#Ibero-American cinema

[phonemantra-blog]

The 11th Platino Awards, celebrating the best in Ibero-American cinema and television, is shaping up to be a spectacular night. The event, scheduled for April 20th at Xcaret Park in Riviera Maya, Mexico, will not only recognize outstanding achievements in film and television but will also feature a star-studded lineup of musical performances. A Celebration of Ibero-American Music The Platino Awards ceremony aims to showcase the rich tapestry of music from across Ibero-America. The list of performers includes a diverse range of artists from Spain, Mexico, Colombia, Argentina, and Venezuela, each bringing their unique sound and style to the stage. 11th Platino Awards Spain: Talented singers Ana Guerra, Ana Mena, and the legendary David Bisbal will represent Spain. Guerra, known for her collaborations with established artists and upcoming EP release, brings a fresh pop sound. Mena, a rising star in urban pop, will likely perform hits like the viral "Madrid City." Bisbal, a multi-award-winning artist with a global career, promises an unforgettable performance. Mexico: Award-winning singer Ángela Aguilar will bring the heart of Mexican music to the ceremony. Aguilar, known for her beautiful blend of pop with mariachi and regional Mexican influences, is sure to captivate the audience. Colombia: Actresses and singers Diana Hoyos and Majida Issa, along with the musical group Monsieur Periné, will represent Colombia. Hoyos, known for her acting roles and singing talent, might even perform a song alongside Rauch. Issa, a rising star with a Latin Grammy nomination and a new film, will likely showcase her musical prowess. Monsieur Periné, a dynamic duo known for their fusion of jazz, swing, and Latin American rhythms, promises a lively performance. Argentina: Versatile performer Gerónimo Rauch will add a touch of theater to the evening. Rauch, known for his roles in Les Misérables and The Phantom of the Opera, might even surprise the audience with a song from his extensive repertoire. Venezuela: Renowned vocalist Mariaca Semprún, a Latin Grammy winner, will bring her powerful voice and theatrical experience to the stage. Beyond the Performances: A Night of Recognition The Platino Awards ceremony is not just about the music. It's a night to celebrate the best in Ibero-American cinema and television. The nominees for the 24 award categories, including Best Iberoamerican Fiction Film, Best Direction, and Best Actor/Actress, will be announced soon. The ceremony will also feature a special tribute to actress Cecilia Roth, who will receive the Honorary Platino Award in recognition of her exceptional career. The Roster of Performers: Ana Guerra: Hailing from Spain, Ana Guerra has captivated audiences with her soulful voice and magnetic stage presence. With the release of her EP "Érase una vez" and numerous collaborations, she continues to establish herself as a rising star in the music industry. Ana Mena: As an urban pop sensation, Ana Mena has garnered widespread acclaim for her chart-topping hits and dynamic performances. Her collaborations with top artists and infectious energy have solidified her status as one of Spain's most promising talents. Ángela Aguilar: Representing Mexico, Ángela Aguilar brings her unique blend of pop and regional Mexican music to the Platino Awards stage. With multiple albums and award nominations to her name, Aguilar is a force to be reckoned with in the Latin music scene. David Bisbal: With a career spanning decades, David Bisbal is a household name in the music world. His powerful vocals and electrifying stage presence have earned him numerous accolades and a devoted global fanbase. Diana Hoyos: Known for her versatility as both a singer and actress, Diana Hoyos shines on stage and screen alike. From her roles in popular TV series to her chart-topping hits, she continues to captivate audiences with her talent and charisma. Gerónimo Rauch: A seasoned performer with a diverse repertoire, Gerónimo Rauch has wowed audiences in musical theater productions and concert venues around the world. His emotive performances and vocal prowess make him a standout talent at the Platino Awards. Májida Issa: With a Latin Grammy nomination under her belt, Májida Issa is a rising star in the music industry. Her soulful voice and captivating performances have earned her critical acclaim and a dedicated following. Mariaca Semprún: Bringing the rich traditions of Venezuelan music to the forefront, Mariaca Semprún is a true musical powerhouse. Her stage presence and vocal talent have earned her accolades both at home and abroad. Monsieur Periné: Combining jazz, swing, and Latin American influences, Monsieur Periné offers a unique musical experience that delights audiences worldwide. With their innovative sound and infectious energy, they are sure to leave a lasting impression at the Platino Awards.

[dirtybarn]

El after del mundo: Crossing paths of two souls

Humanity ended on the planet Earth and there are nothing but ruins everywhere. El after del Mundo (The World's After) is an animated short film created by Florentina González. After everything was destroyed, there weren't many living creatures around there. The story starts with a soul seeking a stable wifi connection. His luck isn't in his favor but he's persistent. Eventually, he meets with another ghost, we begin to realize their relationship and similar sides as well as opposites. While their environment changes the story develops. The animation and character design are spectacular, the story hooks the viewer to other aspects. In some moments I felt the same vibe with Midnight Gospel, a Netflix-produced animated series. In some ways, the similarity is out there and that also gave me comfort and let me into the story. El after del Mundo does not need any praise from anyone because the awards they get from festivals show its value. You can check Florentina González's Instagram and Vimeo profiles for more information. You can also watch the short film from Vimeo with close captions as well. https://www.youtube.com/watch?v=RRMnwjmSNH0

El after del Mundo - Credits:

Script: Florentina Gonzalez and Luz Marquez Art: Florentina Gonzalez and "Same" Daniela Barella Layouts: Florentina Gonzalez and Florencia Ponticelli Music: Juana Molina Animation: Autour de Minuit Compo: Florentina Gonzalez and Pablo Kondratas

El after del Mundo - Awards:

