By Jacob Oller
We can’t blur out Superman’s mustache, but we can do a lot of other things. t’s 2017 and computer graphics have gotten so close to what we see every day that the term photorealistic is now aptly applied to animation of all kinds. Leaps and strides towards this strange goal have been taken since animation’s […]
The article CGI’s Manifest Destiny: Leaving the Uncanny Valley appeared first on Film School Rejects.
We can’t blur out Superman’s mustache, but we can do a lot of other things. t’s 2017 and computer graphics have gotten so close to what we see every day that the term photorealistic is now aptly applied to animation of all kinds. Leaps and strides towards this strange goal have been taken since animation’s […]
The article CGI’s Manifest Destiny: Leaving the Uncanny Valley appeared first on Film School Rejects.
- 11/20/2017
- by Jacob Oller
- FilmSchoolRejects.com
I'm not going to lie: not a huge fan of Westerns. A part of it is that they peaked before my time, but honestly I just don't like that era. While I enjoy Western inspired things, ala Firefly, I can't really get past a lot of classic Westerns glorification of "Manifest Destiny" and the dehumanization of indigenous people. To be fair, I've also liked a lot of anti-Westerns (Unforgiven) and a few fun ones (like... Read More...
- 10/16/2017
- by Damion Damaske
- JoBlo.com
Can we have a random break for applause for Daniel Walber's The Furniture column. It was Daniel's birthday this weekend so he has the day off. He's already 69 episodes in to this incredible series which has been filled with sharp insights, a keen eye, and rich Hollywood anecdotes. Here's everything he's covered thus far. Please show your love in the comments if you look forward to these each Monday.
The Forties and Fifties
• Hold Back the Dawn (1941) Bored at the border
• How Green Was My Valley (1941) Designing dignity
• That Hamilton Woman (1941) High ceilings
• Captain of the Clouds (1942) A Canadian air show
• The Magnificent Andersons (1942) Victorian Palace / Manifest Destiny
• My Gal Sal (1942) Nonsense Gay Nineties
• The Shanghai Gesture (1942) Appropriating Chinese design
• Black Narcissus (1947) Mad for matte paintings
• David and Bathsheba (1951) A humble palace of moral struggle
• A Streetcar Named Desire (1951) Decorative madness
• My Cousin Rachel (1952) Ghosts of property
• Lust for Life...
The Forties and Fifties
• Hold Back the Dawn (1941) Bored at the border
• How Green Was My Valley (1941) Designing dignity
• That Hamilton Woman (1941) High ceilings
• Captain of the Clouds (1942) A Canadian air show
• The Magnificent Andersons (1942) Victorian Palace / Manifest Destiny
• My Gal Sal (1942) Nonsense Gay Nineties
• The Shanghai Gesture (1942) Appropriating Chinese design
• Black Narcissus (1947) Mad for matte paintings
• David and Bathsheba (1951) A humble palace of moral struggle
• A Streetcar Named Desire (1951) Decorative madness
• My Cousin Rachel (1952) Ghosts of property
• Lust for Life...
- 7/31/2017
- by NATHANIEL R
- FilmExperience
Initially a bustling urban backdrop for this new and correspondingly modern medium known as cinema, New York City has been a focal point of American movies since the inception of the form itself. Movies were made to move, and no place moved like NYC. At first, it was the city alone that dazzled filmgoers: the sheer scope and scale of Manhattan’s topography, the size of the city’s towering skyscrapers, the clustered ebb and flow of its lively population. Then stories emerged out of this concrete jungle, stories born from the teeming metropolitan setting: immigrant tragedies, gangster tales, social dramas of class inequality and economic expansion. Before long, Hollywood coopted New York, and suddenly, the bi-coastal portrayal of the Big Apple featured posh penthouses, swanky nightclubs, and a decidedly one-sided representation of the haves and have-nots (Hollywood liked the haves). As an alternative, independent filmmakers took the city’s...
- 6/30/2017
- MUBI
In 1978, a construction crew breaking ground for a rec center found something completely unexpected buried under ice and debris in an old mining town in the Yukon: a cache of lost nitrate films from 1910s and 20s Hollywood.
Gold was discovered in Dawson City in 1896, leading to a gold rush that caused the town’s population to boom. Dawson City became the end of a film distribution line that sent prints of films and newsreels to the Yukon. More often than not, the films were never returned, and many of them were thought lost forever.
As the first trailer shows ahead of a release next month, Bill Morrison’s documentary Dawson City: Frozen Time digs into the story of the lost films, telling the story almost entirely through clips from the re-discovered films, as well as archival footage, interviews, historical photographs, all set to score by Sigur Rós collaborator and composer Alex Somers.
Gold was discovered in Dawson City in 1896, leading to a gold rush that caused the town’s population to boom. Dawson City became the end of a film distribution line that sent prints of films and newsreels to the Yukon. More often than not, the films were never returned, and many of them were thought lost forever.
As the first trailer shows ahead of a release next month, Bill Morrison’s documentary Dawson City: Frozen Time digs into the story of the lost films, telling the story almost entirely through clips from the re-discovered films, as well as archival footage, interviews, historical photographs, all set to score by Sigur Rós collaborator and composer Alex Somers.
- 5/27/2017
- by Chris Evangelista
- The Film Stage
Back in 2013, author Stephen Kozeniewski took readers on a zombie noir trip to remember with Braineater Jones, and in his new novel, The Hematophages, Kozeniewski plunges readers into an alien fleshworld teeming with unthinkable threats. With the new sci-fi horror novel coming out on April 1st from Sinister Grin Press, we have an excerpt from The Hematophages to share with Daily Dead readers.
"Doctoral student Paige Ambroziak is a “station bunny” – she’s never set foot off the deep space outpost where she grew up. But when she’s offered a small fortune to join a clandestine salvage mission, she jumps at the chance to leave the cutthroat world of academia behind.
Paige is convinced she’s been enlisted to find the legendary Manifest Destiny, a long-lost colonization vessel from an era before the corporations ruled Earth and its colonies. Whatever she’s looking for, though, rests in the blood-like...
"Doctoral student Paige Ambroziak is a “station bunny” – she’s never set foot off the deep space outpost where she grew up. But when she’s offered a small fortune to join a clandestine salvage mission, she jumps at the chance to leave the cutthroat world of academia behind.
Paige is convinced she’s been enlisted to find the legendary Manifest Destiny, a long-lost colonization vessel from an era before the corporations ruled Earth and its colonies. Whatever she’s looking for, though, rests in the blood-like...
- 3/31/2017
- by Derek Anderson
- DailyDead
Samantha Bee wasted no time skewering President Donald Trump on Wednesday, mocking the newly minted Commander in Chief for an underwhelming inauguration and the protests that followed.
PhotosWomen’s March: Did Supergirl Star ‘Steel’ the Sign-Making Show?
“Friday, the world watched America swear in as it’s 45th president the concept of white male mediocrity,” Bee said. “Donald Trump laid his little p—y-grabbing paw on top of two more books than he’s ever read in his life and spoke the most solemn vow he’s uttered since his third wedding.
“The whole day was swollen with lugubrious pomp...
PhotosWomen’s March: Did Supergirl Star ‘Steel’ the Sign-Making Show?
“Friday, the world watched America swear in as it’s 45th president the concept of white male mediocrity,” Bee said. “Donald Trump laid his little p—y-grabbing paw on top of two more books than he’s ever read in his life and spoke the most solemn vow he’s uttered since his third wedding.
“The whole day was swollen with lugubrious pomp...
- 1/26/2017
- TVLine.com
Wow! Fritz Lang's second western is a marvel -- a combo of matinee innocence and that old Germanic edict that character equals fate. It has a master's sense of color and design. Robert Young is an odd fit but Randolph Scott is nothing less than terrific. You'd think Lang was born on the Pecos. Western Union Blu-ray Kl Studio Classics 1941 / Color /1:37 flat Academy / 95 min. / Street Date November 8, 2016 / available through Kino Lorber / 29.95 Starring Randolph Scott, Robert Young, Virginia Gilmore, Dean Jagger, John Carradine, Chill Wills, Slim Summerville, Barton MacLane, Victor Kilian, George Chandler, Chief John Big Tree, Iron Eyes Cody, Jay Silverheels. Cinematography Edward Cronjager, Allen M. Davey Original Music David Buttolph Written by Robert Carson from the novel by Zane Grey Produced by Harry Joe Brown (associate) Directed by Fritz Lang
Reviewed by Glenn Erickson
Darryl Zanuck of 20th Fox treated most writers well, was good for John Ford...
Reviewed by Glenn Erickson
Darryl Zanuck of 20th Fox treated most writers well, was good for John Ford...
- 11/1/2016
- by Glenn Erickson
- Trailers from Hell
HBO’s adaptation of Michael Crichton’s 1973 film Westworld has finally arrived — and it was well, well worth the wait. The story is based on a theme park of the future run by the Delos Corporation, where robots start to go rogue and begin killing visitors. Brought up to date by executive producer J.J. Abrams and developed by husband and wife team Jonathan Nolan and Lisa Joy, this is a show that you have got to watch. The park is set in the American West, and the lure of that ‘Manifest Destiny’ — of the 19th century period of unbridled expansion which...read more...
- 10/3/2016
- by April Neale
- Monsters and Critics
Skybound has officially announced their schedule for this year's San Diego Comic-Con, including respective panels for The Walking Dead comic book series and Outcast, as well as AMC's previously revealed panels for The Walking Dead and Fear The Walking Dead:
From Skybound: "Thursday, July 21st
4:30pm – 5:30pm; Room 6De
Skybound’s The Walking Dead – Join The Walking Dead creator Robert Kirkman (The Walking Dead franchise, Outcast), longtime artist of The Walking Dead Charlie Adlard and Skybound Entertainment Editorial Director Sean Mackiewicz as they discuss all things The Walking Dead and what’s to come for the series as it approaches its 160th issue. Panel will be moderated by Jason Mantzoukas (The League, Brooklyn Nine-Nine).
Friday, July 22nd
12:00pm -1:00pm; Hall H
Fear the Walking Dead - Kim Dickens, Cliff Curtis, Alycia Debnam-Carey, Frank Dillane, Lorenzo James Henrie, Mercedes Mason, Colman Domingo and Danay Garcia...
From Skybound: "Thursday, July 21st
4:30pm – 5:30pm; Room 6De
Skybound’s The Walking Dead – Join The Walking Dead creator Robert Kirkman (The Walking Dead franchise, Outcast), longtime artist of The Walking Dead Charlie Adlard and Skybound Entertainment Editorial Director Sean Mackiewicz as they discuss all things The Walking Dead and what’s to come for the series as it approaches its 160th issue. Panel will be moderated by Jason Mantzoukas (The League, Brooklyn Nine-Nine).
Friday, July 22nd
12:00pm -1:00pm; Hall H
Fear the Walking Dead - Kim Dickens, Cliff Curtis, Alycia Debnam-Carey, Frank Dillane, Lorenzo James Henrie, Mercedes Mason, Colman Domingo and Danay Garcia...
- 7/6/2016
- by Derek Anderson
- DailyDead
I screened "Hostile Border" (Fka "Pocha, Manifest Destiny") at Urbanworld Film Festival (www.urbanworld.org) last September after hunting it down for what felt like an eternity having followed the project since its audition process. Not only did Veronica charm fellow filmmakers and audiences alike, she gave an understated and captivating performance that carried the film effortlessly. One that should take the young Cali Latina to dizzying heights.
Read More:How Dir. Michael Dwyer Devised a Neo-Western About a Conflicted Pocha in 'Hostile Border'
LatinoBuzz: Is there an artist whose career you greatly admire?
Veronica Sixtos: I greatly admire Jennifer Lawrence's career. She was put on the map by her performance in an indie film called Winter's Bone. Knowing that gives me faith that I can lead a similar path. I can tell that she puts everything she has into giving the audience the most honest performance that she can. I adore her for her bravery in letting go. She chooses her roles wisely and she's not afraid push the limits. I love that. I also love how she presents herself in public. Whether it's a TV interview, red carpet, or a tweet, she is not afraid to be herself and I think that makes her so unique.
LatinoBuzz: Does your music help you with your acting and vice versa?
Veronica Sixtos: I was an actress first before I was a musician and songwriter. So what I had learned about letting go and trusting my human instincts in the art of acting I applied to my music. When I write and perform my music I do my absolute best to always come from an honest and sincere place. I imagine it would be more difficult to get to that place if I was not also an actor. During the filming of Hostile Border I would play my guitar and sing my songs during down time. It helped me unwind after an intense day of work. It also helped me to tap into the more emotional side of my character.
LatinoBuzz: Did making Hostile Border help you gain a better understanding of the complexities of the immigration issues?
Veronica Sixtos:: Before making "Hostile Border" I had a limited understanding on the immigration issues today. Being a part of this project has allowed me to gain a lot of insight and perspective on immigration/deportation on a more personal level. One thing that has really stood out to me is the extent of how many people's lives are affected by it and how they are all affected in different ways.
LatinoBuzz: What was the most important element you wanted to bring to the role of "Pocha"?
Veronica Sixtos: Humanity. I wanted to bring to my character such a level of humanity that the audience would identify with her whether she was making bad decisions or not. I didn't want it to be a performance. I wanted to share with the audience a real human experience.
LatinoBuzz: How did the whole experience of making the film change you in any way?
Veronica Sixtos: Around the time that I was offered the role of Claudia I was feeling like I was at a stand still in my career and in my life in general. I was tired of living the same routine everyday and auditioning for similar stereotype roles all the time. Without realizing it I was waiting for an opportunity to express my art in such a way that it would make a real impact on people. I wanted to jump into something that had never been done before where I could have the freedom to truly push the boundaries of what is considered correct or acceptable. Playing this role forced me to completely let go of ego. I had to let go of the preconceived ideas of what women in movies are supposed to be like. This was one of the biggest challenges I faced in the making of this film. What I continued to remind myself was that it was not about me... it was about the art, the message, and the experience of the audience. Embodying such a complicated character required for me to delve into the darkest parts of myself in order to portray Claudia in the most authentic way possible. Doing that wasn't easy and I found myself learning a lot about self acceptance and transformation. To this day I am still learning and changing from this experience.
LatinoBuzz: The film first premiered on the east coast at Urbanworld Film Festival and took the jury prize for Best Narrative Feature Film. How was that experience to come to New York for the first time and accept the award?
Veronica Sixtos: I love New York. Walking the beautiful city streets in designer pumps and dress was like a dream!! What an incredible time I had watching beautiful films and meeting incredibly talented and passionate people at the festival. Seeing Tyrese Gibson watching my movie was an insane surprise. He even stayed for the Q & A and asked me a question! I felt so honored just for him to have seen it let alone hear his thoughts on it. During the awards ceremony I remember looking around and feeling overwhelmed that I was lucky enough to even be there to witness these film makers accept their awards. Which is why I was completely caught off guard when they announced that my film had won the Grand Jury Award for Best Narrative feature film and I was the only one there to accept it! In front of all those people. I was so over joyed that I couldn't stop giggling like a little girl. I'll never forget that experience.
LatinoBuzz:Is there a filmmaker you really want to work with? Put it out there!
Veronica Sixtos: Alejandro G. Inarritu. After watching "The Revenant" I fell in love with this directors work. I started doing research on him and found that we have some things in common! He was born and raised in Mexico (I wasn't but I'm Mexican and I love Mexico!). At a young age he went traveling around the world which he says has heavily influenced him as a filmmaker (I love to travel too!). He is a musical artist and says that music has a bigger influence on him as an artist than film (I can totally relate!). He has a long list of critically acclaimed films and one day I hope to be in one of them. I think we would work really well together. Can someone send him a "Hostile Border" screener???
LatinoBuzz: What's the ultimate game plan for Veronica?
Veronica Sixtos: I love film. I want to keep working on movies and I have high hopes that Hostile Border will bring forth more opportunities for me. Currently I am working on completing my first Ep called Chapters. Eventually it will be available on Itunes and hopefully Spotify etc. I love writing music and sharing it with those who need it. Travel is another one of my passions... I don't quite have a game plan yet on how to accomplish this... but I would like to somehow incorporate travel with music and acting. All in one. That would be my ultimate dream.
Give Veronica cyber hugs at: https://www.facebook.com/VeronicaSixtosfanpage and check out all things "Hostile Border" here: http://www.hostileborder.com/
Written by Juan Caceres. LatinoBuzz is a feature on SydneysBuzz that highlights Latino indie talent and upcoming trends in Latino film with the specific objective of presenting a broad range of Latino voices. Follow [At]LatinoBuzz on Twitter ...
Read More:How Dir. Michael Dwyer Devised a Neo-Western About a Conflicted Pocha in 'Hostile Border'
LatinoBuzz: Is there an artist whose career you greatly admire?
Veronica Sixtos: I greatly admire Jennifer Lawrence's career. She was put on the map by her performance in an indie film called Winter's Bone. Knowing that gives me faith that I can lead a similar path. I can tell that she puts everything she has into giving the audience the most honest performance that she can. I adore her for her bravery in letting go. She chooses her roles wisely and she's not afraid push the limits. I love that. I also love how she presents herself in public. Whether it's a TV interview, red carpet, or a tweet, she is not afraid to be herself and I think that makes her so unique.
LatinoBuzz: Does your music help you with your acting and vice versa?
