The documentary section will feature Les culpables, by Marta Durán, which tackles the taboo subject of clandestine abortions performed by teenagers; Es usted secuestrable? a reflection on the credibility of memories, by the Mallorcan Carlota Bujosa; Eñaut Zuazo, by Meritxell Valls, based on the script written by the comedian who gives the film its title; Los poetas errantes, by Belén Verdugo, centred on the exile of the writers Robert Graves and Laura Riding on the island of Mallorca, with a script by Miguel Ángel Morales and the collaboration of Julia Menéndez Quílez; Lionel, by Carlos Saiz, a road trip movie fuelled with parent-child drama; and Rafael Marín, una deuda cultural, by Borja Moreno, which vindicates the figure of the unknown sculptor from Granada, with script and editing by Jesús Martínez Torres.
And, finally, the Work in Progress section features: Daytona, an experimental fiction by Carmen Pedrero; Samsara, an immersion in the Buddhist cycle of death and reincarnation, filmed in Zanzibar by the Vigo filmmaker Lois Patiño; 21, a drama of a sentimental erosion in times of OnlyFans, by Néstor Ruiz Medina (director of the short film Baraka), with a script by the Sevillian actress María Lázaro; María y la película olvidada, by Marta Herrero and Nuria Abad, research by a pioneer in the early days of sound films; Negu Hurbilak, an experimental work by the Negu Collective (made up of Ekain Albite, Adrià Roca, Nicolau Mallofré and Mikel Ibarguren, all of them former students of the ESCAC in Barcelona); and Remember My Name, by Elena Molina, which tackles the conflicts of immigration.
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The Filmarket Hub website has unveiled the selection of projects that will be taking part in the Madrid Online Pitchbox, its virtual pitching event focusing on Spanish features and series currently in development, for which the call for applications was organised during the last few months of 2021. Once again this year, the initiative seeks to enable the best Spanish emerging talents and fiction projects to hook up with leading companies in the audiovisual industry. The event will unspool, in a virtual format, on 14 and 21 January: the first day will be dedicated to series and the second to features. The teams behind the selected projects, standing out among which is the new opus by Marina Seresesky (The Open Door [+see also: film reviewtrailerfilm profile]), will have the chance to make a sales pitch and meet with executives from companies such as Amazon Studios, Bambú Producciones, Boomerang TV, Buendía Estudios, Disney+, Dynamo, Filmax, Mediaset España, Morena Films, Movistar Plus+, Nadie es Perfecto, Secuoya Studios, Showrunner Films, Telecinco Cinema, The Mediapro Studio, ViacomCBS International Studios, Warner Bros Pictures Spain and Zeta Studios.
The last few days of 2015 are spent in reflection about the year that's just wrapping up and in anticipation of the year just ahead, at least for me, and since we had our ten best list last week, this week it's time for the runners-up, the fifteen films that also filled out our year. As always, I look at this list and I think it would make a perfectly spiffy top ten if that's how things had shaken out, which is to say that the only real purpose of any of these lists is to remind you of more of the experiences that were worth having in a theater.
The true story of Hugh Glass is so insane that it makes sense filmmakers would be drawn to it, and several people have taken a shot at telling his story in different ways. There was a '60s TV version, at least two different films in the '70s, and a song by Of Monsters and Men. Michael Punke's novel is truer to the story than the new film is, but it's clear that Alejandro Gonzalez Inarritu wasn't worried about the truth. Instead, he uses the broad details of the story of this fur trapper who was mauled by a bear and who then sought revenge on the men who left him for dead, and he uses that framework to tell a story about what happens when man and nature cannot co-exist. Leonardo Di Caprio and Tom Hardy play opposite points on the same line, hard men living in a hard world, but it is the way they collide and differ that defines the film. Just on a technical level, it is a startlingly beautiful film, and Inarritu, working with his cinematographer Emmanuel Lubezki, has become a remarkable visual artist at this point, wrestling impossible images up onto the screen. I'm not a fan of the last twenty or so minutes, when the film takes a hard left turn into the stupid, but there is such majesty to the overall vision that I have a feeling this is going to be a film I return to often just to let it wash over me.
The real trick of a film like this is that Adam McKay really just wants to give you the information about how the financial community failed America in 2008, and how the system was set up to make that possible. He's smart enough to realize that the best way to get that information to stick is by entertaining the hell out of you as he conveys all of it. His cast gets the game, and that's a big part of why it works. This isn't meant to be reality. This is an illustrated textbook, a Power Point presentation that happens to star Ryan Gosling and Brad Pitt, and despite the smile on its face, one of the angriest movies of the year. By the time the whole thing comes to a close, it's clear that McKay has earned that anger, and that we should all be just as angry about what's still going on.
So farewell, 2015. Bring on 2016. Let's see what comes next, both big and small. There are films I'm looking forward to, and I'm sure there will be plenty of surprises, too. I remain drunk in love with all of it, and here's hoping I am able to give you guys an even better window into this world right here at HitFix as it all unfolds.
WMAT and EU XXL - a platform for European film makers, which whom we got in touch via our Austrian Film photography project in May - hosted an event for exactly those, often underrepresented groups, bringing together Austrian artists and Wikimedians for an evening of discourse and exchange. The result was the insight that the two groups have more in common than one would initially think and that there is mutual interest to continue the cooperation in the context of EU advocacy. And as unlikely alliances are often the most powerful ones in terms of public and professional attention, we are positive that there is potential for joint action in future.
Liz Sheridan, a veteran stage and screen actress who played Jerry Seinfeld's mother, Helen, on "Seinfeld," died April April 15, 2022, at age 93. Though she had dozens of film credits, she was best known as Seinfeld's doting mother on his titular sitcom, which ran for nine seasons. She also appeared as the snoopy neighbor Mrs. Ochmonek on the alien-led sitcom "ALF."
Brent Renaud, an acclaimed filmmaker who traveled to some of the darkest and most dangerous corners of the world for documentaries that transported audiences to little-known places of suffering, died March 13, 2022, after Russian forces opened fire on his vehicle in Ukraine.
Running throughout the month of October, the 2021 North Carolina Latin American Film Festival celebrates Latin American perspectives in cinema, showcasing feature-length and short films. The festival invites filmmakers from across the region, showing films in 13 languages, and serves as a bridge between various cultures of the 26 countries. The festival features both in-person and virtual events, with the films being shown over Zoom. All events are free and open to the public. 2ff7e9595c
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