MISS BALA with JAMES RUSSO

Home , Amat Escalante, Diego Luna, Films from the South, James Russo, John Savage (actor)

CANANA Fox International Productions el Instituto Mexicano de Cinematografía IMCINE el Consejo Nacional para la Cultura y las Artes CONACULTA el Fondo de Inversión y Estímulos al Cine FIDECINE Present: STEPHANIE SIGMAN and NOE HERNÁNDEZ in MISS BALA with JAMES RUSSO

Mexico / 2011

Directed by...... Gerardo Naranjo Written by...... Gerardo Naranjo and Mauricio Katz Produced by...... Pablo Cruz Executive Producers...... Geminiano Pineda, Gael García Bernal and Diego Luna Director of Photography...... Mátyás Erdély PRESS & SALES CONTACT: Film Editor...... Gerardo Naranjo Press Contact: Sales: Music Supervisor...... Lynn Fainchtein Donna Mills/Liz Miller Shebnem Askin-Schreger Production Designer...... Ivonne Fuentes Premier PR (Cannes Office) Fox International Productions Villa St. Helene, 45 Blvd. Alsace 10201 W. Pico Blvd., Bldg. 88 , Rm. 36 Casting By...... Isabel Cortázar and Andrea Abbiati 06400 , Cannes Los Angeles, CA 90035 U.S. Casting By...... Nicole Daniels and Courtney Bright o.: +33 (0) 493680826 Office: 310-369-2776 m.: +44 7964 362 558 / [email protected] Costume Designer...... Anna Terrazas +44 7770 472 159 Sound Designer...... Pablo Lach and Salvador Félix [email protected] [email protected] Music By...... Emilio Kauderer

2 3 Short Synopsis: Miss Bala tells the story of Laura, a to help her realize her dream and find her missing young woman whose aspirations of becoming a beau- friend, Laura continues to do the gang’s bidding. Her ty queen turn against her, delivering her into the hands growing revulsion over the things she’s forced to wit- of a gang that’s terrorizing northern Mexico. Although ness finally causes her to flee, and she makes her Laura succeeds in winning the beauty queen crown, way back home. It doesn’t take Lino long to track her experiences as an unwilling participant in Mexico’s her down, however, and after he threatens her father violent war leave her shaken and transformed. and younger brother Laura realizes that everything that had meaning in her life — her family, her hope for a better life, her friends, her freedom — has vanished. In an effort to protect her family, she agrees to serve as a mule for Lino and assist in the trafficking of weapons. Crossing the U.S. border to meet with a corrupt American officer who trades weapons for money, she inadvertently stumbles across information concerning the criminal faction that’s pursuing Lino and attempt- ing to upset the balance of power that exists in the region between the Mexican police and Lino’s gang. Returning from her mission across the border, Laura Long Synopsis: Set in Mexico’s border city of Baja, Miss is caught in a shooting between Mexican police and Bala chronicles three terrifying days in the life of Laura, Lino’s gang, but is plucked out of the mayhem and a beautiful young girl whose humble effort to escape whisked to safety by Lino. After sharing the informa- a life of grim poverty goes diabolically wrong. Laura’s tion she obtained about the identity and whereabouts best friend, Suzu, shares her aspirations, and the night of the person bent on destroying his gang, Laura is before their contest audition they go out to celebrate driven to the beauty pageant by Lino. Injured and in their dream; unfortunately, Suzu leads Laura into a a state of shock, Laura is named Miss Baja California, seedy nightclub. When a group of armed men invades however, Lino isn’t finished with her yet. Laura makes the club in a barrage of gunfire, Laura manages to hide, another attempt to escape, but Lino quickly tracks her and survives as the only living witness to the slaughter down, forces her to endure his sexual advances, and that left dozens of hapless club-goers dead. Separated gives her one final task. As the newly crowned Miss from Suzu in the mayhem, Laura embarks on a despe- Baja, Laura is invited to an exclusive gathering where rate quest to find her friend, only to discover that the she’s introduced to the general of the Mexican police local authorities she turns to for help are colluding with force. Assuming she’s at his disposal, the general or- the drug lords. They deliver her straight into the hands ders her into a bedroom, where most of Lino’s gang is of the gunmen responsible for the nightclub killings. ambushed and killed. Lino, however, is left untouched Leading the group is a quietly sinister king pin named because he has sold out his gang in exchange for his Lino, who becomes smitten with the beautiful Laura, freedom. and decides to hold her hostage and put her to work. Naranjo’s chronicle of an unknowing young girl’s After successfully completing the first task assigned descent into Mexico’s criminal underworld is a meta- to her by Lino, Laura is rewarded when Lino decides to phor for an entire country in the grip of an endless exert his influence over the beauty pageant and its out- nightmare of violence, poverty and corruption. Miss come; his influence in this seemingly innocent contest Bala is the story of Laura’s broken dream, but it’s also offers a glimpse into how completely the drug gang the story of a crumbling country and the lawless un- has infiltrated the region. Driven on by Lino’s promise derworld destroying it. 4 5

The euphoria brought on by this victory to help fight the war on drugs is no match blinded the population from realizing that for the hefty bribes and intimidating scare ABOUT MISS BALA just as the reigning political party was exit- tactics employed by the drug cartels. Director’s Comment while remaining true to the idea at the same ing, a simultaneous exit of the government’s The dispute between the various cartels My aim was to create a film that commu- time. The film would look at the crimes in ability to maintain political and social order to control key territories has led to a shock- nicates a certain fear that I sense in the air. an anthropological way. We would never was underway and corruption was taking ing death toll. Every day, two children under The question for me was how to create enter the criminal’s psyche, I am not inter- over. A new force was gaining strength. A the age of 14 are killed working as infor- images that would recreate the smell of vio- ested in the possible justifications to the force that was making pacts between gov- mants or become hired killers themselves. lence and turn them into an artistic piece, criminal acts; I wanted to observe the acts ernment officials and drug lords to ensure The violence and assassinations of public with a keen spirit. That was the vision that in their phenomenological quality. The way the flow of drug trafficking. This is a busi- figures have paralyzed the country. Police set the background for this film. their phones ring. The speaking codes. The ness that generates between approximately forces are almost entirely infiltrated by cor- The film I was looking for was something way they dress. The faces. Again, the smell. 