Veronica Sixtos: I was an actress first before I was a musician and songwriter. So what I had learned about letting go and trusting my human instincts in the art of acting I applied to my music. When I write and perform my music I do my absolute best to always come from an honest and sincere place. I imagine it would be more difficult to get to that place if I was not also an actor. During the filming of Hostile Border I would play my guitar and sing my songs during down time. It helped me unwind after an intense day of work. It also helped me to tap into the more emotional side of my character.
LatinoBuzz: Did making Hostile Border help you gain a better understanding of the complexities of the immigration issues?
Veronica Sixtos:: Before making "Hostile Border" I had a limited understanding on the immigration issues today. Being a part of this project has allowed me to gain a lot of insight and perspective on immigration/deportation on a more personal level. One thing that has really stood out to me is the extent of how many people's lives are affected by it and how they are all affected in different ways.
LatinoBuzz: What was the most important element you wanted to bring to the role of "Pocha"?
Veronica Sixtos: Humanity. I wanted to bring to my character such a level of humanity that the audience would identify with her whether she was making bad decisions or not. I didn't want it to be a performance. I wanted to share with the audience a real human experience.
LatinoBuzz: How did the whole experience of making the film change you in any way?
Veronica Sixtos: Around the time that I was offered the role of Claudia I was feeling like I was at a stand still in my career and in my life in general. I was tired of living the same routine everyday and auditioning for similar stereotype roles all the time. Without realizing it I was waiting for an opportunity to express my art in such a way that it would make a real impact on people. I wanted to jump into something that had never been done before where I could have the freedom to truly push the boundaries of what is considered correct or acceptable. Playing this role forced me to completely let go of ego. I had to let go of the preconceived ideas of what women in movies are supposed to be like. This was one of the biggest challenges I faced in the making of this film. What I continued to remind myself was that it was not about me... it was about the art, the message, and the experience of the audience. Embodying such a complicated character required for me to delve into the darkest parts of myself in order to portray Claudia in the most authentic way possible. Doing that wasn't easy and I found myself learning a lot about self acceptance and transformation. To this day I am still learning and changing from this experience.
LatinoBuzz: The film first premiered on the east coast at Urbanworld Film Festival and took the jury prize for Best Narrative Feature Film. How was that experience to come to New York for the first time and accept the award?
Veronica Sixtos: I love New York. Walking the beautiful city streets in designer pumps and dress was like a dream!! What an incredible time I had watching beautiful films and meeting incredibly talented and passionate people at the festival. Seeing Tyrese Gibson watching my movie was an insane surprise. He even stayed for the Q & A and asked me a question! I felt so honored just for him to have seen it let alone hear his thoughts on it. During the awards ceremony I remember looking around and feeling overwhelmed that I was lucky enough to even be there to witness these film makers accept their awards. Which is why I was completely caught off guard when they announced that my film had won the Grand Jury Award for Best Narrative feature film and I was the only one there to accept it! In front of all those people. I was so over joyed that I couldn't stop giggling like a little girl. I'll never forget that experience.
LatinoBuzz:Is there a filmmaker you really want to work with? Put it out there!
Veronica Sixtos: Alejandro G. Inarritu. After watching "The Revenant" I fell in love with this directors work. I started doing research on him and found that we have some things in common! He was born and raised in Mexico (I wasn't but I'm Mexican and I love Mexico!). At a young age he went traveling around the world which he says has heavily influenced him as a filmmaker (I love to travel too!). He is a musical artist and says that music has a bigger influence on him as an artist than film (I can totally relate!). He has a long list of critically acclaimed films and one day I hope to be in one of them. I think we would work really well together. Can someone send him a "Hostile Border" screener???
LatinoBuzz: What's the ultimate game plan for Veronica?
Veronica Sixtos: I love film. I want to keep working on movies and I have high hopes that Hostile Border will bring forth more opportunities for me. Currently I am working on completing my first Ep called Chapters. Eventually it will be available on Itunes and hopefully Spotify etc. I love writing music and sharing it with those who need it. Travel is another one of my passions... I don't quite have a game plan yet on how to accomplish this... but I would like to somehow incorporate travel with music and acting. All in one. That would be my ultimate dream.
Give Veronica cyber hugs at: https://www.facebook.com/VeronicaSixtosfanpage and check out all things "Hostile Border" here: http://www.hostileborder.com/
Written by Juan Caceres. LatinoBuzz is a feature on SydneysBuzz that highlights Latino indie talent and upcoming trends in Latino film with the specific objective of presenting a broad range of Latino voices. Follow [At]LatinoBuzz on Twitter ...
- 4/26/2016
- by Juan Caceres
- Sydney's Buzz
“We’re here for the Crites.” Fright Rags’ Critters Midnight Madness shirt is on sale now until midnight, Sunday, April 24th, and then it will be gone… forever. Also in today’s Horror Highlights: a new clip from the much anticipated Green Room starring Patrick Stewart and release details / cover art for Manifest Destiny #19.
Critters Midnight Madness Shirt: From Fright Rags: “Once the clock strikes midnight (Est) on Sunday, April 24th*, it will be gone Forever. It will never be reprinted, and there will be no extras available for sale later. You Will Not Have Another Chance To Purchase It Again. Don’t miss it!
*If you’re in the Eastern Standard time zone, this is late Saturday night.
Art by Christopher Franchi.
Printed on our super soft 4.5oz 100% pre-shrunk ringspun cotton shirts.
$18.00.”
To learn more about Fright Rags’ Critters shirt, visit:
https://www.fright-rags.com/products/critters-midnight-madness?variant=17347137157
———
Green Room...
Critters Midnight Madness Shirt: From Fright Rags: “Once the clock strikes midnight (Est) on Sunday, April 24th*, it will be gone Forever. It will never be reprinted, and there will be no extras available for sale later. You Will Not Have Another Chance To Purchase It Again. Don’t miss it!
*If you’re in the Eastern Standard time zone, this is late Saturday night.
Art by Christopher Franchi.
Printed on our super soft 4.5oz 100% pre-shrunk ringspun cotton shirts.
$18.00.”
To learn more about Fright Rags’ Critters shirt, visit:
https://www.fright-rags.com/products/critters-midnight-madness?variant=17347137157
———
Green Room...
- 4/23/2016
- by Tamika Jones
- DailyDead
Due to the myriad of people seeking refuge from the precarious conditions in their homelands or about crimes committed along the extensive area it crosses, the border that attempts to divide Mexico and the United States is an endless fountain of thought-provoking stories, sometimes uplifting and others gruesome, which have become prime source material for film productions on countless occasions. But while there are very few aspects of this interdependent relationship that haven’t been already explored in cinema, director Michael Dwyer’s “Hostile Border” (formerly known as “Pocha: Manifest Destiny”) follows a singular character with a dubious moral compass, cultural ambiguity, and whose identity is difficult to classify.
Claudia (Veronica Sixtos) is a Mexican-born undocumented American, and while that description may sound contradictory, is perhaps the closest to explain what her situation is. She identifies with American culture, as the only place she has ever called home is the United States, yet her status as an undocumented immigrant places her in a limbo that has no easy solution. When a series of terrible choices lands her back in Mexico, a country foreign to her, she realizes that the fact she can’t speak Spanish and doesn’t know what rural life involves alienate her here too. As a pocha, or someone of Mexican descent who doesn’t speak the language or relates to the culture, Claudia is force to reconsider who she believes she is, at least until she can find a way to return to the U.S. by any means necessary.
We chatted with director Michael Dwyer about his unexpected take on a new type of border story, one that takes from genres like the Western and thriller, and becomes its own unique brand of cinematic social commentary.
"Hostile Border" opens in Los Angeles on April 15 from Samuel Goldwyn Films.
Aguilar: I was born in Mexico. I grew up there and then I moved to the U.S, so I'm always hesitant about the portrayal of immigrants in film and of the relationship between the Us and Mexico. However, "Hostile Border" has a very unique and authentic angle on these stories that I hadn't seen on screen before. The concept of a "pocha" or "pocho" might be familiar to people in the Mexican community but foreign outside of it. How did you come in contact with this story? What was it that drew you to this specific part of the relationship between the two countries?
Michael Dwyer: Primarily I wanted to tell a story that takes a hard look at the American Dream. For me, growing up around the border, the border is a place where there’s not just two cultures, there are many cultures pushing up against each other. I think within that space you’re able to question your own cultural values, be it Mexican or American, and that was really important for me growing up, having different perspectives on what’s really important about the choices you make, on issues of morals and family. I feel like that’s where I’m coming from, that I wanted to tell a different kind of story about the American dream. I think that there are of a lot of cheering, happy stories of people who come to the Us and who aspire to do amazing things, and it's not that I want to diminish that, but coming of age amidst the financial crisis, where there was no consequences for any of that corruption, gave me a certain feeling that the American dream wasn’t designed for everybody, and there are people who are pushed out. I think that perspective is valuable, because I think that there’s this a dark side to the American dream where people get hurt, and that’s very real.
Aguilar: Your protagonist, Claudia, is in this very ambiguous cultural crossroads , because she doesn’t speak Spanish and she’s sent back to a county that she doesn’t know. She not from here but in a sense also not from there. She connects more with American culture, but her birthplace definitely has an influence in her destiny. Can you tell me about creating this character and devising that ambiguity of what she is or what she thinks she is?
Michael Dwyer: I should say that I had been developing this story for many years, and a real turning point for me happened when I was at the border late one night and I witness the deportation of maybe 100 people. I ended up standing on the line with several of them, and I met people who, like Claudia, didn’t speak Spanish and knew very little about Mexico. That was kind of the “inciting incident” for crafting a different story about somebody who is caught in between the two cultures, the two countries, but then it’s also about being caught in between very difficult choices, and the moral implications of each of those cultures. I hope those all tie together and that there’s a through line there.
Aguilar: She is also not “victim." She’s a very strong character. Often stories made about the immigrant experience are about victimization or powerless characters. Claudia is powerless at times in the film, but she’s has this arrogance about her that doesn't let her entertain the idea of failure. Why was important for you not to have a character that's defined as a victim, but rather one that's partly responsible for her circumstances?
Michael Dwyer: We really wanted to show her as this very strong character. I always wanted to make a Western. I wanted her to be the leading character in a Western, be strong, make bold choices, and be somebody who you can judge but also really root for. I think that that’s something we don’t really see a lot in movies – strong female characters who are both good and bad, and complex, and have a character trajectory that we can grapple with. It was definitely about that, and working with the writer and co-director of the movie, Kaitlin McLaughlin, we definitely brought to it our sense of feminist values and we tried to put that in without making it a message thing. We just wanted to give her strength and determination not to be a victim.
Aguilar: Tell me about your choice of genre and the fact that it’s not a drama. It definitely exploits the elements of a thriller. Its very gritty and intense in terms of the violence and tension, but the film still manages to convey all these other themes surrounding the action. Why did you feel that using a blend between Western and thriller elements was the ideal way yo depict these ideas?
Michael Dwyer: I wrote a version of the script a long time ago that was much more exploratory and experimental in terms of the characters. I was very much inspired by José Antonio Villarreal and his novel “Pocho," and that element of the border. But what we really came to figure out is that the feeling of being caught in between cultures and impossible decisions, is a feeling of intent, suspense and tension. Ultimately we felt that the best way to capture that feeling and put the audience with Claudia was to do that with some of the elements of a thriller, and really playing on the suspense. That’s what Kait McLaughlin, the writer, was really great about – pulling those story beats and really trying to move the story as quickly as possible and raise the stakes as high as possible.
Aguilar: Did you shoot the film in Mexico or was it easies for you to shoot in the United States? Was that decision affected by the importance of authenticity or having a realistic depiction of the spaces the characters inhabit?
Michael Dwyer: We shot two weeks in Los Angeles and another seven weeks in Mexico, around Tijuana. I come from a background in documentary film, so I feel like authenticity is very important. The part of the filmmaking process that is really rewarding to me is drawing from the elements of a location, and really listening and responding to people that you are following. I say that because in a way we tried to have a bit of that documentary feeling to it. There are scenes in here involving large amounts of cattle, and that definitely came out of our documentary approach and listening to our friends telling us, “Hey there is this roundup happening and they are going to be doing vaccinations on all of these cows. “ We would stop our day to go see that. We were a small crew, since the film was made with a lot of passion by a very few people, and that also gave us the flexibility to jump around, respond, and not impart a sense of, “This is what I think this place is,” but instead let the place come alive on its own terms.
Aguilar: There visual style on display is vibrant and transforms the landscapes into incredibly beautiful, almost dreamlike, visions. Where does this approach come from?
Michael Dwyer: I’ve worked as a commercial cinematographer and the visual language is part of my passion for filmmaking and storytelling. I’ve been inspired by great cinematographers like Emmanuel Lubezki. I think that because this is a difficult story I wanted it to be beautiful and I wanted it to pull you in. I hope that this adds to bring the audience into her feelings and her world. That was always the driving paradigm for the choices we were trying to make in terms of the framing and the camera movements. It was about how these heightened the feeling of being in Claudia’s shoes - being caught in between impossible choices. We tried to add to that suspense and feeling of unknown and fear.
Aguilar: Veronica Sixtos is a revelation. Although she had appeared in previous film projects, this is an outstanding lead role for her. How did she come on board and what made you believe she could portray Claudia with all her facets?
Michael Dwyer: It was interesting. We had a pretty extensive casting process trying to find somebody who could play this character. It’s a very complex role because we are pushing the line of likeability. We were brought to Veronica through her costar Jesse Garcia who came on to the project very early on and eventually became a producer on it. He brought us to Veronica and I immediately knew that she had both the physicality to carry it, but also the layers to be sympathetic in the way she makes bad choices. I felt that in our first audition and I’m so happy that it all worked out.
Aguilar: The film was originally titled "Pocha," then became "Pocha: Manifest Destiny," and now for release it's called "Hostile Border." Why did you select each of these and why was the decision to ultimately change it taken? It feels like "Pocha" is really the single word that best describe the cultural complexity you are dissecting here.
Michael Dwyer: For me it was always “Pocha” because I think that term doesn’t have just one meaning. You can talk to anybody in the southwest and ask them what a “pocho” or “pocha” is and you’ll get a different answer every time. It’s not one thing. I think we can all agree that it generally becomes one thing but what changes are the different connotations that it carries. To me that captured the ambiguity that we were after, about somebody that’s stuck in between two cultures and difficult moral choices. When we went to the festivals they wanted an English title, so we wanted something that spoke to this idea of the distorted American dream that we wanted to show. I think the terminology of “Manifest Destiny” is definitely something that I enjoyed playing with at the time because “manifest destiny” is a very dangerous term. Historically I don’t think we recognize how much that term was used to justify a lot of enormous violence and human cost. We are trying to speak to what are the human costs of certain American values and ways of thinking like the American dream. I really liked that connection and thought it would speak to it, but ultimately we wrestled with it and we got great feedback from our distributor Samuel Goldwyn Films. I think we came up with a title that I hope is good in its own way and helps reaching a broader audience.
Aguilar: What was the most rewarding aspect of working between Mexico and the U.S. on this film and how each of these places add their own unique qualities to the storytelling?
Michael Dwyer: Absolutely. When we were casting the project we were casting both here in L.A. and in Tijuana at the same time. I think that experience of casting in both places helped made better decisions about the casting decisions. I’d like to mention Jorge Sanders, our production designer, who is Tijuana-based. Working with him was a great collaboration, there were a lot of great collaborations in this film, but that one was especially important and meaningful. He brought authenticity to how everything should be and how it helped tell the story. He contributed an enormous amount. He is a great artist and a great friend.
Aguilar: Did you ever feel like an outsider telling a story that belonged to someone else and how did you approach it in order to understand it from your point of view?
Michael Dwyer: We really struggled with issues of appropriation. Who am I as a white American to tell this kind of story? But ultimately I hope that we were able to capture the complexity and that we did it on terms that are a critique of American values. I think critiquing American values is something that anybody can and should do. I hope that it can speak to lots of different audiences because of that.
Claudia (Veronica Sixtos) is a Mexican-born undocumented American, and while that description may sound contradictory, is perhaps the closest to explain what her situation is. She identifies with American culture, as the only place she has ever called home is the United States, yet her status as an undocumented immigrant places her in a limbo that has no easy solution. When a series of terrible choices lands her back in Mexico, a country foreign to her, she realizes that the fact she can’t speak Spanish and doesn’t know what rural life involves alienate her here too. As a pocha, or someone of Mexican descent who doesn’t speak the language or relates to the culture, Claudia is force to reconsider who she believes she is, at least until she can find a way to return to the U.S. by any means necessary.
We chatted with director Michael Dwyer about his unexpected take on a new type of border story, one that takes from genres like the Western and thriller, and becomes its own unique brand of cinematic social commentary.
"Hostile Border" opens in Los Angeles on April 15 from Samuel Goldwyn Films.
Aguilar: I was born in Mexico. I grew up there and then I moved to the U.S, so I'm always hesitant about the portrayal of immigrants in film and of the relationship between the Us and Mexico. However, "Hostile Border" has a very unique and authentic angle on these stories that I hadn't seen on screen before. The concept of a "pocha" or "pocho" might be familiar to people in the Mexican community but foreign outside of it. How did you come in contact with this story? What was it that drew you to this specific part of the relationship between the two countries?
