MY NYFF TRAILER CHOSEN AS RUNNER UP

NYFF 09 TRAILER from Mario Diaz on Vimeo.

This year, the Film Society of Lincoln Center sponsored a competition to find a new trailer for the New York Film Festival. The worldwide contest was open to all filmmakers, young and old, experienced or not. So I'm happy to report that I was named a runner up. Click above to watch my trailer. For more info on the contest, go to the Film Society website.

LATINBEAT Wrap-up

In its 2009 edition which concluded Thursday, Latinbeat (The Film Society of Lincoln Center's annual showcase of Latin American cinema) featured an impressive number of films directed by women. Coincidentally (or perhaps not) there's been quite a bit of Oscar talk in Hollywood lately regarding some non-Latino female directors, namely Kathryn Bigelow ("The Hurt Locker") and Jane Campion ("Bright Star") whose films have received overwhelmingly good reviews. Back in 2004, Sofia Coppola was nominated in the Best Director category for "Lost in Translation" along with 10 other women in other categories - a great feat by an underrepresented sector of the industry. We might have another Year on the Woman on our hands, which is always a good thing. But rather than ruminate on whether Bigelow and Campion will be recognized by the Academy (honestly, do they really need more recognition?), instead I'd like to spend my time singing the praises of some unsung female directors working way, way outside Hollywood's radar - i.e. Mexico and South America.

The first film I saw at Latinbeat was the opening night selection "Cinco días sin Nora," a wonderfully dry comedy about a non-practicing Jewish man who believes that, even in death, his ex-wife is still intent on controlling him. This is not some kind of metaphysical comedy - Whoopi Goldberg in "Ghost" suddenly came to mind - where the woman comes back from the afterlife and wreaks havoc on her poor ex-husband to humorous effect. There are indeed no special effects here. Instead, this is an acutely observed film about a man who lost his religion long ago and uses his ex-wife's suicide as an excuse to avoid real questions about faith, his uneasy relationship with his son, and the absence of community in his life. Writer/Director Mariana Chenillo employs a wonderful ensemble cast (especially veteran actor Enrique Arreola in the lead role) and lands some well-earned digs at a few nonsensical religious rituals. The film's visual style felt overly precise and controlled at times, but I'm sure that Chenillo will continue to build her confidence with future work. She's definitely a director to watch.

Next up is (Chenillo's compatriot) Eva López Sánchez's "La última y nos vamos" ("One For The Road") which is one of those visceral and astute films that keeps growing on you days after you watch it. The story concerns a trio of upper-middle class, twenty-something friends who go on a separate series of adventures over the course of an evening in Mexico City. The cleverness of the film comes from the fact that she subverts certain preconceived notions about Mexican society. In effect, the film forces us to think about danger and how much of it is a societal construct instead of actual threat. Even if the film's resolution is a bit too sunny (and perhaps unrealistic), it provides great fodder for thought.

I never heard of López Sánchez before but I got to meet her at the fest, where I found out she's been making films for 20 years. How's that for off the radar? In this film, she uses that tired structure of three interconnected stories and turns it completely on its head - and in so doing serves a playful critique of films like "Amorres Perros."

"La ronda" ("Love By Accident") and "Amorosa Soledad" ("Lovely Loniness") are minimalist efforts from Argentina, both offering tales about young men and women in Buenos Aires searching for love and grappling with their own neurosis and loneliness. The former was directed by first time director Inés Braun, who was inspired by the 1950 French film "La ronde." Just as in the Max Ophüls' classic, Braun's film presents a collage of stories linked together by a circular narrative. I'm sorry to say that Braun doesn't offer anything fresh or new here, and the great Mercedes Morán was wasted in an underwritten role. If you want to see a terrific film about the arbitrary nature of love and human relationships, check out Ophüls' original... or Jafar Panahi's "The Circle," which borrows Ophüls' structure to create a searing indictment of Iranian society's treatment of women. One positive thing about "La ronda," though, is that it has the most beautifully designed end credit roll I've ever seen.

"Amorosa Soledad" was directed by Victoria Galardi and Martín Carranza and it was a better effort than "La ronda," though I still felt it lacked originality and a strong core. It felt to me that they were trying to do an Argentinian version of mumblecore, albeit with better cinematography. As a result, the movie devotes too much time to the main character's quirky obsessions (she's a hypochondriac who is happiest inside hospitals or drug stores) at the expense of a strong narrative. It helps that Inés Efron plays the lead. She brings an effortless ease to her roles that's always a joy to watch but here she's unfortunately wrapped up inside a listless film.

