Berhane Mehari’s Difret and Benedikt Erlingsson’s Of Horses And Men received special mentions from the jury comprised of producer Čedomir Kolar, director Konstantin Bojanov, and cinematographer Cesar Charlone.
The same jury also awarded Romania’s Andrei Creţulescu the Golden Pram for Best Short Film and €1,000 euro for his 18-minute Kowalski.
In the documentary competition, the jury made up of film theoretician Alice Bardan, and directors Željka Suková and Petra Seliškar, gave the Golden Pram for Best Documentary and €1,000 to Slovenian film-maker Matjaž Ivanišin’s Karpotrotter, a lyrical...
- 10/25/2014
- by vladan.petkovic@gmail.com (Vladan Petkovic)
- ScreenDaily
Fernando Meirelles, 2002
This ground-level report on gang life in the slums of Rio de Janeiro exploded with thrilling and terrible force. An electrifying piece of cinema packed full of visual invention and dazzling set-pieces, it owes a debt to Martin Scorsese's Goodfellas and audaciously pays it off. Though it unfolds at an exhilarating pace and crackles with danger, the film never allows itself to become seduced by the abundant violence of favela life. Instead, it keeps its lens trained on the attendant horrors, which mount up as the narrative jumps forward in time. What is most horrifying of all is how those caught up in the violence – victims and perpetrators alike – keep getting younger and younger.
The film begins in the relative innocence of the late 60s, soon after the City of God (a real-life Rio slum, ironically named) was constructed. Rocket (Alexandre Rodrigues) is an 11-year-old at the margins of gang life.
This ground-level report on gang life in the slums of Rio de Janeiro exploded with thrilling and terrible force. An electrifying piece of cinema packed full of visual invention and dazzling set-pieces, it owes a debt to Martin Scorsese's Goodfellas and audaciously pays it off. Though it unfolds at an exhilarating pace and crackles with danger, the film never allows itself to become seduced by the abundant violence of favela life. Instead, it keeps its lens trained on the attendant horrors, which mount up as the narrative jumps forward in time. What is most horrifying of all is how those caught up in the violence – victims and perpetrators alike – keep getting younger and younger.
The film begins in the relative innocence of the late 60s, soon after the City of God (a real-life Rio slum, ironically named) was constructed. Rocket (Alexandre Rodrigues) is an 11-year-old at the margins of gang life.
- 10/19/2010
- by Killian Fox
- The Guardian - Film News
Cinematography and its significance is an aspect of film that is usually overlooked by your average movie goer. Often times when a director is know for consistently maintaining a certain style it is due in part to the cinematographers contribution. Like film editors, cinematographers take a back seat to directors when it comes to the public’s perception of each of their significances. Although it is ultimately the directors medium, the cinematographer guides the tone and feel of the film by controlling the aesthetics. This is of course excluding art direction, wardrobe and set design. A beautifully constructed sequence arrests your attention with such command and power, while still displaying a subtle eloquence. This display of the mastery of film is often referred to as something “cinematic”. In that moment it is film declaring “I am what I am.” The cinematographer plays an instrumental role is deciding what that declaration is going to convey.
- 6/30/2010
- by Jordan Collins
- The Film Stage
American Cinematographer – the official magazine of the American Society of Cinematographers – just published a ranking of the best shot films for the 1998 to 2008 decade, and Amélie tops the list.
I initially thought the selections were chosen specifically by members of the Asc, but I learned that it was actually an open process; in short, the magazine asked its subscribers all over the world to nominate 10 films released between 1998 and 2008, that they believed had the best cinematography; the 50 most popular choices were then posted on the Asc website, with the rest of the public free to vote/rank the 50 finalists. Reportedly, more than 17,000 people around the world participated.
And, as already stated, Amélie was ranked in the top spot most consistently. I haven’t watched Amélie in years, but I’d certainly throw it up there on my list of one of the best shot films from 1998 to 2008. Will it be my #1? I don’t know.
