Piizlo http://www.piizlo.com Mon, 22 Oct 2018 16:48:33 +0000 en-US hourly 1 https://wordpress.org/?v=4.9.8 40 keys that you may not know about Martin Scorsese http://www.piizlo.com/40-keys-that-you-may-not-know-about-martin-scorsese/ Fri, 19 Oct 2018 12:10:55 +0000 http://www.piizlo.com/?p=13 40 keys that you may not know about Martin Scorsese

He is one of the best directors of the last decades, with an unusual importance in the creative work that the Jury of the Princess of Asturias Award for the Arts 2018 has had well to recognize. Yours is the prize this year. We are talking about one of the most outstanding film directors of the film renewal movement that emerged in the seventies of the 20th century. He has directed more than twenty films that are already part of the history of cinema and is currently in full activity, combining in his work, with mastery, innovation and classicism. An acknowledgment that Filmin celebrates as well plays: with 81 movies you must see before dying according to Martin Scorsese , as well as 40 keys that you probably do not know about him . Congratulations, Marty .

While we get an idea of ​​what the future holds for Scorsese and we enjoy it in Filmin with its darkest side ( “Shutter Island” ), epic ( “Gangs of New York” ) or melomaniac ( “George Harrison” ), we From Flavorwire we have a quarantine of fascinating details about your past that we shared with you in honor of Marty’s birthday.

1. Scorsese’s parents, Charles and Catherine, have appeared in his films – including his first feature film, Who’s That Knocking at My Door, Raging Bull, Goodfellas and Casino .

2. Scorsese was a sickly child. His family took him to the movies to have fun, and there he began his passion for cinema.

3. The director almost joined the priesthood. “I entered the seminary after elementary school, but they threw me out at the end of my first year because I played dumb during the prayers. They thought I was a bully, “he revealed once. Catholic themes have greatly influenced his work.

4. He was married to actress Isabella Rossellini of ” Blue Velvet “.

5. The director is a big fan of the old horror films of the Hammer , although he did not work with his friend and icon of the Hammer Christopher Lee until “The invention of Hugo” , in 2011.

6. We have to thank the director of “Doble cuerpo” and “Blow Out” , Brian De Palma , for introducing Scorsese to his frequent collaborator, Robert De Niro .

7. Marty taught director Oliver Stone at the Tisch School of the Arts , at the University of New York . He was an instructor in Stone’s Sight and Sound class – an introductory production course. “He was just a disheveled New Yorker, quick-talking and passionate about cinema ,” Stone said of the filmmaker. Scorsese also taught Spike Lee .

8. Scorsese was the director and assistant editor in the 1970 documentary “Woodstock” , the chronicle of the legendary 1969 music festival.

9. Marty worked on Elvis’ 33rd and last film, “Elvis on Tour,” in 1972.

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10. John Hinckley, Jr. , who tried to assassinate President Ronald Reagan in 1981, blamed Scorsese’s “Taxi Driver” for his crime. He was so obsessed with the character of the minor prostitute of Jodie Foster that he came to harass the actress. Hinckley thought that the shooting would impress the star and attract his attention.

11. The director was originally offered the role of Charles Manson in the 1976 TV movie “Helter Skelter,” but he rejected it.

12. “Taxi Driver” won the prestigious Palme d’Or at the 1976 Cannes Film Festival , but the film did not take home any Academy Awards – despite having been nominated in four categories.

13. The box office failure of Scorsese’s “New York, New York,” starring Robert De Niro and Liza Minnelli as two artists in a difficult relationship, led to deep depression. At that time, he was also fighting a cocaine addiction (along with Quaaludes and alcohol). When he was in Cannes in 1978, Scorsese could not find any coca, so he took a private jet to Paris, in a desperate attempt to buy some.

14. Robert De Niro encouraged Scorsese to quit the addiction after the director was on the verge of dying of an internal hemorrhage due to a drug interaction. It was then that De Niro approached him with the book “Raging Bull: My Story” , the memoirs of Jake LaMotta . De Niro had tried to start a film about history years before.

15. Marty directed an episode of Steven Spielberg’s television anthology, “Amazing Stories,” in 1986. “Mirror Mirror” follows a horror novelist who does not believe in the supernatural until he begins to see a disturbing figure when You look in a mirror.

16. During the performance of “The Last Temptation of Christ” by Scorsese, the filmmaker banned smoking on set. It was due to his asthma, but also to preserve the integrity of his biblical characters for the press. Willem Dafoe’s Jesus holding a cigarette would have caused too much fuss.

17. The original cast of “The Last Temptation of Christ” includes Aidan Quinn as Jesus, Sting as Pontius Pilate, Ray Davies as Judas Iscariot, and Vanity as Mary Magdalene.

18. Scorsese played the painter Vincent van Gogh in Akira Kurosawa’s magical realism film, “Dreams .

19. You can see Scorsese in his 1995 movie, “Casino,” as a player at one of the tables.

20. There was a series of actresses proposed for the role of Ginger in “Casino” (played by Sharon Stone ), the unstable hustler married to a mafia boss ( Joe Pesci ), including Madonna and Traci Lords .

21. Martin Scorsese does not allow strangers access to the sets when he directs Robert De Niro.

22. Steven Spielberg almost directed “Cape Fear”, but recommended Marty for the job.

23. The director has fond memories of the Copacabana nightclub in New York, which appears in “One of Ours.” He visited the club on the night of his promotion party.

24. Scorsese is so obsessively retailer that every day he made the tie of Ray Liotta’s tie in “One of ours” to make sure that his style was the right one.

25. Scorsese’s last dog, a Bichon Frize named Zoe , used to sit on his lap while he directed his films.

26. He is a music-loving filmmaker who takes an iPod everywhere.

27. Scorsese is one of the few dozen people who are prohibited from entering Tibet. Disney discussed with the Chinese authorities about the restriction for the filming of the film by the director of 1997, “Kundun” .

28. He is extremely superstitious and has a phobia with the number 11. He was anxious during the 1970s. He used to avoid everything that had to do with the number, including a trip on November 11, or staying on the 11th floor. of a hotel.

29. Scorsese shows films for his teenage daughter Francesca and her friends every Saturday. His birthday is the day before his (on November 16).

