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INTERNATIONAL PRESS: RICHARD LORMAND - FILMPRESSPLUS www.FilmPressPlus.com Tel: +33-9-7044-9865 Email: [email protected] AT THE VENICE FILM FESTIVAL (Sept 2-12): +39-347-256-4143 (FROM AFAR) WORLD SALES: a film by Lorenzo Vigas CELLULOID DREAMS 2015 – Venezuela/Mexico – 93 minutes – 2:66 - Color - DCP - Spanish 2, Rue Turgot – 75009 PARIS Tel: +33-1-4970-0370 Email: [email protected] www.Celluloid-Dreams.com SYNOPSIS Wealthy middle-aged Armando (Alfredo Castro) lures young men to his home with money. He doesn’t want to touch, only watch from a strict distance. He also follows an elderly businessman with whom he seems to have had a traumatic relationship. Armando’s first encounter with street thug Elder (Luis Silva) is violent, but this doesn’t discourage the lonely man’s fascination with the tough handsome teenager. Financial interest keeps Elder visiting him regularly and an unexpected intimacy emerges. But Armando’s haunted past looms large, and Elder commits the ultimate act of affection on Armando’s behalf. FROM AFAR is the shattering feature debut from Venezuelan writer-director Lorenzo Vigas. Set in Caracas’ chaotic lower class communities, Vigas’ turbulent story reveals the complex bond between two men worlds apart. COMMENTS FROM WRITER- DIRECTOR LORENZO VIGAS FROM AFAR Armando is a man that doesn’t have the capacity to fully relate emotionally with others. In a certain way he is an autistic in his city. The Spanish title can be translated literally to “From Afar.” It’s a reference to the distance and separation between Armando and the objects of his desire – his “look but don’t touch” attitude. -
Angel Films Hjemmeside
! ! Angel!Films!præsenterer! ! ! ! ! Kontakt:!Peter!Sølvsten!Thomsen,[email protected]! ! ! Premiere:!!29.!oktober! ! Længde:!98!minutter! ! Censur:!TBC! ! Instruktør:!Pablo!Larraín! ! Cast:!Roberto!Farías,!Antonia!Zegers,!Alfredo!Castro! ! Premierebiografer:!Grand!Teatret,!Øst!for!Paradis,!Cafe!Biografen!Odense,! Nicolai!Biograf!&!Cafe,!Biffen!Aalborg,!Cafe!Slotsbio!m.fl.! ! Synopsis:! I!et!afsides!hus!på!en!klippe!i!en!lille!kystby!i!Chile!bor!fire!mænd.!Hver!af!dem!er! sendt!dertil!for!at!rense!sig!for!de!synder,!de!har!begået!som!katolske!præster.! Sammen!lever!de!under!strenge!regler!håndhævet!af!nonnen,!søster!Mónica.! Den!skrøbelige!stabilitet,!gruppen!har!opbygget,!afbrydes!abrupt,!da!en!femte! præst!ankommer!og!med!sig!bringer!en!fortid,!som!de!alle!troede,!de!havde!lagt! bag!sig.! Udvidet pressematerial kan downloades fra Angel Films hjemmeside: www.angelfilms.dk Kontakt:!Peter!Sølvsten!Thomsen,[email protected]! “God saw that the light was good, and he separated the light from the darkness” GENESIS 1:4 SYNOPSIS Four men live together in a secluded house in a small, seaside town. Each of them has been sent to this place to purge sins from the past. They live according to a strict regime under the watchful eye of a female caretaker, when the fragile stability of their routine is disrupted by the arrival of a ffth man, a newly-disgraced companion, bringing with him the past they thought they had left behind. INT E RVIEW WI TH PABLO LARRAÍN Where does the idea for this film come from? I’ve always been disturbed by the fates of those priests who have been removed from their positions by the church itself, under completely secretive circumstances and detached from public opinion. -
Fuga Tony Manero Post Mortem No El Club Neruda Jackie