25 billion dollars annually. By 2006, the year ruption, and fierce fighting occurs between beyond words and certainly without a mes- Together it would all add to create an at- in which Felipe Calderon took office, the the army and the cartels in their struggle for sage or an anecdote. A film about crime in mosphere. degree of violence in the country reached control. In addition, a new element has over- Mexico was something impossible to tackle, And I feel that, luckily, besides Laura and alarming levels. Human heads rolled into taken public concern: there is an increasing or so it seemed. Lino there’s a third main character in the bars accompanied by threatening messages number of reported assaults on the human The film had to talk through images. In film: this atmosphere that I’m referring to. and dismembered bodies appeared in pub- rights of Mexican citizens by the military. some contexts, I distrust words, because I believe we Mexicans are a bit lost in lic places every day. It was under Calderon The driving forces behind the epidemic words are the element our society found to the ignorance that comes from the infatu- that, for the first time, the government de- of drug trafficking in Mexico are social issues lie to each other. Words can be meaningless ation with empty images from mass media. cided to stand up against the drug cartels, including widespread poverty and a lack and confusing, and contribute to keep the Despite our great visual traditions, Mexico unleashing a wave of violence that has to of education among the population. Both problems alive. In this sense, a Mexican talk- carries a fetid melodramatic cultural heritage date killed over 35,000 people, surpassing facilitate the recruitment of an army by ing about crime is like white noise for me. that is like a virus trying to infect everything the casualties of wars in Iraq or Afghanistan. the cartels. Today, it is estimated that over For a while, there was no way to make else. In some way, I believe Mexican reality Today, these crime organizations control 50 million people in Mexico live on less this film, until we found an almost micro- is a mirror of a bad soap opera. That’s why I much of the country, giving way to mas- than US$2 a day. There are 30 million people scopic angle. Then I knew we could make think it’s important to create other mirrors sive migration. Such is the case in Ciudad over the age of 15 who do not have basic a lyrical and honest film about this events to look at ourselves. Juárez, where it was registered that 200,000 reading, writing and math skills. It is esti- that haunt us. The premise was simple. A My ambition is to create some bond with citizens fled because of the violence in the mated that in Mexico there are over three person with a mundane ambition gets to the viewers, and offer them an alternative in city. The dominance of these crime groups million working children of whom 30% are know the crime world. the way we look at things. Something that has reached such levels that in states like under the age of 14. Now we had a place to stand and be- goes beyond the media bullshit that sur- Chihuahua, Durango, Coahuila, Tamaulipas, It is this milieu that sets the stage for gin to see the contemporary crime wave rounds us. I hope the film will reach people Nuevo Leon and Michoacán, cartels are those Miss Bala. through another set of eyes, an everyday who share my feelings. who hold governing authority and collect eye that witnesses how life is slowly trans- Cinema can be a thousand things. For fees in exchange for protection, this pay- formed into a nightmare. me, it’s a way to be with the other, a way ment is commonly known as “derecho de From a Newspaper Clipping to the Big Once we had a critically important story, to share. piso [dues].” Government agencies have no Screen — How the Script Came to Life we had to make a film that mattered, with- choice but to collaborate with these crime The seed for Miss Bala was planted on out preaching, limiting ourselves to observe. groups, resistance will only lead to more vio- December 24, 2008 when producer Pablo Observe the event unfold in a precise way. The Current Drug War in Mexico lence. In 2010 alone, 12 municipal presidents Cruz came across a newspaper story abut We established a number of limitations In the year 2000, for the first time since the and the leading candidate for governor of a beautiful woman accused of being in- upon ourselves, with the intention of chal- Mexican Revolution, the opposition party the state of Tamaulipas were murdered. The volved with a drug cartel. “How the hell lenging us to go beyond filmmaking codes won the presidential election in Mexico. salaries of state and local police forces paid does a woman like her end up being part

6 7 of this?” Cruz remembers asking himself to a series of horrendous scenarios. “This is winner in her family at an early age, and out of harm’s way in terms of the rampant at the time. Sensing that this fragment of Laura’s story rather than a violently glamor- although she sometimes may seem fragile, violence permeating our country. Miss Bala a story could be expanded into a gripping ous story of the drug trade, and our golden she’s actually very strong. This characteris- includes several scenes that are intensely film, Cruz telephoned Gerardo Naranjo to rule was to never leave the point of view tic comes out and carries her through the critical of the police, so we had to find a ask if he’d read the story; Naranjo, too, had of our character,” Katz recalls. “We were terrible situation she finds herself in, and state that would allow us to express this, read the story and been struck by it, and very strict about this restriction, and we feel it’s what allows her to survive. I think give us access to their resources, and not both agreed it could be translated to the it’s a source of strength and originality in her strength has a lot to do with the fact ask too many questions. We considered movie screen. They immediately brought our script.” that her mother no longer lives with her five or six different regions, the first of which co-writer Mauricio Katz on board, and the family, and she’s been forced to assume was Tamaulipas, which would’ve been per- three began hammering out an approach a different role. I think the fact that I also fect for us in terms of the way it looks. to the story suitable for film. The first thing Stephanie and Noe: Their came from a small town helped me under- Unfortunately it’s the third most violent