30. He almost made a movie about comedian Richard Pryor . It would have been based on the 1995 actor’s autobiography, “Pryor Convictions: And Other Life Sentences.” Damon Wayans was chosen as Pryor, but the project fell apart.

31. Admirer of film duo Michael Powell and Emeric Pressburger , it’s no surprise that a young Marty rented “The Tales of Hoffmann” on a regular basis at his local video store. Without Scorsese knowing, another budding filmmaker was obsessively renting the same movie: George Romero .

“Romero rented it weekly, saying it was always in stock because nobody else wanted to see it. One day, the employee told him that a boy from Queens had arrived first. The name of the boy: Martin Scorsese. ” We were the only children who rented that movie ,” Romero said with a smile.

32. “Duel to the Sun” by King Vidor (1946), which is about a young mestiza who lives with her Anglo-Saxon family, was the first film that Scorsese saw. He was only four years old.

33. He loves the television show Fawlty Towers .

34. In “Taxi Driver”, Scorsese appeared as an anguished passenger in the cabin of Travis Bickle , who was dying to kill his unfaithful wife. He had set another actor for the role, but that day he was sick.

35. Martin Scorsese worked as a news director for CBS television after graduating from NYU .

36. Ben Kingsley bases his characterization of the pioneering filmmaker Georges Méliès on “The invention of Hugo” in Martin Scorsese (who has a cameo in the film as a photographer).

37. He rejected Steven Spielberg’s offer to direct “Schindler’s List” . He believed that a Jewish filmmaker would be a better choice.

38. Scorsese has two regrets: he did not read more when he was younger and he never learned to cook.

39. He directed the video for “Bad” by Michael Jackson .

40. Marty draws his own storyboards .

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Festival Seminci 2018: Our 10 favorites http://www.piizlo.com/festival-seminci-2018-our-10-favorites/ Thu, 18 Oct 2018 11:50:43 +0000 http://www.piizlo.com/?p=11 Festival Seminci 2018: Our 10 favorites

The Grand Prize of the Jury as well as the Audience Award at the last Sundance Festival, the Best Film of the recent Locarno Festival, the winner of Un Certain Regard at the last Cannes Festival, the most likely next Goya for Best Documentary or the new by Matteo Garrone and Denys Arcand . This is how well the 63rd edition of Seminci is already beginning. The Valladolid Festival opens tomorrow, Saturday, October 20, its doors. We open our mouths with our 10 favorites , we live it at a distance with our exclusive channel dedicated to the pucelano contest. Thereto.

1. BORDER by Ali Abbasi

Official Section

The head of “Shelley” adapts a novel by the author of “Let me in”, John Ajvide Lindqvist, under the script of the director of “Holiday”, Isabella Ëklof. Final result, Best Film in Un Certain Regard of the last Cannes Festival. It is the irrefutable letter of introduction of the imposing “Border”, a sinister fairy tale that transits multiple parallel universes in which disturbingly converge social chronicle, grotesque comedy, criminal thriller, horror, folklore and even an unclassifiable love-story of which leads to what could well be the best sex sequence of the year. And the most surprising of all is that despite playing so many different clubs, he has the difficult task of making everything fit, that everything fits. Much covers, and much squeezes. It’s the exception that confirms the rule. Nothing of what happens in “Border” is capricious or gratuitous for more than with so many twists and fusion of different themes and concepts could well run the risk of ending up being so. His is a complex gear whose destiny is none other than to embark the spectator to the confines of the human, where the monstrosity collides frontally with existence. Little more I want to reveal about a work of which, the less information I have of it, the better.   The surprise will be even greater.

 


2. THE MISEDUCATION OF CAMERON POST
by Desiree Akhavan

Official Section

In short, the best film of the last Sundance Festival. Desiree Akhavan was put on the map with her brazen debut “Appropiate Bahaviour,” an autobiographical comedy that dealt with the identity crisis and pivoted on a bisexual young American-American woman in a disconnected hipster setting in Brooklyn. An acid and sexually sincere portrait of the disintegration of a relationship that brought with it the names Lena Dunham, Woody Allen, Noah Baumbach or Judd Apatow as suggestive references and which will now continue with “The Miseducation of Cameron Post”, adaptation of the novel by Emily M. Danforth starring Chloë Grace Moretz that tells the story of a young girl who is forced to attend a therapy center to convert homosexuals.

 


3. THE SILENCE OF OTHERS
by Almudena Carrecedo and Robert Bahar

History Time

“The silence of others” reflects the first attempt in 77 years to prosecute the crimes of the 40 years of Spanish dictatorship under the regime of General Franco (1939-1975). A journey in time propelled by the forced search to recover our historical memory. An atrocious past marked by the devastating and inhuman dictatorship of Franco, but also by the hopeful aura of light that illuminated those who staged that supposedly key stage for the democracy of our country that supposed the Transition. And we say ‘supposedly’ because the light with which this historical stage illuminated us is still tinged with shadows. Memory versus oblivion. Half a century later, this is still the great social conflict of a country, ours, whose deep wounds are far from healed, however much they try to ignore and ignore.

The amnesty law introduced in 1977 in Spain included the pardon of political prisoners, as well as a broad spectrum of crimes that included political acts, rebellion, sedition and denial of aid committed before December 15, 1976. Implementation in the midst of transition to democracy, its objective was not intended to be other than to open the way for regeneration. Big mistake. 35 years later, as is perfectly understandable, the relatives of the victims whose remains were never found, the mothers whose children were stolen by the regime as soon as they were born, or the direct victims who were deprived of their freedom to suffer all kinds of torture and humiliation, far from being able to forget. Basically because their executioners are still free and unpunished, because many of the streets they travel (or even where they live) continue to pay tribute to the names of those vile murderers and criminals. The same goes for a large part of the monuments that we find throughout Spain, taking its ineffable summit in the Valley of the Fallen.

And it is precisely in this process of delayed search for justice that embarks on this moving documentary that in turn is painful, which focuses on the international lawsuit filed by the survivors of the Francoist crimes through a conscientious assembly of archive images and overwhelming interviews of several of its involuntary protagonists, in this case victims whose trauma they are far from reconciling thanks to the ambiguities of a country whose conservative and fascist idiosyncrasy is still in full force, however sly it may pretend to be. It is true that nothing new discover us “The Silence of Others” for those who live in Spain. It is not the case, however, if we look at the rest of Europe, because what Almudena Carrecedo and Robert Bahar decisively uncover is the true face of a country far from being that progressive nation with which it is intended to show the rest of the world . It is Spain without a mask, the Spain that hides its head under the wing far from facing the problem. Basically because it does not matter. Let all Europe see it and above all, let it know.