2022 1. Fantasia International Film Festival - Montréal - Canada 2. Bucheon International Animation Festival - South Korea >> Special Distinction Prize 3. Weird Market - Segovia - Spain 4. Catalonia Fantastic International Film Festival - Sitges - Spain 5. Anima - Cordoba Int. Animation Festival - Córdoba - Argentina >> 3rd Prize for the Best Argentinian Animation + Audience Award 6. Strasbourg European Fantastic Film Festival - France 7. Bit Bang - Buenos Aires - Argentina >> Best Latin American Short Film Award 8. Anim'est International Animation Film Festival - Bucharest - Romania 9. Innsbruck Nature Film Festival - Austria 10. New Chitose Airport International Animation Festival - Japan 11. Armagnac Short Film Festival - Condom - France 12. Uppsala International Short Film Festival - Sweden 13. Etiuda&Anima - Krakow - Poland 14. Alcine - Alcalá de Henares - Spain 15. CutOut Fest, International Animation Film Festival - Querétaro - Mexico 16. Curta Cinema International Short Film Festival - Rio de Janeiro - Brazil 2023 1. Festival Premiers Plans - Angers - France 2. Clermont-Ferrand International Short Film Festival - France 3. Rennes French Animation Film Festival - France 4. Anima - Brussels Animation Film Festival - Belgium 5. Film Maudit 2.0 - Los Angeles - USA 6. African, Asian and Latin American Film Festival - Milano - Italy 7. Tricky Women Animation Film Festival - Vienna - Austria >> Tricky Women/Tricky Realities Award 8. Stuttgart International Festival of Animated Film (ITFS) - Germany 9. Animac - Mostra Internacional de Cinema d'Animació de Catalunya - Lleida - Spain 10. Go Short - Int. Short Film Festival - Nijmegen - The Netherlands 11. Animocje International Animated Films Festival - Bydgoszcz - Poland 12. Regard Saguenay International Short Film Festival - Chicoutimi - Canada 13. Bordeaux European Short Film Festival - France 14. Ciné Filou Festival / Festival Trois Jours Trop Courts - Castres & Albi les Cordeliers - France 15. Tout Court ! - Gisors - France 16. Animafest - Zagreb - Croatia >> Special Award 17. Festival 2ANNAS, Riga International Short Film Festival - Latvia 18. Cinema Jove - Valencia - Spain 19. Los Angeles Latino International Film Festival (LALIFF) - USA 20. Euganea Film Festival - Monselice (Padova) - Italy 21. Short Shorts Film Festival & Asia - Tokyo - Japan 22. Imaxinaria - A Coruña - Spain 23. Baixada Animada, Mostra Ibero-Americana de Cinema de Animação - Rio de Janeiro - Brazil >> Best international film 24. Mecal Pro, the Barcelona International Short and Animation Festival - Barcelone - Spain 25. Contis Film Festival - Contis - France 26. São Paulo Int. Short Film Festival - São Paulo - Brazil 27. Festival du film merveilleux & imaginaire - Paris - France 28. Fantoche - Baden - Switzerland 29. Pixelatl - Guadalajara - Mexico 30. Festival Internacional Jóvenes Realizadores de Granada - Grenade - Spain 31. Auch Short Film Festival - France Images: Screengrabs from the short film Read the full article

[usuallywisestarlight]

IBERO AMERICAN FILM FESTIVAL EN MIAMI

Carlos Hugo Aztarain  // El Ibero-American Film Festival Miami (IAFFM), fusión de cultura, arte y entretenimiento, celebrarà su VI edición del 2 al 10 de febrero de 2024, en la ciudad de Miami, Florida, y se llevarà a cabo en el Silverspot Cinema. El Certamen intenta unir y destacar el talento de las 22 naciones iberoamericanas, incluyendo Portugal y España. Casualmente en esta pròxima fiesta…

[swiedemann]

Oculto [La vergüenza de ser humano] Hidden [The shame of being human]

Audiovisual composition: Sebastian Wiedemann Music: Aidan Baker & Gareth Davis

8min Super8 to FullHD/Color/stereo

Country of production: Colombia/Peru Film commissioned by MUTA Festival internacional de apropiación audiovisual CC BY-NC-SA 2021-2023

Sinopsis: Los cuerpos celestes algo enuncian en medio a su misterio. La luna se hace roja, el planeta llora, la caída es más profunda de lo que podríamos imaginar. Oculto, algo al asecho. En el medio, un réquiem o quizás una elegía. Lo incierto como camino que nos lleva a una catástrofe que no sabemos si es pasada, presente o futura. Pero que sin duda es memoria profunda de un oscuro secreto. Los susurros rotos de una selva herida.

Synopsis: The celestial bodies enunciate something in the midst of their mystery. The moon turns red, the planet cries, the fall is deeper than we could imagine. Hidden, something lurks. In the middle, a requiem or perhaps an elegy. The uncertain as a path that leads us to a catastrophe that we do not know if it is past, present or future. But which is undoubtedly a deep memory of a dark secret. The broken whispers of a wounded jungle.

_________________________________

Critics:

"En Oculto Sebastian Wiedemann articula la catástrofe del mundo en la forma de una jungla herida. (...)Así, las imágenes que Wiedemann remonta, se desprenden de las intenciones “documentales” de sus creadores, para abrazar una nueva significación, relacionada con una crítica estético-política del Antropoceno y la catástrofe ambiental que azota al mundo. De ahí la urgencia de escuchar los susurros de la selva herida. " Mariana Martínez Bonilla (Octubre 2023)

"A shamanic audiovisual trance, which expressed nature’s suffering with great evocation. The work offered a direct criticism of environmental destruction caused by imperialist exploitation, effectively communicated by transforming archive footage manipulating the strips of film, accompanied by radical sound experimentation. An agitational piece, following in the footsteps of the great Santiago Álvarez and more recently the Mexican collective Los Ingrávidos. The resulting product challenges the audience to engage with the political context, through a metamorphosis of sound and visual montage. An astounding accomplishment of experimental cinema!" Elena (December 2023) _________________________________