9 GENNAIO 14 MARZO 2018 LuganoCinema93 Circolo del cinema Cineclub del Circolo del cinema Bellinzona Mendrisiotto Locarno CINEMA IRIDE CINEMA FORUM 1+2 MULTISALA TEATRO PALACINEMA MIGNON & CIAK Mendrisio martedì 20.30 martedì 20.30 mercoledì 20.45 venerdì 20.30 sabato 18.00 lunedì 18.30 FUGA 30 GENNAIO MA 9 GENNAIO 10 GENNAIO VE 12 GENNAIO 2006 TONY MANERO 16 GENNAIO SA13 GENNAIO 17 GENNAIO LU15 GENNAIO 2008 POST MORTEM 23 GENNAIO MA16 GENNAIO 24 GENNAIO VE19 GENNAIO 2010 NO 9 GENNAIO SA 20 GENNAIO 7 FEBBRAIO VE 26 GENNAIO (No – I giorni dell’arcobaleno) IN COLLABORAZIONE CON 2012 LOCARNO FESTIVAL INTRODUZIONE DI CARLO CHATRIAN EL CLUB 6 FEBBRAIO MA 23 GENNAIO 21 FEBBRAIO LU 29 GENNAIO 2015 NERUDA 20 FEBBRAIO SA 27 GENNAIO 7MARZO LU 5 FEBBRAIO 2016 JACKIE 27 FEBBRAIO SA 3 FEBBRAIO 14 MARZO LU 19 FEBBRAIO 2016 Lugano, Bellinzona, Mendrisio: fr. 10.-/8.-/6.- (Bellinzona: studenti gratis) Locarno: fr. 12.-/10.-/8.- www.luganocinema93 | www.cicibi.ch | www.cinemendrisiotto.org | www.cclocarno.ch UNO DEI TANTI COMPITI DEI CINECLUB È DARE CONTO DELLE EMERGENZE. QUELLE DELL’ATTUALITÀ CONTEM- CASI DEL GENERE È BENE COGLIERE LA PALLA AL BALZO E NON ESITARE NEL SOTTOPORRE UN AUTORE DI TALE PORANEA, CERTO, COME SPESSO FACCIAMO NELLE RASSEGNE TEMATICHE. MA IN SENSO PIÙ ETIMOLOGICO AN- PORTATA AL GIUDIZIO DI UN PUBBLICO CINEFILO E APPASSIONATO, ANCHE PERCHÉ – NONOSTANTE LA LORO CHE QUELLE CHE RIGUARDANO IL SORGERE E L’AFFERMARSI DI NUOVE FIGURE DI RIFERIMENTO, IN PARTICOLARE INDUBBIA QUALITÀ – ALCUNI DEI FILM PIÙ OSANNATI DI LARRAÍN NELLE SALE SVIZZERE NON CI SONO MAI DI REGISTI IN GRADO DI TRACCIARE UN SOLCO PRECISO CON LA LORO OPERA, MAGARI GIÀ DOPO POCHI FILM. -
El Club the Club
a_f_JahrAnmeldeNr WETTBEWERB EL CLUB THE CLUB Pablo Larraín Eine Gruppe von Priestern unterschiedlichen Alters lebt gemeinsam Chile 2015 mit der Ordensschwester Mónica in einem Haus an der chilenischen 98 Min. · DCP, 4K · Farbe Küste. Wenn sie nicht beten und büßen, trainieren sie ihren Windhund für das nächste Rennen. Was hat sie wohl hierher verschlagen, ans En- Regie Pablo Larraín de der Welt, wo ständig eine frische Brise weht? Als ein neuer Pries- Buch Daniel Villalobos, Guillermo Calderón, Pablo Larraín ter einzieht, steht plötzlich ein Mann vor der Tür und erhebt schwere Kamera Sergio Armstrong Vorwürfe gegen den Neuankömmling. Immer lauter erhebt sich die Schnitt Sebastián Sepúlveda Stimme, bis ein Schuss fällt. Der Priester hat sich den Beschuldigun- Sound Design Miguel Hormazábal gen durch Selbstmord entzogen. Die Kirche schickt einen Ermittler, Ton Mauricio Molina Geboren 1976 in Santiago de Chile, Regisseur aber will der wirklich die Wahrheit herausfinden oder soll er nur dafür Production Design Estefanía Larraín und Produzent. Filmstudium an der Universität sorgen, dass der schöne, heilige Schein gewahrt bleibt? Kostüm Estefanía Larraín der Künste in Santiago. 2005 Mitbegründer Ganz allmählich lüftet der Film dunkle Geheimnisse, schaut sich in der Maske Valeria Goffreri der Produktionsfirma Fábula. Im selben Jahr Vergangenheit der Gottesdiener um und bringt unbarmherzig Wider- Regieassistenz Oscar Godoy gab er mit FUGA sein Spielfilmdebüt. 2007 Herstellungsleitung Eduardo Castro folgte TONY MANERO, der 2008 im Rahmen des sprüche in der katholischen Kirche zum Vorschein. Wenn schon nicht die Kirche selbst, sieht wenigstens das Drehbuch von Pablo Larrain ge- Produktionsleitung Pablo Pinto Quinzaine in Cannes uraufgeführt wurde, und Produzent Juan de Dios Larraín rechte Strafen für die schwarzen Schafe vor, wobei Regeln und Rituale 2010 POST MORTEM, der seine Premiere 2010 Ausführende Produzenten Juan auf dem Filmfestival in Venedig erlebte. -