 

4. A LAND IMAGINED by Siew Hua Yeo

Official Section

Among industrial areas of Singapore, Lok, a police detective, is tasked with finding Wang, a missing immigrant worker who has suffered a work-related accident and is worried about his repatriation. Winner of the Golden Leopard in the past Locarno Festival, “A Land Imagined” is defined as an exotic show of Asian noir, an excellent detective thriller about the existence of parallel realities and identities that takes the form of a Lynchian nightmare and that in a certain way evokes the cinema of Nicolas Winding Refn.


5. THE GUILTY

Official Section

Phenomenon in sight. Winner of the Audience Award at the last Sundance Festival and selected by Denmark as representative in the Oscar race, “The Guilty” has been compared with “Buried” by Rodrigo Cortés, and has also become the summer revelation film on the French card, getting to stay throughout the summer season in the highest positions of the Box office. Confined to practically a single space, Gustav Möller’s film follows a night shift by Asger Holm, a former police officer who has been suspended from his duties and relegated to an emergency service operator. A call from a woman who has been abducted leads her to face not only the rush of events related to the crime, but also her own personal demons.

 


6. DOGMAN

Official Section

It is the film that marks the return to the origins of Matteo Garrone, “El Taxidermista” (2002) and “Primo Amore” . “Dogman” takes us to the periphery of Rome in the late 80s, where the law of the jungle prevails, where honor and money are the only things that count and where drugs and violence are the only problems. And he does it to move the real case of Pietro De Negri a dog hairdresser who murdered an ex-amateur boxer named Giancarlo Ricci, a petty criminal Under the influence of cocaine, De Negri tortured Ricci for seven hours until take his life, becoming one of the most atrocious murders in the history of Italy after the war.   A real fact that Matteo Garrone takes to his very personal terrain, to the harsh hyperrealism, to the outstanding photographic and scenic work by which his gloomy original cinema is distinguished. “Dogman” could well be interpreted as a black social chronicle of Italy, a moral tale, a kind of suburban western that among other things tells us about the loss of innocence or rather, the impossibility of maintaining it. A real fable that comes to suggest that Italy today is not a country for loyalists. In fact, it is the figure of the dog, the unconditional loyalty that he professes towards his master and owner, the metaphorical essence that governs the toxic relationship between Marcello and Simone. In spite of the constant problems and conflicts that Simone causes Marcello, he follows him and protects him. There is something that pushes him to always stay by his side no matter how much it hurts him. A strange bond of attraction and friendship that ends up exploding in a brutal revenge, although the use of violence in this case is more contained and suggested than explicit as one might expect. The nobility is broken, the fidelity dilapidated. Precisely as it happens with the common bond that should unite politics with society. That’s how it goes.

 

7. THE WOMAN OF THE MOUNTAIN (WOMAN AT WAR) by Benedikt Erlingsson

Official Section

The Icelandic Benedikt Erlingsson won the New Directors Award in San Sebastian with “Of Horses and Men” , an incalsificablemente Martian western, as absurd as singular and unique, whose place should not be a parallel section as much as Official Section. We speak of a deliriously choral comedy, of a character as autochthonous as cinematographically particular, that draws us a landscape so outlandish as a town full of horses, portraying to its wild and irreverent way the relationship between trotters and humans. And it does galloping to the rhythm of a hilarious deadpan humor, of abrupt blows of violence, of a bizarre romanticism and wrapped in an imposing and sensorial form device. In short, one of those looks that by themselves alone reason our presence in a festival. With his second film, “A woman at war,” he tells us the story of Halla, who, in his nearly fifty years, declares war on the local aluminum industry, which is disfiguring his country. A war that brings us topics of raging news, such as environmentalism, and other universal and timeless, such as motherhood or the power of large corporations. “The woman of the mountain (Woman At War)” is a vibrant film in a spectacular natural environment, full of action and with a strong and charismatic main character.

 

8. THE FALL OF THE AMERICAN EMPIRE of Denys Arcand

Official Section

Thematic successor of the films of his predecessors “The decline of the American Empire” and “The Barbarian Invasions” , “The Fall of the American Empire” focuses on a young man whose life changes when he finds two bags of cash after an armed robbery. The new film by Denys Arcand acquires an ingenious and at the same time moving look, as only he is capable of doing, in a society where money is the most important thing and where the rest of the values ​​seem to have collapsed.

 


9. GÈNESE
by Philippe Lèsage

Official Section

Who we do Filmin we surrendered to the Canadian filmmaker Philippe Lesage since the Festival of San Sebastian 2015 broke with “The Demons” , one of the most disturbing films of recent times. Brave and exquisite study on child psychology and the demons that haunt him that leaves no puppet with his head. In the case of “Gènese”, Lesage returns to incur an autobiographical story that concerns the youth, in which Guillaume, his stepsister Charlotte and Felix experience the turbulence of the first love. Exciting and heartbreaking in equal parts, it was one of the star titles of the past Locarno Festival.


10. UTOYA, JULY 22
, Erik Poppe

Official Section

After his nomination for the 2017 Oscar for “The King’s Decision” , the Norwegian director Erik Poppe tackles with “Utoya, July 22” one of the most fatal episodes in the recent history of Europe: the massacre perpetrated at the hands of the young man of extreme right Anders Behring Breivik on the island of Utøya on July 22, 2011 that caused 77 victims and more than a hundred injured, both psychological and physical. We travel to the bottom of a massacre. “Utoya, July 22” is shot in a single shot sequence and in real time. The camera follows minute by minute the young Kaja in her eagerness to survive, also embarking on the search for her sister while crossing with other young people with different strategies to survive. Some do it, others do not. The presence of the perpetrator is perceived by the constant sound of the shots, distant at first, but then closer and closer, while the attacks that cause the deaths never occupy the plane. That is, the presence of the person responsible for the killing is constantly outside the field and we only see its appearance in the background of the painting in some scene. Laudable and accurate decisions that clearly reflect what Poppe really cares about. His leitmotiv is not so much to penetrate the reasons that led a 34-year-old to perpetrate this massacre, as to make us share in the panic and confusion to which these young people were exposed during the critical 72 minutes of the terrorist attack. A state of shock and a situation of extreme vulnerability that is excessively lethargic due to the police and government inoperativeness of a country that at that time was tied up and blocked by the attacks that took place hours earlier in the government buildings. And it is precisely here where the director of “The King’s decision” puts his finger on the wound.

