#pablo vidal

[stefbitacoradelcapitan]

#pablovidal

[tina-aumont]

“The Gracia Family what we inherit is both Grace, beauty and intelligence and a lot of gifts and on the other side of that, almost as if we have to pay a price for it, here comes this sense of fate or destiny which means that we can die early”...

Raïna Paris ("Maria Montez, Mysteries and Scandals", 26th April 1998)

Joaquín Gracia Anadón - This story begins with Joaquín Gracia Anadón's father, Pablo Gracia González, little is known about him, but he died when he was 20 years old, leaving a young wife and a baby boy who was Joaquín Gracia Anadón, aged only one year and a half. Joaquín Gracia Anadón was a very smart and clever man, he worked as primary school teacher, secretary of the Peace Court, official and Secretary of the Town Hall in Garafía but in 1884, when he was 43 years old he was processed and sentenced to prison for a fire in Garafía's Town Hall. He served the entire sentence in prison and was released after 16 years and 7 months, in july 1900. He claimed always his innocence and in 2005, after a long investigation by his great granddaughter Pilar Cabrera Pombrol, his innocence was proven and the autorithies had to apologize to the family. He passed away in 1913 at 71 years old.

Isidoro Gracia García - He was born in 1873 and was the eldest of Joaquín Gracia Anadón's children. When he was ten years old he was subjected to a judicial interrogation, today totally unlawful, regarding the fire at the Garafía Town Hall, the charges for which had been brought against his father. This is, unfortunately, the manifestation of a minor, without procedural guarantees, which was included in the sentence and which should have marked Isidoro Gracia García for life. He settled in Baraona in 1904 as a very creditable merchant. He dedicated himself to the prosperous textile business and the export of guayacán wood. His final residence in the Dominican Republic must have been influenced by the advice of his father, who had known first-hand the possibilities of the Latin American country when he was young. His business capacity and human abilities earned him the appointment by the then Minister of State (today, Minister of Foreign Affairs) as honorary vice-consul, upon request of the Royal Consulate of Spain in the country. He died in 1933 in Barahona at 60 years old.

Gaudencia Gracia García - She was the youngest child of Joaquín Gracia Anadón who lived until adulthood as she had a younger brother, Agustín, who died when he was very young. She was born the 12th February 1882. She married José Pedro Pombrol Hernández and had eight kids: María Adoración, Araceli, José Antonio, Gaudencia, Enrique, María del Pilar, Mario and Antonina "Nina" Pombrol Gracia. She passed away in 1921 aged 39.

Isidoro Gracia Vidal - He was Isidoro's Gracia García eldest son and he was born in 1911 and passed away in 1956 at 45 years old leaving a fatherless girl who was only five years old.

Maria Montez - She was Isidoro's Gracia García's first daughter and was called María África for his dad's Country of Origin - The Canary Islands belong to Spain but are located next to Africa - . She was born in 1912. Since her childhood, María was different from other girls and boys her age, she created her own theater stages, and always said from a very young age that she would succeed in the world of cinema. Many children made fun of her for what she said, Maria then complained to her mother that others laughed at her but her mother encouraged her to go ahead, so she would sit under the palm trees and do her plays. On June 3, 1939, Maria arrived in NY for the first time. At that time it was very difficult to climb positions, especially if you came from the rural world. She used the resource of provocation to be able to do it. She not only used her beauty, but also her intelligence. She decided to go scouting, hired two designers to make her the most spectacular dresses ever seen. She begins to frequent night clubs and doesn’t go unnoticed so she begins to appear in the press. In July 1940 she arrived in Hollywood, there she changed her name (until then she was called Marie McFeeters) and also completely reinvented herself. After a successful carreer in Hollywood, she decided to travel to Europe to make some dramatic roles and she was receiveng very good reviews from the chritics and the public. Sadly, she passed away in 1951 at 39 years old leaving a motherless girl aged five...

Adita Gracia Vidal - She was María's younger sister and was born in 1924. Although María put big efforts in her younger sisters to succeed as actresses, they prefered a more classic way of life. In 1949 Maria with her husband and daughter left Hollywood to live in France, Adita went to live with them and so did Teresita. Is not known if Adita ever married or had children. At the time of María’s passing (1951) she was an unmarried woman and María gave her a big sum of money from her will as a way to protect her. Then Adita went to live with Consuelo and her family in Southern California. She passed away at 69 on 8th February 1993.

Lucita Gracia Vidal - She was María and Adita's younger sister, she was born in 1926. Lucita married Frech photo-journalist Jean Roy the 12th April 1946 and had three children: Yves, Jean-Pierre and Marcos. Jean Roy's real name was Yves Leleu and was a war photo-journalist. He was killed in Egypt on an assigment in 1956. Lucita was a young mother with three little kids on her own. She never remarried. Lucita passed away in 1979 in Paris at 53 years old due to cancer.

Jaime Gracia Vidal - He was María, Adita and Lucita's youngest brother and was born in 1927. In 1954, when he was 26 years old, he went to Hollywood to start a career was an actor and with his tall height and green eyes, he was quite a sensation there. After trying luck in Hollywood he went to the US Army and fought in Corean war and ended up having the grade of Sergeant. Regarding his personal life, he dated Merle Oberon while in Hollywood but later married Rosmery Didonato from whom had his only child Jimmy. They eventually separated. In 1977 he married again with Janet González in Santo Domingo. He died at 51 of a heart attack in 31st May 1979.

Teresita Gracia Vidal - She was María's youngest sister, born in 1929 or 1930. Teresita began her modelling in 1949 in France after taking modelling lessons. The photographers who mainly worked with her were Willy Maywald and Georges Saad and she was regularly seen in fashion spreads in magazines like L'Officiel, L'Art et la Mode and Vogue. She usually modelled Jacques Heim designs. She had a very successful carrer as a model in the 50s. In the early 50s, Teresita and Yves Manuel started dating and by February 1952 they got married and years later, by 1956/57 they had their daughter Raïna Manuel Paris Gracia. By 1959 Teresita had a strong and passionate relationship with Italian actor Maurizio Arena that meant the ending of her marriage with Yves Manuel and she settled in Rome as some italian producers spotted her, sadly, her relationship with Maurizio Arena didn’t last as he fooled her. Teresita passed away on January 17th 2023 at 93 years old.