The Feature Films 2015 the Feature the Feature Films 2015 the Feature Films 2015 El Club the Club
THE FEATURE FILMS 2015 THE FEATURE THE FEATURE FILMS 2015 THE FEATURE FILMS 2015 EL CLUB THE CLUB Cuatro hombres viven aislados en una pequeña casa de un pueblo costero. Cada uno de ellos cometió un pecado que lo ha convertido en fugitivo. Ahora deben vivir de acuerdo a un estricto régimen, bajo la atenta mirada de una mujer que los cuida. La frágil estabilidad de su rutina se verá interrumpida por la llegada de un quinto hombre, un nuevo compañero de desgracias, quien traerá consigo el pasado del cual todos creen haber escapado. Four men live together in a secluded house in a small, seaside town. Each of them has committed a sin that turned him into an outcast. They must now live according to a strict regime under the watchful eye of a female caretaker. The fragile stability of their routine is disrupted by the arrival of a fifth man, a newly-disgraced companion, bringing with Producer Juan de Dios Larraín him the past they thought they had left behind. Production company Fabula Script Pablo Larraín, Guillermo Calderón, Daniel Villalobos Cinematographer Sergio Armstrong Art Director Estefanía Larraín Sound Mauricio Molina Editor Sebastián Sepúlveda Music Carlos Cabezas Cast Alfredo Castro, Antonia Zegers, Jaime Vadell, Alejandro Goic, Alejandro Sieveking, Roberto Farías, Marcelo Alonso, José Soza, Francisco Reyes Sales Agent Funny Balloons www.fabula.cl [email protected] LARRAÍN [email protected] Filmography NO (2012) Post Mortem (2010) Tony Manero (2008) Fuga (2006) / 95’ / DRAMA EL CLUB PABLO PABLO 5 NASTY BABY NASTY BABY Nasty Baby gira en torno a una pareja gay de Brooklyn. -
Line up & Catalogue
2020 UNA MUJER FANTÁSTICA SEBASTIÁN LELIO PETER DANNER - Sales & Acquisitions Cell: +33 6 74 49 33 40 Email: [email protected] EMMANUELLE ZINGGELER - PR Coordinator Cell: +33 6 07 84 66 06 & Festivals Email: [email protected] NERUDA PABLO LARRAÍN PABLO PARIS OFFICE 23 rue du Départ Boite 37 75014 Paris – France Tel +33 1 40 13 05 84 Email [email protected] www.funny-balloons.com Special Presentations UNA MUJER FANTÁSTICA 2020 UNA MUJER FANTÁSTICA a film by SEBASTIÁN LELIO A FANTASTIC WOMAN with DANIELA VEGA, FRANCISCO REYES, ALINE KUPPENHEIM, LUIS GNECCO, AMPARO NOGUERA, ANTONIA ZEGERS, ROBERTO FARÍAS Marina and Orlando are in love and planning for the future. Marina is a young waitress and aspiring singer. Orlando is 20 years older than her, and owns a printing company. After celebrating Marina’s birthday one evening, Orlando falls seriously ill. Marina rushes him to the emergency room, but he passes away just after arriving at the hospital. Instead of being able to mourn her lover, suddenly Marina is treated with suspicion. The doctors and Orlando’s family don’t trust her. A woman detective investigates Marina to see if she was involved in his death. Orlando’s ex-wife forbids her from attending the funeral. And to make matters worse, Orlando’s son threatens to throw Marina out of the flat she shared with Orlando. Marina is a trans woman and for most of Orlando’s family, her sexual identity is an aberration, a perversion. So Marina struggles for the right to be herself. She battles the very same forces that she has spent a lifetime fighting just to become the woman she is now – a complex, strong, forthright and fantastic woman. -
¡NO! Presseheft