The one that “Utoya, July 22” moves us is a risky staging as coherent cinematographically speaking, morally and ethically pertinent, which, however, also synthesizes some stria that could well be open to debate. As it is the case of attending in the very first close-up to the agonizing death of a teenager. Necessary or avoidable? A possible mole that does not prevent us from being faced with a proposal as risky as necessary that embarks the viewer in a distressing experience at all levels. The past returns. Let no one forget it.

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Chronicle Sitges 2018: “The Unthinkable” the summit of crowdfunding http://www.piizlo.com/chronicle-sitges-2018-the-unthinkable-the-summit-of-crowdfunding/ Wed, 17 Oct 2018 12:08:00 +0000 http://www.piizlo.com/?p=33 Chronicle Sitges 2018: “The Unthinkable” the summit of crowdfunding

He is the example to follow of all those who struggle to take their film forward starting from crowdfunding . In fact, having a good first at a tiny budget of 2 million dollars, “The Unthinkable” was growing in its pre-production phase to the point of becoming the largest crowdfunding film project ever seen in Sweden. A large-scale superproduction that has been bought by a Wild Bunch for its premiere in France and Italy. Directed by the collective Crazy Pictures and produced by the person in charge of “Déjame Entrar”, this ambitious hybridization of genres arrives at the Sitges Festival to compete in an entire Official Selection. Little joke.

What is it?

The death of his mother in strange circumstances forces Alex to return to his hometown, where he is reunited with Anna, the love of youth that can not forget. Meanwhile, Sweden succumbs to a series of terrorist attacks that will force Alex to wage a fight first against nostalgia and then for survival.

Who’s behind?

Formed by five friends who collaborate since they were young, this group achieved success with short films screened at festivals and the Internet. Now, Crazy Pictures takes the leap to the length of the hand of the producer of “Déjame Entrar”

What is it?

The summit of crowdfunding

What does it offer?

A daring and disproportionate overproduction in the best of the senses. “The Unthinkable” is a bold mix of catastrophe film, family drama and conspiracy thriller that articulates a political and social discourse but also intimate and personal that levitates on a history of platonic love. Technically impeccable and overflowing with powerful scenes of action effectively executed, the film directed by the five members that make up Crazy Pictures is an excellent example of how to overcome the thin line that separates ambition from pretense, the risk of recklessness. The secret of success lies in the innate talent that its creators demonstrate to treasure, in the passion and careful treatment with which they build their most grandiloquent sequences, but also the sensitivity with which they treat their most emotional and introspective moments. From its enveloping soundtrack to a solid direction of actors through an outstanding production design that is the clear reflection of the party that have been able to get each of the dollars harvested from its multiple investors, viewing experience that the magnetic and extremely entertaining “The Unthinkable” gives us is worthy of praise. And it is beyond the ballast that supposes that the melodramatic dimension appropriates excessively of the story. Which does not prevent us from facing the irrefutable confirmation of the high levels that can be reached from crowdfunding.

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October 19: Premieres of the week in Filmin http://www.piizlo.com/october-19-premieres-of-the-week-in-filmin/ Mon, 15 Oct 2018 12:20:12 +0000 http://www.piizlo.com/?p=9 October 19: Premieres of the week in Filmin

A new installment of the detective literary icon interpreted by Rowan Atkinson , a road movie full of musicality and humor in the last film by the acclaimed David Trueba and José Sacristán starring in the debut feature of Pau Durà. All this and much more in our premieres of the week.


MAIGRET

Why watch it?

Rowan Atkinson, the famous Mr. Bean, radically changes the record to play detective Jules Maigret, literary icon born of the imagination of Georges Simenon who has sold more than 600 million books worldwide, in this delightful production of ITV.

What is it?

In “Maigret tends a trap”, Jules must hunt, under enormous social pressure, a serial killer that has ended the lives of five women.
In “Maigret and his dead”, the detective receives a call from a terrified man who says that someone wants to kill him. A few hours later, the body appears without life of this man and, feeling guilty for not paying attention to him, Maigret decides to look for the murderer.


ADRIFT

Why watch it?

The director of “Everest” adapts this real story about a couple of young people who were surprised at sea by one of the biggest storms ever recorded.

What is it?

Tami and Richard meet after a fortuitous encounter and decide to cross the ocean on a sailboat, but in the middle of their trip they are surprised by the most catastrophic hurricane in history. Closer than ever, they will have to survive one of the toughest challenges of their lives.

 


FORMENTERA LADY

Why watch it?

The always superlative José Sacristán plays an old hippie who must take care of his grandson in the directorial debut of actor Pau Durà.

What is it?

Samuel arrived at the Formentera hippie of the 70s and there he continues. Live without light and play the banjo in a joint. One day he receives the visit, after many years, of his daughter Anna and his grandson Marc. Anna, unemployed for a long time, says he has had to accept a job in France and is forced to leave his son on the island with Samuel.

 


AN OPEN RELATIONSHIP

Why watch it?

A subversive, feminist and romantic comedy starring Rebecca Hall and Dan Stevens that will embark on an unexpected romantic journey.

What is it?

Anna and Will are everything for each other: the first kiss, the first love, their first and only relationship. When your best friend suggests to Anna that she should go out with someone else before spending the rest of her life with just one man, it is the beginning of an unexpected romantic journey.

 


THE BERLIN PASTRY

Why watch it?

With great sensitivity the director Ofir Raul Graizer delights the audience with an intense romantic drama, a love between two men that is interrupted by the unexpected course of life.

What is it?

Thomas, a talented pastry chef from Berlin, has an affair with Oren, a young Israeli who frequently visits the city on business. When Oren dies in a traffic accident in Israel, Thomas travels to Jerusalem in search of answers. Under a false identity, it sneaks into the life of Anat, the widow of her lover, who runs a small kosher coffee shop in the center of the city. Thomas begins to work for her making cakes and other sweets that return the boring local life, but soon he will be involved in the life of Anat in a very different way than expected, so, to protect the truth, he will have to lengthen the lie to a point of no return.