There are other films directed by women I didn't get to see. Natalia Almada's "El general" ("The General"), Yulene Olaizola's "Intimidades de Shakespeare y Victor Hugo" ("Shakespeare and Victor Hugo's Intimacies"), and Claudia Llosa's "La teta asustada" ("The Milk of Sorrow") were highly recommended. I'm eager to watch them and I'll be sure to report on them when I do. In the meantime, I must talk about the last film I saw at the festival (which was also the best - a true discovery!), Alicia Scherson’s "Turistas" ("Tourists") from Chile. I can't even begin to describe what a joy this film was. At first I was put off by the sharp image quality (the film was shot and projected on HD) and yes, the first 10 minutes were a bit slow and meandering (I just didn't know where the film was going and I felt impatient) but I stuck with it and was rewarded with a subtle, soulful look at a woman who has lost touch with her sense of self.

Aline Kuppenheim plays Carla, an unhappy woman who confesses to her husband that she had an abortion while both are driving to a cabin in the country for their vacation. Minutes later, while Carla is peeing under a bridge, her husband drives off and leaves her stranded. After wondering for hours, she meets a young, gay Norwegian "tourist" (an inside joke, you have to see the film) who invites her to camp out with him at a nearby National Park. She agrees and it is there, surrounded by imposing trees, birds, and insects of every kind that she is able to put her life back into focus.

Scherson, who was a scientist before becoming a filmmaker, gives the film texture by including incredibly tactile shots of the fauna and flora in the park (this is maybe why she opted to shoot in HD) and she succeeds at making the audience (well, at least me) feel like we are there, living under the stars in this place where only the most basic things matter. The theme of the film is that only by being in nature - away from the hustle and bustle that clouds our priorities and instincts - can we truly discover ourselves and have real interactions with people. In other words, nature, if we allow it, has the power to bring us to sanity.

During her stay in the park, Carla meets a host of interesting characters - a has-been pop musician who now works as a ranger, a pair of almost identical twins, a jolly trucker - some with sad stories to tell, but what jumps out is their humanity. And it's to Scherson's credit as a director that she can elicit such winning performances from her cast. Finally, the script calls for a transformation of sorts from Carla but this is not overwritten or overt. In fact, there's no clear resolution here. Just a sense that the people who populate the film have been profoundly touched by those they've come in contact with and by the setting. Kuppenheim is such a consummate actress that she is able to convey an internal transformation without ever declaring it with words.

Oh, and did I mention the movie is funny as hell? I nominate Aline Kuppenheim for an Academy Award for best actress. Actually, scratch that. I think she should get the award outright.

One last thing I want to touch on is the fact that, with a few exceptions, the festival was curiously devoid of films dealing with social issues. Blogger Christian Del Moral wrote recently on his blog that the common thread running through the selections was "escape." Escape from reality, escape from our shitty lives, etc. I agree with him and it was definitely a welcome change from the heavy themes that tend to characterize Latin American cinema.

"Un novio para mi mujer" ("A Boyfriend for my Wife") and "Música en Espera" ("Music on Hold") are the best romantic comedies (directed by men, how ironic!) I've seen in a very long time. They adhere to the conventions of the genre but they elevate it with humor that's real and relatable. I was also impressed by the meticulous construction of the scripts. "Musica en Espera," in particular, is intricately written - almost the same way a classical piece of music encompasses different movements and textures that fit precisely into a thematic whole. It's a joy to see Latin American filmmakers beating Hollywood at its own game. That's what happens when art, not money is the priority.

Special thanks to Marcela and Gemma at the Film Society for being so wonderful and accommodating. See you next year!

No Foreign-Film Oscar for Pedro in 2010

The Guardian announced today that Pedro Almodovar's new film "Abrazos rotos" ("Broken Embraces"), which is currently unspooling at the Toronto Film Festival and will close the New York FF in October, has been left out of the running by Spain's Oscar committee. This is nothing new for Almodovar, who in 2002 saw his film "Habla con ella" ("Talk to Her") snubbed in favor of "Mar adentro" ("The Sea Inside"), Javier Bardem's tour-de-force. Perhaps in response to the omission (and the media outrage that surrounded it), the Academy awarded him a Best Screenplay Oscar that year as a consolation prize. Will it happen again? The word from Cannes is that "Embraces" is an uninspired retread of familiar Almodovar themes, so maybe not. I will reserve judgment until I see the film next month since Cannes has proven to be an unreliable barometer. My favorite film of the year, "The Headless Woman," was booed relentlessly there last year.