they agreed on was that they didn’t want transformation into Laura and Lino stand her, too.” state in the country, so we weren’t surprised to make a film about drug trafficking, or “We sometimes don’t accept diversity when Like Sigman, Noe Hernandez believes when the governor of the state refused to take a stand on the subject. They felt the it comes to actors, and many movies are that his upbringing in a campesino family ensure the safety of the crew. We needed only credible position they could take on born cursed because of the way they’re played a crucial role in his ability to develop a location that looked and felt like a north- the story would be to tell it entirely through produced in our country,” observes Gerar- a degree of identification with Lino. “After ern state, but that entire region is simply the eyes of a law-abiding young girl who’s do Naranjo. This belief was central to his various conversations with Gerardo, one too dangerous. In the end, Aguascalientes dragged into the criminal underworld that’s approach to casting Miss Bala. The two lead of the things that stuck in my head was his proved to be the state that gave us the most transformed Mexico’s public spaces into a actors — who carry ninety percent of the comment that the first thing we had to do flexibility to work; they gave us support, and battle zone. “This is our response to the cur- film — had very little film experience prior in approaching Lino was to shed all clichés access to all the spaces we needed to create rent situation in Mexico; we want the rest to being cast by Naranjo, and each devised a and forget all stereotypes,” Hernandez re- the Mexico we were trying to show.” of the world to know what’s happening different process for getting into character. calls. “That was the first in rule. Rather than here,” says Cruz. Katz adds: “Our central goal “We didn’t want to do something too show a clichéd drug lord in gold bracelets was to tell a critically important story, and technical or rehearsed,” explains leading and gaudy clothes, we’ll show a common The Look of Miss Bala make a film that matters, without preach- actress Stephanie Sigman, “and more than workingman performing a job. This was For the look of Miss Bala Gerardo Naran- ing.” Any hopes of achieving that goal reading or watching film,s the thing that the perspective that allowed me to under- jo wanted to establish environments that demanded that they depart from previous helped me the most was talking to Gerar- stand Lino; I saw him as a common laborer, could stand alone, and relate to the flow efforts to bring the issue of drug trafficking do.” Noe Hernandez, on the other hand, like someone working in a field, or like me of time in an organic and fluid way. “I try to the movie screen. “We realized that the supplemented his discussions with the di- following the necessary steps to perform to respect time and don’t like to constantly portrait of this world we’ve seen thus far in rector with research. “I found several articles my job as an actor. Lino knows that he’s cut and start again, because that makes it film has been a caricature that’s a little ab- in the magazine Proceso that were very chosen a difficult road and that it will even- difficult to really feel the environment being surd,” Katz continues. “We needed to find helpful, as was the biography of [Mexican tually kill him.” depicted. This is difficult, though, because a way of telling the story that was different drug lord and former leader of the Gulf Car- the pace of life doesn’t always match what and more real.” tel], Oziel Cardenas. I also read about Mayo you want to achieve in terms of cinematog- “The woman in the newspaper clip- Zambada, [a leader of the Sinaloa Cartel], Behind the Scenes: raphy. For instance, if an actor removes his ping had a face that screamed ‘get me out and all of these things helped me under- Selecting a Shooting Location shirt it’s just one line in the script, but on of here,’” Cruz recalls, “and her appearance stand the magnitude of the drug problem “Finding the right shooting location was film that action takes one minute, and you didn’t fit with the reality she was living. in Mexico.” These preparatory activities the most difficult part of the film’s pre- have to decide whether to spend that time She had an innocent face of sorrow and helped both actors achieve an almost sym- production process,” recalls Pablo Cruz. on that action, or cut away from it. Every despair.” That recollection played a central biotic relationship with their characters. “We needed a location that could accom- decision you make commits you to some- role in shaping the role of Laura, whose de- Stephanie Sigman perceives Laura as modate all the different elements in the thing, and then you have to fight for it. It termination to survive allows her to adapt “a woman who took on the role of bread- story, but we also needed to keep ourselves was a great learning experience for me to

8 9 see how the dream I envisioned unfolded in we tested various ways of transforming practice.” his ideas into images. We were looking for The film inter-cuts images and actions methods for maintaining the focus on our Q&A WITH GERARDO NARANJO seen from Laura’s point of view with explo- protagonist at all times; the camera rarely With Miss Bala, director Gerardo Naranjo I moved to Mexico City to pursue the film sive action scenes, and although it can be strays from her, and that dictated our aes- takes a quantum leap in terms of the scale dream, and I realized then that this violence seen as a tragedy, Miss Bala maintains an thetic approach. My job was to help tell of his work. Set against the backdrop of the was a sign of something wrong in Mexican elegant balance between what is suggested a story and I focused on that task, but to drug war that’s gathered deadly force in culture. I’ve been trying to understand why and what is shown. This was a major concern shoot the film in a deep and committed Mexico since 2006, Miss Bala stars Stephanie we’re such an explosive society ever since. for Naranjo, who had a clear understanding way I had to understand the complexity of Sigman as Laura, a young girl who aspires to of how he wanted to approach the story the very real situation it’s based on. So, Ge- be crowned a local beauty queen, only to be How did you become involved with film? from the beginning. “We wanted it to be a rardo and I spent a lot of time talking about hijacked into service by local drug lords. A My relationship with my dad revolved serious film that communicated a message, the real stories. “ Kafkaesque portrait of the savagery that’s in- around the two of us going to the cinema and towards that end we established many fected every level of Mexican society, Miss Bala together — that was our way of connect- limits: there wouldn’t be any criss-crossing Anna Terrazas & the Costumes follows Laura as she desperately seeks help in ing. We saw lots of movies together, usually or close-ups; we would not create humor Anna Terrazas’ task was to devise an a town where everyone she encounters is in in an empty theater, because nobody in around death; and we would not make a approach to costuming evocative of un- collusion with the lawless underground. our town wanted to see movies. Most of needlessly gory movie,” he explains. “It was derground characters who live largely in the the time it was just my dad and me, and a essential to maintain the tension between shadows. “We thought of this group as a You were born in Salamanca, in central projectionist. We saw Flash Gordon, James what you see and what you don’t see, and nomadic community who live out of suit- Mexico; what sort of childhood did you Bond, The Pink Panther — I don’t know Mauricio Katz, Pablo Cruz, and I worked cases and trucks, and are unable to change have? why people didn’t want to see these mov- very hard to establish that. This indefin- clothes on a regular basis,” explains Terrazas. It was a happy, wild life, with everything ies! Where I grew up was like a ghost town able tension and ambiguity is what I love “For Lino we chose nondescript accessories that comes with that. I had three brothers because it was a petroleum industry town most about movies, and I marvel when and clothing that would conceal his appear- who’re still surprised I became a filmmak- without oil, so the people were poor and a I see someone create it successfully, be- ance and protect his identity. er — they’re all definitely money-makers little bit desperate. cause it gives the viewer the opportunity “Some of Laura’s clothing was dictated — and I lived in green spaces without tech- to imagine. The opening frame of the film by the tasks Lino forces her to perform,” nology. I was a problem kid, so I was sent How was your experience at film school shows Laura from the back, at home with Terrazas continues, “but creating costumes to a boarding school run by priests. I was in Mexico City? her family — it shows her world, and intro- for her presented a different kind of chal- there for a year and a half, and they were When I began to learn about movies I discov- duces us to the character who will guide us lenge, because her character undergoes a supposed to take the devil out of me, but ered an arrogance in the movie community, to through the story that’s about to unfold. double metamorphosis: the plot demands by the time I left I truly was a devil. There and I also felt they had a very impractical We’re in her shoes, experiencing her terror that her beauty be slowly deepened and was a big element of violence in the world sense of how to do things. I didn’t under- and confusion about the world she’s unwill- revealed, at the same time that her inno- I lived in, too, and I never questioned it. stand why making a movie meant you had ingly entered.” cence and shyness are being destroyed. This The way women were treated in the town to bring in a truck, close the street, and This understanding of how the story demanded that the costumes be highly spe- where I grew up was definitely wrong — fill the street with people you hired — it was to be told in visual terms was shared by cific without concealing who she really is.” in fact, Miss Bala has a lot to do with this seemed illogical, and I thought they were Naranjo and Hungarian cinematographer concept of women as just tools to be used. I cheating by putting their characters in- Mátyás Erdély, and this common vision saw guys with guns all the time, people kill- side real people. I also found the Mexican helped them overcome language and cul- ing animals, hunting and fighting, and there film industry elitist. It was filled with dino- tural barriers during filming. “Gerardo had was a lot of kidnapping, too. I assumed this saurs who wouldn’t allow young people to a very specific vision of how he wanted violence was just the way nature worked, make movies, because young people don’t the audience to experience the film,” says and never questioned it or saw it as a symp- know anything, and film is for old people Erdely. “Prior to the beginning of the shoot tom of a sick society. When I was eighteen and “artists.” I was at film school for a year,

10 11 and whether I left or was kicked out, I don’t was creating my own world, and felt discon- when I was preparing to make Drama/Mex. with money has always been weird, partly know. I once approached a teacher who was nected from anything real. I finally asked They were among the people I approached, because I come from a background that not a good director and told him, ‘I want to myself, why invent a world when there’s and they were very nice. They’d just formed forced me to learn to make movies with- help you’; he told me I wouldn’t be able a real world I know already set up for me? CANANA, and I think I was the first person out a dime. When I was told I’d be given the to help him even after I’d graduated — he So I returned to Mexico, reunited with old who came in and said, “listen guys, give me money I needed for Miss Bala I reacted by was like a sultan in a monarchy. friends, and made new friends. I really need- money, I’m gonna make a great movie, and saying, “What? Really?” ed to make a movie, so I organized some make you rich.” They said “yes, we’re interest- In 2000, around the time of the release friends and we created a sort of happening ed and we’ll help you, but you have to wait.” Making films with no money suggests of Y Tu Mama Tambien and Amores using concepts from the French new wave. I said “no, I can’t wait — that’s the one thing that you launched your filmmaking Perros, a renaissance began to take place It was called Dramamex, and was based on I won’t do.” I was so ready and full of energy, career through sheer force of will; how in Mexican film; what led to this burst of improvisation. It was very ‘60s — it was my and I had all my friends lined up support- did you become so determined? creativity? ‘60s — and I was happy and surprised with ing me. They got a little upset when I said For a long period I was a rolling stone, and Young filmmakers discovered they didn’t what I came up with. It’s a great experience I wouldn’t wait, but I went and made the I wasted a lot of time learning about life. have to get anyone’s permission to make for a filmmaker when your material ends movie with $30,000 and all my friends. We I didn’t get serious about filmmaking until I a film, and we were so aggressive that the up producing something better than what had great fun, even though the only thing was thirty thirty-five, and when I finally