 


ALMOST 40

Why watch it?

The director of “The Good Life”, “Soldiers of Salamis” and “Living is easy with closed eyes” brings us this road movie soaked in songs and a particular humor. A bright van trip through the interior of Spain, accompanying two old friends who are torn between their desires, ambitions and frustrated expectations.

What is it?

A modest concert tour reunites two young friends. She, successful singer, already retired from the scene. He, who survives as a seller of cosmetic products, intends to relaunch the musical career of his adolescent love.

 

BLESSED IGNORANCE

Why watch it?

To what extent has the Internet changed the way we live? Massimiliano Bruno tackles this question in a funny and crazy comedy with two teachers who exchange their lifestyles for a curious experiment.

What is it?

Ernesto and Filippo, two secondary school teachers, can not be more different: Filippo is a cheerful, liberal and seductive man who spends his days on social networks. On the other hand, Ernesto is a cultured man, plated to the old one who does not have a computer. Probably the last person who still has a first generation mobile phone and their teaching methods are very traditional. They are friends since childhood, but a fight and a pending sentimental issue keeps them away, until fate intervenes and they are teaching in the same school. Their opposing views inevitably lead to a new shock.

 


SON OF ANOTHER MOTHER

Why watch it?

Conflicts such as World War II can show the cruelest side of the human being, but also its most amiable part, as happens with the protagonist of this maternal film.

What is it?

Based on real events, tells the story of Louisa Gould in World War II, during the Nazi occupation of the island of Jersey. Louisa welcomes a Russian soldier who was a prisoner of war and has escaped; it hides and protects it. Louisa will have to fight to preserve the humanity of her family and take care of the Russian soldier as if she were his son.

 


MY NAZI LEGACY

Why watch it?

The masterpiece about the children of Nazis that inspired one of the most important books of the last decade, “Calle Este Oeste” by Philippe Sands.

What is it?

Three men travel together in Europe. For two of them it involves a confrontation with the acts of their parents, former Nazi officials. For the third, the writer and defender of human rights Philippe Sands, means visiting places where members of his own Jewish family were destroyed by the parents of their fellow travelers. It is the emotional and psychological exploration of three men in struggle with their past, the present of Europe and the different versions of the truth.

 

DOGS

Why watch it?

Winner of the Horizontes Latinos section of the San Sebastian Festival, the second fiction feature of the Chilean Marcela Saïd is a forceful exercise in historical memory.

What is it?

Mariana, 42, is a woman belonging to the Chilean bourgeoisie who takes riding lessons with Juan, 60, a former army colonel. One day, they arrive looking for the Colonel for his participation in crimes during the dictatorship.

 


THE FERRYMAN

Why watch it?

Narrated by Marina Abramovic, with the sound composition of Ryuchi Sakamoto, “The Ferryman” is a fascinating, reflective and unique journey across the borders of the worlds.

What is it?

A cinematographic and choreographic exploration of animistic rituals, roots, dance and sculpture, and their relevance today. Through the journey of a half-stag character, half-hunter, the film is a metaphoric, poetic and visceral ascent of six steps to a mountain, considered the place of birth and death. Filmed in stunning landscapes of volcanic islands such as Bali, Japan and Scotland, as well as in the Louvre museum, the ancestral and complex relationship of men and nature, often seen as a gateway between the visible and invisible worlds, portrayed here through a series of striking ceremonies (trance rituals, cremations and sacrifices in Bali, mountain worship in Japan) and moments of contemporary live dance.

 

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The titles that will compete in the 25th anniversary of L’Alternativa http://www.piizlo.com/the-titles-that-will-compete-in-the-25th-anniversary-of-lalternativa/ Sat, 13 Oct 2018 12:31:52 +0000 http://www.piizlo.com/?p=21 The titles that will compete in the 25th anniversary of L’Alternativa

The Independent Film Festival of Barcelona, ​​L’Alternativa , reaches its 25th edition this year. Twenty-five years defending the author’s creative independence, diversity, innovation, freedom, commitment and reflection. It will be held from November 12 to 18 and its parallel sections include a retrospective of the Belgian filmmaker Boris Lehman , the “Ellas Cortan” section , dedicated to the female filmmakers, as well as the Panorama section, of national productions, and the Small Experiments section, of children’s cinema. In a few days, everything will be revealed about the Panorama section. Meanwhile, L’Alternativa de Barcelona announces the films that will be part of its competitive official sections, many of which can be seen on Filmin the week after the conclusion of the festival. In the next days too, we will announce the selected titles.

In the official section of feature films, 9 international films will compete: America , by Erick Stoll and Chase Whiteside (United States); Black Mother , by Khalik Allah   (U.S); Silence is a body that falls from Agustina Comedi   (Argentina); The wolf house , by Joaquín Cociña and Cristóbal León (Chile); Our New President , by Maxim Pozdorovkin   (United States / Russia); War theater , by Lola Arias   (Argentina / Spain / Germany); The Image You Missed , by Donal Foreman (United States); Trote , by Xacio Baño (Spain / Lithuania); and Once the night , by Antonia Rossi   (Chile).

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In the official section of short films, 19 international films will compete: A Brief Spark Bookended by Darkness , by Brent Green (United States); Dva na dva ( Two for Two ), by Jelena Oroz (Croatia); The sky of animals , by Juan Renau (Argentina); Между кадрами ( In Between Takes ), by Alexei Dmitriev (Russia); La Mesa , by Adrian Garcia Gomez (United States); The forces , of Paola Buontempo (Argentina); Las Nubes , by Juan Pablo González (Mexico); Le case che eravamo , by Arianna Lodeserto (Italy);   Those who wish , by Elena López Riera   (Switzerland / Spain); Mini Miss , by Rachel Daisy Ellis (Brazil); Mon amour , mon ami , by Adriano Valerio (Italy / France); Mountain Plain Mountain , by Daniel Jacoby and Yu Araki (Spain / Japan); Music & Clowns , by Alex Widdowson (United Kingdom); Optimism, by Deborah Stratman (United States / Canada); Because the salt , by Cardozo Basteiro (Spain); Prends garde à l’intuition , by Robin Courtel (France); Reasonable Watchfulness , by Talena Sanders (United States); Sharaa Al-Mawt , from Karam Ghossein (Lebanon / Germany); and This My Favorite Mural , by Michael Arcos (United States).