Tina Aumont Gracia - She was María Montez only daughter. She was born in 1946 and when she was only five years old she lost her mum. She lived with her father and aunties but when he married Italian actress Marisa Pavan, aunties and uncles had to flee the house. The relationshio she had with her step-mother was very difficult and at the time she was 17, she married a friend of her dad just to get away from that crazy house. In 1964 a stillborn girl was born. One year later she separated Christian Marquand and went to live with Frédéric Pardo, the love of her life according to their closest friends. After breaking up in 1972, Tina started to use hard drugs and she became hooked to heroin. Although she had great success in cinema, by March/April 1978 Tina travelled to Thailand and send back to home two deities statues filled with opium, Frabrizio Lori received the statues at home and went directly to jail although he didn’t knew a thing. That meant the end of their relationship. Tina was arrested in Italy, and charged with illegal importation of 400 grams of opium. She was eventually sentenced to three years imprisonment, which she managed to reduce on appeal to nine months. Then she was banned from Italy, her country of adoption. Leaving Italy had broken her heart. She moved back to France. In the mid 80s her lifestyle was of partying everynight with her fiend Alain Pacadis and with her partner in crime actor Jean-François Ferriol who she married in January 1985. In the late 1990s Tina couln’t afford pretty much. After her glory days, her father’s heritage was in the hands of her stepmother and she was reduced to living in a minuscule apartment located in a modest Parisian quarter full of penniless immigrants, and the rent was paid by the city’s social services. In the year 2000 Tina’s health was failing as she suffered from a major stroke and had to live with medication for her lungs although she never gave-up smoking. She eventually cut loose from the metropolis and settled in Port-Vendres near the Catalunyan border. After a quiet couple of years she died in her sleep at home in late 2006. She was 60 years old.

María Montez Gracia Fiallo - She was born in 1951, two weeks after her famous auntie's passing, that's why she was called María Montez as name. Her dad Isidoro, passed away in 1956 when she was 5 years old, just as her cousin Tina. Since she was a little girl, María Montez Gracia Fiallo showed she had talent for performing. As a teenager, she earned a scolarship from the Fundación de Crédito Educativo, and with it she was able to travel to Madrid, Spain, in order to study dramatic art. She moved with her mother Safo. Later, she appeared in Spanish TV shows and films, and she was also very active in theatre for many years there too. Maria also starred in international productions from films, TV and the stage from the United Kingdom, Italy, Germany and France. For years she was part of the Roy Hart Theatre company in London. She stopped her artistic career when she was expecting her first child, daughter Desiree D'Alessandro, who was born with down syndrome, and two years later she had a son, Ricardo D'Alessandro. She lives in Dominican Republic.

Raïna Manuel-Paris Gracia - She is Teresita's only child and she was born between 1956 and 1959. Her parents divorced when she was little. Fairy tales and Legends were her refuges. They helped her understand the difficulties of her childhood. By the age of twelve, she had read most of the myths and legends of the world. From Ireland and Russia to Arabia. Her love of transformational story telling has taken her from an MFA in Film from Columbia University to a Ph.D. in Mythological studies and Depth Psychology. She is a published writer of non-fiction, poetry, and several scholarly articles, as well as a documentary filmmaker. Her understanding of what gives meaning to daily life has led her to her work with dreams, and to include meditation practice in her classrooms. She is a lecturer and scholar who speaks on several subjects. Nowadays, she lives in Ojai, California with her husky mix Numen and her horse Quincy.

[calyxthenerd]

My second consideration is that there were a million different alternatives for the finale, but my two favorites are:

Time skip of like 2/3 years (I don’t think they could’ve waited any more than that) and Leonletta wedding + showing how everyone’s lives are going

And the second one and the one I actually believed to have happened: (no joke I legit remember the show ending this way, my brain is freaky) with the kids in the zoom room, talking about memories and everything that has happened to them throughout the years, then they sing Crecimos Juntos while slowly leaving the Studio and then the door closes behind them just the last note hits.

[archivingbarca]

fcbarcelona: These pics are 🔥

Fotos TOP dels #BarçaRayo

(ig, 19/05/24)

[supernova-151]

[putonmyfavoriteshow]

I just think Naty is the cutest character to exist ever 🥰

[vqtblog]

Raquel Vidales: Vania x Vania’: borrachera de teatro feliz

Pablo Remón sacude la cartelera con una doble versión del clásico de Chéjov llamada a convertirse en la obra del año

[elcorreografico]

El pacto Secco-Pata Medina: “cuando vinieron los de Cambiemos para que atestigüe atrás de "El Pata" y lo mande en cana hasta las bolas, no fui y ayudé a los compañeros”

#Ensenada #Política #Gremiales | El pacto #MarioSecco #PataMedina: “cuando vinieron los de #Cambiemos para que atestigüe atrás de "El Pata" y lo mande en cana hasta las bolas, no fui y ayudé a los compañeros”

En unos fragmentos de videos que tuvo accesos el portal Provincial Noticias, el enternizado intendente de Ensenada, Mario Secco, deslizó que tendría un pacto de no agresión con el sindicalista proscrito de la UOCRA La Plata, Juan Pablo Medina de quien todo el frente Cambiemos tiene una disputa.Una vez más el polémico intendente de Ensenada, Mario Secco quedó en el ojo de la tormenta dentro de una…

[not-wholly-unheroic]

Poster for the new live action film by Pablo Vidal.

[pb-dot]

Film Friday: [REC]

After talking about Paranorman last week I feel a hankering for some more in the world of the spooky, and so I figured it was time to talk about one of my favorite scary movies, certainly the one that has the best track record at scaring the utter bejeezus out of me, the Spanish found footage film [REC]

TV Journalist Angela Vidal and her trusty cameraman Pablo are filming a Human Interest story about the life of firemen on night watch when the emergency services are called to assist an old woman who has fallen in her home. Hoping for a slight touch of action to the otherwise painfully boring footage, Angela and Pablo tag along to the apartment complex where the rest of the movie takes place. Unfortunately for them, by the time they get there the old woman is dead, the exit is sealed by the government shortly after their arrival, and to make it all worse said old woman refuses to actually stay dead.

Now, Found Footage is an oft-maligned subgenre, and I will concede that many of its criticisms are valid. Shaky camera and characters too scared and cinema verite-incoherent to explain what the hell is going on can wallpaper over subpar effects and incoherent writing and the by now beyond cliche ending of whatever beastie is out hunting amateur filmmakers or journalists lunging at the cameraman isn't as satisfying as the first five or so times we saw that. Still. [REC] makes it work, and I think there are a couple of reasons for it.