By the way, the three films that remain in the running to represent Spain on Oscar night are:

Isabel Coixet's "Map of the Sounds of Tokyo"
Fernando Trueba's "El baile de la Victoria" ("The Dancer and the Thief")
- Trueba won the Oscar in 1993 for "Belle Epoque"
Daniel Sanchez-Arevalo's "Gordos"

The committee will announce its decision on September 29th. In related news, Venezuela is the only Latin American country that has already announced its official selection:

Efterpi Charalambidis' "Libertador Morales, El Justiciero"

I'll post a complete list of the films representing all Latin American countries when the Academy makes the official announcement later in the year.

"CRUDE" Review

During the Sundance Film Festival, Variety published a positive, two-paragraph review of Joe Berlinger's new documentary "Crude." The writer called it a departure from the "intimate nonfiction dramas of his prior features ("Brother's Keeper," "Paradise Lost," "Metallica: Some Kind of Monster")." Now, I wouldn't necessarily call "Metallica" intimate. To me, it was more of an epic chronicle, albeit a psychological one. And Berlinger has obviously tackled issues of social injustice before in "Paradise Lost" and its sequel. So needless to say, I disagree with Variety's assessment. After watching "Crude," it's clear to me that Berlinger's talent is not limited to the scope of his films or to a particular subject matter. He simply excels at what he does because he is a keen, patient observer of human behavior, which is precisely the reason he favors verité. He keeps the cameras rolling not to capture some unexpected drama or conflict (as filmmakers bred on reality TV conventions are wont to do) but rather because he's waiting for the moment when a subject will reveal the inherent human complexity within. This remarkable skill is what elevates "Crude" from a mere issue-oriented documentary to a fascinating study of activists rising beyond their limitations to fight catastrophic corporate neglect.

The story concerns a landmark class-action suit (sometimes referred to as the "Amazon Chernobyl case") leveled against oil giant Chevron by 30,000 indigenous people of the Amazon jungle of Ecuador. The plaintiffs charge that Texaco - which Chevron took over in 2001 - knowingly and systematically contaminated an area the size of Rhode Island during the three decades they conducted operations in the jungle. This led to an alarming rise in birth defects, skin diseases, cancer, and the destruction of the inhabitants' way of life. The film focuses primarily on the actions of two of the plaintiff's lawyers: lead attorney Pablo Fajardo, an Ecuadorian native who never litigated a case before, and consulting attorney Steven Donziger, a contrasting and idealistic American from the Upper West Side of Manhattan.

The case - mired in jurisdictional battles and other legal delays - had been going on for 13 years by the time Berlinger arrived in Ecuador (sans his frequent collaborator Bruce Sinofsky - they're still friends, I hear). So the film chronicles the two subsequent years, purported to be the final stage of the case and in which on-site inspections are conducted by a judge and lawyers from both sides. These scenes, which make up the bulk of the film, show Trujillo admirably going mano a mano with the defense lawyer, Adolfo Callejas, who is faced with the unenviable task of defending a foreign corporation who has seemingly committed woeful neglect in his own country's soil. This culturally complex dynamic is one of the many pleasures of "Crude."


The fact that this non-courtroom, legal drama unfolds right smack in the middle of the jungle provides a rich tapestry of detail for Berlinger to explore. During the legal proceedings, his camera/eye wonders to a band of children carrying protest signs, their faces bewildered by the circus atmosphere, or to a contaminated goose close to death wriggling in pain, or to the defense lawyer's face in close up, framed against wild flora, listening to damning evidence and struggling to maintain his indignant facade. Indeed, "Crude" doesn't try to an objective piece of cinema. In the opening minutes, we see a TV report that shows a young girl pulling a tree branch out of an oil-covered pond. The oil is so thick it stretches like taffy. The image is so powerful as to negate anything said by Chevron reps throughout the rest of the movie. And I'm fine with that. Berlinger is obviously a biased reporter, so why pretend to be something he's not? If you want a fair exposition of both sides of a story try "60 Minutes." Berlinger's films are after something more subtle and interesting - people's behavior in the face of stressful or extraordinary situations.