 

L’Alternativa 2018 also announces two new special sessions. The first is a monographic of all the short films by the Galician director Xacio Baño . L’Alternativa has programmed and awarded its pieces Ser e voltar and Eco, also selected by festivals such as Locarno or Clermont-Ferrand, and its first feature, Trote , premiered at the Locarno festival and is in the official section of the 25th Alternative . The other new special session of the festival will be the preview of the documentary film Idrissa , chronicle of any death , of the independent producer Metromuster ( Xavi Artigas and Xapo Ortega ), known especially for your work Ciutat Morta , which was also screened at l ‘ Alternative. Idrissa, chronicle of any death, constructs a collective portrait of the migratory reality, the violation of rights and exploitation suffered by migrants in European territory. It does so from the investigation into the death of the young Guinean Idrissa Diallo in the Foreigners’ Center of Barcelona, ​​the night of kings of 2012.

As we had already announced, the special sessions of l’Alternativa 2018 are completed with the premiere in Barcelona of Entre dos aguas , by Isaki Lacuesta (Concha de Oro in San Sebastián), as the opening film of the festival; the screening of the film   The silence of others , that continues during 6 years to the protagonists of the Argentine Querella against the crimes of Franco; the screening of the documentary by Alba Sotorra Comandante Arian , about the commander of a battalion of women in Syria who are fighting against the Islamic State; and the closing film of the festival, Boris Mitić’s In Praise of Nothing , narrated in verse by Iggy Pop and played by Pascal Comelade and The Tiger Lillies.

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Chronicle Sitges 2018: “Happy Lazzaro” saint without network http://www.piizlo.com/chronicle-sitges-2018-happy-lazzaro-saint-without-network/ Sat, 13 Oct 2018 12:06:40 +0000 http://www.piizlo.com/?p=49 Chronicle Sitges 2018: “Happy Lazzaro” saint without network

It turned out to be one of the unexpected surprises that the Festival de Cannes 2014 brought us. It did not fit into most of the pools for the final record and we have to confess it, not in ours either. However, Alice Rohrwacher was confirmed against all odds as a new voice to follow very closely thanks to the creative and sensitive display that gave us her wild and Fellinian “The Land of Wonders” , a film of overwhelming beauty recognized with the Grand Prize of the Jury that achieved the difficult consensus between critics and the public. Capital work that has led us to wait with the highest expectations “Lazzaro Feliz” , a new proposal from the Italian director that was for many what should have been the Palme d’Or but it was not.

What is it?

In a timeless epoch, in a remote village in Italy, lives Lazzaro, a young peasant whose goodness all his inhabitants take advantage of. One summer, Lazzaro establishes a friendship with the arrogant Tancredi, son of the Marchioness who owns the lands cultivated by the peasants of the Inviolata. This friendship will take you on a journey through time, to the heart of the modern world.

Who’s behind?

Throughout her brief career, the work of Alice Rohrwacher has distinguished herself by describing the goodbye of rural life. With the revealing “Corpo Celeste” (2011) she won the David Donatello Award nomination for Best New Director, with “El País de las Maravillas” (2014) she won the Grand Jury Prize in Cannes and “Lazzaro Feliz” could very well Take this 2018 to the Palme d’Or.

Who goes out?

Despite the fact that in the excellent cast we find very recognizable faces such as his sister Alba Rohrwacher or the Catalan Sergi López , the real star of the show is the non-professional actor Adriano Tardiolo, a non-professional actor who plays Lazzaro and that he did not decide to participate in the film until the end of the rehearsal, even though he was chosen, since the young man wanted to become physically familiar with the character before making his decision. His decisively Bressonian interpretation, in which barely a word, is extraordinary.

 

What is it?

“Pinocchio” + “Los Santos Inocentes” + “Tropical Malady”

What does it offer?

Alice Rohrwacher tells us that for the plot of “Lazzaro Feliz” she was inspired by a surprising real fact: the story of a marchioness who took advantage of the isolation of her numerous properties to hide her peasants, whom she had directly enslaved, who belonged to a new civilization in which work is exchanged for money. These are the surprisingly real events that serve as a starting point for this sort of cross between a fairy tale and a social fable with an anti-capitalist heart. A sample of magical realism and unclassifiable religious supernature at all levels, which as already happened with its predecessor “The Land of Wonders”, is on the way between dreaming and reality, although in this case go a step further there in terms of risk and originality. “Lazzaro Feliz” is first of all a leap without a network that demonstrates the security that its intrepid director herself has. A film divided into two abruptly differentiated parts, a break as radical as unexpected, among whose possible echoes and referents I only dare to point out “Tropical Malady”. In fact, we are talking about a proposal that does not shake the hand when eroding the logic of time and space, and that far from failing in the attempt, it ends up taking off and flying high.

And is that although both sides are clearly different by wrapping the first of a rural world (which is shot with a sensitivity and a beauty before which it is impossible not to fall enraptured), the second of the urban (this is where it arrives the bewilderment, and I say it as a virtue, not as a defect), Rohrwacher does not fall into the foreseeable recurrence of confronting both universes to claim the luminosity that concerns one and the darkness that surrounds the other. Rather the opposite, what it does is to equate them. Far from idealizing the natural context as one might expect, life remains just as oppressed, both in the wild universe and in the big city. From feudalism to capitalism, more of the same. Two universes complemented by multiple leaks that dislodge as much as they stimulate, turns that first of all reveal that we are facing a director who risks each of the decisions she makes, basically because she seems to be clear that her irrepressible imagination is unparalleled time to surprise and ultimately dazzle the viewer. Filmed like its predecessors in 16 mm, “Lazzaro Feliz” is a film of lush texture that once seen, its attributes could well present all the necessary credentials to fall into the bizarre but that nevertheless, has the strange ability to convert the confusion in fascination, the recklessness in prodigal and ultimately, in what should have been a well-deserved Golden Palm. What is yours is magic. Never better said, it is the hand of a saint.