Proyecciones/Screenings: Festival version

2024 CineOP – Mostra de Cinema de Ouro Preto, Brasil

2024 Festival Internacional de la Imagen [Muestra Cine (y) Digital], Colombia

2024 Alchemy Film and Moving Image Festival, UK

2024 Fisura - International Festival of Experimental Film and Video, Mexico

2024 Land Symposium - University of the Arts London - Central Saint Martins, UK

2023 MASTER.LAV - "Devoraciones Cinematograficas. El cine de Sebastian Wiedemann", Spain

2023 Bogoshorts - Festival De Cortos De Bogotá, Colombia [Panorama Colombiano Experimental]

2023 Deluge Contemporary Art Gallery - “Territorial Imperative”, Canada 

2023 Antimatter [Media Art] Film Festival, Canada

2023 Museo La Tertulia - Casa Obeso Mejia, Colombia

2023 FICCALI - Festival Internacional de Cine de Cali, Colombia [Competencia Nacional de Cortometrajes]

2023 MIDBO - Muestra Internacional Documental De Bogotá, Colombia [Competencia Nacional de Cortometrajes]

2023 MAMUT - Festival de Memoria Audiovisual, Colombia

2023 ULTRAcinema, Mexico

2023 CCD - Centro de Cultura Digital, Mexico 

2023 SACIMU - Salón de Cines Múltiples, Mexico

2023 Strangloscope – Experimental International Festival, Brasil

2023 DOBRA - Festival Internacional de Cinema Experimental, Brasil

Work-in-progress version 

2023 Amsterdam School for Cultural Analysis - University of Amsterdam, Netherlands

2022 ITESO - Universidad Jesuita de Guadalajara, México

2022 Microcine La Cueva - LEC Laboratorio Experimental de Cine, México

2022 Universidad Nacional Autónoma de México, México

2021 10º Raias Poéticas: Afluentes Ibero-Afro-Americanos de Arte e Pensamento, Portugal

2021 CINETORO Experimental Film Festival, Colombia

2021 14º Premio Nacional de Creación Audiovisual - Universidad de Antioquia, Colombia

_________________________________

Publications:

2021 O pensamento imaginante das árvores

[carolinacappa]

Exhibición de nuestro trabajo en EQZE con Cinemateca de Cuba. En el Archival Assembly #2 del Arsenal, Berlín.

[thunderrabby-blog]

Film Critic Murtaza Ali Khan and Martí Bassets Claret, Cultural Manager, Instituto Cervantes inaugurate New Ibero-American Film Festival

Film Critic Murtaza Ali Khan and Martí Bassets Claret, Cultural Manager, Instituto Cervantes inaugurate New Ibero-American Film Festival

His education spans science, technology, mass communication, and management. But cinema remains his first love. His all-time favorite movie-makers are Akira Kurosawa, Stanley Kubrick, Luis Bunuel, Andrei Tarkovsky, Charles Chaplin, Orson Welles, Federico Fellini, Ingmar Bergman, Satyajit Ray, Fritz Lang, Sergio Leone, Francis Ford Coppola, and Martin Scorsese. He can be reached at…

[artwalktv]

Spending her summer in Mallorca, Antonia comes to recognize the latent similarities to her dead grandmother, and discovers a power over her mourning grandfather. She can’t resist playing dress-up, but it becomes unclear who is inhabiting who. Festivals -Semaine de la Critique - Festival de Cannes | France, Oct 2020 -Festival Internacional de Cine de Gijón/Xixón | Spain, Nov 2020 -Oberhausen International Short Film Festival | Germany, May 2021 -Curtas Vila do Conde - International Film Festival | Portugal, Oct 2020 -Les Arcs European Film Festival | France, Dec 2020 -Premis Gaudí | Spain, Mar 2021 Nominee for Best Short -Festival International de Cine de Morelia | Mexico, Oct 2020 -Festival de Cortometrajes de Aguilar de Campoo | Spain, Dec 2020 Best Cinematography -Filmfest Dresden - International Short Film Festival | Germany, Jul 2021 -MOLODIST - Kyiv International Film Festival | Ukraine, May 2021 -FLICKERS: Rhode Island International Film Festival (RIIFF) | United States, Aug 2021 -Vilnius International Short Film Festival | Lithuania, Jan 2021 -D'A Film Festival Barcelona | Spain, Apr 2021 -Huesca International Film Festival | Spain, Jun 2021 Danzante Award for Best Ibero-American Debut Film -Curta Kinoforum - São Paulo International Short Film Festival | Brazil, Aug 2021 -Festival Européen du Film Court de Brest | France, Nov 2021 -Tirana International Film Festival | Albania, Sep 2021 -Las Palmas de Gran Canaria International Film Festival | Spain, Apr 2021 -Festival de Cine de Madrid PNR - Plataforma Nuevos Realizadores | Spain, Sep 2021 -Poitiers Film Festival | France, Nov 2021 -MECAL Festival Internacional de Cortometrajes de Barcelona | Spain, Mar 2022 -ALCINE - Festival de Cine de Alcalá de Henares | Spain, Nov 2021 -Cinéssonne Festival du cinema européen en Essonne | France, Nov 2021 -Festival de Cortometrajes "Cortada" de Vitoria-Gasteiz | Spain, Dec 2021 -PIFF - Portland International Film Festival | United States, Mar 2021 -Minikino Film Week - Bali International Short Film Festival | Indonesia, Sep 2021 -Festival de Curtmetratges de Manlleu | Spain, Jul 2021 -Linz International Film Festival | Austria, Sep 2021 -Helsinki International Film Festival – Love & Anarchy | Finland, Sep 2021 -International Film Festival Zoom - Zbliżenia | Poland, Feb 2022 -Muestra de Cine Internacional de Palencia | Spain, Feb 2022 -Passaggi d'Autore: Intrecci Mediterranei | Italy, Dec 2020 -Concurso Nacional de Cortometrajes CreatRivas | Spain, Mar 2021 -Festival de Cinema de Menorca | Spain, Jul 2021 Best Short from the Balearic Islands -Festival Internacional de Cine Bajo la Luna de Islantilla | Spain, Jul 2021 -VIA XIV - Festival Internacional de Cortometrajes de Verín | Spain, Sep 2021 Nova Award -Enkarzine | Spain, Nov 2021 -FASCURT - Festival de curtmetratges del Masnou | Spain, Jul 2021 -Raíces. Festival Internacional de Cine de Chivilcoy | Argentina, Mar 2022 -Festival Internacional de Cortometrajes Cinesan - San Martin del Rey Aurelio | Spain, Oct 2021 -CortoGijón - Festival Nacional de Cortometrajes de Gijón | Spain, Oct 2021 -Radio City - Festival internacional de cortometrajes | Spain, May 2022 Exhibitions -Czech Cinematheque | Czech Republic, Sep 2021 | Semaine de la Critique -La Cinémathèque Française | France, Oct 2020 | Semaine de la Critique -Rencontres Cinémas Martinique de l’EPCC Atrium Martinique | France, Oct 2020 | Semaine de la Critique