First of all, the main characters are professionals. Pablo wields a heavier, more stable camera than the handheld camcorders that are often the POV in these things, and his skills and experience compels him to keep striving to keep a more or less readable picture until shit has well and truly hit the fan. Similarly, Angela's journalistic instincts wake up in a big way under the unusual threat and the mad scramble to get to safety as the firefighters and tenants fall to the intensely aggressive rabies-like disease that makes them turn on their fellows. Her ongoing narration and commentary on their situation also help bridge gaps in the narrative and provide a small, but important jolt of characterization. Her attitude also does a good job of justifying the movie going on. When all is said and done, she is a journalist, and what's going on with her may be terrifying, but it is also capital N-News. As she herself says close to the movie's final crisis point "We have to tape everything, Pablo, for fuck's sake."

Perhaps the best part about [REC] is how perfect the movie's sense of timing is and how it capitalizes on the verisimilitude offered by the camera pov style. Sudden jumpscares do not come in the form of cinematic build up and scare stings but in the middle of an otherwise normal-ass scene where something unexpected and frightening will happen at a point where your mind has kind of assumed this scene's just a breather scene or is secretly delivering you some exposition when WHAM!

My favorite of these scares is just so insidiously effective that it has gotten me every single time I've watched the movie. The scene in question where our heroes use their camera, now the only light they have access to, to scout out a potential escape. Despite knowing the type of scene before I even saw it and expecting a scare to come out of left field either before or after I expect it, the scare still hits me like a damn train. It could be that the filmmakers hold back, almost to the degree where you end up wondering if it's misdirection and that the real scare will be when the camera is pulled back when WHAM, you get got by the simplest conceptual scare possible, there's something scary and grody-looking in your attic and it fucking GETS you.

REC isn't one of those movies that I have zero complaints about, there's a kind of out-of-left-field twist to what exactly is going on that feels more like sequel bait than part of a cohesive story. There are also perhaps more moving parts to this apartment building than feels entirely plausible and one or two scenes that don't quite hit the mark. These are minor quibbles hanging on for dear life on a majestic shadow-beast of a movie. Normally I don't even like fast zombies all that much, but these living dead folks got my adrenaline going like there are ambush predators about, and make no mistake.

[dweemeister]

My Alternative 96th Academy Awards

This is an exercise that has not appeared on this blog since 2019 for the 91st ceremony. But I wanted to revive it. So what would tomorrow's Academy Awards ceremony looked like if I determined all the nominees and the winners? This is my ideal world, my alternative universe, if you will. Prepare for controversy, and my ambivalence towards Poor Things and The Zone of Interest (which doesn't get nominated at all here).

It's been a while since I've done this, so there might be some quirks newer followers are less familiar with. Most notably, if you see a three letter abbreviation anywhere, that indicates a movie not in the English language and indicates the country/countries of origin based on their three-letter FIFA code of all things.

Without further ado!

96th Academy Awards – March 10, 2024 Dolby Theatre – Hollywood, Los Angeles, California Host: Jimmy Kimmel Broadcaster: ABC

Best Picture: KILLERS OF THE FLOWER MOON

Anatomy of a Fall (FRA), Marie-Ange Luciani and David Thion (Neon/Le Pacte)

Barbie, David Heyman, Margot Robbie, Tom Ackerley,  and Robbie Brenner (Warner Bros.)

The Holdovers, Mark Johnson (Focus/Universal)

Killers of the Flower Moon, Dan Friedkin, Bradley Thomas, Martin Scorsese, and Daniel Lupi (Apple/Paramount)

Oppenheimer, Emma Thomas, Charles Roven, and Christopher Nolan (Universal)

Past Lives, David Hinojosa, Christina Vachon, and Pamela Koffler (A24)

Robot Dreams (ESP/FRA), Ibon Cormenzana, Ignasi Estapé, Sandra Tapia, Jérôme Vidal, and Pablo Berger (Neon/Bteam Pictures/Wild Bunch)

Spider-Man: Across the Spider-Verse, Phil Lord, Christopher Miller, Amy Pascal, Avi Arad, and Christina Steinberg (Sony Pictures Animation/Columbia)

The Taste of Things (FRA), Olivier Delbosc (Gaumont)

20 Days in Mariupol (UKR), Raney Aronson-Rath, Mstyslav Chernov, Derl McCrudden, and Michelle Mizner (Associated Press/Public Broadcasting Service)

Am I nuts? A documentary (there's nothing in the rules that say they can't be nominated for Best Picture)? Why not? TWO animated features? Let alone a movie that almost nobody outside of Europe has seen? Well I've seen Robot Dreams, and it is one of the best 2023 release I saw all year.

My full thoughts on my favored film, Killers of the Flower Moon, can be found in my write-up here.

Six of the current Best Picture nominees keep their nomination. American Fiction, Maestro, Poor Things, and The Zone of Interest are dropped. In their place go Robot Dreams, Spider-Man: Across the Spider-Verse, The Taste of Things, and 20 Days in Mariupol. I strongly considered replacing Barbie, but decided against it. Yes, I believe there were more than ten movies better than Barbie this year. But I richly *enjoyed* Barbie, and appreciate its instant spot in film history. It stays in.

Best Director

Joaquin Dos Santos, Kemp Powers, and Justin K. Thompson, Spider-Man: Across the Spider-Verse

Christopher Nolan, Oppenheimer

Martin Scorsese, Killers of the Flower Moon

Trần Anh Hùng, The Taste of Things

Justine Triet, Anatomy of a Fall

Folks are saying Martin Scorsese is not nearly as innovative as he used to be. Au contraire, I say. Killers of the Flower Moon exemplifies tons of personal and artistic growth for him... and that extremely risky ending pays off dividends. As a Nolan skeptic, I am indeed impressed with his work on Oppenheimer, but it's not the "best" for me this year.

Those familiar with my affiliation with Viet Film Fest might detect some bias, but hell The Taste of Things was gorgeous, folks.

Best Actor

Bradley Cooper, Maestro

Colman Domingo, Rustin

Paul Giamatti, The Holdovers

Cillian Murphy, Oppenheimer

Jeffrey Wright, American Fiction

It's a toss-up to me. But, having to choose one, I'll go for a man who is probably overdue.

Best Actress

Lily Gladstone, Killers of the Flower Moon

Sandra Hüller, Anatomy of a Fall

Alma Pöysti, Fallen Leaves (FIN)

Margot Robbie, Barbie

Emma Stone, Poor Things

The first acting change from the actual Oscars appears here, with Finnish actress Alma Pöysti replacing Annette Bening in Nyad. But this should be Lily Gladstone's, who would justly be making a lot of history here.