com- old regime began to be replaced. I was at you’d expected. I could pay for was drinks at night. We’d mitted myself to it I felt I’d found something the American Film Institute in Los Angeles I could be good at, that could possibly be when that began to take place. good for humanity. When you find something that makes you feel useful it’s like a After graduating from the American Film miracle. After having this realization I felt a Institute in 1999, you made your first little behind, and I was very impatient to get film, Malachance; what was the genesis going. of that film? My first movie was a big failure because by Miss Bala is different from your last film, the time I left film school I was very arro- I’m Gonna Explode, on every level; how gant. I said “I’m going to reinvent cinema did one film lead to the next? and make the best movie ever!” I got a With I’m Gonna Explode I reached a point crew of ten or fifteen people together and where I was losing interest in what I was we took a road trip to New Orleans, then doing. That film revolved around intimate to New York, filming all the way. Working scenes and had a lot of repetition, and I was without actors was difficult, and the foot- working purely from instinct. I felt I was age was terrible, so I never finished the film. getting a little bit lazy, and I needed a big I thought I could defy everything and make challenge that would force me to do some- a movie without money, but I learned that I thing I didn’t know how to do. At the same couldn’t, and it was a big hit to my ego. time, I was spending most of my time locked Your last two films were produced by work, have a party, work, have a party — it in my house reading the news. The more I Did you consider staying in America to CANANA, the production company was paradise. I couldn’t keep making movies read about Mexico’s drug war the greater launch your directing career, or did you formed by Diego Luna, Gael Garcia that way, though, and I feel very lucky that my disbelief became, and I began struggling feel it was important for you to be in Bernal and Pablo Cruz; how did you Diego, Gael and Pablo care about what I’m to understand what was going on in my Mexico making Mexican films? begin working together? doing. Even thought they’re younger than I country. After a long period of research I felt I wasn’t interested in New Orleans culture That’s a funny story. I was looking everywhere am, they know more about the film indus- I’d finally found a subject where I could use when I was working on Malachance — I for money — and being denied money — try and financing than I do. My relationship who I am. Obviously I’m not a killer or a drug

12 13 dealer, but you don’t have to look far to be What led to this situation getting so out able to observe these people. They’re in res- of control? taurants next to you, and you can see them I was recently talking with the parents of in clubs and on the street, because they’re some friends of mine, and I told them, “this not in disguise. The only honest position I is the fault of your generation, because you could take in a story about this culture was wanted a society without any controls.” that of an outsider, so I decided to make a Every person in Mexico thinks he or she is film about a person who gets to know this better and knows best, and that if they fol- world in a very limited and specific way. I low the rules they’ll lose. Mexicans thinks wasn’t interested in understanding these that way — we think we don’t have to stop people psychologically, because I didn’t at the red light. want to justify what they do or humanize them. The most important thing was to see Has Mexican culture always had an them from outside. Regardless of your per- element of lawlessness? spective, it’s a very, very violent world, and There’s always been some confusion about Stephanie Sigman, who stars in the film, is who we are. We’re not Spanish, and the still recovering from making it. She’s in every culture that was originally here was simulta- scene and it’s a very difficult part. neously highly developed and very savage. Several films have been made about They had rituals of human sacrifice and ate Mexico’s drug war, but they left me dis- human hearts — like it or not, this is the satisfied. Because the police can no longer race that we are and we cannot be other- protect people, the drug lords are often seen wise. Nobody’s commented on the creative Movies are the most powerful shared as heroes and Robin Hoods, and thus far ways the drug lords are killing people — it’s language we have; because it’s so Mexican cinema has portrayed them as not a kind of insane creativity. They’re putting persuasive, does film have a responsibility so bad. There’ve been two huge hit films set pig heads on dead bodies, and it’s as if to address social issue like this? And can in this world; one portrayed drug lords as rituals from centuries ago are resurfacing. It film bring about social change? heroes and made apologies for them, while comes from the savage side we had before Mexico is a country that’s manipulated the other was a comedy that made them the arrival of the Spanish. through TV, and education is based on soap seem harmless. On the other hand, imag- opera; movies, however, operate on a high- ine that the police are thieves who want to You once commented that Mexico has a er level. I think filmmakers create tapestries take everything you have; the police will revolution every 100 years, and based on that show what life is like. I don’t know how rob you, and the only people who can pro- that calendar, it’s due for one now. Is the this film will be received, or if it will change tect you are the drug dealers. The roles have volatility that now pervades the country anyone’s understanding of the drug war, but been reversed, and it’s become impossible a sign of fomenting revolution? I do know that I made it out of love of my to distinguish the good guys from the bad I think a revolution is happening slowly and country, and because I want to give some- guys. The violence in Mexico City is very in a completely new way. Mexico has the thing back to it. There’s an energy here that different from the one in the north, too. greatest disparity between rich and poor in I don’t find anywhere else, and I think that In Mexico City it’s more a battle between the entire world, and that’s resulted in tre- energy has to do with the fact that Mexico poor and rich, and I’m not sure it’s so con- mendous anger about the poverty many has the best and the worst of life; there’s nected to the drug problem. It’s just as cruel, people live in. And, I doubt that the govern- tremendous joy of living here, along with so though. ment will be able to correct this inequality. much trouble.