Michael Dwyer: Primarily I wanted to tell a story that takes a hard look at the American Dream. For me, growing up around the border, the border is a place where there’s not just two cultures, there are many cultures pushing up against each other. I think within that space you’re able to question your own cultural values, be it Mexican or American, and that was really important for me growing up, having different perspectives on what’s really important about the choices you make, on issues of morals and family. I feel like that’s where I’m coming from, that I wanted to tell a different kind of story about the American dream. I think that there are of a lot of cheering, happy stories of people who come to the Us and who aspire to do amazing things, and it's not that I want to diminish that, but coming of age amidst the financial crisis, where there was no consequences for any of that corruption, gave me a certain feeling that the American dream wasn’t designed for everybody, and there are people who are pushed out. I think that perspective is valuable, because I think that there’s this a dark side to the American dream where people get hurt, and that’s very real.
Aguilar: Your protagonist, Claudia, is in this very ambiguous cultural crossroads , because she doesn’t speak Spanish and she’s sent back to a county that she doesn’t know. She not from here but in a sense also not from there. She connects more with American culture, but her birthplace definitely has an influence in her destiny. Can you tell me about creating this character and devising that ambiguity of what she is or what she thinks she is?
Michael Dwyer: I should say that I had been developing this story for many years, and a real turning point for me happened when I was at the border late one night and I witness the deportation of maybe 100 people. I ended up standing on the line with several of them, and I met people who, like Claudia, didn’t speak Spanish and knew very little about Mexico. That was kind of the “inciting incident” for crafting a different story about somebody who is caught in between the two cultures, the two countries, but then it’s also about being caught in between very difficult choices, and the moral implications of each of those cultures. I hope those all tie together and that there’s a through line there.
Aguilar: She is also not “victim." She’s a very strong character. Often stories made about the immigrant experience are about victimization or powerless characters. Claudia is powerless at times in the film, but she’s has this arrogance about her that doesn't let her entertain the idea of failure. Why was important for you not to have a character that's defined as a victim, but rather one that's partly responsible for her circumstances?
Michael Dwyer: We really wanted to show her as this very strong character. I always wanted to make a Western. I wanted her to be the leading character in a Western, be strong, make bold choices, and be somebody who you can judge but also really root for. I think that that’s something we don’t really see a lot in movies – strong female characters who are both good and bad, and complex, and have a character trajectory that we can grapple with. It was definitely about that, and working with the writer and co-director of the movie, Kaitlin McLaughlin, we definitely brought to it our sense of feminist values and we tried to put that in without making it a message thing. We just wanted to give her strength and determination not to be a victim.
Aguilar: Tell me about your choice of genre and the fact that it’s not a drama. It definitely exploits the elements of a thriller. Its very gritty and intense in terms of the violence and tension, but the film still manages to convey all these other themes surrounding the action. Why did you feel that using a blend between Western and thriller elements was the ideal way yo depict these ideas?
Michael Dwyer: I wrote a version of the script a long time ago that was much more exploratory and experimental in terms of the characters. I was very much inspired by José Antonio Villarreal and his novel “Pocho," and that element of the border. But what we really came to figure out is that the feeling of being caught in between cultures and impossible decisions, is a feeling of intent, suspense and tension. Ultimately we felt that the best way to capture that feeling and put the audience with Claudia was to do that with some of the elements of a thriller, and really playing on the suspense. That’s what Kait McLaughlin, the writer, was really great about – pulling those story beats and really trying to move the story as quickly as possible and raise the stakes as high as possible.
Aguilar: Did you shoot the film in Mexico or was it easies for you to shoot in the United States? Was that decision affected by the importance of authenticity or having a realistic depiction of the spaces the characters inhabit?
Michael Dwyer: We shot two weeks in Los Angeles and another seven weeks in Mexico, around Tijuana. I come from a background in documentary film, so I feel like authenticity is very important. The part of the filmmaking process that is really rewarding to me is drawing from the elements of a location, and really listening and responding to people that you are following. I say that because in a way we tried to have a bit of that documentary feeling to it. There are scenes in here involving large amounts of cattle, and that definitely came out of our documentary approach and listening to our friends telling us, “Hey there is this roundup happening and they are going to be doing vaccinations on all of these cows. “ We would stop our day to go see that. We were a small crew, since the film was made with a lot of passion by a very few people, and that also gave us the flexibility to jump around, respond, and not impart a sense of, “This is what I think this place is,” but instead let the place come alive on its own terms.
Aguilar: There visual style on display is vibrant and transforms the landscapes into incredibly beautiful, almost dreamlike, visions. Where does this approach come from?
Michael Dwyer: I’ve worked as a commercial cinematographer and the visual language is part of my passion for filmmaking and storytelling. I’ve been inspired by great cinematographers like Emmanuel Lubezki. I think that because this is a difficult story I wanted it to be beautiful and I wanted it to pull you in. I hope that this adds to bring the audience into her feelings and her world. That was always the driving paradigm for the choices we were trying to make in terms of the framing and the camera movements. It was about how these heightened the feeling of being in Claudia’s shoes - being caught in between impossible choices. We tried to add to that suspense and feeling of unknown and fear.
Aguilar: Veronica Sixtos is a revelation. Although she had appeared in previous film projects, this is an outstanding lead role for her. How did she come on board and what made you believe she could portray Claudia with all her facets?
Michael Dwyer: It was interesting. We had a pretty extensive casting process trying to find somebody who could play this character. It’s a very complex role because we are pushing the line of likeability. We were brought to Veronica through her costar Jesse Garcia who came on to the project very early on and eventually became a producer on it. He brought us to Veronica and I immediately knew that she had both the physicality to carry it, but also the layers to be sympathetic in the way she makes bad choices. I felt that in our first audition and I’m so happy that it all worked out.
Aguilar: The film was originally titled "Pocha," then became "Pocha: Manifest Destiny," and now for release it's called "Hostile Border." Why did you select each of these and why was the decision to ultimately change it taken? It feels like "Pocha" is really the single word that best describe the cultural complexity you are dissecting here.
Michael Dwyer: For me it was always “Pocha” because I think that term doesn’t have just one meaning. You can talk to anybody in the southwest and ask them what a “pocho” or “pocha” is and you’ll get a different answer every time. It’s not one thing. I think we can all agree that it generally becomes one thing but what changes are the different connotations that it carries. To me that captured the ambiguity that we were after, about somebody that’s stuck in between two cultures and difficult moral choices. When we went to the festivals they wanted an English title, so we wanted something that spoke to this idea of the distorted American dream that we wanted to show. I think the terminology of “Manifest Destiny” is definitely something that I enjoyed playing with at the time because “manifest destiny” is a very dangerous term. Historically I don’t think we recognize how much that term was used to justify a lot of enormous violence and human cost. We are trying to speak to what are the human costs of certain American values and ways of thinking like the American dream. I really liked that connection and thought it would speak to it, but ultimately we wrestled with it and we got great feedback from our distributor Samuel Goldwyn Films. I think we came up with a title that I hope is good in its own way and helps reaching a broader audience.
Aguilar: What was the most rewarding aspect of working between Mexico and the U.S. on this film and how each of these places add their own unique qualities to the storytelling?
Michael Dwyer: Absolutely. When we were casting the project we were casting both here in L.A. and in Tijuana at the same time. I think that experience of casting in both places helped made better decisions about the casting decisions. I’d like to mention Jorge Sanders, our production designer, who is Tijuana-based. Working with him was a great collaboration, there were a lot of great collaborations in this film, but that one was especially important and meaningful. He brought authenticity to how everything should be and how it helped tell the story. He contributed an enormous amount. He is a great artist and a great friend.
Aguilar: Did you ever feel like an outsider telling a story that belonged to someone else and how did you approach it in order to understand it from your point of view?
Michael Dwyer: We really struggled with issues of appropriation. Who am I as a white American to tell this kind of story? But ultimately I hope that we were able to capture the complexity and that we did it on terms that are a critique of American values. I think critiquing American values is something that anybody can and should do. I hope that it can speak to lots of different audiences because of that.
- 4/16/2016
- by Carlos Aguilar
- Sydney's Buzz
New Series. Daniel Walber talks production design in "The Furniture". Previously we looked at The Exorcist, Carol and Brooklyn and Batman.
Gregory Peck, whose centennial we’ll all be celebrating tomorrow, was in a grand total of six films that were nominated for Best Production Design. Two of the best, To Kill a Mockingbird (the only winner) and Roman Holiday, will be featured in this week’s Hit Me with Your Best Shot. And so, in the interest of spreading the love, I’ll talk about a very different: 1962’s Cinerama epic, How the West Was Won.
The film, though it tells the story of a single American family, is broken up into five distinct sections. Peck is only in one of them, “The Plains.” This is actually good for our purposes, because it’s one of the three directed by Henry Hathaway. The John Ford and George Marshall chapters...
Gregory Peck, whose centennial we’ll all be celebrating tomorrow, was in a grand total of six films that were nominated for Best Production Design. Two of the best, To Kill a Mockingbird (the only winner) and Roman Holiday, will be featured in this week’s Hit Me with Your Best Shot. And so, in the interest of spreading the love, I’ll talk about a very different: 1962’s Cinerama epic, How the West Was Won.
The film, though it tells the story of a single American family, is broken up into five distinct sections. Peck is only in one of them, “The Plains.” This is actually good for our purposes, because it’s one of the three directed by Henry Hathaway. The John Ford and George Marshall chapters...
- 4/4/2016
- by Daniel Walber
- FilmExperience
On Mubi / Off is a bi-weekly column exploring two films: one currently available on Mubi in the United States, and the other screening offsite (in theaters, on VOD, Blu-ray/DVD, etc).On Mubi Abuse of Weakness (Catherine Breillat, 2013)Two films, this week, about trauma to body and soul. One is clear-eyed and cutting, the other ostentatiously grim, lugubrious. Catherine Breillat's Abuse of Weakness (Abus de faiblesse, 2013) is the work of clarity—analytic autobiography of the best sort in which the French writer-director dissects her own swindling at the wily hands of career con artist Christophe Rocancourt, who took her for a high-six-figures sum after she suffered a debilitating stroke. The names have been changed, but innocence has not been protected. Breillat's onscreen surrogate, Maud Shainberg (Isabelle Huppert, at the height of her icy powers), is an especially harsh self-portrait—a victim, yes, but one whose so-called weakness (the title...
- 12/13/2015
- by Keith Uhlich
- MUBI
On Mubi / Off is a bi-weekly column exploring two films: one currently available on Mubi in the United States, and the other screening offsite (in theaters, on VOD, Blu-ray/DVD, etc).On Mubi Abuse of Weakness (Catherine Breillat, 2013)Two films, this week, about trauma to body and soul. One is clear-eyed and cutting, the other ostentatiously grim, lugubrious. Catherine Breillat's Abuse of Weakness (Abus de faiblesse, 2013) is the work of clarity—analytic autobiography of the best sort in which the French writer-director dissects her own swindling at the wily hands of career con artist Christophe Rocancourt, who took her for a high-six-figures sum after she suffered a debilitating stroke. The names have been changed, but innocence has not been protected. Breillat's onscreen surrogate, Maud Shainberg (Isabelle Huppert, at the height of her icy powers), is an especially harsh self-portrait—a victim, yes, but one whose so-called weakness (the title...
- 12/9/2015
- by Keith Uhlich
- MUBI
“La Jaula de Oro” which translates to “The Golden Cage” now goes under the title “The Golden Dream”. The film, repped by Films Boutique, has sold widely. In U.S. it was acquired by HBO, but this week it is playing in L.A. at the TCM Chinese and Cinepolis Pico Rivera in East L.A. If you want an extra special treat, you will see it. It will also open Friday, September 4 at Village East Cinema in NYC and in DC at Cinema Pop-Up after Sept 11th.
Watch the Trailer / Showtimes and Tickets
Q&A with filmmaker Fri 9/4, Sat 9/5, Sun 9/6 at the 7pm show.
It will continue through more cities before HBO puts it on cable. It has won awards at every festival screening, starting with Cannes 2013 where it played in Un Certain Regard and won A Certain Talent Prize for the ensemble and the Gillo Pontecorvo Award and François Chalais Award - Special Mention for the strength of the visual aspect, the violence of truth and its emotional intensity. It won 9 Ariel Awards, the Mexican equivalent to the Oscar.
“La Jaula” transcends the usual depiction of young immigrants taking La Bestia through Central America and illegally entering the United States. After “El Norte”, “Sin Nombre” and “Mary Full of Grace”, we have become inured to this long festering problem of immigration. However, this poetic yet realistic and heartbreakingly beautiful depiction of three teenagers (one is a girl) from the slums of Guatemala traveling to the U.S. in search of a better life is pure heart. On their journey through Mexico they meet Chauk, an Indian from Chiapas who doesn’t speak Spanish. Traveling together in cargo trains, walking on the railroad tracks, they form bonds that create the magic of this film.
The beauty of every shot is proof that Diego Quemada-díez was a cinematographer before this debut directorial tour de force.
Diego was interviewed at the premiere by Ian Bernie, festival programmer for Bombay and the New Orleans Film Festivals, former director of the renowned Lacma film program.
Diego:
The social reality in Latin America requires cinema to be deeply engaged with the world as it is. I am interested in making films firmly rooted in our contemporary society.
True realism has it all: fantasy and reason, suffering and utopia, the happiness and pain of our existence. I want to give voice to migrants – human beings who challenge a system established by impassive national and international authorities by crossing borders illegally, risking their own lives in the hope of overcoming dire poverty.
This film is not a documentary, rather it is a fiction based on reality, reenacting it from a place of authenticity and integrity. We constructed the narrative and poetics of this odyssey from the testimony of hundreds of migrants and from the personal sentiments of each and every person who participated in the creative process.
As we identify with Juan and Chauk, we depart from our own daily lives and embark on a grand emotional adventure that delivers us to profound discovery – a journey dispelling the notion that happiness awaits us in a distant place, a journey offering reflection on the borders that divide nations, a journey towards awareness of what separates us as human beings.
We made this adventure in the hope of deconstructing those conventions that imprison us so we can reinvent our own reality. My dream is that these boundaries that separate us dissolve, allowing us to board another train.
One whose destination doesn’t matter, a train whose passengers all know our all existence is interconnected, a train whose obstacles inspire us to celebrate our existence with respect and conscience that transcends nationalities, races, classes and beliefs.
The words of a Mexican man named Juan Menéndez López, spoken just before boarding a moving cargo train with seven of his companions, became the intention I wanted to communicate with the film, “You learn a lot along the path. Here, we are all brothers. We all have the same need. What’s important is that we learn to share. Only in this way can we move ahead, only in this way can we reach our destination, only a united people can survive. As human beings, there is no place in the world where we are illegal.”
Once you have the intention it acts like a magnet, the film starts speaking and we follow it. But to articulate an idea on film we need to do it thru actions, characters, conflict. A metaphor can help us articulate the idea.
In the painting called American Progress from Manifest Destiny, the unquestioned western model of "Progress" or "Civilization" spreads through the land. Then I discovered that behind migration there is a territorial conflict, still current in America. Two ways of looking at the world, with very diferent belief systems, still clashing.
So I thought "I will tell the story of the conflict of two cultures", a story of ‘Cowboys and Indians’ through the clash between a Tzotzil Indian and a mixed race Guatemalan who believes in the Western model. They have completely opposite views of the world, one more materialistic and mental, the other more grounded, more in touch with his soul, his feelings. Throughout the story there is a transformation of the protagonist due to the Indian, not the other way around as the western societies usually expect.
I wanted to question our model of "Progress".
What if it is the western model that needs to change and not the indigenous way?
The opening ten minutes were without words.
Diego: Show me, don’t tell me.
The ending seven minutes themselves are incredible, filmed in a cold, dehumanized Colorado meat-packing warehouse where our hero ends his journey, transformed within himself.
Diego: He was alone; migrants have a lot of loneliness. Many testimonies I gathered ended in ‘We were 15 when we left and none of us arrived’ or ‘one of us arrived’. Very few make it and I wanted to convey this.
A migrant starts the journey looking for the gold (for the money) and as soon as he/ she arrives is trapped due to current legislation. Many pay a high price to get to the U.S. For many it becomes a trap.
Tell us about the genesis of this project.
Diego: I spent seven years researching the story, finding locations, speaking with migrants, gathering their testimonies that the screenplay is based on.
In the production itself, I followed Ken Loach’s techniques, filming in chronological order, without the actors knowing what would happen next. That way they have a life experience instead of acting. I would read them the script five minutes before we shot. We would do this every day, for every scene and based on their words I would rewrite it on the set.
Tell us more about your technique for shooting this film.
Diego: We worked with over 600 migrants in this movie and many people from the villages we passed by. We incorporated our actors into each location surrounded by real people and real locations, then we just filmed like a documentary, becoming an observer of what was happening on front of us. I tried to get the best from fiction and the best from documentary: Dramatic structure, to be able to reenact events instead of talking about them, working with real people, real locations, showing contemporary events that speak about issues of our time.
The hero’s internal journey is a metaphor of our own life and our death. Each of us in our own journey of life meets obstacles; we fall, we stand up, we learn things, we grow or we give up. We are never the same when we arrive at the destination where we believed our dreams would be fulfilled.