And yes, Barbie fans... I relent. Margot Robbie makes my final cut.

Best Supporting Actor

Sterling K. Brown, American Fiction

Robert De Niro, Killers of the Flower Moon

Robert Downey Jr., Oppenheimer

Ryan Gosling, Barbie

Dominic Sessa, The Holdovers

I don't think RDJ should be sweeping the season as he has. I think it's a lot closer between all of these fellows than it actually has been. Disagree with me all you want, but I think De Niro was truly menacing in KOTFM. And he didn't need any deaging this time, either!

Best Supporting Actress

Juliette Binoche, The Taste of Things

Emily Blunt, Oppenheimer

Danielle Brooks, The Color Purple

Penélope Cruz, Ferrari

Da’Vine Joy Randolph, The Holdovers

Fine, I guess? I think Randolph's character gets cut out of The Holdovers far too soon. But I can't make the case for anyone else this year except for maybe Binoche (whom some people will complain about my placement in Supporting Actress instead of Lead Actress, but that's how the studio campaigned for her).

Best Adapted Screenplay

Pablo Berger, Robot Dreams

Greta Gerwig and Noah Baumbach, Barbie

Cord Jefferson, American Fiction

Christopher Nolan, Oppenheimer

Eric Roth and Martin Scorsese, Killers of the Flower Moon

I'm not going to second-guess the Academy on its placement of Barbie here. It's not winning in this category in any case. American Fiction is a solid, imperfect satire, and finds its due here.

Best Original Screenplay

İlker Çatak and Johannes Duncker, The Teachers’ Lounge (GER)

David Hemingson, The Holdovers

A.V. Rockwell, A Thousand and One

Celine Song, Past Lives

Justine Triet and Arthur Harari, Anatomy of a Fall

I was very, very tempted to give this to Past Lives. But in the end, my sneaking feeling that I don't quite buy the closeness - despite having not talked for so long - of the two lead characters wins out.

Anatomy of a Fall is a hell of a balancing act, domestically and legally, and wins here.

Best Animated Feature

The Boy and the Heron, Japan (GKIDS/Studio Ghibli/Toho Company)

Ernest & Celestine: A Trip to Gibberitia, France (GKIDS/StudioCanal)

Robot Dreams, Spain/France (Neon/Bteam Pictures/Wild Bunch)

Spider-Man: Across the Spider-Verse (Sony Pictures Animation/Columbia)

Suzume, Japan (GKIDS/Toho Company)

Stoking the flames, but here we are! I think ATSV is slightly better than Robot Dreams as a whole, but the film lacks a resolution and obviously had access to more resources. Spider-Man will return to this category. I'm not so sure about Pablo Berger. The heartfelt and dialogue-free Robot Dreams takes it, while the Ernest & Celestine sequel and Suzume make it in place of Elemental and Nimona.

Best Documentary Feature

Bobi Wine: The People’s President (National Geographic)

The Eternal Memory, Chile (MTV Documentary Films)

Four Daughters, Tunisia/France/Germany/Saudi Arabia (Kino Lorber/Jour2Fête)

To Kill a Tiger, Canada (National Film Board of Canada)

20 Days in Mariupol, Ukraine (Associated Press/Public Broadcasting Service)

Extraordinary filmmaking and, as you can imagine, brutal to watch. It's freely available online for any American readers out there, thanks to PBS.

Best International Feature

Fallen Leaves, Finland

Society of the Snow, Spain

The Taste of Things, France

The Teachers’ Lounge, Germany

20 Days in Mariupol, Ukraine

I follow Academy rules here in terms of one movie per country.

Best Cinematography

Edward Lachman, El Conde

Rodrigo Prieto, Killers of the Flower Moon

Mathtew Libatique, Maestro

Hoyte van Hoytema, Oppenheimer

Jonathan Ricquebourg, The Taste of Things

Best Film Editing

Laurent Sénéchal, Anatomy of a Fall

Kevin Tent, The Holdovers

Thelma Schoonmaker, Killers of the Flower Moon

Jennifer Lame, Oppenheimer

Michael Andrews, Spider-Man: Across the Spider-Verse

Best Original Score

Michael Giacchino, Society of the Snow

Laura Karpman, American Fiction

Robbie Robertson, Killers of the Flower Moon (posthumous nomination)

John Williams, Indiana Jones and the Dial of Destiny

Hans Zimmer, The Creator

The folks who complained that Dial of Destiny was not original enough need to go 1) watch the movie and 2) listen to the score afterwards. There was a distinct lack of older Indiana Jones cues in there, and "Helena's Theme" is the best cue of 2023. Too many people online write about film scores but have little idea about what they're talking about (*cough* David Ehrlich at IndieWire *cough*).

That said, Williams doesn't win here. It's Giacchino, for a score that does a hell lot of the heavy emotional lifting in a grim movie that concludes with its real-life happy ending.

Best Original Song

“I’m Just Ken”, music and lyrics by Mark Ronson and Andrew Wyatt, Barbie

“It Never Went Away”, music and lyrics by Jon Batiste and Dan Wilson, American Symphony

“Wahzhazhe (A Song for My People)”, music and lyrics by Scott George, Killers of the Flower Moon

“What Was I Made For?” music and lyrics by Billie Eilish and Finneas O’Connell, Barbie

Four nominees rather than five, because I didn't like much else that was shortlisted. This category has been my personal hell in recent years.