14 15 Naranjo’s short film Revolución, which was twin sister — and My Own Private Idaho presented as part of the La Semaine de la (also 1991). Russo also had roles in the 1994 Cast Critique in Cannes. Other roles include movie Western Bad Girls, the 1997 hit films STEPHANIE SIGMAN IRENE AZUELA Burros (directed by Odín Salazar), Pastorela The Postman (as Idaho, the brutal sergeant (Laura Guerrero) (Jessica Berlanga) (directed by Emilio Portes), and Jorge Mi- of the Holnist army), and Donnie Brasco. In Miss Bala, Sigman takes on her first sta- After completing her studies at the London chel Grau’s, Somos lo que hay, which was In 2009 he had a small role in Michael rring role in a feature film. Sigman is a native Academy of Music and Dramatic Arts and also part The Director’s Fortnight in Cannes. Mann’s Public Enemies as a member of John of Cuidad Obregon, in the border state of taking various courses at the Desmond Jo- Recent theatre work includes Los cuatro Dillinger’s gang. Sonora, Mexico. At age 16, in hopes to ful- nes School of Mime and Physical Theatre, cantos de la bestia y I love Sodama, from In 2003, Russo was reunited with his co- fill her passion for traveling, Sigman entered Irene Azuela returned to her native Mexico the writer and director David Herce. In 2009 star from The Postman, Kevin Costner, in the the Elite Model Look competition, which to pursue an acting career. In theatre she he appeared in Desaparecids, (Gone Miss- Western filmOpen Range. He has also made launched her career as a model and led her has participated in over ten plays including ing), a series directed by Carlos Bolado for guest appearances in many TV dramas and to leave to Mexico City. Sigman started to starring roles in The Shape of Things, written Once T.V. Méxcio and the BBC. Hernandez movies, including The Equalizer, Miami Vice, take an interest in acting at the age of 18 by Neil LaBute and directed by Antonio Se- presently has a recurring role in the second CSI, CSI: Miami and Las Vegas. when she received a scholarship for acting rrano, Oleana, written by David Mamet and season of Capadocia (Capadoccia), a series In the summer of 2009, Russo starred in school and after a few years discovered she directed by Enrique Singer, and The Good produces by HBO and Argos Film. a sort of psychological thriller entitled “7E” was passionate about pursuing this career. Canary, written by Zach Helm and direc- along side the likes of Brendan Sexton III, She has previously done guest starring roles ted by John Malkovich. In film, Azuela first John Savage and Natasha Lyonne. for television series in Mexico. appeared in Jorge Hernandez’ El Bufalo de JAMES RUSSO la Noche. This first film paved the way for (Jimmy) the her participation in other films such as Russo’s first role in his acting career was in JOSÉ YENQUE a leading role in Under the Salt, directed by the 1981 made-for-television movie Chicago (Kike Camára) Mario Muñoz, the epic film Tear This Hear Story. He would then go on to star in many In 2011 Yenque will be seen in the role Out, directed by Roberto Sneider The At- hit films of the 1980s. His big break (but small “Robert” opposite Christopher Plummer tempt Dossier directed by Jorge Fons, Love, role) came in the 1982 cult classic comedy and Ewan McGreger in the Mike Mills Pain and Vice Versa directed by Alfonso Pi- filmFast Times at Ridgemont High, as a con- feature film Beginners and as antagonist neda and most recently in Miss Bala. venience store robber. In 1984, his other big “Martinez” in feature Happy New Year that role came in the hit film Beverly Hills Cop world premiered at South by Southwest as Mikey Tandino, the friend of Axel Foley film festival 2011. Yenque has over a decade NOE HERNÁNDEZ who gets murdered. Also in 1984, he starred of experience working successfully in film (Lino Valdez) in The Cotton Club, and played small-time and television, and is the recipient of impor- A graduate of the Universidad Autónoma hood Bugsy in Sergio Leone’s Once Upon tant industry awards and honors from SAG del Estado de México, where he earned a a Time in America. Russo’s other big role and the Alma Award in films such as Steven degree in dramatic arts in 1994, Hernandez was as a brutal rapist in the 1986 drama Ex- Soderberg’s Academy Award winning film was previously seen in Morenita (directed tremities, opposite Farrah Fawcett. He also Traffic opposite Benicio Del Toro, HBO’s by Alan Yonson), Sin Nombre (directed starred in the 1988 drama-suspense-thriller The Blue Diner opposite Teresa Yenque and by Cary Fukunaga), and Espiral, directed by filmFreeway . Academy Award winning short film (Stu- Jorge Pérez Solano. In 2008 he appeared in Russo’s film roles in the 1990s include dent Category) Wednesday Afternoon. His Alejandro Gerver’s Vaho, and Amor en fin, State of Grace (1990), A Kiss Before Dy- TV credits include frequent guest starring directed by Salvador Aguirre. The following ing (1991) — in which he played a private roles on numerous Primetime shows on all year Hernandez landed roles in El Infierno investigator who is helping Sean Young’s the major networks, most recently in the fi- (directed by Luis Estrada), and Gerardo character investigate the murder of her nal season of Lost.