[realmadridfamily]

Clarice Alves and Marcelo Vieira attend the Platino Awards for Ibero-American Cinema 2022 at Palacio Municipal de Congresos-IFEMA Madrid on May 01, 2022 in Madrid, Spain.

[the-niknak]

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Numerous actors participate in a campaign by the Ibero-American audiovisual industry, in support of the role of cinema and television in a society under the coronavirus.

[creativemorningsedinburgh]

We didn’t win, but we came away feeling humbled and truly inspired

Creative Edinburgh Awards 2020

After a year of comfy trousers and isolation, we had the absolute joy of getting our gladrags on to celebrate the fresh ideas and truly inspiring creative work done right here in our hometown of Edinburgh. 

The Creative Edinburgh Award ceremony is a big deal but, as you can imagine, this year was a little different. Instead of boogying down on the dancefloor together, we piled into a Zoom room. Zoom dress-up was the order of the day – snazzy shirts, lipstick and earrings up top, comfies down below – and we had the chance to sit on our own cosy sofas and make our own favourite drinks. There was wine, there was G&Ts, and even the odd Aperol Spritz.

We were obviously excited to find out whether we'd be getting a prize – having been nominated for The City Award – but, more importantly (we kept reminding ourselves), to get a rundown of some of the fabulous local creatives and collectives being celebrated.

We didn't win in our category. Not going to lie, it would've been a triumphant send off for the team members who have recently moved onto other creative pastures, having dedicated so much time and passion to CreativeMornings/Edinburgh, and of course a brilliant way for the team remaining to start with a bang! However, it was a fantastic opportunity to get together one last time, break out the bubbly and feel truly humbled and inspired by the creative brilliance going on around us.

We just want to take this opportunity to highlight the entries that got us revved up to reach further. That's what CreativeMornings is all about, after all...

Kat's pick – The Flock (The Start-up Award Winner)

The Flock does an amazing job of rolling style and ethics into one kick-ass package – an online space to find interviews and insightful articles on style, culture and entertainment, curated for 'smart, enquiring women who want to lead a good life'. They believe that good media shouldn't have to rely on advertising – i.e. spots sold to the highest bidder – and instead keep themselves free from the sway of advertising revenue in order to promote what's good, not who has the biggest budget:

"I launched The Flock because, after 18 years working in the media, I wanted to do things differently, to genuinely engage with modern, smart, ethically-minded women about the decisions which impact upon their lives... the stories and people that we feature always have one thing in common – their work aims to lead us towards a kinder climate for all." – Jennifer Crichten, Founder of Flock

Empowering women? Check. Saying Flock off to capitalist ideals? Check. Sexy typography, authentic journalism and lush photography? Check, check, check! Truly a winner.

Molly's pick – Fold (The Start-Up Award Nominee)

Now, we didn't want to just write about the winners.

We're obsessed with stationery, as I'm sure a lot of you CM/edites are too... Fold make stand-out, one-of-a-kind luxury paper goods for weddings, events and individuals. And my goodness, they have good taste. From the paper (did you say G.F.Smith?) to the colour palettes, cuts, folds and foiling, they have everything to make a paper craft-obsessed creative weak at the knees:

"...we marry contemporary design with thoughtfully crafted materials to deliver print collateral with provenance and originality. We believe that both process and outcome should be tangible, enlightening and always beautiful." – Hannah and Sarah, founders of Fold.

You can go the whole hog and get a consultation and custom-crafted invites for your event (bookmarked in the imaginary 'wedding' folder as we speak...) or pick yourself up a gorgeous notebook or set of cards. You can even get involved in the process through their workshops (perfect for the 'control freak' creative type!). Plus, what a cool name. Truly winners in our eyes.

Rebecca's pick – The Leith Collective (The Commercial Award Nominee)

We love the ethos of The Leith Collective. Their championing of creativity and community really rings true with what CreativeMornings is all about too.

Based in Ocean Terminal, The Leith Collective is a creative retail space showcasing the work of over 100 artists. They are huge advocates of re-use, recycle, re-claim and re-sell, seeking out artists and makers who create unique pieces from items that would otherwise end up in landfill.

People are truly at the heart of the Collective. Not only do their profits go towards supporting their community, their members also offer free workshops to local schools and charities, host clothes swaps and operate as a donation point for local food banks. They support the mental health and wellbeing of their members, giving them opportunities to gain workplace experience and develop their businesses, no matter what their situation in life is. Rebecca has loved watching them grow, and is especially inspired by how they're space at Ocean Terminal has developed over the past year.