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Chronicle Sitges 2018: “Seven Heads” before the apocalypse http://www.piizlo.com/chronicle-sitges-2018-seven-heads-before-the-apocalypse/ Thu, 11 Oct 2018 12:09:09 +0000 http://www.piizlo.com/?p=31 Chronicle Sitges 2018: “Seven Heads” before the apocalypse

After winning the Critics’ Prize in the 2011 edition merced that revealing and forceful debut that turned out to be “El Páramo”, the Colombian director Jaime Osorio Márquez returns to Sitges seven years later with “Siete Cabezas” . The one that supposes its second film appears to us like a powerful sample of psychological and atmospheric terror based on Biblical apocalypse. Amen. 

What is it?

“And Marcos, do not you think it’s kind of weird?” Camila asks Leo this. Marcos is really a little strange: he has a peculiar bond with his body and with nature and lives alone in the middle of a wasteland. This is where Camila and Leo travel in order to study the deaths of the birds in the area, with the help of a Marcos who will see how his darker side emerges to the surface.

Who’s behind?

A military base located in a cold Colombian páramo, 9 experienced soldiers in a dangerous mission and a complete battalion disappeared without leaving a major trace, are the elements that made up the debut feature of the Colombian filmmaker, Jaime Osorio Márquez . Deserving of the Critics Award in Sitges 2011, “El Páramo” was filmed in a real military base at 4300 meters above sea level, with a work team of approximately 60 people, who climbed 3,600 meters daily to reach the set of filming. The harsh conditions of the filming and of the páramo, forced the production to raise a doctor and a nurse to attend to the constant cases of flu, muscle spasms and discomfort due to the change in pressure. Film war or paradigm of terror? Both one and the other. An incontestable exercise in direction and a strong psychological reflection as well as a sharp criticism towards the Colombian army is what brought us his forceful debut. A major debut to which seven years later follows with “Siete Cabezas”.

Who goes out?

Andrés Castañeda , secondary in “El Páramo”, is in this case the central axis of “Siete Cabezas”. The one that gives us is a huge interpretive tour de force without hardly saying a word. A path between a latent viscerality and an anguished hermeticism, his mere presence, his small gestures and penetrating gaze, carry the weight of the film on his shoulders. What is yours is a threat.

What is it?

The apocalypse in its most savage and wild record.

What does it offer?

A path between the misanthropic discourse of “Animal” and the strong formal device of “Die, monster, die” , the disturbing “Siete Cabezas” confirms the excellent health of Latin American genre films. Three titles of the Official Section of the current Festival of Sitges that deserve to shine with their own light in the final record. In this sense, the new film by Jaime Osorio Márquez is revealed again in a fascinating display of atmospheric terror that, through his visual power, suggests the transcendental and equally disturbing themes that he is developing. And it is that the information that is giving us is dosing it in dropper. “Seven Heads” is something like the man vs. nature transferred to its most destructive and annihilating dimension. Also more existential and purgatory. In other words, the prelude to the biblical apocalypse in its most savage and wild record. As one of the characters themselves warns us in one of the few explanatory sequences of the film, “people wipe out animals, even with human beings themselves, with a cruelty never seen before in nature”. This is what comes to suggest “Seven Heads”, the dehumanized human condition in its ongoing struggle between good and evil to avoid or definitely propel the destruction of the world. A struggle between heaven and hell that moves us from this imposing exercise of style that translates a permanent sensation of threat provokes the constant chill.

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Chronicle Sitges 2018: “Tumbbad” in the bowels of the story http://www.piizlo.com/chronicle-sitges-2018-tumbbad-in-the-bowels-of-the-story/ Mon, 08 Oct 2018 11:33:54 +0000 http://www.piizlo.com/?p=47 Chronicle Sitges 2018: “Tumbbad” in the bowels of the story

Responsible for opening the Critics’ Week at the recent Mostra of Venice, the Hindu “Tumbbad” arrives in Sitges to print a good dose of exoticism to the Official Section. The debut of the duo formed by Rahil Barve and Adesh Prasad is an unusual mixture of folk horror and moral tale wrapped in a haunting atmosphere and also marked by historical and political denunciation.

What is it?

India, in the nineteenth century. Vinayak is the bastard son of the cacique of a decrepit town called Tumbbad. The young man is obsessed with finding a mythical treasure buried in the vicinity of the village; the search will take you to meet witches and fallen gods, in an epic and fabulous story that expands over the decades.

Who’s behind?

Rahil Barve was very successful with his short film “Manjha” (2008). Adesh Prasad is co-founder of the Little Town Films production company. For both, “Tumbbad” is his debut in the direction.

What is it?

Tarsem Singh + the Brothers Grimm

What does it offer?

A visionary parable fabulesca, luck of sensory moral tale about greed that is articulated on the road between reality and fantasy, between political and historical reflection, between tradition and modernism. And the enjoyable and very vindicable “Tumbbad” plunges us headfirst into a world where all the extremes of life are found, where the ordinary collides with the extraordinary, the brutal with the pleasant. Through the bewitching universe that he creates, deeply rooted in India’s own history, he speaks of the contradictions that mark the Westernization of a country marked by colonialism and per se, by the consequences that shake the post-colonial era.  

It is under this ambitious premise that Rail Barve and Adesh Prasad exorcise the stigmas that have mainly shaken their own people, those that have caused their ruin and destruction from within. The idealism and the absence of values ​​(personal as well as social) corrupted by the desire for wealth or the vindication of a demolished cultural base, are some of its main plot lines, those that precisely immerse us, never better, in the bowels of This scary tale. If we add to this its unique formal device, the craftsmanship and the affection with which it weaves and sews its magnetic and chilling imaginary, of course we are facing another of the most gratifying discoveries that the Official Section of the Sitges Festival has given us.

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Wismichu and the empty sandwich http://www.piizlo.com/wismichu-and-the-empty-sandwich/ Sun, 07 Oct 2018 12:12:41 +0000 http://www.piizlo.com/?p=27 Wismichu and the empty sandwich

Since it was announced that “Bocadillo” , the supposed first film of the Spanish youtuber Ismael Prego, popularly known as Wismichu, was going to be screened at the Sitges Festival, many began to smoke in pipes. They were already critics to whom the millenial wave has taken them greater and skeptical, followers of the festival that accept better the zombie bacchanalia than to the “children of Internet”, or enemies of the own Wismichu in the Network, desirous of hiding some thousands of followers Appropriating his brand, the truth is that the screening of the film in the sanctuary of fantasy cinema seemed to have reached the category of heresy. Meanwhile, the tickets had been worn out for days, before what was expected one of those historical projections that in few festivals proliferate as much as in Sitges.