16 17 clients. His narrative work has been scree- debut, documentary J.C. Chávez; Gael Gar- ned at festivals around the world, such as cia Bernal’s directorial debut, Déficit; Agustín Filmmakers Cannes, Venice, Berlin and Sundance and Díaz Yanes’ Sólo Quiero Caminar; Israel GERARDO NARANJO nomenally successful Y Tu Mama Tambien, he has received several awards. Four of the Cárdenas and Laura Amelia Guzmán’s Co- (Director & Screenwriter) directed by Alfonso Cuarón, and starring films he has collaborated in have been pre- chochi; and Cary Fukunaga’s Sin Nombre, a Beginning his career with a stint writing film Diego Luna and Gael Garcia Bernal. In 2003 sented in Cannes, including Delta, which co-production with Focus Features. Cefaló- criticism, Naranjo directed his first short, Per- Katz founded Videodromo, the first and ro Negro, in 1997, then went on to earn a only specialty video store in Mexico, which masters degree in directing at the Ameri- continues to operate successfully. In 2005, can Film Institute in Los Angeles. In 2005 Katz ventured into film distribution with the he starred in Azazel Jacobs’ The Good Times founding of Tarantula Films, which services Kid, which he also co-wrote, and in 2006 theaters as well as the home video market. he premiered his first feature film, Drama/ Films distributed by Tarantula include The Mex, at Cannes’s Semaine de la Critique. Dra- Science of Sleep, Drama/Mex, and Lady Ven- ma/Mex was included in film festivals geance, among many others. Katz’ recent around the world, as was Naranjo’s film of projects include Miss Bala, and Verdaderam- 2008, I’m Gonna Explode; after premiering at ete Durazo, a documentary about Mexico’s the 65th Venice Biennale, I’m Gonna Explode notoriously corrupt police officer Arturo was In Competition and won the FIPRESCI podo, Ruben Imaz’s second feature film; Abel, was featured in the 46th New York Film Fes- Durazo, that Katz scripted and directed for Award in 2008. His next filmTender Son-The Luna’s second film, Revolución an omni- tival and the Toronto Film Festival, and won Mexico’s Once TV. Katz along with Pedro Frankenstein Project was also selected to par- bus movie directed by 10 Contemporary the “FIPRESCI” award at the Thessaloniki Peraino and Pablo Cruz, (CANANA), are ticipate in Cannes (In Competition) in 2010. Mexican Directors and Jean Gentil, Israel Film Festival. Most recently Naranjo partici- developping El Santoniño, a television series Most recently, Erdely has finished shooting Cardenas and Laura Amelia Guzman’s se- pated in REVOLUCIÓN, a compilation of that begins production this year and will be Gerardo Naranjo’s latest feature Miss Bala. cond film; and Soy Tu Fan, a television series ten short films directed by ten contempo- distributed by Canal Once in Mexico. It is He is currently shooting Teona Mitevska’s starring Ana Claudia Talancón that has been rary Mexican directors, that’s been included the story of three young doctors who travel latest film in Germany. sold to Telemundo in the U.S. and MTV in in more than twenty-five festivals, and was to a Mexican town gripped by an epidemic, Latin America. In 2008, Cruz successfully en- voted Best Film at Biarritz Latin American El Santoniño chronicles their slow realization tered into theatre production with El Buen Film Festival. In 2010 Naranjo was included that the town is actually a cult that worships PABLO CRUZ Canario [The Good Canary], written by Zach in Take 100, The Future of Film: 100 New Di- El Niño. Katz currently teaches film produc- (Producer) Helm and Directed by John Malkovich. The rectors, a compendium of gifted emerging tion at Centro University in Mexico City. In 2007, Variety cited Pablo Cruz as one production’s success (36 consecutive sold filmmakers from around the world that was of its “10 Producers to Watch.” In 2011, out nights) lead to a national tour amongst published by Phaidon. Cruz returns to the Variety’s list as one of 12 major cities in Mexico. MATYAS ERDELY its “People to Know.” Since the creation of In 2010 Cruz made in-roads in the Mexi- (Cinematographer) CANANA in 2005, a company formed by can box-office with the film Abel. The film MAURICIO KATZ Erdely is based out of Budapest, Hungary. Cruz and partners Gael Garcia Bernal and is the fourth largest grossing Mexican mo- (Screenwriter) He completed his cinematography studies Diego Luna, Cruz has made inroads in Mexi- vie in 2010. The film has been showcased in Born in Mexico City in 1976, Katz studied both at the Hungarian University of Drama can cinema and distribution, by making over 20 festival including Sundance (in the film at the School of Visual Arts in New York and Film in Budapest and at the American films that have international appeal. Premieres section) , Cannes and San Sebas- City, and in 2000 co-founded Judo Media, a Film Institute Conservatory in Los Angeles, Cruz has produced over ten films in the tian where it received the Horizontes Award company specializing in marketing foreign California. He began his career in commer- span of five years, including: Gerardo for Best Film and the Youth Award. The film films, with a focus on Mexico. Campaigns cials while still attending film school and Naranjo’s Drama/Mex and Voy A Explotar has been sold in France, England, Spain, managed by his company include the phe- worked with high profile agencies and [I’m Gonna Explode]; Diego Luna’s directorial Dominican Republic, Puerto Rico, and Aus-