I believe we can learn a lot from migrants, from their extreme odyssey. They are people who risk their lives to help their loved ones. They are heroes so I wanted to tell their story through an epic poem.
On a deeper level, I talk of my own life through others. Like twenty years ago when my mother died and I had to keep going. Things happen to you but you go on, you continue however you can. Migrants do that; some people stumble and fall in the journey and still they keep going as best as they can.
How did you find the migrants?
Diego: In regards to the extras in the film, the casting crew would arrive three days before we arrived at each location, so when we got there we could include migrants and people from the villages.
How was this film financed?
Diego: Through a Mexican tax incentive. That is why there are so many movies now being made in Mexico. Last year 140 films. Each very different.
Biography
Born in the Iberian peninsula, Diego has lived in the American continent for the past two decades as nationalized Mexican. His first job in the film industry was in 1995, in Ken Loach's film “Land and Freedom” as a camera assistant to the director of cinematography. A year later, he migrated to the U.S. where he continued his career in film. His graduation film at the American Film Institute (AFI) as writer/director/Dop, “A Table is a Table”, won the Best Cinematography award given by the American Society of Cinematographers (Asc).
He has collaborated as camera operator with directors Spike lee, Alejandro Gonzalez-iñarritu, Tony Scott, Fernando Meirelles, among others, as he wrote and directed his own short films and documentaries. In 2006 he premiered his second short film “I Want to Be A Pilot” at the Sundance Film Festival. The film played at over 200 festivals and won over 50 awards, including Audience Award at La Mostra Sao Paulo Film Festival, Special Mention at the Amiens Film Festival.
That same year he directed in Mexico his short documentary “La Morena”, that premiered at Morelia Film Festival in 2007. In 2010 he won one of the scholarship awarded by Cinéfondation, which enabled him to participate in the Cannes Film Festival Atelier workshop with his first long-feature film, “La Jaula de Oro”. As we said above, the film premiered at the Cannes Film Festival in Un Certain Regard’s Official Selection and won Un Certain Talent Award and The Gillo Pontecorvo Award and François Chalais Special Mention Award. In its Mexican premiere at the Morelia Film Festival, the film won three awards: Audience Award, Best First Film and Press Guerrero Award. As a Director he has won Best Director at Vladivostock Ff, Best New Director at the Chicago Ff, Best Director at Thessaloniki Ff, Best Director at Havana New York Ff, Best Director at Luis Buñuel Calanda Ff in Spain, Best Director from Satjavit Ray Foundation at the London Ff and Jean Renoir Award in France. It also won Best First Film in Lima, La Habana, República Dominicana and Best Film in Mumbai, Mar de Plata,Thessaloniki, Zurich.
It won nine Ariel Awards from the Mexican Film Academy, including Best Film, Best First Film and Best Original Screenplay, as well as Best Iberoamerican Film at the Fenix Iberoamerican Awards held in Mexico City. Up to now the film has received over 80 awards.
As a writer, aside from his screenplays, he has also written a poetry book called I “Dreamed I Found My Octogonal Room”.
More information on the film below:
"La Jaula de Oro" (The Golden Dream)
A film by Diego Quemada-Diez (Mexico/Spain, 102 min. In Spanish and Tzotzil with English subtitles)
Opens Friday, September 4 Village East Cinema 181-189 Second Avenue (at 12th Street) New York City, (212) 529-6998
Watch the Trailer / Showtimes and Tickets
Q&A with filmmaker Fri 9/4 and Sat 9/5 at the 7pm show.
The most awarded Mexican film in history -with over 80 international accolades- Diego Quemada-Diez's acclaimed debut feature "La Jaula de Oro" tells the story of three teenagers from the slums of Guatemala travel to the Us in search of a better life. On their journey through Mexico they meet Chauk, a Tzotzil kid from Chiapas who doesn’t speak Spanish. Travelling together in cargo trains, walking on the railroad tracks, they soon have to face a harsh reality.
Watch the Trailer / Showtimes and Tickets
Q&A with filmmaker Fri 9/4, Sat 9/5, Sun 9/6 at the 7pm show.
It will continue through more cities before HBO puts it on cable. It has won awards at every festival screening, starting with Cannes 2013 where it played in Un Certain Regard and won A Certain Talent Prize for the ensemble and the Gillo Pontecorvo Award and François Chalais Award - Special Mention for the strength of the visual aspect, the violence of truth and its emotional intensity. It won 9 Ariel Awards, the Mexican equivalent to the Oscar.
“La Jaula” transcends the usual depiction of young immigrants taking La Bestia through Central America and illegally entering the United States. After “El Norte”, “Sin Nombre” and “Mary Full of Grace”, we have become inured to this long festering problem of immigration. However, this poetic yet realistic and heartbreakingly beautiful depiction of three teenagers (one is a girl) from the slums of Guatemala traveling to the U.S. in search of a better life is pure heart. On their journey through Mexico they meet Chauk, an Indian from Chiapas who doesn’t speak Spanish. Traveling together in cargo trains, walking on the railroad tracks, they form bonds that create the magic of this film.
The beauty of every shot is proof that Diego Quemada-díez was a cinematographer before this debut directorial tour de force.
Diego was interviewed at the premiere by Ian Bernie, festival programmer for Bombay and the New Orleans Film Festivals, former director of the renowned Lacma film program.
Diego:
The social reality in Latin America requires cinema to be deeply engaged with the world as it is. I am interested in making films firmly rooted in our contemporary society.
True realism has it all: fantasy and reason, suffering and utopia, the happiness and pain of our existence. I want to give voice to migrants – human beings who challenge a system established by impassive national and international authorities by crossing borders illegally, risking their own lives in the hope of overcoming dire poverty.
This film is not a documentary, rather it is a fiction based on reality, reenacting it from a place of authenticity and integrity. We constructed the narrative and poetics of this odyssey from the testimony of hundreds of migrants and from the personal sentiments of each and every person who participated in the creative process.
As we identify with Juan and Chauk, we depart from our own daily lives and embark on a grand emotional adventure that delivers us to profound discovery – a journey dispelling the notion that happiness awaits us in a distant place, a journey offering reflection on the borders that divide nations, a journey towards awareness of what separates us as human beings.
We made this adventure in the hope of deconstructing those conventions that imprison us so we can reinvent our own reality. My dream is that these boundaries that separate us dissolve, allowing us to board another train.
One whose destination doesn’t matter, a train whose passengers all know our all existence is interconnected, a train whose obstacles inspire us to celebrate our existence with respect and conscience that transcends nationalities, races, classes and beliefs.
The words of a Mexican man named Juan Menéndez López, spoken just before boarding a moving cargo train with seven of his companions, became the intention I wanted to communicate with the film, “You learn a lot along the path. Here, we are all brothers. We all have the same need. What’s important is that we learn to share. Only in this way can we move ahead, only in this way can we reach our destination, only a united people can survive. As human beings, there is no place in the world where we are illegal.”
Once you have the intention it acts like a magnet, the film starts speaking and we follow it. But to articulate an idea on film we need to do it thru actions, characters, conflict. A metaphor can help us articulate the idea.
In the painting called American Progress from Manifest Destiny, the unquestioned western model of "Progress" or "Civilization" spreads through the land. Then I discovered that behind migration there is a territorial conflict, still current in America. Two ways of looking at the world, with very diferent belief systems, still clashing.
So I thought "I will tell the story of the conflict of two cultures", a story of ‘Cowboys and Indians’ through the clash between a Tzotzil Indian and a mixed race Guatemalan who believes in the Western model. They have completely opposite views of the world, one more materialistic and mental, the other more grounded, more in touch with his soul, his feelings. Throughout the story there is a transformation of the protagonist due to the Indian, not the other way around as the western societies usually expect.
I wanted to question our model of "Progress".
What if it is the western model that needs to change and not the indigenous way?
The opening ten minutes were without words.
Diego: Show me, don’t tell me.
The ending seven minutes themselves are incredible, filmed in a cold, dehumanized Colorado meat-packing warehouse where our hero ends his journey, transformed within himself.
Diego: He was alone; migrants have a lot of loneliness. Many testimonies I gathered ended in ‘We were 15 when we left and none of us arrived’ or ‘one of us arrived’. Very few make it and I wanted to convey this.
A migrant starts the journey looking for the gold (for the money) and as soon as he/ she arrives is trapped due to current legislation. Many pay a high price to get to the U.S. For many it becomes a trap.
Tell us about the genesis of this project.
Diego: I spent seven years researching the story, finding locations, speaking with migrants, gathering their testimonies that the screenplay is based on.
In the production itself, I followed Ken Loach’s techniques, filming in chronological order, without the actors knowing what would happen next. That way they have a life experience instead of acting. I would read them the script five minutes before we shot. We would do this every day, for every scene and based on their words I would rewrite it on the set.
Tell us more about your technique for shooting this film.
Diego: We worked with over 600 migrants in this movie and many people from the villages we passed by. We incorporated our actors into each location surrounded by real people and real locations, then we just filmed like a documentary, becoming an observer of what was happening on front of us. I tried to get the best from fiction and the best from documentary: Dramatic structure, to be able to reenact events instead of talking about them, working with real people, real locations, showing contemporary events that speak about issues of our time.
The hero’s internal journey is a metaphor of our own life and our death. Each of us in our own journey of life meets obstacles; we fall, we stand up, we learn things, we grow or we give up. We are never the same when we arrive at the destination where we believed our dreams would be fulfilled.
I believe we can learn a lot from migrants, from their extreme odyssey. They are people who risk their lives to help their loved ones. They are heroes so I wanted to tell their story through an epic poem.
On a deeper level, I talk of my own life through others. Like twenty years ago when my mother died and I had to keep going. Things happen to you but you go on, you continue however you can. Migrants do that; some people stumble and fall in the journey and still they keep going as best as they can.
How did you find the migrants?
Diego: In regards to the extras in the film, the casting crew would arrive three days before we arrived at each location, so when we got there we could include migrants and people from the villages.
How was this film financed?
Diego: Through a Mexican tax incentive. That is why there are so many movies now being made in Mexico. Last year 140 films. Each very different.
Biography
Born in the Iberian peninsula, Diego has lived in the American continent for the past two decades as nationalized Mexican. His first job in the film industry was in 1995, in Ken Loach's film “Land and Freedom” as a camera assistant to the director of cinematography. A year later, he migrated to the U.S. where he continued his career in film. His graduation film at the American Film Institute (AFI) as writer/director/Dop, “A Table is a Table”, won the Best Cinematography award given by the American Society of Cinematographers (Asc).
He has collaborated as camera operator with directors Spike lee, Alejandro Gonzalez-iñarritu, Tony Scott, Fernando Meirelles, among others, as he wrote and directed his own short films and documentaries. In 2006 he premiered his second short film “I Want to Be A Pilot” at the Sundance Film Festival. The film played at over 200 festivals and won over 50 awards, including Audience Award at La Mostra Sao Paulo Film Festival, Special Mention at the Amiens Film Festival.
That same year he directed in Mexico his short documentary “La Morena”, that premiered at Morelia Film Festival in 2007. In 2010 he won one of the scholarship awarded by Cinéfondation, which enabled him to participate in the Cannes Film Festival Atelier workshop with his first long-feature film, “La Jaula de Oro”. As we said above, the film premiered at the Cannes Film Festival in Un Certain Regard’s Official Selection and won Un Certain Talent Award and The Gillo Pontecorvo Award and François Chalais Special Mention Award. In its Mexican premiere at the Morelia Film Festival, the film won three awards: Audience Award, Best First Film and Press Guerrero Award. As a Director he has won Best Director at Vladivostock Ff, Best New Director at the Chicago Ff, Best Director at Thessaloniki Ff, Best Director at Havana New York Ff, Best Director at Luis Buñuel Calanda Ff in Spain, Best Director from Satjavit Ray Foundation at the London Ff and Jean Renoir Award in France. It also won Best First Film in Lima, La Habana, República Dominicana and Best Film in Mumbai, Mar de Plata,Thessaloniki, Zurich.
It won nine Ariel Awards from the Mexican Film Academy, including Best Film, Best First Film and Best Original Screenplay, as well as Best Iberoamerican Film at the Fenix Iberoamerican Awards held in Mexico City. Up to now the film has received over 80 awards.
As a writer, aside from his screenplays, he has also written a poetry book called I “Dreamed I Found My Octogonal Room”.
More information on the film below:
"La Jaula de Oro" (The Golden Dream)
A film by Diego Quemada-Diez (Mexico/Spain, 102 min. In Spanish and Tzotzil with English subtitles)
Opens Friday, September 4 Village East Cinema 181-189 Second Avenue (at 12th Street) New York City, (212) 529-6998
Watch the Trailer / Showtimes and Tickets
Q&A with filmmaker Fri 9/4 and Sat 9/5 at the 7pm show.
The most awarded Mexican film in history -with over 80 international accolades- Diego Quemada-Diez's acclaimed debut feature "La Jaula de Oro" tells the story of three teenagers from the slums of Guatemala travel to the Us in search of a better life. On their journey through Mexico they meet Chauk, a Tzotzil kid from Chiapas who doesn’t speak Spanish. Travelling together in cargo trains, walking on the railroad tracks, they soon have to face a harsh reality.
- 9/4/2015
- by Sydney Levine
- Sydney's Buzz
Ficg in La Lineup Includes U.S. and L.A. Premieres of Some the Best Latin American Films of the Year
The Guadalajara International Film Festival in Los Angeles (Ficg in La) - presented by the University of Guadalajara Foundation in USA and Conaculta has announced its lineup. "Messi" directed by Álex de la Iglesia, will be the Opening Night film for the 2015 Festival. This documentary portrays today’s greatest soccer player who at age 11 ran the risk of seeing his career ending before it started. With informal interviews, re-enactments, and spectacular footage of Messi’s legendary exploits, this film tells the incredible, true story of his rise to glory.
The 2015 Ficg in La, which returns to the Egyptian Theatre in Hollywood for its fifth year and runs from Thursday, August 27 to Sunday, August 30, brings the best of contemporary Mexican and Latin American cinema to Los Angeles, and is an extension of the Guadalajara International Film Festival.
Featuring outstanding and award-winning titles from FICG30, which ran from March 6-15, 2015 in Guadalajara, Ficg in La will offer the premiere of other titles that have emerged in the world of cinema throughout the year to great critical acclaim.
The aim of the festival is to increase access and visibility of Mexican and Latin American cinema in the U.S., facilitating the exchange of ideas through stories and issues of cultural and social relevance, create a space for collaboration between filmmakers, and strengthen relations between the film industry in Mexico and the U.S.
Ficg in La includes film screenings followed by Q&As with filmmakers and talent, as well as galas, panels and special award recognitions to Latin American and U.S. Latino artists.
“Ficg in La 2015 represents the culmination of five years of continuous dedication and passion to further the Latino arts and cinema in the U.S. What was once a tiny three-day showcase of Latino and Ibero-American cinema, is now a lively, eventful film festival, filled with industry events, work-in-progress competitions, family-oriented programs and panel discussions. Los Angeles is the perfect backdrop for Ficg in La to thrive, as it is a patchwork of so many different cultures and communities from across Latin America; however, we hope that our audience is as diverse as the city itself, because many of these stories universally relate to communities of all backgrounds,” said Hebe Tabachnik, Director and Producer of Ficg in La.
“In five years, the Guadalajara International Film Festival in Los Angeles (Ficg in La), has aimed to promote the Mexican and Latin American cinema so that people from elsewhere can enjoy and appreciate the great productions that have been made in Ibero-America; and likewise we have done everything possible to make filmmakers from the Us and Canada get interested in addressing Latino themes and help them honing their skills to provide stronger ground for their projects,”said Iván Trujillo Bolio, Director of Ficg.
Among the celebrities who have accompanied us in previous editions are: Carlos Cuarón, Edward James Olmos, Sergio Arau, Diana Bracho, Alfonso Arau, Kate del Castillo, Martha Higareda, Beto Cuevas, Irene Azuela, Dulce Maria, Carmen Salinas and Jay Hernandez.
Read More: LatinoBuzz: Duo Ben Odell and Eugenio Derbez of 3Pas Studios
Eugenio Derbez will receive the Tree of Life award in representation of the Derbez dynasty. Oscar winner Eugenio Caballero (Best Art Direction, "Pan's Labyrinth"), Ofelia Medina (Mexican actress), Josep Parera (Entertainment Editor La Opinion) and Lpb (Latino Public Broadcasting) will also receive the festival’s Tree of Life Award for their contributions to Mexican, Latino and Ibero-American culture. Previous recipients include Demián Bichir (actor), Juan Carlos Arciniegas (CNN en Espanol), Fernando Luján (actor), Rubén Luengas (journalist), Gabriel Beristain (Director of Photography) and Emilio Kauderer (Music Composer).
Ficg in La continues to support Latino and Ibero-American films with Guadalajara Construye in Los Angeles 2 and DocuLab.2 Los Angeles by selecting six projects from filmmakers seeking post-production funds. The films will be screened for jury members, sponsors and film industry professionals. The winners will be announced on Friday August 28.
In addition, the winning projects in each competition will automatically qualify to be considered for Guadalajara Construye 10 or DocuLab.8 Guadalajara, or for the Ibero-American Competitions of the next edition of the Guadalajara International Film Festival (FICG31) – March 4 - 13, 2016.