Just like in his previous films, Berlinger's patient approach pays off in "Crude." In a powerful scene, an indigenous woman breaks down on-camera while talking about the struggle of taking care of his 19 year-old, cancer-stricken daughter. In that extremely intimate moment, the presence of the cameras never felt invasive. Rather, they provided a forum for her to finally share her incredibly real and heartbreaking emotions. In another memorable scene, Pablo Fajardo is shown a copy of a Vanity Fear article that features full-page glossies of him. The camera lingers on Fajardo's face as he reacts. At first he giggles playfully, but soon laments the fact that the article didn't include a picture of a sick family he instructed the photographer to take. "They are the very expression of the problem," he says, selflessly putting the issue in perspective. It is these rare moments that define the true character of the film's subjects and give the film its enormous soul.

When Berlinger interviews several Chevron executives and environmental reps he shoots them in extreme close ups. He's obviously not interested in the drivel they're saying but rather in what they're not saying - so he probes, visually, for clues to their humanity. The technique worked and I found myself watching them intently and wondering if these people were also victims of a different kind. Perhaps the same rampant corporate greed that ruins precious ecosystems is also capable of transforming perfectly decent people into corrupt automatons.

The difference between Berlinger and a filmmaker like, say, Werner Herzog, who has captured the Amazon in numerous documentaries, is that Berlinger does not impose his creative ideas on the subject matter and turns them into an expression of his poetic sensibilities. I admire them both very much but they have very different styles. Berlinger works with whatever materializes in front of his camera and constructs the film accordingly. He also seems very comfortable working within certain narrative conventions. "Paradise Lost" and "Crude" can easily be described as "legal dramas" and indeed they succeed in sustaining a high level of intrigue, but he also gives us much more. Taking full advantage of the medium (his cinematographer, Juan Diego Pérez deserves much praise as well for his almost tactile photography), he vividly SHOWS the effect of the devastation on these poor, tribal communities, the corruption of the legal system in Ecuador, and Chevron's bullying legal maneuvering, which essentially consists of filing motion after motion to make the case drag on until the plaintiffs run out of money.

The result is an engrossing documentary that works incredibly well as both as a legal thriller and as a cautionary tale of the human cost of corporate greed. For these two things to co-exist so well on screen requires a director with a lot of talent and soul. Berlinger has those qualities in spades.

"Crude" opens in NY on September 9 and in Los Angeles on September 18. It will roll out gradually to other cities throughout the fall.

Filmmaker Killed in El Salvador

The AP is reporting this morning that Christian Poveda, the French/Spanish director of the documentary "La Vida Loca" was found murdered in a car in El Salvador. Police said he was shot execution style, presumably the victim of the gang violence he exposed in his film.

Poveda had a distinguished, 30-year career as a photojournalist and wrote for a variety of publications including Time and Newsweek magazines, Paris Match and Figaro, from posts in Latin America, Iran and Iraq, Sierra Leone and the Philippines.

"La Vida Loca" recently won the Memory Award at the Guadalajara Film Festival and is slated to be shown at the upcoming San Sebastian and Havana Film Festivals.

The film focuses on gang members who served time in U.S. prisons and, due to new sentencing laws in the late 90's, were deported back to El Salvador. Some of them had spent almost their entire life in the U.S. If you're interested in this fascinating subject, check out this FREE podcast of This American Life. It features a first-person account of a former, L.A. gang member's life in El Salvador.

UPDATE 9-5-09: A suspect in the murder of Cristian Poveda was arrested Thursday. The only information police provided was that he was a member of the Mara 18 gang. It is unclear if he has been charged with the crime or the extent of his involvement.

UPDATE 9-11-09: After the initial arrest of one suspect on September 5th, six more gang members and a police officer have been taken into custody and charged with Cristian Poveda's murder. The name of the first suspect was revealed to be Lazo Rivera. He allegedly ordered the hit. Four of the men who were subsequently arrested were members of Rivera's gang: Mara 18. The police officer's involvement is not known. Read the CNN article.

Cortos

The first order of business today is to persuade y'all to tune in to PBS Sept. 1, 2009 at 10pm for the broadcast premiere of "Ella es el matador," a beautiful doc about female bullfighters in Spain. The recipient of the Tribeca Film Festival All Access Promise Award and supported by Latino Public Broadcasting, POV, and Women Make Films, the film was directed by first-time helmers Gemma Cubero del Barrio and Celeste Carrasco, who hail from Spain. The film had its World Premiere just last Friday at the Roxie in San Francisco, so this is a rare opportunity to see a doc hot-off-the-presses, sort of speak.

Here's Michael Tully's review on Hammer to Nail.