Best Costume Design

Jacqueline Durran, Barbie

Jacqueline West, Killers of the Flower Moon

Janty Yates and Dave Crossman, Napoleon

Ellen Mirojnick, Oppenheimer

Holly Waddington, Poor Things

Best Makeup and Hairstyling

Karen Hartley Thomas, Suzi Battersby, and Ashra Kelly-Blue, Golda

Kazu Hiro, Kay Georgiou, and Lori McCoy-Bell, Maestro

Luisa Abel, Oppenheimer

Nadia Stacey, Mark Coulier, and Josh Weston, Poor Things

Ana López-Puigcerver, David Martí, and Montse Ribé, Society of the Snow

Best Production Design

Sarah Greenwood and Katie Spencer, Barbie

Jack Fisk and Adam Willis, Killers of the Flower Moon

Arthur Max and Elli Griff, Napoleon

Ruth De Jong and Claire Kaufman, Oppenheimer

James Price, Shona Heath, and Zsuzsa Mihalek, Poor Things

Best Sound

Ian Voigt, Erik Aadahl, Ethan Van der Ryn, Tom Ozanich, and Dean Zupancic, The Creator

Steven A. Morrow, Richard King, Jason Ruder, Tom Ozanich, and Dean Zupancic, Maestro

Chris Munro, James H. Mather, Chris Burdon, and Mark Taylor, Mission: Impossible – Dead Reckoning Part One

Willie Burton, Richard King, Gary A. Rizzo, and Kevin O'Connell, Oppenheimer

Steven Ghouti, Fabiola Ordoyo, and Laia Picón, Robot Dreams

Best Visual Effects

Jay Cooper, Ian Comley, Andrew Roberts, and Neil Corbould, The Creator

Sanjay Bakshi, Stephen Marshall, Jon Reisch, Junyi Ling, Elemental

Takashi Yamazaki, Kiyoko Shibuya, Masaki Takahashi, and Tatsuji Nojima, Godzilla Minus One

Alex Wuttke, Simone Coco, Jeff Sutherland, and Neil Corbould, Mission: Impossible – Dead Reckoning Part One

Michael Lasker, Alan Hawkins, Bret St. Clair, Pav Grochola, Spider-Man: Across the Spider-Verse

Best Animated Short

Letter to a Pig, Israel/France (The Hive Studio/Miyu Productions)

Ninety-Five Senses (MAST/V42 Venture Studio Fund)

Our Uniform, Iran

Pachyderme, France (Miyu Distribution)

War Is Over! Inspired by the Music of John and Yoko (ElectroLeague)

Full write-up on this category by yours truly here.

Best Documentary Short

The ABCs of Book Banning (MTV Documentary Films)

The Barber of Little Rock (The New Yorker)

The Island in Between, Taiwan (The New York Times)

The Last Repair Shop (Los Angeles Times/Searchlight)

Nǎi Nai & Wài Pó (Walt Disney)

Full write-up on this category by yours truly here. Please don't let The ABCs of Book Banning win, I s2g.

Best Live Action Short

The After (Neon/Netflix)

Invincible, Canada (H264 Distribution)

Knight of Fortune, Denmark (TV 2)

Red, White and Blue (Majic Ink Productions)

The Wonderful Story of Henry Sugar (Netflix)

Full write-up on this category by yours truly here. But we all know Henry Sugar is gonna win it due to Wes Anderson name recognition.

Academy Honorary Awards: Angela Bassett, Mel Brooks, and Carol Littleton

Jean Hersholt Humanitarian Award: Michelle Satter

MULTIPLE NOMINEES (18) Twelve: Oppenheimer Eleven: Killers of the Flower Moon Eight: Barbie Six: The Holdovers Five: Anatomy of a Fall, Spider-Man: Across the Spider-Verse, The Taste of Things Four: American Fiction, Poor Things, Robot Dreams Three: The Creator, Mission: Impossible – Dead Reckoning Part One, Society of the Snow, 20 Days in Mariupol Two: Fallen Leaves, Napoleon, Past Lives, The Teachers’ Lounge

WINNERS 4 wins: Killers of the Flower Moon

2 wins: The Holdovers, Oppenheimer, Society of the Snow

1 win: American Fiction, Anatomy of a Fall, Barbie, Godzilla Minus One, Knight of Fortune, The Last Repair Shop, Letter to a Pig, Poor Things, Robot Dreams, Spider-Man: Across the Spider-Verse, The Taste of Things, 20 Days in Mariupol

16 winners from 23 categories. 34 feature-length films and 15 short films were represented.

[tina-aumont]

Los Orígenes de la família Gracia

[Joaquín Gracia Anadón y María Antónia García Martín bisabuelos de Tina Aumont]

Joaquín Gracia Anadón - bisabuelo de Tina Aumont por parte de madre -, nació el 23 de mayo de 1841 en el municipio de Estercuel (Teruel), hijo de Pablo Gracia González, de la misma naturaleza, y de Tomasa Anadón Andrés, nacida en La Mata de los Olmos (Teruel). Sus abuelos paternos fueron Pedro Pablo Gracia y Ramona González, los maternos, Joaquín y María Teresa Andrés. Era bisnieto de Francisco Gracia e Isabel Ana Luño y de Francisco Anadón e Isabel Julve. Tomasa Anadón Andrés murió en Muniesa (Teruel) el 8 de mayo de 1867.

María Antonia García Martín - bisabuela de Tina Aumont por parte de madre -, nació en Garafía (La Palma), el 28 de septiembre de 1842. Era hija de Francisco Agustín García Medina y de María Antonia Martín Sánchez.

Cuando Joaquín Gracia Anadón tenía quince meses falleció su padre y junto a su madre se trasladó a casa de unos tíos en La Mata de los Olmos (Teruel), donde vivió durante su infancia y juventud. A la edad de 21 años fue llamado a filas e ingresa en el Batallón de Alcaníz. Más tarde fue enviado a la guerra de la isla de Santo Domingo y, terminada esta pasó a la isla de Cuba.

En Cuba conoció a María Antonia García Martín, que era natural de Garafía (las Palmas), ella era la mujer que sería su esposa.

Ambos contrajeron matrimonio, en la Iglesia de Nuestra Señora de la Luz de Garafía, el 17 de junio de 1872, inscrito en el Registro Civil del mismo municipio el 22 de abril de 1875. Establecieron el domicilio familiar en la Lomada de Santo Domingo, en el municipio de Garafia, lugar donde aún hoy se conserva la vivienda familiar.

El matrimonio del aragonés y la canaria tuvo seis hijos:

1. Isidoro, nacido el 3 de abril de 1873 2. Aquilino, nacido el 3 de enero de 1875 3. Tomasa, nacida el 31 de diciembre de 1876 4. Joaquín, nacido el 9 de mayo de 1878 5. Gaudencia, nacida el  12 de febrero de 1882 6. Agustín, que falleció menor

María Antonia García Martín, murió en Garafía el 21 de marzo de 1904, a los 61 años.

Joaquín Gracia Anadón, murió en Garafía, el 28 de febrero de 1913, a los 72 años de edad, de hemorragia cerebral.

[Isidoro Gracia García, abuelo materno de Tina Aumont, fotografiado en su juventud]

Isidoro Gracia García nace en Garafía el 3 de abril de 1873, hijo de Joaquín Gracia Anadón, natural de Estercuel (Teruel), y de María Antonia García Martín, natural de Garafía, en la isla de La Palma.