Congratulations to The Leith Collective for their incredible work and their nomination at this year’s Creative Edinburgh Awards!

Clare's pick – SPLINTR (The Commercial Award Winner)

From super fluoro flowers shops, to your favourite reading nook or coffee spot, SPLINTR have made a name for themselves in Edinburgh for fitting out shops, cafes and offices across the city:

"Our ethos is grounded in a passion for uncomplicated, thoughtful and contemporary design. With a background in product design and architecture, our design team ensure a space is not only beautiful, but truly functional too.

"We pride ourselves on our involvement throughout every process of a project... This keeps things simple, efficient and economical for our clients." – SPLINTR

We feel they should win prizes galore for their innovation and craftsmanship alone, but the award they won at the CE Awards 2020 was actually for their Safe Server. Many businesses have had to pivot and reassess due to COVID and Splintr's solution was simple, beautifully built and adaptable. Utilising their classic, on-brand low-cost materials they produced a solution that was easy to implement and simple to brand up. They know their audience, they know their brand, and they did a fabulous job adapting to the current situation and helping their community of business owners.

Genius is often grounded in simplicity – well deserving of the win!

Isobel's pick – CinemaAttic (The 2020 Award Nominee)

Looking to add some Spanish flavour to your cinema-going? Then CinemaAttic is here to help.

Established in 2008, CinemaAttic have been showcasing the very best and brightest emerging filmmakers from Spain, Portugal and Latin America for over a decade. Their partnerships with venues like the Edinburgh Filmhouse and the National Galleries have helped raise the profile of Spanish cinema in Scotland.

With six film and arts festivals behind them and even more in the pipeline, CinemaAttic have established themselves as an incredible platform for entertainment, learning and innovative industry development.

"The crisis of Covid-19 and the following lockdown found CinemaAttic at a truly pivotal moment in the film collective’s history: we were about to celebrate our 10th anniversary as advocates of Ibero-American independent cinema in Scotland, with a number of events in the making to commemorate the occasion and our small team growing and evolving.

While many festivals and film exhibitors were paralysed by the unknown with the introduction of lockdown, we took ownership of the situation and re-oriented our entire programme of the 10th anniversary celebrations to a digital format." – CinemaAttic

Why not escape to the Mediterranean this week with CinemaAttics Catalan Film Festival? Opening on Thursday 19th November, the festival features the best new films from Spain and Catalonia, classic cinema, shorts, Q&As and panel conversations. And don't worry if your Spanish isn't up to scratch – everything will be subtitled in English!

Matt's pick – Lyra (The 2020 Award Winner)

Of course, the year being what it has been, Creative Edinburgh created a whole category in homage to the struggles we've all been feeling. The 2020 Award was created to recognise a project that went above and beyond to deliver despite the setbacks of the year.

The deserving winners were Lyra, an arts organisation based in Greater Craigmillar (Edinburgh) that makes art and creative projects for children and young people. They believe that watching plays and attending theatre workshops can help build confidence, develop social skills and create a sense of worth and belonging:

"We work in creative partnership with our children and young people, and our approach aims to raise aspirations through world-class provision, improve confidence by developing new skills and increase self-esteem by nurturing creative expression."

A truly noble cause and we have to say – their workshops look so fun! If only we weren't a little too old ourselves...

Finally, it would be totally remiss of us not give a great big warm round of applause to Creative Bridge and the team at CodeBase for picking up first prize in our category. A huge congratulations to all of the prize-winners and nominees – keep pushing the boundaries, exploring both possibilities and impossibilities and inspiring us. We could not be prouder of our small but mighty creative city. 

[festivalists]

António's spell

When Lola was running on the streets of Berlin in 1998, it was the cyber-excitement for interactive storytelling that repositioned her again and again on the starting point, up until the happy end. In the Lisbon-set ANTÓNIO ONE TWO THREE / ANTÓNIO UM DOIS TRÊS (2017) by Leonardo Mouramateus (part fairy tale of a self-made man, part millennials romance, part austerity challenge), the eponymous protagonist seems to run towards a three-act change. Our new contributor Andreea Pătru met in Rotterdam the director of this charming feature debut and his film star Mauro Soares in order to deconstruct António's agenda. Three, two, one – start!

Leonardo Mouramateus is a young film director, already known for several highly acclaimed shorts. His MAURO IN CAYENNE / MAURO EM CAIENA (2013) and THE PARTY AND THE BARKING / A FESTA E OS CÃES (2015) both won the Best Short Film prize at Cinéma du Réel, and STORY OF A FEATHER / HISTÓRIA DE UMA PENA (2015) screened at Locarno Film Festival. Born in Brazil, Fortaleza, he shot his first feature ANTÓNIO ONE TWO THREE / ANTÓNIO UM DOIS TRÊS (2017) in Lisbon, where he currently resides.

I had a chance to speak with Leonardo Mouramateus, and Mauro Soares, who played António, was kind enough to translate and participate in our conversation at IFFR, where the film premiered in the Bright Future Competition. Working with the possibilities of multiple representations of its protagonist, the director parted the film in three segments that delicately influence and interact with each other. In this triptych, not only the protagonist’s personality changes, the surroundings and his peers are also given slightly different roles. The film reaches its full potential as a whole because of the strengthened interrelation between its units, giving sense to isolated sequences that fit better into the bigger picture.

António is a student who leaves university to follow his own path in Lisbon, hiding away from his father at his ex-girlfriend’s apartment, a place where he has been the most happy. Leonardo Mouramateus’ film moves away from the conventional and classical narrative forms, and dares to approach a fresh and subversive type of plot. He controls very well the dramatic shifts in his stories by mastering a cinematic grammar of his own, a unique approach for a debut. The film depicts the youthful feelings and connects the constant evolution of its characters with the instability of the millennials’ world.