You could expect many things from “Bocadillo”, but probably not what ended up being the “movie”. In the frontal clash of the work with the ardent expectations of his followers (and his detractors) is where “Bocadillo” reaches its true identity: that of a rebellious gesture, that of a provocation. It’s like planting a urinal in an art exhibition, labeling it “La fuente” and selling it as a work. It’s like sending Rodolfo Chiquilicuatre to Eurovision. Or how to offer a mortadella sandwich on the El Bulli menu. It is the desecration of what for many is a temple.

YOU COULD EXPECT MANY THINGS OF “SANDWICH”, BUT NOT WHAT HAS BEEN FINISHED BEING THE “MOVIE”

“Bocadillo” comes to Filmin as if it were the remains of a wreck, to give testimony of a terrorist attack. The Festival of Sitges must be at this moment calming the spectators who demand the price of the entrance because they did not pay so that they were taken to the hair. Wismichu, meanwhile, has subjected his popularity to a crash test by testing the patience of his fans. The “no film” remains then a work passed by the Bansky crusher, remnant of one of the biggest scandals in the history of Sitges.

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“Petra” intolerable cruelty http://www.piizlo.com/petra-intolerable-cruelty/ Thu, 04 Oct 2018 12:01:06 +0000 http://www.piizlo.com/?p=15 “Petra” intolerable crueltyPresented by the Directors’

Fortnight of the past Cannes Festival as “the best film by Jaime Rosales that shows an image of Spain and Catalonia unpublished” , was the director of the section, Edouard Waintrop, who did not hesitate to say that ” Petra “ is a film that deserved to be presented in the Official Section. Words that one can only subscribe after experiencing it. We will see what the Goya say but a server already puts his hand on the fire that will be among the main protagonists. At the moment, one of our most outstanding national titles of the year arrives today to our billboard. Let’s celebrate it 

What is it?

Petra is the protagonist’s own name, someone who, after the death of his mother, begins the search for a father whose identity has been hidden from him throughout his life and all the paths seem to lead him towards a ruthless and powerful man. Fate, determined to impose its cruel logic, will take Petra to the limit of her inner strength.

Who’s behind?

According to Jaime Rosales himself , “Petra is a film that was born out of the need to meet the spectator” . His first two films, both “La Soledad” (2007) as “The hours of the day” (2003), were released in the first decade of the new millennium. Two works that despite their austere harshness, and with permission of “Tiro en la Cabeza” (2008) were framed in times full of enthusiasm, just before the great crisis of the second decade. “Dream and Silence” (2012) instead, he had something of swan song for him. A film with which he closed a stage to open a new one that precisely, takes him to the starting point. Both “Hermosa juventud” (2016) and now “Petra” (2018), represent another step in this new direction.

Who goes out?

“Petra” is a stoic Bárbara Lennie , who is accompanied, among others, by Àlex Brendemühl , with whom Rosales returns to work 15 years after “Las horas del día” , or Marisa Paredes . However, the true and unexpected protagonist is none other than the debutante and non-professional actor, Joan Botey . We speak of a chemical engineer and agronomist who has published a book on biodiversity in which he incorporates watercolor drawings made by himself. He is the most despicable villain that we will surely find on the big screen throughout this 2018. Even Thanos does not reach the sole of his shoes.

What is it?

The great Spanish tragedy, the great Catalan tragedy. Both one and the other.

What does it offer?

The best Rosales film to date is a spiral of malice, family secrets and violence that takes his characters to the limit of life. “Petra” is a work of multidirectional discourse that, starting from the family spectrum, embraces the political and social sphere of Spain, as well as of Catalonia. That is, what would become a melodrama of the most bloody transformed into the stark radiography of the historical conflict that lives a whole territory.

If there is a stigma that oozes our burdened country, that is the forced recovery of our historical memory. Carpets that are not interested in raising people in the upper echelons, basically because what can be discovered can hardly sustain the curriculum of a truly retrograde but supposedly prosperous nation. Well, exhuming the past in search of answers is precisely what propels the stark journey in which Petra embarks. Finding the father he never knew, or even knowing about him, is the key that opens Pandora’s box. It is no coincidence that his mother has always refused outright or even to talk about it. Precisely as Spain does with its own past, an atrocious past marked by the devastating and inhuman dictatorship of Franco. Memory versus oblivion. Good versus evil. Some people try to take it, there are those who want to hide it. More than anything because there would be no where to hold it. And this is precisely what happens in “Petra”. The erosion.

In fact, revealing her father’s identity is probably the only wish her mother has ever denied Petra. It has been his way of protecting her, basically because of the monster that turns out to be his father. A vile and despicable, mean and dehumanized to the greatest extent. In other words, the personification of what a dictator is. A well-known Catalan artist, bourgeois and very well-off that exploits to its maximum consequences the commodification of art and, consequently, the dark side of the power of money. It is the definitive encounter between Petra and her biological father, Jaume, that causes the chain of a series of tragic and extremely twisted consequences. Characters whose contained anger, whose family repression and ultimately existential, leads directly to chaos, to commit irreversible acts from an uncontrollable and violent visceral scourge. That Petra is from Madrid and her Catalan father, that their relationship is impossible beyond having been non-existent and, above all, that their encounter, their clash, provoke hatred and devastation, are factors, multiple layers to be transposed, that depending on the viewer, will come to the allegorical heart of his speech, or not.   Because “Petra” is a movie (in) human, yes, but above all social. Discursive and conceptual virtues that together with the formal risk that his transgressive narrative proposal entails make it a work of deep significance at all levels.

That the intertitle that presents each one of the chapters by which “Petra” is divided ahead of us the key action that will happen in it, is a maneuver as apparently reckless as undoubtedly coherent. Facing them with the main information already, is what allows us to focus and be attentive to everything that surrounds and what this action really means. The constant and slow sweeps between the distance that separates its protagonists in full conversation, or the use of characters speaking outside the field, are other praiseworthy formal resources that move us to the extreme degree of distance between them. Among people, also among cultures and ultimately, territories. With all this, and despite the pessimism that surrounds the entire film, Jaime Rosales suggests the possible path to redemption and the desired reconciliation. There is light at the end of the tunnel. The problem lies in knowing how to travel and, above all, hit the key and be able to press it to achieve atonement.

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