Cuando Isidoro sólamente tenía diez años de edad fue sometido a un interrogatorio judicial, respecto del incendio de la Casa Consistorial de Garafía, cuyos cargos habían sido imputados a su padre. Este hecho, debió marcar de por vida a Isidoro Gracia García.

Las dificultades económicas de la familia obligaron a Isidoro y a su hermano Joaquín a emigrar en busca de fortuna, primero a Cuba y posteriormente a la República Dominicana, donde fijaron su residencia en la localidad de Barahona alrederores de 1904.

Isidoro se estableció como «comerciante de mucho crédito». Se dedicó a los prósperos negocios del textil y a la exportación de madera guayacán (Lignum vitae).

Su capacidad empresarial y sus facultades humanas le valieron el nombramiento por el entonces ministro de Estado (hoy, ministro de Asuntos Exteriores) como vicecónsul honorario, previa solicitud del Real Consulado de España en el país.

En Barahona fue donde Isidoro conoció a la que se convertiría en su compañera y, tras casi 16 años de convivencia, en su esposa, María Teresa Vidal Recio. Fruto de esta unión nacieron diez hijos. Isidoro y María Teresa contrayeron matrimonio el 7 de enero de 1925, para entonces ya habían nacido la mayoría de sus hijos. La segunda de estos fue María África Gracia Vidal, más conocida como María Montez en la gran pantalla, y los dos últimos vendrían después: Jaime, en 1927, y Teresa, en 1930.

A parte de esta numerosa descendencia, Isidoro tuvo otros dos hijos extramatrimoniales (Orbito y Gaudencio), y acogió a Antonio López (Toño), huérfano de un gran amigo. Se trataba así, de una gran familia.

Isidoro Gracia García fallece en Barahona en 1933.

[María África Gracia Vidal fotografiada en 1930 antes de dar su salto a la fama]

A la orilla del mar Caribe, en Barahona (República Dominicana), nació, el 6 de junio de 1912, María África Gracia Vidal, hija del canario Isidoro Gracia García y de Teresa María Vidal, natural de Baní. Según sus biógrafos dominicanos, su nombre de pila fue deseo de su padre «en homenaje a su tierra natal, la Isla de la Palma (una de las Islas Canarias), que aunque pertenezca a España está localizada en el continente africano».

María fue la segunda de once hermanos: Isidoro, María África, Aquilino, Joaquín, David, Ada, Consuelo, Luz, Luis, Jaime y Teresita.

Desde pequeña, la futura actriz mostró interés por el teatro y el cine. Llegó a escribir pequeñas obras dramáticas que representaba ante sus amigos y familia. Aprendió inglés sin profesor alguno, contando sólo con asiduas lecturas en revistas y periódicos. Aún con estudios básicos, se atrevió con la publicación de tres libros y varios poemas sueltos, que firmaba con su verdadero nombre, María África Gracia.

Durante su vida María Montez mantuvo correspondencia con su primo Armando Gracia San Fiel (1913-1997) que residía en Madrid; las cartas muestran la personalidad sencilla de la actriz, próxima, comunicativa y curiosa por sus familiares palmeros coincidiendo con el momento en que ya se encontraba en la cumbre de su carrera cinematográfica.

La estrella también tuvo siempre presentes sus raíces aragonesas. En una carta de 1944 a su primo residente en Madrid, María contempla como posibles destinos para darle un hogar confortable a su madre "Barcelona o Teruel". En otro documento, afirma que está "muerta de curiosidad" por conocer todos los detalles posibles de la familia Gracia, un apellido "muy aragonés", según explica la investigadora María Victoria Hernández.

Entre los documentos analizados por la investigadora, Maria Victoria Hernandez, destaca una carta de 1944 en la que se puede leer: "Tan pronto se acabe la maldita guerra -la II Guerra Mundial-, mamá piensa ir a vivir a España, tal vez a Barcelona o Teruel para formar un hogar donde esté nuestra familia". En otra misiva de 1945 se interesa por "si hay buena universidad en Zaragoza" ante la expectativa de que estudien allí tres hermanos pequeños de la artista. También pide información sobre cuánto costaría en la capital aragonesa "alquilar un apartamento chico", y pregunta "cómo es el clima y qué tal es la vida allí".

María Montez se sentía orgullosa de su sangre paterna. Cuando en 1949 le preguntaron, en el Festival de Cine de Venecia, su verdadera nacionalidad, respondió:

«Pero, hijo mío, ¿de dónde cree usted que soy? ¿Acaso turca? Mi padre, palmero, y mi madre, dominicana, y mi verdadero apellido, Gracia. Esto de “Montez” es el postizo para el cine y el teatro»

El cariño por sus orígenes lo demuestra cuando, unos días antes de su muerte, el productor español Cesáreo González le ofrece hacer la película “La maja de Goya”. María declara a la prensa que la filmaría con su auténtico apellido, Gracia, y responde a un periodista francés: «Me eduqué en Santa Cruz de Tenerife, y he tenido siempre para todo lo español verdadera admiración. […] estoy segura que allí todos verán muy bien que yo trabaje con mi verdadero nombre, pero a nadie le habrá de satisfacer tanto como a mí».

Foto de la inauguración de la exposición de María Montez, con la presencia del Sr. Alcalde Yeray Rodríguez, y de dos primas segundas de María Montez, Pilar García Pombrol y Pilar Cabrera Pombrol. Garafía, octubre de 2012. Del blog Garafia@s.

~*~ ~*~ ~*~

Fuentes consultadas:

Las raíces Turolenses de una diva (Heraldo, 26.10.2008)

Los Orígenes palmeros de la actriz María Montez (October/November 2009)

Personalidades Garafianas (12.2012)

La Exposición de María Montez viaja a Gran Canaria (El Apurón, 21.11.2013)

Dos Actrices Internacionales descendientes de un Luño (Plenas Zaragoza 14.12.2016)

Fotos del libro "María Montez La Reina del Tecnicolor", de Antonio Pérez Arnay (Filmoteca Canaria 1995) - Las fotos de este libro no están sujetas a ningún copyright.