Next up is Lisandro Alonso's "Liverpool," which opens Wednesday, Sept. 2nd at the Anthology Film Archives in NY. Alonso's films are rarely shown stateside and reviews like this probably won't win him any fans outside of the Cannes' selection committee (all 4 of his films have been invited to screen at the fest, though never in the main competition). Nevertheless, "Liverpool" was voted “Best Film of 2008” by Cinema Scope and made the Indiwire list of best undistributed films of 2008.

Here's a second opinion from The Rumpus, who gave the film high marks and interviewed Alonso at the Rotterdam Film Festival back in February.

IFC is releasing Alex de los Santos' New Directors/New Films entry "Unmade Beds" on Friday, September 4th at the IFC Center in NY. The film has received great notices on its recent fest run (Variety calls de los Santos a filmmaker with "an assured voice") and reportedly builds upon the promise of the director's first outing, the celebrated "Glue." The story concerns Axl and Vera, two twentysomethings adrift in London who keep missing each other while one searches for his father and the other heals from a wounded heart. Much has also been written about the film's cool soundtrack. If you were underwhelmed by "(500) Days of Summer" (as I was), perhaps this is your ticket.

Read the Variety review; a mixed review on Indiewire; or an interview with Alex de los Santos at Filmmaker Magazine.

Finally, Joe Berlinger's "Crude" opens Wednesday, September 9th, also at the IFC (followed by a national rollout). The man behind some of the most seminal docs in history - "Brother's Keeper," "Paradise Lost," "Metallica: Some Kind of Monster" - Berlinger now turns his attention to a landmark legal case involving Chevron and 30,000 indigenous inhabitants of the Amazon (plaintiffs), who claim the oil company systematically contaminated an area the size of Rhode Island for more than 3 decades. Check out the official website and watch out for my review later this week.

In response to Eugene Hernadez's Indiewire article, "Nadie sabe nada"

On August 23rd, Eugene Hernandez, editor of Indiewire, posted this article, eliciting a number of responses from members of the Latin American film community, including this one from yours truly:

Dear Eugene,

A few weeks ago I started my own blog on Latin American cinema: http://diazfilm.blogspot.com. I decided to do so because I couldn't find an online destination in English that focused specifically on the rich bounty of films currently produced in places like Uruguay, Mexico, Chile and Argentina, among others. Indeed, production (and the quality) of films in many Latin American countries has increased exponentially in the last decade. So it is terribly unfortunate that worthy new works cannot enjoy the exposure they deserve as a result of our fragile economy and current distribution woes. I definitely share the concerns expressed in your article, and I believe that there is something we can do.

First, I think it's important to dispel some common misconceptions about Latino audiences. Latinos in this country are not a homogeneous group. Just because someone speaks Spanish doesn't necessarily mean that they will be attracted to a Spanish-language film. In fact, U.S. Latino filmgoers generally have a greater allegiance to films from their country of origin (or descent). In other words, you're most likely to see a Chilean supporting a Chilean film than a film in Spanish from another country. Crossover non-Latinos and cinephiles of every ilk are also important but to the extent that U.S. distribution companies don't observe these distinctions they are destined to miss the mark. Now that the old distribution models are going the way of the dinosaurs it is even more important to take these issues into consideration.

To me, theatrical distribution has ceased to be the be-all and end-all. The younger generations don't seem to have the same passion for watching films in cinemas as some of us, so why beat the theatrical dead horse - especially when it continues to fail foreign films and their audiences? We have to accept our new reality and find new solutions. I commend The Auteurs' Efe Cakarel for creating an exciting new model of distribution and, in that same spirit, I feel that we need to continue to support other non-traditional distribution ideas and grass roots initiatives. A good friend of mine, Ana Joanes - director of the documentary "Fresh," devised an innovative distribution plan where she targeted her audience directly (in her case, people interested or involved in the alternative foods movement) and through her website began to sell DVD's of her films and licenses for "home" and "community" screenings. She's been extremely successful, filling non-traditional venues such as libraries to capacity, and now distributors are knocking on HER door.

Ana's system is perfect for galvanizing specific Latino groups to support a given film. Puerto Rico, my country of origin, produces very few films a year but whenever one is released the groundswell of support can be astounding. This is so because everyone wants to rally around a film deemed as a "local production." The film becomes symbolic of our people and our art, so people flock to theaters, buy DVD's, etc. I believe that Latinos in the U.S. can be inspired in the same way to either go to theaters (if the choice is available) or, using Ana's DIY model, to attend a screening at, say, the local YMCA. And by the way, nationality is not the only common theme that can be of interest to Latino audiences. Films dealing with immigration, politics, gays, and environmental issues can easily find receptive Latinos. The key is to be smart about identifying your audience, and to reach out to them in a way that makes them feel that their participation is important.