To reaffirm the social mission of Ficg and the University of Guadalajara Foundation in USA, Ficg in La will donate again all of its proceeds to a charitable cause. We will announce soon the recipient of this year’s fundraising effort.
13 Feature and documentary films and 12 short films will be showcased in this year’s festival
Opening Night Gala – August 28, 2015
"Messi" Dir. Álex de la Iglesia (Spain, 2014, L.A. Premiere)
Closing Night Gala – August 30, 2015
"Ciudad Delirio," Dir. Chus Gutiérrez (Colombia, 2014, 100 min., L.A. Premiere)
Special Events:
• Kids Gala: "El Jeremías" (Jeremy) Dir. Anwar Safa (Mexico, 2015, Us Premiere)
• Maguey (Lgbt) Gala: "Made in Bangkok" Dir. Flavio Florencio (México – Alemania, 2015, Us Premiere)
• Art, Health & Healing Special Screening: "Juanicas"
Dir. Karina García Casanova (Mexico – Canada, 2015, Us Premiere)
and "La Teta de Botero," Dir. Humberto Busto, Mexico (short film)
• Human Rights Special Screening: "La Prenda" (The Pawn)
Dir. Jean-Cosme Delaloye (Guatemala – Suiza, 2014, Sneak Preview) in Association with the Mill Valley Film Festival.
• Free Screening: "La Once" (Tea Time) –Dir. Maite Alberti (Chile, 2014)
Other Feature Films
"El Patrón, Radiografía de un Crimen" (The Boss, Anatomy Of A Crime)
Dir. Sebastián Schindel (Argentina, 2014, L.A. Premiere)
HBO Latino presents – Heroes Cotidianos – “El cometa”
Dir. Alejandra Sánchez (Mexico, 2014, Sneak Preview)
"Ixcanul" Dir. Jayro Bustamante (Guatemala - France, 2015, Sneak Preview)
"Loreak" (Flowers) Dir. Jon Garaño, José Mari Goenaga (Spain, 2014, L.A. Premiere)
"Pocha" (Manifest Destiny) Dir. Michael Dwyer (USA – Mexico, 2015)
"Que Viva la Música" (Liveforever)
Dir. Carlos Moreno (Colombia -Mexico, 2015, L.A Premiere)
Short Films
Mexican Animated Shorts Showcase & Panel (in chronological order)
"Como preparar un sandwich" (How to Prepare a Sandwich) Dir. Rigo Mora
"Hasta Los Huesos" (Down to the Bones) Dir. René Castillo
"Jacinta" Dir. Karla Castañeda
"Jaulas" (Cages) Dir. Juan José Medina
"Prita Noire" (Black Doll) Dir. Sofía Carrillo
"La Casa Triste" (The Sad House) Dir. Sofia Carrillo
"La Noria" ( The Waterwheel) Dir. Karla Castaneda
"Lluvia en los Ojos" (Rain in the Eyes) Dir. Rita Basulto
"Zimbo" (Zimbo) Dir. Rita Basulto & Juan Jose Medina
Shorts Before Features
"Ella" (Her) Dir. Ximena Urrutia (Mexico, 2014, 23 min)
"Mestizo," Dir. Talon Gonzalez (USA, 2014, 10 min.)
"La Teta de Botero," Dir. Humberto Busto (Mexico, 2015, 18 min., Us Premiere)
The screening of the selected work-in-progress films will be for industry accredited to the festival. These screenings are not open to the general public or member of the press.
Guadalajara Construye in Los Angeles 2
• "Angelica," Dir. Marisol Gómez-Mouakad, Puerto Rico/USA
• "Dementia" (Demencia), Dir. Jose Luís Valenzuela, Mexico/USA
• "Lupe under the Sun" (Lupe bajo el sol), Dir. Rodrigo Reyes, Mexico/USA
DocuLab.2 Los Angeles
• "No Dresscode Required" (Etiqueta no rigurosa), Dir. Cristina Herrera Borquez, Mexico/USA
• "Looking at the Stars" (Ol" ando pras estrelas), Dir. Alexandre Peralta, Nicaragua/Brazil/USA
• "Omar & Gloria" (Omar y Gloria), Dir. Jimmy Cohen, Mexico/Canada
Ficg in La is presented by the University of Guadalajara Foundation in USA and Conaculta, with Principal Sponsors the University of Guadalajara, the Guadalajara International Film Festival, the Institute of Cinema Mexico (Imcine), Univision and La Opinion.
The 2015 Ficg in La, which returns to the Egyptian Theatre in Hollywood for its fifth year and runs from Thursday, August 27 to Sunday, August 30, brings the best of contemporary Mexican and Latin American cinema to Los Angeles, and is an extension of the Guadalajara International Film Festival.
Featuring outstanding and award-winning titles from FICG30, which ran from March 6-15, 2015 in Guadalajara, Ficg in La will offer the premiere of other titles that have emerged in the world of cinema throughout the year to great critical acclaim.
The aim of the festival is to increase access and visibility of Mexican and Latin American cinema in the U.S., facilitating the exchange of ideas through stories and issues of cultural and social relevance, create a space for collaboration between filmmakers, and strengthen relations between the film industry in Mexico and the U.S.
Ficg in La includes film screenings followed by Q&As with filmmakers and talent, as well as galas, panels and special award recognitions to Latin American and U.S. Latino artists.
“Ficg in La 2015 represents the culmination of five years of continuous dedication and passion to further the Latino arts and cinema in the U.S. What was once a tiny three-day showcase of Latino and Ibero-American cinema, is now a lively, eventful film festival, filled with industry events, work-in-progress competitions, family-oriented programs and panel discussions. Los Angeles is the perfect backdrop for Ficg in La to thrive, as it is a patchwork of so many different cultures and communities from across Latin America; however, we hope that our audience is as diverse as the city itself, because many of these stories universally relate to communities of all backgrounds,” said Hebe Tabachnik, Director and Producer of Ficg in La.
“In five years, the Guadalajara International Film Festival in Los Angeles (Ficg in La), has aimed to promote the Mexican and Latin American cinema so that people from elsewhere can enjoy and appreciate the great productions that have been made in Ibero-America; and likewise we have done everything possible to make filmmakers from the Us and Canada get interested in addressing Latino themes and help them honing their skills to provide stronger ground for their projects,”said Iván Trujillo Bolio, Director of Ficg.
Among the celebrities who have accompanied us in previous editions are: Carlos Cuarón, Edward James Olmos, Sergio Arau, Diana Bracho, Alfonso Arau, Kate del Castillo, Martha Higareda, Beto Cuevas, Irene Azuela, Dulce Maria, Carmen Salinas and Jay Hernandez.
Read More: LatinoBuzz: Duo Ben Odell and Eugenio Derbez of 3Pas Studios
Eugenio Derbez will receive the Tree of Life award in representation of the Derbez dynasty. Oscar winner Eugenio Caballero (Best Art Direction, "Pan's Labyrinth"), Ofelia Medina (Mexican actress), Josep Parera (Entertainment Editor La Opinion) and Lpb (Latino Public Broadcasting) will also receive the festival’s Tree of Life Award for their contributions to Mexican, Latino and Ibero-American culture. Previous recipients include Demián Bichir (actor), Juan Carlos Arciniegas (CNN en Espanol), Fernando Luján (actor), Rubén Luengas (journalist), Gabriel Beristain (Director of Photography) and Emilio Kauderer (Music Composer).
Ficg in La continues to support Latino and Ibero-American films with Guadalajara Construye in Los Angeles 2 and DocuLab.2 Los Angeles by selecting six projects from filmmakers seeking post-production funds. The films will be screened for jury members, sponsors and film industry professionals. The winners will be announced on Friday August 28.
In addition, the winning projects in each competition will automatically qualify to be considered for Guadalajara Construye 10 or DocuLab.8 Guadalajara, or for the Ibero-American Competitions of the next edition of the Guadalajara International Film Festival (FICG31) – March 4 - 13, 2016.
To reaffirm the social mission of Ficg and the University of Guadalajara Foundation in USA, Ficg in La will donate again all of its proceeds to a charitable cause. We will announce soon the recipient of this year’s fundraising effort.
13 Feature and documentary films and 12 short films will be showcased in this year’s festival
Opening Night Gala – August 28, 2015
"Messi" Dir. Álex de la Iglesia (Spain, 2014, L.A. Premiere)
Closing Night Gala – August 30, 2015
"Ciudad Delirio," Dir. Chus Gutiérrez (Colombia, 2014, 100 min., L.A. Premiere)
Special Events:
• Kids Gala: "El Jeremías" (Jeremy) Dir. Anwar Safa (Mexico, 2015, Us Premiere)
• Maguey (Lgbt) Gala: "Made in Bangkok" Dir. Flavio Florencio (México – Alemania, 2015, Us Premiere)
• Art, Health & Healing Special Screening: "Juanicas"
Dir. Karina García Casanova (Mexico – Canada, 2015, Us Premiere)
and "La Teta de Botero," Dir. Humberto Busto, Mexico (short film)
• Human Rights Special Screening: "La Prenda" (The Pawn)
Dir. Jean-Cosme Delaloye (Guatemala – Suiza, 2014, Sneak Preview) in Association with the Mill Valley Film Festival.
• Free Screening: "La Once" (Tea Time) –Dir. Maite Alberti (Chile, 2014)
Other Feature Films
"El Patrón, Radiografía de un Crimen" (The Boss, Anatomy Of A Crime)
Dir. Sebastián Schindel (Argentina, 2014, L.A. Premiere)
HBO Latino presents – Heroes Cotidianos – “El cometa”
Dir. Alejandra Sánchez (Mexico, 2014, Sneak Preview)
"Ixcanul" Dir. Jayro Bustamante (Guatemala - France, 2015, Sneak Preview)
"Loreak" (Flowers) Dir. Jon Garaño, José Mari Goenaga (Spain, 2014, L.A. Premiere)
"Pocha" (Manifest Destiny) Dir. Michael Dwyer (USA – Mexico, 2015)
"Que Viva la Música" (Liveforever)
Dir. Carlos Moreno (Colombia -Mexico, 2015, L.A Premiere)
Short Films
Mexican Animated Shorts Showcase & Panel (in chronological order)
"Como preparar un sandwich" (How to Prepare a Sandwich) Dir. Rigo Mora
"Hasta Los Huesos" (Down to the Bones) Dir. René Castillo
"Jacinta" Dir. Karla Castañeda
"Jaulas" (Cages) Dir. Juan José Medina
"Prita Noire" (Black Doll) Dir. Sofía Carrillo
"La Casa Triste" (The Sad House) Dir. Sofia Carrillo
"La Noria" ( The Waterwheel) Dir. Karla Castaneda
"Lluvia en los Ojos" (Rain in the Eyes) Dir. Rita Basulto
"Zimbo" (Zimbo) Dir. Rita Basulto & Juan Jose Medina
Shorts Before Features
"Ella" (Her) Dir. Ximena Urrutia (Mexico, 2014, 23 min)
"Mestizo," Dir. Talon Gonzalez (USA, 2014, 10 min.)
"La Teta de Botero," Dir. Humberto Busto (Mexico, 2015, 18 min., Us Premiere)
The screening of the selected work-in-progress films will be for industry accredited to the festival. These screenings are not open to the general public or member of the press.
Guadalajara Construye in Los Angeles 2
• "Angelica," Dir. Marisol Gómez-Mouakad, Puerto Rico/USA
• "Dementia" (Demencia), Dir. Jose Luís Valenzuela, Mexico/USA
• "Lupe under the Sun" (Lupe bajo el sol), Dir. Rodrigo Reyes, Mexico/USA
DocuLab.2 Los Angeles
• "No Dresscode Required" (Etiqueta no rigurosa), Dir. Cristina Herrera Borquez, Mexico/USA
• "Looking at the Stars" (Ol" ando pras estrelas), Dir. Alexandre Peralta, Nicaragua/Brazil/USA
• "Omar & Gloria" (Omar y Gloria), Dir. Jimmy Cohen, Mexico/Canada
Ficg in La is presented by the University of Guadalajara Foundation in USA and Conaculta, with Principal Sponsors the University of Guadalajara, the Guadalajara International Film Festival, the Institute of Cinema Mexico (Imcine), Univision and La Opinion.
- 8/13/2015
- by Sydney Levine
- Sydney's Buzz
In Shops This Week:
Negative Space #1
Writer: Ryan K. Lindsay
Artist: Owen Gieni
Publisher: Dark Horse Comics
Price: $4
Description: When one man’s writer’s block gets in the way of his suicide note, he goes for a walk to clear his head and soon uncovers a century-old conspiracy dedicated to creating and mining the worst lows of human desperation.
Our Take: Despite being fairly prolific and has worked on books that would fit in here at Destroy The Brain, writer Ryan K Lindsay premieres on this site with Negative Space, alongside a remarkably skilled and talented artist whose coloring work graced high profile titles like Shutter and Manifest Destiny. But clear away your preconceptions about what Negative Space is going to be; it’s not quite horror but it’s certainly horrifying at times, despite also having a darkly comedic mood. Comparable to The Life After but more grounded,...
Negative Space #1
Writer: Ryan K. Lindsay
Artist: Owen Gieni
Publisher: Dark Horse Comics
Price: $4
Description: When one man’s writer’s block gets in the way of his suicide note, he goes for a walk to clear his head and soon uncovers a century-old conspiracy dedicated to creating and mining the worst lows of human desperation.
Our Take: Despite being fairly prolific and has worked on books that would fit in here at Destroy The Brain, writer Ryan K Lindsay premieres on this site with Negative Space, alongside a remarkably skilled and talented artist whose coloring work graced high profile titles like Shutter and Manifest Destiny. But clear away your preconceptions about what Negative Space is going to be; it’s not quite horror but it’s certainly horrifying at times, despite also having a darkly comedic mood. Comparable to The Life After but more grounded,...
- 7/9/2015
- by Chris Melkus
- Destroy the Brain
From zombies to demons to superheroes and beyond, Image Comics will have something for everyone at this week's Comic-Con, and their full Sdcc schedule with complete details has now been revealed.
Press Release: "Image Comics (booth #2729) is pleased to be at San Diego Comic-Con this year from Wednesday, July 8 through Sunday, July 12.
Variants Sold At The Image Booth (booth #2729):
Chew #50 by John Layman & Rob Guillory, $10 Injection #3 by Warren Ellis & Declan Shalvey, $10 Mythic #2 by Phil Hester & John McCrea, cover art by Sean Gordon Murphy, $10 Shutter #13 by Joe Keatinge & Leila del Duca, cover art by Jonathan Hickman, $10 Starve #2 by Brian Wood & Danijel Zezelj, $10 Wytches by Scott Snyder & Jock, $35 They're Not Like Us, Vol. 1 by Eric Stephenson & Simon Gane, $20 Nowhere Men, Vol. 1 by Eric Stephenson & Nate Bellegarde, $9.99 Nowhere Men, Vol.1 Tp (Red) by Eric Stephenson & Nate Bellegarde, $9.99 Nowhere Men Shirt Teal, W/M Xs-xxl, $20 Nowhere Men Shirt Red, W/M Xs-xxl,...
Press Release: "Image Comics (booth #2729) is pleased to be at San Diego Comic-Con this year from Wednesday, July 8 through Sunday, July 12.
Variants Sold At The Image Booth (booth #2729):
Chew #50 by John Layman & Rob Guillory, $10 Injection #3 by Warren Ellis & Declan Shalvey, $10 Mythic #2 by Phil Hester & John McCrea, cover art by Sean Gordon Murphy, $10 Shutter #13 by Joe Keatinge & Leila del Duca, cover art by Jonathan Hickman, $10 Starve #2 by Brian Wood & Danijel Zezelj, $10 Wytches by Scott Snyder & Jock, $35 They're Not Like Us, Vol. 1 by Eric Stephenson & Simon Gane, $20 Nowhere Men, Vol. 1 by Eric Stephenson & Nate Bellegarde, $9.99 Nowhere Men, Vol.1 Tp (Red) by Eric Stephenson & Nate Bellegarde, $9.99 Nowhere Men Shirt Teal, W/M Xs-xxl, $20 Nowhere Men Shirt Red, W/M Xs-xxl,...
- 7/8/2015
- by Derek Anderson
- DailyDead
Robert Kirkman fans are in for a treat at this year's Comic-Con. Skybound revealed their Sdcc exclusives include a bunch of The Walking Dead and Outcast items, including a Lucille miniature, a foam dart version of Dwight's crossbow, and more.
The following items will be available while supplies last at Skybound and Image Comics' Booth #2729 from July 9th - 12th:
From Skybound: "The Walking Dead Michonne Action Figure ($25) - Michonne is the next character in Skybound’s exclusive lineup of limited edition Walking Dead action figures from McFarlane Toys. This new version of Michonne comes in her All Out War-era garb with her sword and pistol and is available in full color and black & white with blood splatter. Quantities are limited.
Outcast by Kirkman & Azaceta Watch ($65) - Vannen once again brings style to your wrist with the latest Skybound Exclusive watch, this time featuring artwork from Robert Kirkman and Paul Azaceta’s latest hit,...
The following items will be available while supplies last at Skybound and Image Comics' Booth #2729 from July 9th - 12th:
From Skybound: "The Walking Dead Michonne Action Figure ($25) - Michonne is the next character in Skybound’s exclusive lineup of limited edition Walking Dead action figures from McFarlane Toys. This new version of Michonne comes in her All Out War-era garb with her sword and pistol and is available in full color and black & white with blood splatter. Quantities are limited.