I initially thought the selections were chosen specifically by members of the Asc, but I learned that it was actually an open process; in short, the magazine asked its subscribers all over the world to nominate 10 films released between 1998 and 2008, that they believed had the best cinematography; the 50 most popular choices were then posted on the Asc website, with the rest of the public free to vote/rank the 50 finalists. Reportedly, more than 17,000 people around the world participated.
And, as already stated, Amélie was ranked in the top spot most consistently. I haven’t watched Amélie in years, but I’d certainly throw it up there on my list of one of the best shot films from 1998 to 2008. Will it be my #1? I don’t know.
- 6/29/2010
- by Tambay
- ShadowAndAct
San Sebastian, Spain -- Mexico's Arturo Ripstein, Brazil's Marcelo Gomes and Uruguay's Cesar Charlone will direct the next three films in Spanish pubcaster Television Espanola's (Tve) "Libertadores" eight-film collection.
The collection focuses on Latin American freedom fighters key to their respective countries independence from Spain and is timed to coincide with the bicentennial of most of South America's independence from the colonial power.
Produced by Tve, Wanda Films and Lusa Films, the eight feature films are independent of one another, cost a minimum of €1 million and will be co-financed by local producers from each country -- in addition to receiving funding from the Ibermedia Latin American co-production fund.
The projects will turn on different aspects of various freedom fighter's lives, depending entirely on the scriptwriter and director, according to Wanda Films' Jose Maria Morales.
"There is no connecting thread other than they are all liberators of Latin America," Morales said.
The collection focuses on Latin American freedom fighters key to their respective countries independence from Spain and is timed to coincide with the bicentennial of most of South America's independence from the colonial power.
Produced by Tve, Wanda Films and Lusa Films, the eight feature films are independent of one another, cost a minimum of €1 million and will be co-financed by local producers from each country -- in addition to receiving funding from the Ibermedia Latin American co-production fund.
The projects will turn on different aspects of various freedom fighter's lives, depending entirely on the scriptwriter and director, according to Wanda Films' Jose Maria Morales.
"There is no connecting thread other than they are all liberators of Latin America," Morales said.
- 9/22/2009
- by By Pamela Rolfe
- The Hollywood Reporter - Movie News
Joe Dante presenting "The Movie Orgy" in L.A., a rare stateside appearance of Japanese auteur Hirokazu Kore-eda for a retrospective in New York and the Fantastic Fest in Austin are just a few of the events that serve as the perfect antidote for the endless stream of summertime sequels and toy-based franchises.
More Fall Preview: [Theatrical Calendar]
[Anywhere But a Movie Theater]
[Breakout Performances]
92Y Tribeca
While the 92Y Tribeca is taking a well-deserved break in August, the cinema space comes roaring back in September, beginning with hosting the Fifth Annual NYC Shorts Festival (Sept. 10-13), followed by a late night "Labyrinth" sing-along complete with trivia and a costume contest (Sept. 25-26), and a Michael Winterbottom double bill of "Code 46" and "24 Hour Party People" (Sept. 30)...In October, the 92Y Tribeca will premiere "Zombie Girl: The Movie" (Oct. 2), the doc about 12-year-old filmmaker Emily Hagins and her quest to make a zombie movie, followed by hosting the Iron...
More Fall Preview: [Theatrical Calendar]
[Anywhere But a Movie Theater]
[Breakout Performances]
92Y Tribeca
While the 92Y Tribeca is taking a well-deserved break in August, the cinema space comes roaring back in September, beginning with hosting the Fifth Annual NYC Shorts Festival (Sept. 10-13), followed by a late night "Labyrinth" sing-along complete with trivia and a costume contest (Sept. 25-26), and a Michael Winterbottom double bill of "Code 46" and "24 Hour Party People" (Sept. 30)...In October, the 92Y Tribeca will premiere "Zombie Girl: The Movie" (Oct. 2), the doc about 12-year-old filmmaker Emily Hagins and her quest to make a zombie movie, followed by hosting the Iron...