Finally, people in the media can be instrumental in increasing the visibility of Latin American cinema and promoting audience engagement. Whether in a small forum like my blog or an influential website like yours, our commitment needs to be reflected in the continued coverage of Latin American films, festivals, news, etc. Otherwise, these films we all love run the risk of languishing in relative obscurity in the U.S. Recently, the Film Society of Lincoln Center announced its lineup for the 12th edition of Latinbeat, its annual showcase of Latin American cinema. However, I didn't see any articles about it in any of my trusted film websites (including Indiewire). I actually found the listing by chance when perusing the Film Society's website. Latinbeat was where, in 2003, one of my documentaries ("Viva Cepeda!") was bought by HBO after executives attended a screening. At a time when Latino film festivals are shutting down or close to it, the media's support is more important than ever. Or else, I fear future filmmakers might be deprived of the same opportunity I had.

As you can see from the responses you received, there are many people who share your concerns but who are, in equal measure, working to find solutions. I sincerely hope that you will use your influence to keep the dialogue going.

Mario Diaz
Producer/Director/Editor

LATINBEAT 2009 Lineup

Without much fanfare, the Film Society of Lincoln Center recently posted its lineup for the 2009 edition of Latinbeat. I actually came across the listing while perusing the Film Society website, which is a pity because this is a first rate showcase that deserves more attention and publicity. My good friend Marcela Goglio is the curator and this year she's gathered an intriguing selection of films from Argentina, Brazil, Chile, Cuba, Mexico, Peru, and Uruguay. With the exception of "La teta asustada" ("The Milk of Sorrow") which was shown at New Directors/New Films in April, the films are all New York premieres.

This year, Latinbeat celebrates the life of influential writer Julio Cortazar with a seven-film tribute. Other special events include Latin-O-American, a panel discussion with up-and-coming Latino filmmakers that features, among others, Alex Rivera ("Sleep Dealer"), Sebastian Silva ("La nana"/"The Maid"), and Natalia Almada whose lauded documentary, "El general" ("The General") is also included in the festival. The panel will be moderated by Carlos Gutiérrez, co-founding director of Cinema Tropical.

Take it from someone who has shown his films twice at Latinbeat and has attended the festival for many years - there's no better place to watch the best Latin American cinema has to offer. The screenings are held at the magnificently cozy Walter Reade Theater and many of the directors will be in attendance. Also, Marcela has a knack for finding unexpected gems - so be prepared to be pleasantly surprised by films you've never heard of.

Here's the complete lineup. As always, links of film reviews are provided if available.

1. ACNE - Uruguay/Argentina/Mexico/Spain/USA - dir. Federico Veiroj
Reviews: ION Cinema, L.A. Splash, The Hollywood Reporter
2. CHEGA DE SAUDADE (THE BALLROOM) - Brazil - dir. Laís Bodanzky
Reviews: New Times,
3. BLOW-UP - UK/Italy/USA - dir. Michelangelo Antonioni
Reviews: NY Times, NY Observer, Variety
4. LA CAMARA OSCURA (THE CAMERA OBSCURA) - Argentina/France - dir. María Victoria Menis
Reviews: Reel Film Reviews, The Depaulia
5. CANAL (Á)/ CHANNEL (Á) ON CORTAZAR:
- HISTORIAS DE VIDA
- CIUDAD NATAL
- BUENOS AIRES AL PIE DE LA LETRA
- NOCHE DE SABADO EN EL LUNA PARK
6. CORTAZAR (CELESTIAL CLOCKWORK) - Argentina - dir. Tristán Bauer
Reviews: Time Out London
7. EL GENERAL (THE GENERAL) - Mexico/USA - dir. Natalia Almada
Reviews: Variety, ION CINEMA
8. LA BUENA VIDA (THE GOOD LIFE) - Chile - dir. Andrés Wood
Reviews: La Mirada FF
9. LA RONDA (LOVE BY ACCIDENT) - Argentina - dir. Inés Braun
10. AMOROSA SOLEDAD (LOVELY LONELINESS) - Argentina - dir. Victoria Galardi and Martín Carranza
Reviews: Nisimazine, By The Firelight, Variety
11. MENTIRAS PIADOSAS (MADE UP MEMORIES) - Argentina - dir. Diego Sabanés
12. LA TETA ASUSTADA (THE MILK OF SORROW) - Spain/Peru - dir. Claudia Llosa
Reviews: Variety, Slant, Hollywood Reporter, Screendaily
13. MUSICA EN ESPERA (MUSIC ON HOLD) - Argentina - dir. Hernán A. Goldfrid
Reviews: Variety
14. CINCO DIAS SIN NORA (NORA'S WILL) - Mexico - dir. Mariana Chenillo
Review: Slackerwood
15. OCEANO (OCEAN) - Russia/Cuba - dir. Mikhail Kosyrev-Nesterov
16. LA CIFRA IMPAR (ODD NUMBER) - Argentina - dir. Manuel Antin
17. LA ULTIMA Y NOS VAMOS (ONE FOR THE ROAD) - Mexico - dir. Eva López Sánchez
18. INTIMIDADES DE SHAKESPEARE Y VICTOR HUGO (SHAKESPEARE AND VICTOR HUGO'S INTIMACIES) - Mexico - dir. Yulene Olaizola
Reviews: Variety
19. ARRANCAME LA VIDA (TEAR THIS HEART OUT) - Mexico - dir. Roberto Sneider
Reviews: Variety
20. TURISTAS (TOURISTS) - Chile - dir. Alicia Scherson
Reviews: SBCC Film Reviews, Hollywood Reporter, Screendaily, Cinemaverytasty
21. UN NOVIO PARA MI MUJER (A BOYFRIEND FOR MY WIFE) - Argentina - dir. Juan Taratuto
Reviews: Variety