Outcast by Kirkman & Azaceta Watch ($65) - Vannen once again brings style to your wrist with the latest Skybound Exclusive watch, this time featuring artwork from Robert Kirkman and Paul Azaceta’s latest hit,...
- 6/24/2015
- by Derek Anderson
- DailyDead
The Downslope, Midnight Sun, Imagine Agents, and other films have made recent film casting, screenwriting, and director news. These films come from movie studios primarily based in the United States. The castings, screenwriters, and directors are subject to change.
Chasing Phil: The World’s Greatest Con Man, Two Undercover FBI Agents, And Their Amazing Around The World Adventure
Warner Bros. has preemptively acquired author David Howard’s book proposal “Chasing Phil: The World’s Greatest Con Man, Two Undercover FBI Agents, And Their Amazing Around The World Adventure” for Robert Downey Jr. to produce and potentially star
The book proposal details the FBI’s first foray into white collar crime-fighting and its use of agents as long-term, undercover operatives. The story follows two young FBI agents as they infiltrate the world of Phil Kitzer, the charismatic mastermind behind dozens of multi-million dollar schemes and his international network of associates known as The Fraternity.
Chasing Phil: The World’s Greatest Con Man, Two Undercover FBI Agents, And Their Amazing Around The World Adventure
Warner Bros. has preemptively acquired author David Howard’s book proposal “Chasing Phil: The World’s Greatest Con Man, Two Undercover FBI Agents, And Their Amazing Around The World Adventure” for Robert Downey Jr. to produce and potentially star
The book proposal details the FBI’s first foray into white collar crime-fighting and its use of agents as long-term, undercover operatives. The story follows two young FBI agents as they infiltrate the world of Phil Kitzer, the charismatic mastermind behind dozens of multi-million dollar schemes and his international network of associates known as The Fraternity.
- 6/23/2015
- by Rollo Tomasi
- Film-Book
As one would expect from the ever audacious, thoughtful filmmaker, there are more than a few projects Stanley Kubrick developed but never brought to the screen. Though efforts have been made in the past to bring his unfinished works to life, namely through Steven Spielberg's A.I. Artificial Intelligence or the multiple rumors over the years to satisfy his vision of Napoleon in the form of a film or mini-series, most were put to rest with the filmmaker back in 1999. But apparently one of his earliest unmade screenplays -- 1956's The Downslope -- was dusted off the shelves somewhere in Hollywood recently, and director Marc Forster (World War Z) has decided to take a stab at bringing Kubrick's lost script to the screen. And because it's Hollywood, it'll be not just one film but an entire trilogy. Forster's only attached to direct the first, but plans to produce all three installments,...
- 6/22/2015
- by Will Ashton
- Rope of Silicon
At a Wednesday afternoon cocktail reception on the downtown La Live rooftop, the festival revealed its 2015 winners. Hosted by La Film Fest programmers Roya Rastegar and Jennifer Cochis, the event feted many of the festival's world and North American premieres, and twice toasted Mexico-set crime melodrama "Pocha (Manifest Destiny)," which nabbed both a special jury honor and an audience award. Special prizes went to runners-up that also included "The Babushkas of Chernobyl," "White Moss," "Ayana and the Mechanic," "Crumbs," "Dude Bro Party Massacre" and to "French Dirty" supporting actress Elsa Biedermann. Read More: Los Angeles Film Festival Picks a Closing Night, 8 Films to See Altogether the festival hosted juried awards for U.S. Fiction, World Fiction, Documentary, Zeitgeist, La Muse, and Nightfall, as well as Best Short Fiction and Best Short Documentary. Audience awards were presented to Best Fiction...
- 6/17/2015
- by Ryan Lattanzio
- Thompson on Hollywood
Ficg in La (Guadalajara International Film Festival in Los Angeles) has launched a call for submissions for Latino and Iberoamerican emerging filmmakers living in the United States or Canada; as well as U.S. and Canadian filmmakers who are working on feature films with Latino or Latin American content to apply for Guadalajara Construye in Los Angeles 2, which will be held on August 27 and 28, 2015.
Three feature fiction films seeking post-production funds will be chosen to screen for jury members and film industry professionals at Ficg in La. Guadalajara Construye in Los Angeles 2 is working to garner specific support for the post-production of selected films. The awards will be announced in the coming weeks.
In addition, one winning project will automatically qualify to be considered for Guadalajara Construye 10 or for the Iberoamerican Narrative Competition of the next edition of the Guadalajara International Film Festival (FICG31) – March 2016.
"Pocha" (Manifest Destiny) Mexico/USA directed by Michael Dwyer, one of the winning projects from the first edition of Guadalajara Construye in Los Angeles, will have its World Premiere during the upcoming Los Angeles Film Festival (Laff) next week. .
To participate, you must register online by creating an online profile, complete an application form and upload all the required documents and materials that reflect the experience and creative capacity of the applicant.The Selection Committee, composed of recognized industry professionals, will evaluate submissions.
Submission is Free!
Please visit the industry page at www.ficginla.com for more information about submitting your project.
The application deadline is June 16, 2015. The results of the selection will be publicly announced on July 31, 2015 on the festival website www.ficginla.com...
Three feature fiction films seeking post-production funds will be chosen to screen for jury members and film industry professionals at Ficg in La. Guadalajara Construye in Los Angeles 2 is working to garner specific support for the post-production of selected films. The awards will be announced in the coming weeks.
In addition, one winning project will automatically qualify to be considered for Guadalajara Construye 10 or for the Iberoamerican Narrative Competition of the next edition of the Guadalajara International Film Festival (FICG31) – March 2016.
"Pocha" (Manifest Destiny) Mexico/USA directed by Michael Dwyer, one of the winning projects from the first edition of Guadalajara Construye in Los Angeles, will have its World Premiere during the upcoming Los Angeles Film Festival (Laff) next week. .
To participate, you must register online by creating an online profile, complete an application form and upload all the required documents and materials that reflect the experience and creative capacity of the applicant.The Selection Committee, composed of recognized industry professionals, will evaluate submissions.
Submission is Free!
Please visit the industry page at www.ficginla.com for more information about submitting your project.
The application deadline is June 16, 2015. The results of the selection will be publicly announced on July 31, 2015 on the festival website www.ficginla.com...
- 6/4/2015
- by Sydney Levine
- Sydney's Buzz
Indiewire is proud to exclusively premiere the first trailer for Michael Dwyer and Kaitlin McLaughlin's crime thriller "Pocha (Manifest Destiny)." The film follows Claudia, a young Chicana who is deported to Mexico after getting caught committing credit card fraud. Claudia, who speaks no Spanish, moves in with her estranged father and grandmother at their ranch in northern México and becomes involved with a dangerous smuggler while adjusting to her new life. Newcomer Veronica Sixtos ("Quinceañera") stars as Claudia alongside Roberto Urbina ("Metástasis"), Maria Del Carmen Farias ("El Sueño de Lu"), Jorge Jimenez ("Hermoso Silensio") and Jesse Garcia ("Quinceañera"). Michael Dwyer and Kaitlin McLaughlin co-direct the film, with Dwyer serving as cinematographer for McLaughlin's screenplay. Dwyer's sister Alicia produced the film through her company Veracity Productions. "Pocha...
- 5/20/2015
- by Becca Nadler
- Indiewire
The world premiere of cult web series creators 5-Second Films’ first feature Dude Bro Party Massacre III will screen at the upcoming festival as top brass introduced the Zeitgeist and Nightfall sections.
The festival, set to run from June 10-18, announced programming in both strands as well as the second edition of La Muse strand.
Associate director of programming and curated content Roya Rastegar said Zeitgeist comprised films that speak to pivotal junctures in the lives of young people.
Zeitgeist programme encompasses six world premieres of Us films: Band Of Robbers by Aaron Nee and Adam Nee; A Girl Like Grace by Ty Hodges; In The Treetops by Matthew Brown; Manifest Destiny by Michael Dwyer and Kaitlin McLaughlin; Stealing Cars by Bradley Kaplan; and What Lola Wants by Rupert Glasson.
Describing Nightfall, senior programmer Jennifer Cochis said the films were designed to make audiences squirm.
Films premiering for the first time in the Us are nominated for the...
The festival, set to run from June 10-18, announced programming in both strands as well as the second edition of La Muse strand.
Associate director of programming and curated content Roya Rastegar said Zeitgeist comprised films that speak to pivotal junctures in the lives of young people.
Zeitgeist programme encompasses six world premieres of Us films: Band Of Robbers by Aaron Nee and Adam Nee; A Girl Like Grace by Ty Hodges; In The Treetops by Matthew Brown; Manifest Destiny by Michael Dwyer and Kaitlin McLaughlin; Stealing Cars by Bradley Kaplan; and What Lola Wants by Rupert Glasson.
Describing Nightfall, senior programmer Jennifer Cochis said the films were designed to make audiences squirm.
Films premiering for the first time in the Us are nominated for the...
- 4/21/2015
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Banshee, Season 3: Episode 1 – “The Fire Trials”
Written by Jonathan Tropper
Directed by Loni Peristere
Airs Friday nights at 10 on Cinemax
Amid a full and explosive season three premiere that heavily features Chayton’s (Geno Segers) return to and influence on his Kinaho tribe, it’s a quiet exchange between father and daughter that sticks out to me:
“You came here for her.”
“I stayed for you.”
At this point, the man we know as Lucas Hood looks and acts the part. He is the sheriff of Banshee. He didn’t get the girl. He didn’t get the big score. But what he’s found in the post-Rabbit era of this story is that he belongs here more than he does anywhere else. Why not just leave and test that theory? Deva. Staying for her isn’t just a stab at fatherhood (no pun intended, but it’s too...
Written by Jonathan Tropper
Directed by Loni Peristere
Airs Friday nights at 10 on Cinemax
Amid a full and explosive season three premiere that heavily features Chayton’s (Geno Segers) return to and influence on his Kinaho tribe, it’s a quiet exchange between father and daughter that sticks out to me:
“You came here for her.”
“I stayed for you.”
At this point, the man we know as Lucas Hood looks and acts the part. He is the sheriff of Banshee. He didn’t get the girl. He didn’t get the big score. But what he’s found in the post-Rabbit era of this story is that he belongs here more than he does anywhere else. Why not just leave and test that theory? Deva. Staying for her isn’t just a stab at fatherhood (no pun intended, but it’s too...
- 1/10/2015
- by Sean Colletti
- SoundOnSight
Channing Tatum twirls a pool cue in the air, twists around a billiards table with the effortless ease of the striptease artiste he once was, lowers his torso until it's almost parallel with the green baize, lines up a shot and then — bang! — drills three balls in rapid succession. I stand across the table, gaping. In the clash of cultures we represent — on one side, a staid British reporter, on the other a quick-as-a-whip Southern hunk — the hunk is winning. Call it Manifest Destiny, if you will, or at least Tatum's. A chorus
read more...
read more...
- 11/5/2014
- by Stephen Galloway
- The Hollywood Reporter - Movie News
The following is a list of all comic books, graphic novels and specialty items that will be available this week and shipped to comic book stores who have placed orders for them.
12 Gauge Comics
Sherwood TX #2 (Of 5), $3.99
215 Ink
Enormous #3 (Cover A Mehdi Cheggour), $3.99
Enormous #3 (Cover B Sarah Delaine), $3.99
Action Lab Entertainment
Skyward #9 (Gene Ha Variant Cover), $3.99
Skyward #9 (Jeremy Dale Regular Cover), $2.99
Alternative Comics
Death In Oaxaca #1, $4.99
Amryl Entertainment
Cavewoman 20th Anniversary 2014 Full Color Showbook Special Edition, Ar
Cavewoman Fallen (One-Shot)(Cover B Rob Durham), Ar
Cavewoman Fallen (One-Shot)(Cover D Budd Root), Ar
Archie Comics
Best Of Archie Comics Volume 4 Tp, $9.99
Sonic The Hedgehog Archives Volume 23 Tp, $7.99
World Of Archie Comics Digest #42, $4.99
Avatar Press
God Is Dead The Book Of Acts Omega (Jacen Burrows Pure Art Incentive Cover), Ar
Uber Special #1 (Michael Dipascale Pure Rage Cover), $9.99
Big Finish Productions
Avengers The Lost Episodes Volume 2 Audio CD Box Set, $49.99
Doctor Who...
12 Gauge Comics
Sherwood TX #2 (Of 5), $3.99
215 Ink
Enormous #3 (Cover A Mehdi Cheggour), $3.99
Enormous #3 (Cover B Sarah Delaine), $3.99
Action Lab Entertainment
Skyward #9 (Gene Ha Variant Cover), $3.99
Skyward #9 (Jeremy Dale Regular Cover), $2.99
Alternative Comics
Death In Oaxaca #1, $4.99
Amryl Entertainment
Cavewoman 20th Anniversary 2014 Full Color Showbook Special Edition, Ar
Cavewoman Fallen (One-Shot)(Cover B Rob Durham), Ar
Cavewoman Fallen (One-Shot)(Cover D Budd Root), Ar
Archie Comics
Best Of Archie Comics Volume 4 Tp, $9.99
Sonic The Hedgehog Archives Volume 23 Tp, $7.99
World Of Archie Comics Digest #42, $4.99
Avatar Press
God Is Dead The Book Of Acts Omega (Jacen Burrows Pure Art Incentive Cover), Ar
Uber Special #1 (Michael Dipascale Pure Rage Cover), $9.99
Big Finish Productions
Avengers The Lost Episodes Volume 2 Audio CD Box Set, $49.99
Doctor Who...
- 8/18/2014
- by Adam B.
- GeekRest
With James Franco’s recent test footage for his not-to-be Blood Meridian film adaptation now online, it’s time to think about what we want from a movie version of the landmark novel. Franco shot that test footage a few years ago and showed it to Scott Rudin, who owns the rights to the novel, but Rudin seems to have turned him down—and should continue to do so.
So Franco, instead, directed another movie adaptation of a Cormac McCarthy novel: Child of God. The movie comes out this week, and Franco wrote a piece for The Daily Beast explaining...
So Franco, instead, directed another movie adaptation of a Cormac McCarthy novel: Child of God. The movie comes out this week, and Franco wrote a piece for The Daily Beast explaining...
- 7/30/2014
- by Jacob Shamsian
- EW - Inside Movies
First, a reminder: You are not Zooey Deschanel. There are things Zooey Deschanel can get away with doing that you will never be able to get away with. One of those things is playing New Girl’s fictional drinking game, True American.
True American is perhaps the pinnacle of absurd in-sitcom group games. That’s an area with surprisingly stiff competition—from Friends’ apartment bet to Cougar Town’s Penny Can to Parks and Recreation’s Cones of Dunshire. But New Girl has managed to win out, mostly because it’s returned to the game in no less than three different episodes,...
True American is perhaps the pinnacle of absurd in-sitcom group games. That’s an area with surprisingly stiff competition—from Friends’ apartment bet to Cougar Town’s Penny Can to Parks and Recreation’s Cones of Dunshire. But New Girl has managed to win out, mostly because it’s returned to the game in no less than three different episodes,...
- 7/29/2014
- by Jackson McHenry
- EW.com - PopWatch
Sundays at San Diego Comic-Con are known for family-friendly fare, but this year there's plenty to keep horror fans sticking around like "Supernatural," "The Strain," and "The Following" (all presenting their wares in the hallowed Hall H).
Along with that trio of horror TV panels, there's plenty more on tap for Day 4 of the 2014 Sdcc, especially if you're a comic lover (you know, those things that started the event in the first place), plus the annual presentation of "Buffy the Musical: Once More with Feeling" to close things out.
Check out the highlights below, and be sure to visit the official San Diego Comic-Con website for the full lineup.
Day 4: Sunday, July 27, 2014
10 Am - Supernatural Special Video Presentation and Q&A
Series stars Jared Padalecki (Friday the 13th [2009]), Jensen Ackles (My Bloody Valentine 3D), Misha Collins (Ringer), and Mark A. Sheppard (Battlestar Galactica), along with executive producer Jeremy Carver (U.
Along with that trio of horror TV panels, there's plenty more on tap for Day 4 of the 2014 Sdcc, especially if you're a comic lover (you know, those things that started the event in the first place), plus the annual presentation of "Buffy the Musical: Once More with Feeling" to close things out.
Check out the highlights below, and be sure to visit the official San Diego Comic-Con website for the full lineup.
Day 4: Sunday, July 27, 2014
10 Am - Supernatural Special Video Presentation and Q&A
Series stars Jared Padalecki (Friday the 13th [2009]), Jensen Ackles (My Bloody Valentine 3D), Misha Collins (Ringer), and Mark A. Sheppard (Battlestar Galactica), along with executive producer Jeremy Carver (U.
- 7/13/2014
- by Debi Moore
- DreadCentral.com
The following is a list of all comic books, graphic novels and specialty items that will be available this week and shipped to comic book stores who have placed orders for them.