[calyxthenerd]

Sometimes a family can be four performative arts teachers and their gaggle of autistic artistic children with parental issues (+ Andrés and his two moms)

[claudiosuenaga]

Caso dos Ciclopes do Bairro Sagrada Família 60 Anos Depois | Entrevista com José Marcos Gomes Vidal

Na noite de 28 de agosto de 1963, no bairro Sagrada Família, periferia de Belo Horizonte, Minas Gerais, três meninos mantiveram contato com um ciclope gigante que desceu por um facho de luz de uma esfera transparente trançada que ficou pairando sobre um abacateiro. Investigado à época por Húlvio Brant Aleixo, Alberto Francisco do Carmo e demais membros do CICOANI, 40 anos depois reabri o caso e junto com Pablo Villarrubia Mauso, entrevistei pessoalmente um dos meninos, José Marcos Gomes Vidal, no próprio local dos acontecimentos, na rua Conselheiro Lafaiete. Você vai poder ouvir agora a gravação desta entrevista histórica.

Assista aqui a reconstituição do Caso Sagrada Família: https://youtu.be/3xQw5WKI_jk

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[praza-catalunya]

Els 4 Gats, referente da modernidade en Barcelona

O Museu del Modernisme de Barcelona presenta, nestes meses centrais do ano, a mostra Els 4 Gats Bressol del Modernisme,Lito Caramés unha fermosa antolóxica de obras de persoeiros que se moveron nos postrimeiros tempos do século XIX por aquela afamada taberna. Por outra banda, vén sendo unha homenaxe a Pablo Picasso, asiduo de Els 4 Gats, cando van 50 anos do seu pasamento. Sempre resulta pracenteiro comprobar que, con regularidade, a iniciativa privada supera os pulos das entidades públicas na oferta expositiva da arte. A arte, esa actividade que seica non serve para nada, pero que é tan esencial no decurso das comunidades humanas.

Lito Caramés

Graner. Personatge a la taverna, 1898

Els 4 Gats Bressol del Modernisme. Museu del Modernisme de Barcelona (MMBCN)

Sens dubte l’origen dels Quatre Gats a Barcelona va tenir la influència directa de Le Chat Noir de París. En totes dues ciutats, la capital francesa i la ciutat comtal, es van succeir una sèrie de fets històrics i geopolítics que van proporcionar el sorgiment d’una generació d’artistes i intel·lectuals que van marcar el nou rumb de l’avantguarda cultural. (...) Ells van marcar el punt de partida de la renovació cultural en les dues ciutats. (Gabriel Pinós, 2019).

Neste ano de 2023 o Museu del Modernisme de Barcelona (MMBCN) presenta unha gran exposición temporal cun título tamén bastante longo: Els 4 Gats Bressol del Modernisme. Casas, Rusiñol, Utrillo, Romeu ... i Picasso. Nas salas deste atractivo museo pódense contemplar unha duascentas obras de diversa confección: pinturas, debuxos, esculturas, carteis e mesmo mobles que brindan a oportunidade de deixarse mergullar nunha viaxe polo tempo e achegarse ao ano 1897, data na que abre as súas portas esa famosa taberna. A confección de tal actividade corre a cargo de Gabriel Pinós, coñecido activista cultural, comisario de arte e tamén o responsable da tan dinámica galería de arte Gothsland. O título vai dando pistas sobre a motivación da tal mostra artística: este ano celébranse os 50 anos do pasamento de Pablo Picasso, motivo para presentar o tobo modernista onde o artista malagueño ofreceu ao público as súas primeiras obras, a súa primeira exposición.

Picasso.Carta de Plats de la cerveceria Els 4 Gats. 1899

Els 4 Gats Bressol del Modernisme está ideado e presentado con todo un fato de simbolismos. Por exemplo Pinós decidiu incluír nesa mostra catro obras de moitos dos artistas aí representados (que son moitos). E precisamente de Picasso tamén se poden observar catro das súas pezas iniciais. Els 4 Gats, catro obras. A exposición é un luxo, é unha antolóxica digna do mellor centro museístico público da cidade.

É de agradecer que a familia Pinós faga estes esforzos para poder ofertar nesta vila exposición retrospectivas tan excelentes. E non é a primeira. Foi a primeira entidade (privada ou pública) que decidiu presentar unha antolóxica sobre a xenial pintora Luísa Vidal, coetánea de Ramon Casas ou Santiago Rusiñol. Vidal foi tan boa que en varias obras (que foron atribuídas a Rusiñol ou Casas) xa se puido comprobar que fora borrada a firma dela, e substituída pola dun destes dous pintores; moito máis valorados, evidentemente, por seren homes. Non dixeron os críticos -perante séculos- que as mulleres non pintan tan ben coma os homes? De ser así, como é que atribúen a pintores (homes) algunhas das telas que se sabe con precisión que foron elaboradas por mulleres artistas? A ver se vai resultar que as mulleres son tamén grandes artistas; cousa que contradiría (¿¿??) o indicado por Linda Nochlin no seu famoso artigo Why Have There Been No Great Women Artists? A mesma familia Pinós é a responsable de ter programado moitas outras exposicións memorables (moitas delas arredor das décadas nas que o Modernismo impuxo as súas estéticas por Europa e outros continentes) como se acredita no seu portal web. Baste como exemplo a magnífica antolóxica Ramon Casas. La mirada moderna.

Planella. La nena obrera, 1899

Els 4 Gats Bressol del Modernisme. Casas, Rusiñol, Utrillo, Romeu ... i Picasso

Els Quatre Gats s’inspirà en un local ben diferent, el cabaret Le Chat Noir. L’aparició gairebé simultània d’aquests dos espais ens serveix per entendre una realitat social tan complexa com la Barcelona del tombant del segle XIX al XX. Malgrat la seva aparent disparitat (...) ens trobem que aquí, com en altres indrets de la Barcelona d’aleshores, la població els convertí en punts de trobada i confluència (Juan Carlos Bejarano, 2019).

O establecemento hoteleiro Els Quatre Gats abre no ano 1897, na rúa Montsió (antes de Sant Josep), nunha das rúas do chamado Barri Gòtic. O tal Barri Gòtic semella ter bastante máis de Neogótico que propiamente de barrio baixomedieval. As probas están publicadas en extenso, con teses doutorais e todo polo medio. Esta taberna, froito da iniciativa de xente nova e artística como Santiago Rusiñol, Ramon Casas, Joaquim Mir, Miquel Utrillo (e a figura estelar e empresarial de Pere Romeu), pasou a ser a imaxe viva da bohemia barcelonesa. Els Quatre Gats (tal e como se pode ver na pintura-cartel de Ramon Casas que presidía o local: Ramon Casas i Pere Romeu en un tandem) estaba situada nos baixos da coñecida co nome de Casa Martí, tal era o apelido de quen a mandou construír. A tal casa Martí é o primeiro proxecto executado polo novo arquitecto Puig i Cadafalch, un dos grandes do modernismo catalán, no ano 1896. O seu estilo xa entra dentro do modernismo e, por suposto, do neogoticismo que xermolaba por toda Europa (Puig i Cadafalch era admirador da arte flamíxera das terras flamencas e xermánicas. Como anécdota dicir que Eugeni D’Ors –o que foi pope do Noucentisme (autoproclamado Genius), que logo nas súas erráticas derivas chegou a ser voceiro do franquismo– definiu o estilo da casa Martí como gótico-puigcadalquesco mozo de escuadra-catalán.