Andreea Pătru: In the description of your film, you state that the movie is inspired by Dostoevsky’s short story White Nights. To what extent did that work influence yours?

Leonardo Mouramateus: The movie is not directly an adaptation of the work, it is influenced as much as it is from the work of other authors like the poem of Nicanor Parra, Roberto Bolaño, a novelist that I really enjoy. I could talk about the influence of not only writers, but also from music or other pieces of cinema, like Charlot, because my protagonist is a little bit like him, and Lubitsch. Maybe Dostoevsky gained a little bit more attention because in the movie the director chose to adapt it for his theatre play too… and also because it was very fit for the things we wanted to talk about – youth, dreams…

AP: The main character plays various roles, but the majority are related to theatre. Why theatre, what is your relation with this art?

LM: Before cinema, I made theatre in Fortaleza, so for me it was the starting point to get used to a certain type of language, to work with a group and collaborate. Also, a lot of the people, with whom I work now, are related to theatre. I liked it because you can also express with your body, make jokes, the mise-en-scène, even if you are poor. Moreover, the theatre exerts a power over the imagination that interests me in cinema, its limitations are tools to explore my creativity. One of the most important things was my contact with João Fiadeiro, the actor who plays the father in the film. He is also a great choreographer, I got in touch with his system through one of his workshops, and I learnt about realtime composition. Even if it is not that strict of a method, it made me think of the self-sufficiency, of composition, and construction without the author as the master. Everybody, all the parts of the crew are important. Also, theatre appears in my film for its capacity of reconstruction and also because of its lively creativity, you can watch how ideas are born, and I also liked to illustrate the process.

AP: The three-part story you have chosen is an interesting tool for developing your plot. The stories merge into one another by repeating the characters, yet giving them different character development, to the point we do not know which story is the real one. Which was the first part you have developed?

LM: We shot the movie as it is presented, in the exact same order: one, two, three. After I shot the first part, we stopped for six months, and so on after each part. I do not know how would have looked if I changed the order, because I never experienced it. Maybe chronologically it wouldn’t be so visible, but the changes in the development of the character would be affected. There is something that changes and grows from the beginning to the end. For instance, in the first part we present the characters, in the second part there are other questions for António, and in the third one his issues from the previous parts are explored and get solved.

Mauro Soares: An observation, if I may: in a way, the character develops through the stories, since in the first one he has no perspectives whatsoever, then he goes from being a technician to the director of the theatre play.

LM: Yes, exactly. And somehow everything and nothing changes, because the only thing that changes is António. He crosses the three segments in an almost linear way, because we can assume he learnt something. He left school, but he knows enough to become a technician, and then because he lives in that basement and he is always there at the rehearsals, he also learnt something about acting, so that he can direct in the third part. So to me they are all linked in this way.

AP: Did any production limits restrict your intentions for António’s versions?

LM: Since I started making movies, the production and the writing were very well connected. To me the two come together and function together, they are not restricted to one another. To me, it is not important to put something crazy in the movie, like a whale or something. I am not attracted to far-away scientific experiences, I like to express what is important to me. I am attracted to words, funny little jokes, love stories, how people react when they are mad… and I have put that in my films.

AP: Talking about production and the formal structure of this story, how did the editing influence your previous intentions from the shooting?

LM: Since we had so much time in-between the shootings, we put the parts together so that we could follow the influences from the first part to the second one and so on. Even if sometimes things did not go as planned, one option was to change that, or even better, we thought of ways we could assume that and use those problems in our favor and put them in the film. Sometimes an error or an extra take were exactly what we needed. Because I could write after the previous part, I felt I can introduce something that did not feel well-fitted into the first one and make it work.

MS: For instance, I remember, when we were rehearsing, and we talked about the thing that António smiled when he ran away from his father, we thought the scene would be too heavy, and we did not want such drama. The intention was to have some youth to it, not like an inter-generational fight between father and son, so I proposed I could smile.

LM: Yeah, and I used this scene that otherwise looked intriguing as a discussion in the theatre group in the second part. These things inspire me, and I put them in the script accordingly. We were creating the film while it was creating us. I was an organically project that grew with us through the process.

AP: How would you describe the relation between reality and fiction for your own characters?

LM: There are no imaginary versions of António’s story, everything is reality. There is not one valid version and the other ones – dreams. The point is that, to me, the reality is not single-layered. Of course, maybe I can create an António four for five, but all these layers are as important to me as the first one. I intermingled António’s life with aspects from his play, because I had no desire to separate life from theatre. There is no lie or truth. To me, it is important to notice while watching it that everything is present.

MS: If there is a character that could be a little bit more aware of these different layers of reality, it is the neighbor, because she could cross all the stories. She is also passionate about tarot, maybe the cards can read the other dimensions, she can predict. [laughs]

LM: Yeah, because the same could be said about us as the creators of this film. There is also some kind of António plot that is also about us as filmmakers. The reality is composed through this metalinguistic declinations of the plot.

AP: Did you have in mind the same actor for all the three stories from the beginning?

LM: No. Firstly, because when I met Mauro I saw he has a tremendous talent in playing a variety of characters, and he was exactly what I needed, a comedy brunette guy. Another point is that there is only one António, even if he is present in three parts. It is the same character in different situations, reacting differently to the given environment and its changes. In some way, António is also a little bit like Johnnie, a guy who is heartbroken, and also Deborah in some way is like him, because she also left university. The most logical profile to me is that there is something of António in other characters, because he is not a single-sided character.

AP: Was it a challenge for you to re-direct these scenes in a different way?