AB 7. MÄRZ IM KINO! »Mit schrägem Witz, emotional und intellektuell mitreißend … medialisierte Wahlkampagne mitverfolgt haben. Die Kampagne von Der überzeugende visuelle Stil stellt sich ganz in den Dienst der Story 1988 wird aus der Sicht derer gezeigt, die sie machen – und am Ende – Pablo Larraín hat mit nachgebauten Umatic-Videokameras gedreht, wird klar, dass die Diktatur weniger deswegen verloren hat, weil das so dass sich die Fiktion und die Clips der originalen NO-Kampagne zu Volk mehr Gerechtigkeit wollte, sondern weil ihr Kampagnenteam kei- einem organischen Ganzen verweben. Gael García Bernal glänzt mit ne Ahnung von Marketing hatte. Mit ¡NO! hat Pablo Larraín sein Talent einer präzisen, subtil bewegenden Darstellung. « als großer politischer Filmemacher bestätigt. Am Ende einer Trilogie, NEW YORK TIMES die dem Nerv der Diktatur Pinochets filmisch nachspürt, erweitert er seine Perspektive auf die modernen kapitalistischen Gesellschaften in »Der heimliche Hit in Cannes 2012 … ihrer Gesamtheit.« Pablo Larraín hat mit einer Art hoch artifiziellem Naturalismus ein LE MONDE Spektakel wie aus einem Guß geschaffen, das den Zuschauer mitreißt. ¡NO! ist beides: beste Publikumsunterhaltung und ein extrem raffi- »Unglaublich unterhaltsam, relevant im Thema, geschickt in der niertes Konzeptwerk – vielleicht der letzte Situationalistische Film.« Form… Es ist ein stilistischer Meisterstreich, dass Larraín mit Umatic- VILLAGE VOICE Kameras aus den 80er Jahren gedreht hat, so dass Archivmaterial und die Spielfilmszenen nahtlos in einem einheitlichen, pulsierenden »Packend von Anfang bis Ende, auch für Kenner der historischen Ganzen aufgehen. (...) Materie, und voll jenes schwarzen Humors, der schon die früheren Filme von Pablo Larraín ausgezeichnet hat. (...) Der fabelhafte Schnitt Der Humor der früheren Filmen von Pablo Larraín war rabenschwarz. -
Reviewing the Present in Pablo Larraín's Historical Cinema*
Reviewing the Present in Pablo Larraín’s Historical Cinema* Vania Barraza Toledo University of Memphis, USA Abstract: Pablo Larraín’s film trilogy about the Chilean dictatorshipexplores the contra- dictions of memory haunting contemporary society, establishing a dialogue between a present and a dreadful past. The protagonists of Tony Manero (2008) and Post Mortem (2010) symbolize traumatized subjects embodying a dual temporality, becoming the living dead in a lifeless society. They belong to the domain of between two deaths, returning to collect an unpaid symbolic debt. Both characters bring back the memory of an inconve- nient past to Chilean society reporting a haunting history. Hence, Larraín’s movies review the political transition as a tension between oblivion and the incomplete postdictatorial task of mourning. This essay analyzes the figure of the undead epitomizing the debt of Chilean society to its history. Keywords: Pablo Larraín; Postdictatorship; Trauma, Memory; Film; Chile; 20th-21st Century. Resumen: La trilogía cinematográfica de Pablo Larraín sobre la dictadura chilenarefiere a las contradicciones de una memoria en acecho sobre una sociedad contemporánea, para establecer un diálogo entre un presente y un pasado ominoso. Los protagonistas de Tony Manero (2008) y Post Mortem (2010) simbolizan sujetos traumatizados que encarnan una temporalidad dual, transformándose en muertos vivos de una sociedad sin vida. Pertenecen al dominio de entre dos muertes, regresando para cobrar una deuda simbólica impaga. Ambos personajes traen el recuerdo de un pasado incómodo para la sociedad chilena, al reportar una historia que se manifiesta de manera acechante. Por lo tanto, los filmes de Larraín revisan la transición política como una tensión entre el olvido y el trabajo de duelo incompleto de la posdictatura. -
2016-12-08 Johnson.Indd