Opisso. A l'interior d'Els 4 Gats, 1898

Els Quatre Gats seguiu aberta ata o ano 1903. En total seis anos que deixaron pegada na vida desta cidade. Alí facíanse tertulias, exposicións, ceas, xuntanzas artísticas, así como espectáculos de sombras chinesas, que tanto agradaban daquela pola novidade. Polos seus locais pasaron con asiduidade músicos como Albéniz, Granados e Millet. Outro dos habituais foi Antoni Gaudí, xunto co artista polifacético Torres García, o pintor de xitanas Nonell ou o debuxante Ricard Opisso. Todo un luxo; a mestura de creatividade e bohemia. En 1899 Pablo Picasso, con 17 anos, presentou alí a súa primeira exposición de arte, na sala grande, e fixo o cartel que se empregou portada do menú de Els Quatre Gats. E aínda se publicou unha revista co mesmo nome da taberna, Els Quatre Gats.

Na mostra que agora se comenta Els 4 Gats Bressol del Modernisme é un modelo de bo e importante traballo realizado para non só presentar obras de excelente calidade, senón de argallar o necesario para que, quen visite estes meses o Museu del Modernisme, se sinta arroupado por muebles, carteis e outros elementos que axuden na viaxe a finais do século XIX, ao corazón dos tempos modernistas. A Barcelona que xa sentía a industria na súa estrutura urbana (e arredores), pódese afirmar que entra na modernidade coa celebración da Exposición Universal de 1888. Ese evento significou a presentación internacional da vila, a chegada de novas modas (o xaponismo), de novas propostas estéticas. A primeira exposición universal que se celebra en Barcelona foi unha iniciativa privada e arriscada do empresario ferrolán Eugenio Serrano de Casanova, un enxeñeiro entusiasta desas exposicións internacionais. Cando todo ía rodado na preparación da mostra, a urbanización de toda a zona da Ciutadella (as portas de entrada estaban instaladas no Arc de Triomf), o concello da cidade de Barcelona decide retirar a Serrano de Casanova da xestión e organización. Hogano son outros os que levan a fama de teren artellado semellante evento que concitou a presenza de máis de 5 millóns de persoas.

Torres García El gato negro, 1898

A valía de Els 4 Gats Bressol del Modernisme vaise vendo no seu percorrido. Hai carteis que nada teñen que envexar aos que, daquela, se facían en París ou noutras capitais. A obra que Picasso elabora para o menú da taberna é moi moderno: emprega uns volumes na indumentaria, as cores uniformes, planas, que xa daquela ían presentando Casas e moitos outros artistas barceloneses. Para dar idea dos traballos e os días da vila, está La nena obrera (de Planella) que obvia a explotación infantil e os perigos que representan esas máquinas ante as que traballaba moitas, moitas horas, unha rapaza (de 11 anos?). O risco de accidentes e a insalubridade dos locais eran pan de cada día. (Hogano non acaban de ser historia pasada estas explotación; hai pouco sóubose que McDonald’s emprega agora a nenos de 10 anos, en xornadas interminables). Non é o único, Rusiñol está representado co lenzo La fábrica, e Pellicer a unha muller pasando o ferro nun interior doméstico.

Tampouco poden faltar as referencias á vida bohemia. Un retrato de Rusiñol do músico Eric Satie, por exemplo, onde semella que a bohemia non ofrece a face máis amable, ou a fermosa tela de Graner que representa un home na taberna (sería a mesma de Els 4 Gats?). Graner, de certo sen querelo, pinta na parede do fodo a bandeira de Ucraína. Opisso, un dos asiduos ao local de Romeu está representado cun debuxo no que retrata a algúns dos habituais de  Els 4 Gats; perfectamente identificables Romeu (esquerda) ou Picasso, ao fondo e de pé, con certo aire de enfant terrible.

Para rematar, a exposición Els 4 Gats Bressol del Modernisme. Casas, Rusiñol, Utrillo, Romeu ... i Picasso xustiza aos bos traballos de Gabriel Pinós e demais traballadores do Museu del Modernisme e tamén da galería de arte Gothsland. Unha visita desde calquera xeito que se queira mirar totalmente recomendable.

Lito Caramés

Casas. Entre llums, 1894

EXPOSICIÓN: Els 4 Gats Bressol del Modernisme

Museu del Modernisme

ata o 14 de xullo de 2023

[thealmightyemprex]

Halloweenathon :REC

Today we shall look at a certain sub genre of horror that I've been critical of

In this 2007 film a reporter Angela Vidal (Manuela Velasco ) and her cameraman Pablo (Played by the film cinematographer Pablo Rosso) are doing a show where they follow around a crew of firefighters ,when they investigate a disturbance at an apartment building which is then quarantined as people are attacked by infected people

By the way watched the English dub

SO......I dont like Found footage. Its a scary concept ,but I have rarely seen it done well and I always either ask "Why wasnt this just made as a traditional film" or "Why are you filming all of this,people are dying ???"....So its a high complement when I say this is my favorite Found Footage film .I think this is a perfect concept for a Found Footage film ,a news team who suddenly find themselves in this hellish situation ,and they explain WHY Anjela and Pablo are filming everyone,they want to document this crazyness and well they ARE reporters .Plus its just a damn good horror movie ,you are in this scary situation with these characters

I like it so much I actually dont have much to say :The scares are good,I like the kind of casual way the film starts , I like the characters we meet ,I like that it is paced very well and that it is a short and to the point movie ,I was creeped out the whole time and also without giving anything away was the breakout role for monster actor Javier Botet

OVerall good horror flick ,and the first Found Footage movie I fully loved

@ariel-seagull-wings @amalthea9 @angelixgutz @the-blue-fairie @themousefromfantasyland @metropolitan-mutant-of-ark @princesssarisa @filmcityworld1