LM: No, not actually. I had this idea of directing, and I knew some things would have to change from the first to the last part. But the things I wanted to change were very practical. Not only directing the actors, but also the mise-en-scène, the crew. For instance, in the first part António is more lonely, he does not interact that much, the relations are more closed. In the second part appears Johnny, that is like a mirror image of António, so I have to pull back the camera to fit these two people. The crew understood they have to mould, not only by my ideas but other factors, too. Aline Belfort, the photographer of the film, had to adapt too, because the parts were shot in different seasons, we started in winter, and the second part was shot in summer. She had to adapt to make all these changes in the way she was dealing with light, because of the materiality of what we were doing.

AP: How was for you the transition from short films to features?

LM: It came naturally, because my shorts were already lengthy, I have shot shorts of 30 minutes. In a way, you can think of my movie as a collection of three shorts, it is some kind of homage, although it is not a short film. Its rhythm, the approach is different. There is always this pressure for us, shorts filmmakers, when would we direct a feature. Like a grand transition should be expected. I was at this Mariano Llinás’ Anti-lab, and he was speaking exactly about young filmmakers that go through all sorts of workshops, mentoring, trainings, project development labs, and their scripts are destroyed by many experts. For me, it was important to start the project without this pressure and grow it organically.

AP: The iconic song I Put a Spell on You is a key diegetic piece in each of these parts of your film. Why did you choose to make the character sing it, and was its purpose within the work?

MS: Leonardo wanted to see me in the theatre, and he heard me sing a song from Jaques Brel – Ces Gens-Là. It was a very romantic moment, appropriate for the feeling of his film, so he wanted me to sing it in the movie. I did not want to repeat myself, since I was already working on the same piece for the play, so we chose Nina Simone’s I Put a Spell on You. [cover of Screamin' Jay Hawkins’ original]

LM: And also it was maybe the most important element to connect the parts. The song crosses over. It was not thought of before since I did not have the script for the second segment, yet it naturally stand out as an element to link. At our second screening here, a music teacher from Amsterdam came and said that to him the film has the structure of music. I liked this comparison, I do not create films with the structure of a song in mind, but I like to use the structure of a song to help me deliver my film. The electronic music that accompanies the images was also very specifically placed, the beat having to come in a specific moment and taking into account these details.

AP: Could you please expand a little about the relationship between Johnny and António? Is it symbolic, like putting Brazil and Portugal in comparison, since like the character, you also emigrated?

LM: Not really, but the Brazilians and the Portuguese will always have their differences. My personal experience inspired me to put this into film.

MS: It is interesting, because Johnny is also a Brazilian director who goes to Lisbon to direct his first big thing. He wanted somehow not to prove himself, but to produce something that is significant. He is his alter ego, in a way… [laughs]

AP: Yes, but to me, all the characters oscillate between Portugal and Brazil. They all seem to go or return from somewhere. António seems to be the only stable element, why did you choose that?

LM: I never thought about it that way, but António has no problems with going or staying in. It is Johnny’s and Deborah’s issue. That is not a question for António. He just wanted to be independent in Lisbon, living without his father’s support, without money, without even a home… in a way, he does an extreme gesture.

AP: You were commenting about his social condition and him not having money, and there are these screwball comedy elements in your movie. Do you feel that this style, which goes back to the Big Depression, is still actual to comment on the social conditions nowadays?

LM: The point of these comedies was not documentary, although it was meant to comment about the United States at that moment, and how money controls our lives and the way we think our relationships… Like in the comedies of Lubitsch, a comedy like NINOTCHKA (1939) is absolutely amazing and very actual. It is not only a satirical critique of communism but also comments on capitalism, and all of this while it is a dialogical film about love, love as a great principle, a political one also. I think that considering nowadays’ situation this is radical.

AP: Does the Portuguese or Brazilian cinema inspire you?

LM: I have always been moved by filmmakers like Eduardo Coutinho, or Pedro Costa, or Ernst Lubitsch, you know. Chaplin is also important to me. But before filming, we watched two important shorts. One was João César Monteiro’s WHO WAITS FOR THE DECEASED’S SHOES DIES BAREFOOT / QUEM ESPERA POR SAPATOS DE DEFUNTO MORRE DESCALÇO (1970), a film that also has a poor protagonist, wandering around in Lisbon, also heartbroken, like António… And it was also this other one about two guys who don’t have money to go to the cinema in Sao Paulo, so they do not enter, they just read the list of films, inspect the posters. I liked the feeling of these stories, it was very similar in a way with the plot that I was developing for ANTÓNIO ONE TWO THREE.

AP: I wanted to ask you if you have seen the films of Hong Sang-soo? He is also interested in these slightly different changes of plot. Do you want to pursue something as intransigent?

LM: Yes, I admire his work, and I think RIGHT NOW, WRONG THEN / JIGEUMEUN MATGO GEUTTAENEUN TEULLIDA (2015) is an amazing film, but there are other directors that followed this path also, like Alain Resnais. I think that my influences are more from the literature, that is why I have chosen an adaptation as an excuse to explore different narratives. I have heard Hong Sang-soo showed what he filmed to the actors. In a way I avoided that at the beginning, because I was a little bit skeptical about it, I did not want the actors to close the character’s development. But in a way it was good because everybody contributed to the story. Even the photographer, Aline Belfort, she is Brazilian, but she went to Russia to study photography, and she returned to Lisbon to shoot our film. So her personal story coincides with Deborah’s.

If you are a film industry professional, you can watch ANTÓNIO ONE TWO THREE on Festival Scope

[andersonvision]

The 9th Annual Platino Awards for Ibero-American cinema are here! Now, check out the nominations! Rita Moreno, Javier Bardem, Penelope Cruz and Pedro Almodovar lead off the nominations. But, what about the other nominations? Check them out here! While Awards show have taken a black eye recently, it's nice to venture outside of the standard fare to see what other parts of the industry are acknowledging. Plus, any love for Parallel Mothers is a great thing. I really dig that movie and I want more and more people to check it out. These are the nominations for the 9th Annual Platino Awards

[rabbitcruiser]

Seville, Spain (No. 13)

The Coliseo de Sevilla building, also known as the Coliseo España theater, stands at 38 Avenida de la Constitución, at the corner of Calle Adolfo Rodríguez Jurado.