See you there!

"La mujer sin cabeza" ("The Headless Woman") in U.S. Theaters - Finally!

For a film that got booed after its premiere at Cannes in 2008 (what were they expecting, "Speed Racer?"), "La mujer sin cabeza" has rebounded quite nicely. On the eve of its U.S. theatrical release (it certainly took a while), critics have given Lucrecia Martel's masterpiece phenomenal write-ups, forcing those who might have initially dismissed it to take a second look. It would appear that film critics still serve a purpose...

I've seen the film three times now and every time I watch it I discover previously unregistered details - precious cinematic clues placed strategically in the periphery of the action - that make me marvel even more at Martel's meticulous construction. In the last viewing I noticed more than ever how her set design helps convey a sense of class decay. Even though the film is set in contemporary times, she places her protagonist Verónica (Maria Onetto) in locations that feel frozen in time, specifically in the late 70's - the dark years of Argentina's military dictatorship. It's just one of many hidden (or I should say, not conventionally obvious) elements that connect to Martel's themes of social inequality and the bourgeoisie's rotting and noxious influence.

Herein, some of "La mujer sin cabeza's" critical champions (and a few detractors at the bottom):

In his review, the New York Times' A.O. Scott delves deep into the thematic aspirations of the film, calling it "a meditation on Argentina’s historical memory. It subtly compares Verónica’s silent disavowal of responsibility for any crime she might have committed with that country’s silence during its dictatorship, when suspected dissidents disappeared."

Film Comment's Editor-at-Large Kent Jones has been a supporter of the film since Cannes (and actually, of every film Martel has ever made since they have all been shown at the NYFF). In this report that appeared last year, he discusses Martel's "forensic" style: "Martel excitingly confines herself to her heroine’s traumatically realigned viewpoint (the scope frame is used in the most exacting fashion, in conjunction with the soundtrack, to suggest a hallucinatory mental space both within and without María Onetto’s character)."

The venerable J. Hoberman, writing for the Village Voice, focuses on the film's texture: "As dense and fluid as Martel's movie is, the viewer—like the protagonist—is compelled to live in the moment. And a rich moment it is. With its shallow focus, chiaroscuro lighting, off-centered wide-screen compositions, and constant background noise, The Headless Woman teems with life."

On indiewire, Eric Hynes seems to withhold judgement, but his review is thoughtful nonetheless. He interestingly talks about how Martel's approach to class has evolved since her first film: "Martel’s approach to class in “The Headless Woman” is both more subtle and forceful. Fewer racist complaints about filthy, shady “Indians” are heard than in “La Cienaga” and “The Holy Girl,” but Vero’s entire existence depends on and is restored by privilege. A young boy whose corpse is found clogging the canals—Vero’s victim?—remains unidentified while Vero’s identity is exhaustively retraced. Even her guilt (itself a privileged emotion), though it prompts her to small generosities toward house staff and day laborers, assumes an interchangeability of the underclass."