- 8/5/2009
- by Stephen Saito
- ifc.com
Release Date: Oct. 22
Director/Writer: Gonzalo Arijón
Cinematographer: César Charlone and Pablo Hernán Zubizarreta
Studio/Run Time: Zeitgeist Films, 126 mins.
Stranded: I Have Come from a Plane That Crashed on the Mountains' story became legend years ago in the film Alive. A group of men leave for a rugby match by plane, which crashes in the mountains. In order to survive, the men must do anything they can, up to and including cannibalizing other passengers killed in the accident or from the freezing environment they landed in. After weeks on the verge of perishing, they manage to reach civilization and find rescue. In an act somewhat opposite to what Werner Herzog did by remaking a crash documentary into Rescue Dawn, Gonzalo Arijón adapts this story into a documentary about how the survivors escaped and the effects this had on the rest of their lives.
Director/Writer: Gonzalo Arijón
Cinematographer: César Charlone and Pablo Hernán Zubizarreta
Studio/Run Time: Zeitgeist Films, 126 mins.
Stranded: I Have Come from a Plane That Crashed on the Mountains' story became legend years ago in the film Alive. A group of men leave for a rugby match by plane, which crashes in the mountains. In order to survive, the men must do anything they can, up to and including cannibalizing other passengers killed in the accident or from the freezing environment they landed in. After weeks on the verge of perishing, they manage to reach civilization and find rescue. In an act somewhat opposite to what Werner Herzog did by remaking a crash documentary into Rescue Dawn, Gonzalo Arijón adapts this story into a documentary about how the survivors escaped and the effects this had on the rest of their lives.
- 10/23/2008
- Pastemagazine.com
Blindnessby Eric Sloss, Writer Blindness is a malady that is greatly feared by the public. If a choice was given, more people would probably choose to go deaf rather than blind. At least with deafness, you can see read people’s lips to help with the condition. Blindness robs people of seeing their loved one’s face or watching a setting sun. It is especially cruel for people who have seen all their lives and have this taken away from them. It can be jarring and unnerving. That is the premise of the movie, “Blindness”. The movie examines what people do when they lose their sight and how they cope with it. It is not an easy movie to sit through. Brazilian director Fernando Meirellas helms “Blindness”. He previously did the brilliant “City of God” and the well received “The Constant Gardener”. Those two films were not simple movies that...
- 10/2/2008
- Upcoming-Movies.com
- New York’s one week theatrical release/DVD of the month club specialist have taken three steps back to pick up a Cannes film festival Uruguayan feature. Directed by Cesar Charlone and Enrique Fernandez, El Baño del Papa is set in 1988 and centers on the people of a small town who prepare to capitalize on an upcoming visit from the Pontiff. Featured in the Un Certain Regard section, it picked up the Sao Paolo International Film Festival's International Jury Award and the Horizons Award at San Sebastian.Film Movement plans a limited release in October followed by DVD showcase in early 2009. ...
- 6/18/2008
- IONCINEMA.com
- [Ed's note: This month Bruno keeps tabs on the Heitor Dhalia's big in scope project, updates us on César Charlone's festival fav, and let's us know what Fernando Meirelles is up to.] Setting SailHeitor Dhalia (director from Drained, chosen as the best Brazilian movie of 2006) is about to begin shooting his third movie. Called À Deriva (Adrift), the story is described as a portrait of the first generation of children whose parents are divorcing. A 14 year old immerses into the adult’s world when she finds out that her father is having an affair. The cast is composed by the French actor Vincent Cassel (from “Irréversible” and “Eastern Promises”) as the father, the American actress Camilla Belle (from the hits “10,000 B.C.” and “A Little Princess”) as the mistress and the Brazilian actresses Débora Bloch and Taís Araujo. The shooting starts in April in Brazil. Dreaming Big The Pope’s Toilet (co-production between Uruguay, Brazil and France) is the first incursion of the Uruguayan, but settled in Brazil cinematographer César Charlone does the double duty of director and writer, tasks that he shares with Enrique Fernández.
- 4/10/2008
- IONCINEMA.com
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