The building was originally designed as a cinematograph in 1924 by the brothers José and Aurelio Gómez Millán, on the site of the former Santo Tomás convent. Initially it was called the Reina Mercedes Cinema , but a few months before the Ibero-American Exposition of 1929 it was already the Reina Victoria Theater, after its capacity reduction and expansion of the stage, opening on December 3, 1931 as “Coliseo España”.  

With a clear regionalist style , it is one of the best buildings within this trend, and is part of the set of urban operations that since 1911 are carried out in the city on the occasion of the aforementioned Exhibition.

On a plot of almost rectangular ground plan, it has three of its free facades, since it is only attached on one of its smaller sides, the one closest to the nearby Puerta de Jerez , in a section of the avenue produced by the widening known as Santo Tomás , due to the old convent that existed there.

With a resounding volume, the building developed its functional program on four floors, one of them in the basement, with its main accesses through the two main facades, under two large viewing balconies that open on them.

Of the three facades of this building, the two main ones (on Avenida de la Constitución and Calle Adolfo Rodríguez Jurado) were treated with exquisite taste, combining the carved brick , worked in a monumental way, with the glazed ceramic panels treated to mode of large tapestries, or the elements of wrought iron, wood and even marble. The two viewing towers at the corners of the lower façade are very notable , with rich coffered ceilings and iron finials; the use of pilasters in the arrangement of its sections, the treatment of the canopies, and in general the decorative elements and motifs used throughout the complex.

Regarding the interior decoration, its lobbies, one in each of the two main facades, contained wall paintings with "traditional" motifs that alluded to the world of the theater, also highlighting in the building the gilt bronze sconces and the large central lamp bronze and glass, with 180 points of light, 6 m. high and 4 m. diameter.

The building was substantially adapted for the Banco de Vizcaya between 1975 and 1979 by the architects José María Chapa y Galindo and Fernando Gómez Estern . For this, its interior was completely emptied, leaving only the facades, which currently retain their original state.

Asset of Cultural Interest, the building of the Colosseum is listed as a monument, and is thus published in the BOE dated 1971.

Source

[en24news]

Argentina's "La odisea de los giles", best Latin American film at the Goya awards in Spain

Argentina’s “La odisea de los giles”, best Latin American film at the Goya awards in Spain

[ad_1]

“La odisea de los giles”, a tragicomic film about the Argentine corralito of 2001, won this Saturday as the best Ibero-American film at the Goya gala, the oscar of Spanish cinema.

“It is a film that talks about the ability of people to face adversity and get ahead,” said Matías Mosteirín, one of the producers, receiving the coveted statuette at the gala, held in the Andalusian city…

[richietoziersgazebos]

This might be an unpopular opinion but I don't want Andy (and Barbara) to stay in Hollywood, he said he wants to make non horror films in the figure and I think it would be cool if he makes them in Argentina or Spain. The film industry there is really good and growing and I think he would express his art much better in the Ibero american industry. Hollywood is such a shitty industry with ugly ppl but Idk we'll see what happens in the future

I understand what you mean and I agree with you, what gives me hope, tho, is that until now they always did a good job speaking their minds and putting the foot down when necessary. Maybe they can do both, you know, increasing the incomings of their home’s cinema (this doesn’t sound right, I hope you get what I mean anyway) and do great in Hollywood at the same time. As long as they stay true to themselves and put their passion before everything else it’ll be fine.ANYWAYS HOLLYWOOD SUCKS, THAT’S FOR SURE

[wiremagazine]

MIAMI DADE COLLEGE'S 36TH MIAMI FILM FESTIVAL

By Rafa Carvajal

Miami Dade College's 36th Miami Film Festival returns March 1-10, 2019, and opens up with the outstanding documentary This Changes Everything at the Olympia Theater in downtown Miami. The film examines the historic and contemporary gender inequity in the American film and TV industries, and features leading Hollywood actresses such as Meryl Streep, Geena Davis, Sandra Oh, Rosario Dawson, Zoe Saldana, Jessica Chastain, Taraji P. Henson, Cate Blanchett, Amandla Stenberg, Natalie Portman, Reese Witherspoon, Shonda Rhimes, Jill Soloway and many more. "I look forward to another dynamic and impactful Miami Film Festival covering such timely topics. We are so pleased and honored to deliver to Greater Miami this high-caliber event that elevates the standing of our community on the global stage. Film is such a thought-provoking and educational medium," said MDC's President, Dr. Eduardo J. Padrón; adding, "I commend Jaie and his team for such a powerful lineup."

Miami Film Festival is the only major film festival event housed within a college or university. It showcases Ibero-American cinema in the U.S. and helps launch international and documentary films. The Festival has screened films from more than 60 countries, including 300 world, international, North American, U.S. and East Coast premieres in just the past five years. This year, Miami Film Festival will feature more than 160 feature narratives, documentaries, and short films from over 40 countries. Patricia Clarkson, a Golden Globe-winning actress, will receive the Precious Gem Award on Monday, March 4th at the Tower Theater Miami. The Award will be presented by a tribute sponsored by Estrella Damm. The Festival will come to a close with the Awards Night Gala at Olympia Theater with the North American premiere of Gigantes by Spanish director Enrique Urbizu.

Visit miamifilmfestival.com for more information, to view the full lineup of films and purchase tickets to this year's Festival films and parties. In this week's issue, we also showcase 15 spotlight film selections to preview some of the many outstanding films to be shown at this year's Festival.

This was originally published in Wire Magazine Issue 4.2019