Adhouse Books
Youth Is Wasted Gn, $14.95
Amryl Entertainment
Cavewoman Journey #2 (Of 2)(Cover B Rob Durham), Ar
Archie Comic Publications
Archie Double Digest #252, $4.99
Life With Archie #36 (Adam Hughes Cover), $4.99
Life With Archie #36 (Fiona Staples Cover), $4.99
Life With Archie #36 (Francesco Francavilla Cover), $4.99
Life With Archie #36 (Mike Allred Cover), $4.99
Life With Archie #36 (Ramon Perez Cover), $4.99
Mega Man #39 (Patrick Spaziante Regular Cover), $2.99
Mega Man #39 (Ryan Jampole Cut Scene Variant Cover), $2.99
Sonic Saga Volume 5 Enerjak Reborn Tp, $11.99
Sonic The Hedgehog #262 (Ben Bates Regular Cover), $2.99
Sonic The Hedgehog #262 (T.Rex Monster Movie Variant Cover), $2.99
Sonic Universe Volume 7 The Silver Saga Tp, $11.99
Aspen Comics
All New Soulfire #6 (Cover A V. Ken Marion), $3.99
All New Soulfire #6 (Cover B Pasquale Qualano), $3.99
Soulfire Annual #1 (Cover A Michael Turner...
Adhouse Books
Youth Is Wasted Gn, $14.95
Amryl Entertainment
Cavewoman Journey #2 (Of 2)(Cover B Rob Durham), Ar
Archie Comic Publications
Archie Double Digest #252, $4.99
Life With Archie #36 (Adam Hughes Cover), $4.99
Life With Archie #36 (Fiona Staples Cover), $4.99
Life With Archie #36 (Francesco Francavilla Cover), $4.99
Life With Archie #36 (Mike Allred Cover), $4.99
Life With Archie #36 (Ramon Perez Cover), $4.99
Mega Man #39 (Patrick Spaziante Regular Cover), $2.99
Mega Man #39 (Ryan Jampole Cut Scene Variant Cover), $2.99
Sonic Saga Volume 5 Enerjak Reborn Tp, $11.99
Sonic The Hedgehog #262 (Ben Bates Regular Cover), $2.99
Sonic The Hedgehog #262 (T.Rex Monster Movie Variant Cover), $2.99
Sonic Universe Volume 7 The Silver Saga Tp, $11.99
Aspen Comics
All New Soulfire #6 (Cover A V. Ken Marion), $3.99
All New Soulfire #6 (Cover B Pasquale Qualano), $3.99
Soulfire Annual #1 (Cover A Michael Turner...
- 7/13/2014
- by Adam B.
- GeekRest
Daryl Dixon is the definition of badass in AMC’s The Walking Dead, and the man who portrays him, Norman Reedus, will be appearing at one of Skybound’s three Comic-Con panels. Norman will discuss a character he play in the upcoming film, Air, the first feature film from Skybound, and the other two panels will explore The Walking Dead comic book and the comic industry itself, with Robert Kirkman sitting in on every conversation.
“Skybound’S The Walking Dead
Thursday 4:15pm-5:15pm – Room 6A – capacity 1,000
Dive into the world of the Eisner award-winning graphic novel The Walking Dead with creator Robert Kirkman and artist Charlie Adlard. Panel will be moderated by The Walking Dead editor Sean Mackiewicz.
Robert Kirkman Presents Skybound Entertainment Ft. Norman Reedus
Saturday 3:00pm-4:00pm – Room 6A – capacity 1,000
Robert Kirkman (The Walking Dead) and his producing partner David Alpert (The Walking Dead...
“Skybound’S The Walking Dead
Thursday 4:15pm-5:15pm – Room 6A – capacity 1,000
Dive into the world of the Eisner award-winning graphic novel The Walking Dead with creator Robert Kirkman and artist Charlie Adlard. Panel will be moderated by The Walking Dead editor Sean Mackiewicz.
Robert Kirkman Presents Skybound Entertainment Ft. Norman Reedus
Saturday 3:00pm-4:00pm – Room 6A – capacity 1,000
Robert Kirkman (The Walking Dead) and his producing partner David Alpert (The Walking Dead...
- 7/9/2014
- by Derek Anderson
- DailyDead
Skybound did not disappoint with this year’s batch of items that will be exclusive to the San Diego Comic-Con. They’ve teamed up with multiple companies to offer over a dozen items, including figures, a Lucielle replica, and much more:
via Skybound: “Here is our list of exclusive items we’ll be unveiling at San Diego Comic-Con this year! Find us in booth #2729 next to Image Comics!
The Walking Dead Ezekiel Action Figure ($25). Ezekiel is the next character in Skybound’s exclusive lineup of limited edition The Walking Dead action figures from McFarlane Toys. Ezekiel comes with his trademark sword-cane and is available in full color and black & white with blood splatter.
Manifest Destiny Watch ($75). Vannen once again brings style to your wrist with the latest Skybound Exclusive watch, this time featuring artwork from the breakout hit, Manifest Destiny. Each watch is signed by writer Chris Dingess and artist Matthew Roberts.
via Skybound: “Here is our list of exclusive items we’ll be unveiling at San Diego Comic-Con this year! Find us in booth #2729 next to Image Comics!
The Walking Dead Ezekiel Action Figure ($25). Ezekiel is the next character in Skybound’s exclusive lineup of limited edition The Walking Dead action figures from McFarlane Toys. Ezekiel comes with his trademark sword-cane and is available in full color and black & white with blood splatter.
Manifest Destiny Watch ($75). Vannen once again brings style to your wrist with the latest Skybound Exclusive watch, this time featuring artwork from the breakout hit, Manifest Destiny. Each watch is signed by writer Chris Dingess and artist Matthew Roberts.
- 6/30/2014
- by Jonathan James
- DailyDead
Ravenous is a film-shaped UFO: It's so delightfully weird that its very existence defies logic. Imagine a film that makes A Modest Proposal–style satire out of Dracula's gothic horror tropes in the spaghetti western milieu of The Great Silence. It's a pitch-black comedy about Manifest Destiny and cannibal frontiersmen.
Set in the western Sierra Nevadas during the Mexican-American War, Ravenous pits the inhabitants of Fort Spencer, a bunch of Peckinpah-esque misfits reluctantly led by battle-traumatized Boyd (Guy Pearce), against devilishly charming Colqhoun (Robert Carlyle), the sole survivor of a Donner Party–like massacre. The film ends with a drawn-out, quasi-homoerotic murder-suicide precipitated by a man-size bear tr...
Set in the western Sierra Nevadas during the Mexican-American War, Ravenous pits the inhabitants of Fort Spencer, a bunch of Peckinpah-esque misfits reluctantly led by battle-traumatized Boyd (Guy Pearce), against devilishly charming Colqhoun (Robert Carlyle), the sole survivor of a Donner Party–like massacre. The film ends with a drawn-out, quasi-homoerotic murder-suicide precipitated by a man-size bear tr...
- 6/18/2014
- Village Voice
Manifest Destiny #7
Written by Chris Dingess
Art by Matthew Roberts
Colored by Owen Gieni
Published by Image Comics
One great thing about Manifest Destiny #7 is that it assumes new readers will be picking it up. Using the device of Meriwether Lewis’ diary, it introduces the various members of the Lewis and Clark expedition and some of the people they’ve picked up along the way. However, the comic isn’t all exposition and describing characters. There is some beautiful art from Matthew Roberts and Owen Gieni, who show how strange the American West would have been to explorers in the early 19th century. Roberts’ facial work is a little inconsistent with some character seeming like caricature, and others more like actual humans. But Dingess’ script is tight and easy to follow with some bits of humor and moral ambiguity to keep the journey interesting.
After the events of the previous...
Written by Chris Dingess
Art by Matthew Roberts
Colored by Owen Gieni
Published by Image Comics
One great thing about Manifest Destiny #7 is that it assumes new readers will be picking it up. Using the device of Meriwether Lewis’ diary, it introduces the various members of the Lewis and Clark expedition and some of the people they’ve picked up along the way. However, the comic isn’t all exposition and describing characters. There is some beautiful art from Matthew Roberts and Owen Gieni, who show how strange the American West would have been to explorers in the early 19th century. Roberts’ facial work is a little inconsistent with some character seeming like caricature, and others more like actual humans. But Dingess’ script is tight and easy to follow with some bits of humor and moral ambiguity to keep the journey interesting.
After the events of the previous...
- 6/11/2014
- by Logan Dalton
- SoundOnSight
The following is a list of all comic books, graphic novels and specialty items that will be available this week and shipped to comic book stores who have placed orders for them.
Adhouse Books
Bad-Ventures Bobo Backslack Gn, $14.95
Antarctic Press
Gold Digger #211, $3.99
Archie Comic Publications
Archie Double Digest #251, $3.99
Sonic The Hedgehog #261 (Ben Bates Regular Cover), $2.99
Sonic The Hedgehog #261 (Tracy Yardley Is It Summer Yet Variant Cover), $2.99
Avatar Press
Caliban #3 (Facundo Percio Dark Matter Cover), $9.99
Crossed Badlands #55 (Christian Zanier Regular Cover), $3.99
Crossed Badlands #55 (Matt Martin Fatal Fantasy Cover), $3.99
Crossed Badlands #55 (Christian Zanier Red Crossed Incentive Cover), Ar
Crossed Badlands #55 (Christian Zanier Torture Cover), $3.99
Crossed Badlands #55 (Gabriel Andrade Wraparound Cover), $3.99
Crossed Volume 9 Hc, $27.99
Crossed Volume 9 Tp, $19.99
Dicks End Of Time #1 (John McCrea Regular Cover), $3.99
Dicks End Of Time #1 (John McCrea Classic Moment Incentive Cover), Ar
Dicks End Of Time #1 (John McCrea Offensive Cover), $3.99
God Is Dead #14 (Jacen Burrows Regular Cover), $3.99
God Is...
Adhouse Books
Bad-Ventures Bobo Backslack Gn, $14.95
Antarctic Press
Gold Digger #211, $3.99
Archie Comic Publications
Archie Double Digest #251, $3.99
Sonic The Hedgehog #261 (Ben Bates Regular Cover), $2.99
Sonic The Hedgehog #261 (Tracy Yardley Is It Summer Yet Variant Cover), $2.99
Avatar Press
Caliban #3 (Facundo Percio Dark Matter Cover), $9.99
Crossed Badlands #55 (Christian Zanier Regular Cover), $3.99
Crossed Badlands #55 (Matt Martin Fatal Fantasy Cover), $3.99
Crossed Badlands #55 (Christian Zanier Red Crossed Incentive Cover), Ar
Crossed Badlands #55 (Christian Zanier Torture Cover), $3.99
Crossed Badlands #55 (Gabriel Andrade Wraparound Cover), $3.99
Crossed Volume 9 Hc, $27.99
Crossed Volume 9 Tp, $19.99
Dicks End Of Time #1 (John McCrea Regular Cover), $3.99
Dicks End Of Time #1 (John McCrea Classic Moment Incentive Cover), Ar
Dicks End Of Time #1 (John McCrea Offensive Cover), $3.99
God Is Dead #14 (Jacen Burrows Regular Cover), $3.99
God Is...
- 6/9/2014
- by Adam B.
- GeekRest
The following is a list of all comic books, graphic novels and specialty items that will be available this week and shipped to comic book stores who have placed orders for them.
Abrams
Kyle Baker’s Nat Turner Sc (New Printing), $17.95
Star Wars Storyboards The Original Trilogy Hc, $40.00
Action Lab Entertainment
Princeless Short Stories Volume 1 Tp, $11.99
Alterna Comics
Fubar Better Red Than Dead (One Shot), $3.99
Amryl Entertainment
Cavewoman Karnival (One Shot)(Devon Massey Regular Cover), $3.75
Cavewoman Karnival (One Shot)(Budd Root Special Edition Cover), Ar
Antarctic Press
Zombie Fairy Tales Deadlands (One Shot), $3.99
Arcana Studio
Worth Hc, $24.95
Archie Comic Publications
Afterlife With Archie #5 (Andrew Pepoy Variant Cover), $2.99
Afterlife With Archie #5 (Francesco Francavilla Regular Cover), $2.99
Archie #655 (Fernando Ruiz Cosmo Merry Martian Variant Cover), $2.99
Archie #655 (Fernando Ruiz Regular Cover), $2.99
Archie 1000 Page Comics Bonanza Tp, $14.99
Kevin Keller #13 (Dan Parent Regular Cover), $2.99
Kevin Keller #13 (Ryan Jampole Chibi Variant Cover), $2.99
Life With Archie #35 (Chad Thomas...
Abrams
Kyle Baker’s Nat Turner Sc (New Printing), $17.95
Star Wars Storyboards The Original Trilogy Hc, $40.00
Action Lab Entertainment
Princeless Short Stories Volume 1 Tp, $11.99
Alterna Comics
Fubar Better Red Than Dead (One Shot), $3.99
Amryl Entertainment
Cavewoman Karnival (One Shot)(Devon Massey Regular Cover), $3.75
Cavewoman Karnival (One Shot)(Budd Root Special Edition Cover), Ar
Antarctic Press
Zombie Fairy Tales Deadlands (One Shot), $3.99
Arcana Studio
Worth Hc, $24.95
Archie Comic Publications
Afterlife With Archie #5 (Andrew Pepoy Variant Cover), $2.99
Afterlife With Archie #5 (Francesco Francavilla Regular Cover), $2.99
Archie #655 (Fernando Ruiz Cosmo Merry Martian Variant Cover), $2.99
Archie #655 (Fernando Ruiz Regular Cover), $2.99
Archie 1000 Page Comics Bonanza Tp, $14.99
Kevin Keller #13 (Dan Parent Regular Cover), $2.99
Kevin Keller #13 (Ryan Jampole Chibi Variant Cover), $2.99
Life With Archie #35 (Chad Thomas...
- 5/12/2014
- by Adam B.
- GeekRest
The following is a list of all comic books, graphic novels and specialty items that will be available this week and shipped to comic book stores who have placed orders for them.
Abstract Studios
Rachel Rising #25, $3.99
AC Comics
Crypt Of Horror Volume 21 Tp, $29.95
Alternative Comics
Big Feminist But Comics About Women Gn (not verified by Diamond), $20.00
Mostly Wordless Hc, $18.95
Sugar Booger #2 (Of 3)(not verified by Diamond), $5.95
Altus Press
Doc Savage The New Adventures Volume 7 Phantom Lagoon Sc (not verified by Diamond), $24.95
Amryl Entertainment
Cavewoman Journey #1 (Of 2)(Cover A Rob Durham), $3.75
Cavewoman Journey #1 (Of 2)(Cover B Rob Durham), Ar
Cavewoman Journey #1 (Of 2)(Cover D Budd Root), Ar
Antarctic Press
Last Zombie Zomnibus Tp, $49.99
Arcana Studio
Chambers Gn, $19.95
Archie Comic Publications
Betty And Veronica Double Digest #223, $5.99
Jughead And Archie Double Digest #1, $3.99
Mega Man #36 (Patrick Spaziante Regular Cover), $2.99
Mega Man #36 (Brent McCarthy Trial Of Dr Wily Variant Cover), $2.99
Avatar Press
Absolution Volume 2 Rubicon Tp,...
Abstract Studios
Rachel Rising #25, $3.99
AC Comics
Crypt Of Horror Volume 21 Tp, $29.95
Alternative Comics
Big Feminist But Comics About Women Gn (not verified by Diamond), $20.00
Mostly Wordless Hc, $18.95
Sugar Booger #2 (Of 3)(not verified by Diamond), $5.95
Altus Press
Doc Savage The New Adventures Volume 7 Phantom Lagoon Sc (not verified by Diamond), $24.95
Amryl Entertainment
Cavewoman Journey #1 (Of 2)(Cover A Rob Durham), $3.75
Cavewoman Journey #1 (Of 2)(Cover B Rob Durham), Ar
Cavewoman Journey #1 (Of 2)(Cover D Budd Root), Ar
Antarctic Press
Last Zombie Zomnibus Tp, $49.99
Arcana Studio
Chambers Gn, $19.95
Archie Comic Publications
Betty And Veronica Double Digest #223, $5.99
Jughead And Archie Double Digest #1, $3.99
Mega Man #36 (Patrick Spaziante Regular Cover), $2.99
Mega Man #36 (Brent McCarthy Trial Of Dr Wily Variant Cover), $2.99
Avatar Press
Absolution Volume 2 Rubicon Tp,...
- 4/29/2014
- by Adam B.
- GeekRest
The following is a list of all comic books, graphic novels and specialty items that will be available this week and shipped to comic book stores who have placed orders for them.
Aazurn Publishing
Mercenary Pig #1 (not verified by Diamond), $4.99
Alterna Comics
Lilith Dark And The Beastie Tree Gn, $14.99
Amigo Comics
Lunita #2 (Of 4), $3.99
Rogues The Cold Ship #1 (Of 5), $3.99
Amp! Comics For Kids
Big Nate Great Minds Think Alike Tp, $9.99
Archie Comic Publications
Afterlife With Archie #4 (Francesco Francavilla 2nd Printing Variant Cover), $2.99
Archie Comics Super Special #5, $9.99
Archie Double Double Digest #250, $5.99
Sonic The Hedgehog Select Volume 9 Games Tp, $11.99
Aspen Comics
Lola Xoxo #1 (Cover A Siya Oum), $3.99
Lola Xoxo #1 (Cover B Siya Oum), $3.99
Lola Xoxo #1 (Cover C Siya Oum), Ar
Lola Xoxo #1 (Cover D Siya Oum), Ar
Avatar Press
Caliban #1 (Facundo Percio Dark Matter Cover), $9.99
Bearmanor Media
Soap Inside Story Of The Sitcom That Broke All The Rules Sc, $29.95
Big Dog Ink
Legend...