Letras Hispanas Volume 12, 2016 SPECIAL SECTION: Intimidad y política en la literatura y el cine latinoamericanos contemporáneos TITLE: Political Trauma, Intimacy, and Off-Screen Space in Pablo Larraín’s Tony Manero AUTHOR: Mariana Johnson E-MAIL: [email protected] AFFILIATION: University of North Carolina-Wilmington; King Hall 102A; 601 S. College Road; Wilmington, NC, USA 28403 ABSTRACT: Pablo Larraín’s films Tony Manero (2008), Post Mortem (2010), and No! (2012) con- stitute what he has called an “unintentional” dictatorship trilogy. This paper analyzes style and form in Tony Manero to show the ways in which the director infuses his mise-en-scène with history and memory that exceed the diegetic world of his films. Specifically, I focus on his use of off-screen space and off-screen sound and argue that Larraín inscribes the political at the margins of his stories in order to invoke horror in the everyday. His intimate character studies become steeped, by means of this aesthetic, in a political violence that is felt as much as seen. Such an affective rendering portrays Pinochet’s dictatorship as a kind of peripheral specter, one that connects even the most minimalistic and mundane of actions to large-scale historical forces. While Larraín’s “unintentional” trilogy clearly differs from the more direct, urgent and transparently “intentional” political cinema for which Latin America is historically well-known, it does encourage viewers to identify with the terror and trauma of Chile’s past in a manner that is haunting and highly deliberate. KEYWORDS: Political Cinema, Chile, Intimacy, Off-screen Space, Horror RESUMEN: Los filmes Tony Manero (2008), Post Mortem (2010) y No (2012) constituyen lo que el director Pablo Larraín ha llamado “una trilogía no intencional” sobre la dictadura chilena. -
An Allegorical Reading of Pablo Larraín's Tony Manero
The Perpetrating Victim: An Allegorical Reading of Pablo Larraín’s Tony Manero (2008) The dictatorship of General Augusto Pinochet (1973-1990) has been an important source of material for Chilean filmmakers. Notable examples of films concerning this period include La frontera (Ricardo Larraín, 1991), Amnesia (Gonzalo Justiniano, 1994), Machuca (Andrés Wood, 2004) and Dawson Isla 10 (Miguel Littín, 2009). Pablo Larraín has based three films on this still-lingering past: Tony Manero (2008), Post-mortem (2010) and NO (2012). Tony Manero, set in 1978, won several awards, including Best Film in festivals at Buenos Aires and Istanbul in 2009. Post-mortem, set around the time of the death of Pinochet’s socialist predecessor, Salvador Allende, won awards in Havana, Lima, Los Angeles and Cartagena. The critical and commercial success of the last film, NO, set during the 1988 plebiscite on Pinochet’s rule, drew both on the worldwide fame of the lead actor, Gael García Bernal, and on Larraín’s growing reputation as a young, up-and-coming director. According to Vaina Barraza Toledo, the films confront the dictatorship era by ‘[exploring] contradictions of memory haunting contemporary society, establishing a sort of dialogue between a present and the dreadful past by which this present is hounded’ (2013: 59). In Tony Manero, the subject of this article, the violent protagonist, Raúl Peralta (played by Alfredo Castro), aims to win a contest on the television show Festival de la una (The One O’Clock Show) to find Chile’s best impersonator of John Travolta’s Tony Manero, the protagonist of Saturday Night Fever (1977), and to stage a Saturday Night Fever show in the cantina where he lives. -