Glenn Kenny, from Some Came Running, wrote about "La mujer sin cabeza" last year in Cannes: "Throughout, Martel places the character in shallow focus widescreen close-ups; therein, those people in her periphery—generally servants, workers, and so on—are diffused, hazy. It's an oblique way of reflecting on contemporary class relations, but it's apt, and in point of fact this is one of the few films in the largely-socially-conscious Competition that reflects on class relations as such."

A couple of detractors (actually, Rotten Tomatoes gives "La mujer sin cabeza" a 50% Tomatometer - suggesting that critics are evenly divided. However, a quick online search will get you more fresh tomatoes than splats):

For the New Yorker, Richard Brody (why not Denby or Lane?) writes: "Martel tries to have it both ways, attempting to construct a rich reality by accretion of ordinary and realistic detail, while stacking the narrative deck so rigorously that the characters evaporate into symbols almost upon their appearance."

Slant's Akiva Gootlieb, argues that: "Films that try to convey a state of disorientation live and die by their central metaphors, and the one that lends Lucrecia Martel's The Headless Woman its title is certifiably lame."

I guess you can't win 'em all!

San Sebastian Announces Lineup For "Horizontes Latinos" Sidebar

The 57th San Sebastian Film Festival (which runs from September 18-26, 2009) unveiled on Tuesday the selections for their Horizontes Latinos sidebar, a competitive showcase of Latin American films that have gained festival traction throughout the year. 13 films from Argentina, Chile, Colombia, Mexico, Peru and Uruguay - some of which are co-productions with Spain, Germany, France, Holland, Portugal, USA, and Canada - will compete for the main prize of 35,000 euros.

The opening slot was given to Cary Joji Fukunaga's "Sin Nombre" - in my opinion a hackneyed dual tale of a reluctant teenage gang member from Tapachula, Mexico whose girlfriend was killed by a rival gang member, and a Hondural girl embarking on a long and dangerous journey to the United States. A multiple award winner at the 2009 Sundance Film Festival.

Other titles include: Adrian Biniez's "Gigante" ("Giant), which garnered three awards at Berlin this year, Ciro Guerra's "Los Viajes del Viento" ("The Wind Journeys"), and Alejandro Fernández Almendras' "Huacho." The last two were shown at Cannes' Directors Fortnight and Cannes' Critics Week respectively.

However, not all the film selected for Horizontes Latinos have had festival exposure. Several, like Cristián Jiménez's "Ilusiones ópticas" ("Optical Illusions"), came from the 2008 edition of the San Sebastian's Films in Progress lab.

Should you be planning a trip to Spain in September, here is a complete list of films, along with links to reviews (if available):

1. EL ARBOL (THE TREE) - Spain/Mexico - dir. Carlos Serrano Azcona
Reviews: Variety, The Rumpus
2. CONTRACORRIENTE (AGAINST THE TIDE) - Peru/Colombia/France/Germany - dir. Javier Fuentes-León
3. DANIEL Y ANA (DANIEL AND ANNA) - Mexico/Spain - dir. Michel Franco
Reviews: Nisimazine, Huffington Post
4. FRANCIA (FRANCE) - Argentina - dir. Israel Adrián Caetano
5. GIGANTE (GIANT) - Uruguay - dir. Adrián Biniez
Reviews: Hollywood Reporter, Variety, Screendaily
6. HUACHO - Chile/France/Germany - dir. Alejandro Fernández Almendras
Reviews: Variety, Screendaily
7. ILUSIONES OPTICAS - Chile/Portugal/France - dir. Cristián Jiménez
8. LA INVENCION DE LA CARNE (THE INVENTION OF FLESH) - Argentina - dir. Santiago Loza
9. MAREA DE ARENA (SAND TIDE) - Mexico/Argentina - dir. Gustavo Montiel Pagés
10. PERPETUUM MOBILE - Mexico/Canada - dir. Nicolás Pereda
11. SIN NOMBRE (NAMELESS) - USA/Mexico - dir. Cary Joji Fukunaga
Reviews: NY Times, Variety, LA Times, Cinematical, The Guardian
12. EL ULTIMO VERANO DE LA BOYITA (BOYITA'S LAST SUMMER) - Argentina - dir. Julia Solomonoff
13. LOS VIAJES DEL VIENTO (THE WIND JOURNEYS) - Colombia/Argentina/Germany/Netherlands - dir. Ciro Guerra
Reviews: Variety, Screendaily