Aazurn Publishing
Mercenary Pig #1 (not verified by Diamond), $4.99
Alterna Comics
Lilith Dark And The Beastie Tree Gn, $14.99
Amigo Comics
Lunita #2 (Of 4), $3.99
Rogues The Cold Ship #1 (Of 5), $3.99
Amp! Comics For Kids
Big Nate Great Minds Think Alike Tp, $9.99
Archie Comic Publications
Afterlife With Archie #4 (Francesco Francavilla 2nd Printing Variant Cover), $2.99
Archie Comics Super Special #5, $9.99
Archie Double Double Digest #250, $5.99
Sonic The Hedgehog Select Volume 9 Games Tp, $11.99
Aspen Comics
Lola Xoxo #1 (Cover A Siya Oum), $3.99
Lola Xoxo #1 (Cover B Siya Oum), $3.99
Lola Xoxo #1 (Cover C Siya Oum), Ar
Lola Xoxo #1 (Cover D Siya Oum), Ar
Avatar Press
Caliban #1 (Facundo Percio Dark Matter Cover), $9.99
Bearmanor Media
Soap Inside Story Of The Sitcom That Broke All The Rules Sc, $29.95
Big Dog Ink
Legend...
- 4/7/2014
- by Adam B.
- GeekRest
The following is a list of all comic books, graphic novels and specialty items that will be available this week and shipped to comic book stores who have placed orders for them.
Adhouse Books
Basewood Hc (not verified by Diamond), $19.95
Andrews McMeel
For Better Or For Worse It’s One Thing After Another Tp, $22.99
Ape Entertainment
Black Coat The Blackest Dye Gn, $12.99
Archie Comics
Afterlife With Archie #4 (Francesco Francavilla Regular Cover), $2.99
Afterlife With Archie #4 (Tim Seeley Variant Cover), $2.99
Archie Double Digest #249, $3.99
Mega Man #34 (Ben Bates Mega Man X Variant Cover), $2.99
Mega Man #34 (Patrick Spaziante Regular Cover), $2.99
Sonic Super Sized Super Digest #6, $6.99
Sonic The Hedgehog Mega Man Worlds Collide Volume 2 Into The Warzone Tp, $11.99
World Of Archie Double Digest #37, $3.99
Avatar Press
Extinction Parade #5 (Raulo Caceres Leather Cover), $14.99
God Is Dead #8 (German Nobile Carnage Wraparound Cover), $3.99
God Is Dead #8 (Jacen Burrows End Of Days Cover), $3.99
God Is Dead #8 (Jacen Burrows Gilded Incentive...
Adhouse Books
Basewood Hc (not verified by Diamond), $19.95
Andrews McMeel
For Better Or For Worse It’s One Thing After Another Tp, $22.99
Ape Entertainment
Black Coat The Blackest Dye Gn, $12.99
Archie Comics
Afterlife With Archie #4 (Francesco Francavilla Regular Cover), $2.99
Afterlife With Archie #4 (Tim Seeley Variant Cover), $2.99
Archie Double Digest #249, $3.99
Mega Man #34 (Ben Bates Mega Man X Variant Cover), $2.99
Mega Man #34 (Patrick Spaziante Regular Cover), $2.99
Sonic Super Sized Super Digest #6, $6.99
Sonic The Hedgehog Mega Man Worlds Collide Volume 2 Into The Warzone Tp, $11.99
World Of Archie Double Digest #37, $3.99
Avatar Press
Extinction Parade #5 (Raulo Caceres Leather Cover), $14.99
God Is Dead #8 (German Nobile Carnage Wraparound Cover), $3.99
God Is Dead #8 (Jacen Burrows End Of Days Cover), $3.99
God Is Dead #8 (Jacen Burrows Gilded Incentive...
- 3/3/2014
- by Adam B.
- GeekRest
The following is a list of all comic books, graphic novels and specialty items that will be available this week and shipped to comic book stores who have placed orders for them.
Abstract Studios
Rachel Rising #23, $3.99
Action Lab Entertainment
NFL Rush Zone Super Bowl Special Tp, $5.00
Alterna Comics
Fubar Guts And Glory (One Shot), $3.99
Amryl Entertainment
Cavewoman Deadly Venom (One Shot)(Bud Root Special Edition Cover), Ar
Cavewoman Deadly Venom (One Shot)(Rob Durham Regular Cover), $3.75
Cavewoman Deadly Venom (One Shot)(Rob Durham Special Edition Cover), Ar
Antarctic Press
Gold Digger #207, $3.99
Arcana Studio
7 Holes For Air Gn, $19.95
Steam Engines Of Oz Volume 2 The Geared Leviathan #3, $3.99
Archie Comic Publications
Archie 1000 Page Comics-Palooza Tp, $14.99
Archie’s Funhouse Double Digest #2, $3.99
Sonic The Hedgehog #257 (Lamar Wells Station Square Rescue Variant Cover), $2.99
Sonic The Hedgehog #257 (Rafa Knight Regular Cover), $2.99
Ardden Entertainment
Devil’s Hopyard #1, $3.99
Aspen Comics
All New Soulfire #3 (Cover A Kenneth V. Marion), $3.99
All...
Abstract Studios
Rachel Rising #23, $3.99
Action Lab Entertainment
NFL Rush Zone Super Bowl Special Tp, $5.00
Alterna Comics
Fubar Guts And Glory (One Shot), $3.99
Amryl Entertainment
Cavewoman Deadly Venom (One Shot)(Bud Root Special Edition Cover), Ar
Cavewoman Deadly Venom (One Shot)(Rob Durham Regular Cover), $3.75
Cavewoman Deadly Venom (One Shot)(Rob Durham Special Edition Cover), Ar
Antarctic Press
Gold Digger #207, $3.99
Arcana Studio
7 Holes For Air Gn, $19.95
Steam Engines Of Oz Volume 2 The Geared Leviathan #3, $3.99
Archie Comic Publications
Archie 1000 Page Comics-Palooza Tp, $14.99
Archie’s Funhouse Double Digest #2, $3.99
Sonic The Hedgehog #257 (Lamar Wells Station Square Rescue Variant Cover), $2.99
Sonic The Hedgehog #257 (Rafa Knight Regular Cover), $2.99
Ardden Entertainment
Devil’s Hopyard #1, $3.99
Aspen Comics
All New Soulfire #3 (Cover A Kenneth V. Marion), $3.99
All...
- 2/10/2014
- by Adam B.
- GeekRest
The following is a list of all comic books, graphic novels and specialty items that will be available this week and shipped to comic book stores who have placed orders for them.
AC Comics
Crypt Of Horror Volume 20 Tp, $29.95
Antarctic Press
Gold Digger Platinum Volume 6 Tp, $14.99
Archie Comic Publications
Archie #652 (Dan Parent Regular Cover), $2.99
Archie #652 (Stephanie Buscema Retro Concert Poster Variant Cover), $2.99
Fox #4 (David Mack Daddy Variant Cover), $2.99
Fox #4 (Dean Haspiel Regular Cover), $2.99
Sabrina The Teenage Witch The Magic Within Volume 4 Tp, $10.99
Sonic Universe #60 (Tracy Yardley Regular Cover), $2.99
Sonic Universe #60 (Vincent Riley Alien Invasion Variant Cover), $2.99
Avatar Press
Ferals Volume 3 Tp, $19.99
God Is Dead #1 (Jacen Burrows Enhanced Connecting Cover), $3.99
God Is Dead #6 (Jacen Burrows End Of Days Cover), $3.99
God Is Dead #6 (Jacen Burrows Gilded Incentive Cover), Ar
God Is Dead #6 (Jacen Burrows Iconic Cover), $3.99
God Is Dead #6 (Jonathan Hickman Regular Cover), $3.99
God Is Dead #6 (Rafa Ortiz Carnage Wraparound Cover), $3.99
Rover...
AC Comics
Crypt Of Horror Volume 20 Tp, $29.95
Antarctic Press
Gold Digger Platinum Volume 6 Tp, $14.99
Archie Comic Publications
Archie #652 (Dan Parent Regular Cover), $2.99
Archie #652 (Stephanie Buscema Retro Concert Poster Variant Cover), $2.99
Fox #4 (David Mack Daddy Variant Cover), $2.99
Fox #4 (Dean Haspiel Regular Cover), $2.99
Sabrina The Teenage Witch The Magic Within Volume 4 Tp, $10.99
Sonic Universe #60 (Tracy Yardley Regular Cover), $2.99
Sonic Universe #60 (Vincent Riley Alien Invasion Variant Cover), $2.99
Avatar Press
Ferals Volume 3 Tp, $19.99
God Is Dead #1 (Jacen Burrows Enhanced Connecting Cover), $3.99
God Is Dead #6 (Jacen Burrows End Of Days Cover), $3.99
God Is Dead #6 (Jacen Burrows Gilded Incentive Cover), Ar
God Is Dead #6 (Jacen Burrows Iconic Cover), $3.99
God Is Dead #6 (Jonathan Hickman Regular Cover), $3.99
God Is Dead #6 (Rafa Ortiz Carnage Wraparound Cover), $3.99
Rover...
- 2/3/2014
- by Adam B.
- GeekRest
The following is a list of all comic books, graphic novels and specialty items that will be available this week and shipped to comic book stores who have placed orders for them.
Aam Markosia
Christopher Marlowe And The Bards Of Nemeton Gn, $18.99
Accent UK
Missing Have You Seen The Invisible Man (One Shot), $5.00
Action Lab Entertainment
Fracture #1 (Of 4)(Cover A Chad Cicconi), $2.99
Fracture #1 (Of 4)(Cover B Jamal Igle), $2.99
Skyward Volume 1 Into The Woods Tp, $8.99
Adhouse Books
B Plus F Hc, $19.95
Altus Press
Doc Savage The New Adventures Volume 6 The Miracle Menace Sc, $24.95
Amigo Comics
Rogues #6, $3.99
Westwood Witches #4 (Of 4), $3.99
Amryl Entertainment
Cavewoman Labyrinth (One Shot), $3.75
Cavewoman Labyrinth (One Shot)(Devon Massey Special Edition), Ar
Cavewoman Labyrinth (One Shot)(Budd Root Special Edition), Ar
Arcana Studio
Steam Engines Of Oz Volume 2 The Geared Leviathan #2, $3.99
Archie Comics
Afterlife With Archie #3 (Francesco Francavilla Regular Cover), $2.99
Afterlife With Archie #3 (Tim Seeley Variant Cover), $2.99
Archie #651 (Dan...
Aam Markosia
Christopher Marlowe And The Bards Of Nemeton Gn, $18.99
Accent UK
Missing Have You Seen The Invisible Man (One Shot), $5.00
Action Lab Entertainment
Fracture #1 (Of 4)(Cover A Chad Cicconi), $2.99
Fracture #1 (Of 4)(Cover B Jamal Igle), $2.99
Skyward Volume 1 Into The Woods Tp, $8.99
Adhouse Books
B Plus F Hc, $19.95
Altus Press
Doc Savage The New Adventures Volume 6 The Miracle Menace Sc, $24.95
Amigo Comics
Rogues #6, $3.99
Westwood Witches #4 (Of 4), $3.99
Amryl Entertainment
Cavewoman Labyrinth (One Shot), $3.75
Cavewoman Labyrinth (One Shot)(Devon Massey Special Edition), Ar
Cavewoman Labyrinth (One Shot)(Budd Root Special Edition), Ar
Arcana Studio
Steam Engines Of Oz Volume 2 The Geared Leviathan #2, $3.99
Archie Comics
Afterlife With Archie #3 (Francesco Francavilla Regular Cover), $2.99
Afterlife With Archie #3 (Tim Seeley Variant Cover), $2.99
Archie #651 (Dan...
- 1/6/2014
- by Adam B.
- GeekRest
There have been many great comics this year and I've found that each and every one I've become hooked on or continue to be engrossed in have less to do with superheroes and more to do with dark, fantasy tales. As a publisher, Image Comics reigns supreme in 2013. They not only celebrated a decade of The Walking Dead, and introduced the magnificent new title Manifest Destiny but their Eisner Award winning series Saga continues to dominate every month in terms of quality. Best Character – Negan from The Walking Dead 2013 belongs to the barbwire-laced baseball bat touting foul-mouthed sociopath known as Negan. While many of us Walking Dead readers have been hoping and praying for his death, myself included, I've come to the realization that he's the not only the most entertaining character...
- 12/31/2013
- by Keven Skinner
- The Daily BLAM!
The following is a list of all comic books, graphic novels and specialty items that will be available this week and shipped to comic book stores who have placed orders for them.
47 North
Transformers The Covenant Of Primus Deluxe Hc, $99.99
AC Comics
Femforce #165 (Cover A Eric Coile), $9.95
Femforce #165 (Cover B John Nadeau), $9.95
Airship Entertainment
Girl Genius Volume 2 Agatha And The Airship City Tp (New Printing), $25.00
Amigo Comics
Lunita #1, $3.99
Antarctic Press
Crawling Sky Tp, $12.99
Gold Digger Christmas Special #7, $3.99
Last Zombie Volume 5 The End Tp, $14.95
Steampunk Cinderella (One Shot), $3.99
Victorian Secret Masquerade 2013 (One Shot), $3.99
Archie Comic Publications
Jugheads Double Digest #198, $3.99
Life With Archie #33 (Chrissie Zullo Josie Variant Cover), $3.99
Life With Archie #33 (Fernando Ruiz Regular Cover), $3.99
Mega Man #32 (Patrick Spaziante Regular Cover), $2.99
Mega Man #32 (Powree Payback Variant Cover), $2.99
Asylum Press
Fearless Dawn Jurassic (One Shot), $3.99
Avatar Press
Crossed Volume 7 Badlands IV Hc (Previews Exclusive), $27.99
Crossed Volume 7 Badlands IV Tp, $19.99
George R.R. Martin’s...
47 North
Transformers The Covenant Of Primus Deluxe Hc, $99.99
AC Comics
Femforce #165 (Cover A Eric Coile), $9.95
Femforce #165 (Cover B John Nadeau), $9.95
Airship Entertainment
Girl Genius Volume 2 Agatha And The Airship City Tp (New Printing), $25.00
Amigo Comics
Lunita #1, $3.99
Antarctic Press
Crawling Sky Tp, $12.99
Gold Digger Christmas Special #7, $3.99
Last Zombie Volume 5 The End Tp, $14.95
Steampunk Cinderella (One Shot), $3.99
Victorian Secret Masquerade 2013 (One Shot), $3.99
Archie Comic Publications
Jugheads Double Digest #198, $3.99
Life With Archie #33 (Chrissie Zullo Josie Variant Cover), $3.99
Life With Archie #33 (Fernando Ruiz Regular Cover), $3.99
Mega Man #32 (Patrick Spaziante Regular Cover), $2.99
Mega Man #32 (Powree Payback Variant Cover), $2.99
Asylum Press
Fearless Dawn Jurassic (One Shot), $3.99
Avatar Press
Crossed Volume 7 Badlands IV Hc (Previews Exclusive), $27.99
Crossed Volume 7 Badlands IV Tp, $19.99
George R.R. Martin’s...
- 12/9/2013
- by Adam B.
- GeekRest
Lewis and Clark, pioneer explorers of the American Frontier on a mission of discovery to map the great uncharted lands of America – and hunt monsters? Yes, in a similar vein to Abraham Lincoln: Vampire Hunter, writer Chris Dingess takes the famous explorers and re-imagines their journey as part geographical survey and part clandestine mission to eliminate a mysterious threat to the burgeoning United States.
Manifest Destiny is Dingess’ first comic – his background is TV writing on shows like Being Human and Medium – and it’s not bad for a first comic, especially as it’s also a first issue which are notoriously hard to get right. There’s a lot of cursive-lettered scene-setting from Lewis’ journal as he gives us the setup of the expedition, the makeup of the crew, their mission and side-mission, and his impressions of the journey so far. It’s a lot to get through and,...
Manifest Destiny is Dingess’ first comic – his background is TV writing on shows like Being Human and Medium – and it’s not bad for a first comic, especially as it’s also a first issue which are notoriously hard to get right. There’s a lot of cursive-lettered scene-setting from Lewis’ journal as he gives us the setup of the expedition, the makeup of the crew, their mission and side-mission, and his impressions of the journey so far. It’s a lot to get through and,...
- 11/15/2013
- by Noel Thorne
- Obsessed with Film
Last week’s episode of Sleepy Hollow began with Abbie Mills extolling the virtues of baseball for Ichabod Crane. Of course, Sleepy Hollow being Sleepy Hollow, where subtext is as conspicuous as a catcher flashing signs, Abbie wasn’t only talking about the American Pastime. She was talking about America, too. Or America as it should be. “For me, baseball is about three things,” she told the 18th-century Rip Van Winkle, recently awakened from a 232-year-long dirt nap. “First, tradition. Rules never change. You can always count on the grass to be green, the lines to be white. No matter how crazy the world gets,...
- 11/11/2013
- by Jeff Jensen
- EW - Inside TV
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