New Formats and Regionalization in Latin American Television Serial Fiction
8 Profugos: new formats and regionalization in Latin American television serial fiction 1 Prófugos: Novos Formatos e Regionalização na Ficção Seriada de TV Latino-Americana Luiza Lusvarghi1 ABSTRACT The resumption of audiovisual productions in Latin America during the 1990s have not only affected the cinematographic sphere, but TV production as well. The latest production aimed at explo- ring this genre is a Chilean series co-produced with HBO Latin America named Profugos (Runaways), fe- aturing four popular local actors and directed by Pablo Larraín of the acclaimed film Tony Manero (2008, Brazil/Chile). Profugos shows that definitely soap opera is no longer the only Latin American fictional format, besides dialoguing with the action genre global tradition, also marking the consolidation of major networks intervention policy towards the local market. KEYWORDS Latin American TV series; HBO Latin America; crime and action genre; serial fiction; neo- -crime genre 1 Luiza Lusvarghi graduated in English Language & Literature at FASB (1977) and also in Journalism at PUC São Paulo (1986). She holds a Master degree in Communication Sciences at ECA-USP (2002) with a dissertation on MTV and Globalization. She holds a Ph.D. degree (ACE-USP, 2007) with a thesis on Globalization and Brazilian audiovisual Production, and held a Post-Doctoral position at UFPE as a researcher on audiovisual strategies of media corporations in the Northeast. She is the author of the books De MTV à Emetevê (2007), Cinema Nacional e World Cinema (2010) and Fora do Eixo: Indústria da Música e Mercado Audiovisual no Nordeste (2010). She currently researches new television formats and cop shows as a Latin American genre. -
(An)Archivo En El Cine De Pablo Larraín
Vol. 12, No. 1, Fall 2014, 191-212 La estética del (an)archivo en el cine de Pablo Larraín Wolfgang Bongers Pontificia Universidad Católica de Chile No tener descanso, interminablemente, buscar el archivo allí donde se nos hurta. Es correr detrás de él allí donde, incluso si hay demasiados, algo en él se anarchiva. —Jacques Derrida I La primera secuencia de Post mortem (2010), de Pablo Larraín, pone en escena algunos elementos que nos interesa analizar en este trabajo: una cámara está instalada debajo de una tanqueta que avanza con un ruido metálico infernal sobre una calle (de Santiago). Esta posición de la cámara impide a los espectadores una visión más allá de la parte inferior del vehículo y del asfalto lleno de restos desparramados de papel, piedras y otros objetos que indican que ha ocurrido un desastre. Se trata de un punto de vista imposible, un plano inconferible a un sujeto. Como dice Pablo Corro en su análisis de esta imagen: “La incertidumbre de este plano en movimiento es exactamente su carácter inhumano, su condición inatribuible, la certeza de que nadie puede ver desde esa posición, que nadie asaltó la ciudad de Santiago el 11 de septiembre de 1973 aferrado al vientre de un carro militar” (s/n). La mirada del sujeto, podríamos agregar, Bongers 192 está aplastada por el propio golpe de estado que provoca una ceguera universal—un “no ver” humano—e introduce miradas maquínicas, destructivas. El campo ciego de esta imagen, entonces, se prolonga a lo largo de todo el film: después de esta toma brutal vemos un plano medio, geométrico y plástico, estirado horizontalmente, que nos muestra al protagonista Mario Cornejo detrás de la ventana de su casa, unos días antes de que se produjera el golpe—imagen acompañada por un ruido maquínico lejano.