18 19 tralia. It’s U.S. release is slated for 2011. Cruz plays and short films before his major feature debut with Deficit, a low-budget feature film Knows), Dirty Dancing: Havana Nights, Open most recently produced Gerardo Naranjo’s film debut in Alejandro Gonzalez´s Amores shot in Mexico. He also directed the short Range alongside director and star Kevin third film, Miss Bala. Perros, which was nominated for the Best film The Letter for the full-length feature Costner, Frida opposite Salma Hayek by Under Cruz, CANANA has set a prece- Foreign Film Oscar in 2000. He gained more film 8 and the short film Lucio for the col- director Julie Taymor, Carambola, Fidel (for dent in distribution by exposing Mexican attention for Alfonso Cuarón’s Y Tu Mamá lective Mexican film Revolucion. Recently Showtime), Ciudades Oscuras, and Solda- audiences to diverse content and introdu- También, where he starred opposite his he has directed with Marc Silver four short dos de Salamina by director David Trueba, cing various distribution formats. Canana close friend, Diego Luna. He subsequently films titled The Invisibles for Amnesty Inter- Milk opposite Sean Penn and directed by distribution has released such titles as Let starred in the title role of Carlos Carrera’s national. Gus Van Sant and Rudo y Cursi directed by The Right One In, Gomorrra, Food Inc. and The Academy Award nominated El Crimen del Carlos Cuarón. Additionally, Luna has starred White Ribbon, critically acclaimed films Padre Amaro (The Crime of Father Amaro). DIEGO LUNA in a number of short films made by students that have found a space amongst Mexican Later Bernal was cast to play the revolution- (Executive Producer) at CUEC and CCC, including Javier Bourg- audiences. Additionally, Cruz launched CA- ary leader Che Guevara in Walter Salles´s Diego Luna was introduced to worldwide es’ El Ultimo Fin Del Ano, the Oscar-winning NANA ON DEMAND, a partnership with The Motorcycle Diaries. audiences with his starring role in the short film. His most recent projects include; Mexico’s largest cable company Cablevisión, Gael Garcia Bernal also starred in Pe- award-winning Y tu mamá también, along- Contraband directed by Baltasar Kormákur making it the first production company to dro Almodóvar’s La Mala Educación (Bad side life-long friend Gael García Bernal, by and The Untitled Spanish Comedy directed spearhead an ON DEMAND project in La- Education). Then worked on James Marsh’s director Alfonso Cuarón. by Matt Piedmont and starring opposite tin America. Cruz continues to explore ways independent feature The Kingand in Michel Beginning his professional acting career Will Ferrell and Gael García Bernal. of providing content to Mexican and Latin Gondry’s The Science of Sleep. He also stars on stage at the age of seven, and making his Luna went behind the camera as a direc- American audiences thorugh new distribu- in Alejandro Gonzalez Iñarritu’s Babel and television debut at age twelve in El Abuelo tor for a second time with Abel, his dramatic tions channels, to make films more accessible in Hector Babenco’s El Pasado. After Carlos Y Yo, Luna has appeared in theater produc- directorial debut. The film premiered at the to the Latin American community. Cuaron’s Rudo y Cursi, he starred in Fernando tions such as De Pelicula, La Tarea (based on Sundance Film Festival in the Premieres sec- Along with Diego Luna, Gael Garcia Meirelles’ Blindness. He has also participated Jame Hurnberto Hermosillo’s movie of the tion. Abel was also selected in the Cannes Bernal, and Elena Fortes, Pablo Cruz also in Mammoth directed by Lukas Moodys- same name), Comedia Clandestina, and El Film Festival (Special Screening, Official Se- founded Documental Ambulente (2005), son, in The Limits of Control directed by Jim Cantaro Roto, for which he accepted the lection). The film has gone on to participate a non-profit organization that produces Jarmusch as well as in Iciar Bollain’s Even the 1996-1997 “Masculine Revelation Award” in over 20 festivals throughout the world a traveling documentary film festival in Rain, in Nicole Kassell’s Earthbound, in Matt from the Association of Theatre Review- including Munich, SANFIC (Santiago Inter- Mexico. The festival has brought over 200 Piedmont’s House of My Father and in Julia ers. Under the direction of Antonio Serrano national Film Festival), Deauville American documentaries to communities across the Loktev’s The Loneliest Planet. (Sexo, Pudor y Lagrimas), he performed Sabi- Film Festival (in Competition), San Sebas- country in just five years. Bernal founded the film production na Berman’s Moliere. He also produced The tian Film Festival where it was honored with Cruz studied film theory at the London company CANANA with Diego Luna and Complete Works of William Shakespeare in the Horizontes and Euskatltel Youth Audi- College of Printing, and previously obtained Pablo Cruz in 2005. Since then, they’ve pro- Mexico, for which he won the 2001-2002 ence Award and most recently in a special a degree from the New York’s School of Vi- duced J.C. Chavez, Deficit, Cochochi, Voy A “Best Comic Actor” award from the Asso- gala presentation in the AFI Film Festival in sual Arts. Explotar, Solo Quiero Caminar, Cefalópodo, ciation of Theatre Reviewers. Los Angeles. Sin Nombre and Abel. Together, they also Luna’s feature films include Harmo- Previously, he directed the documen- run the Ambulante documentary film fes- ny Korine’s Mister Lonely, Before Night tary J.C. Chavez that premiered at the 2007 GAEL GARCÍA BERNAL tival, that travels around several cities in Falls by director Julian Schnabel, Luis Es- Tribeca Film Festival. The film explores the (Executive Producer) Mexico. In 2005 Gael García participated in trada’s Ambar, Erwin Neumaier’s Un Hilito life of legendary boxer Julio Cesar Chavez, An actor nearly all his life, Gael García Ber- Lorca’s play “Bloodwedding” in The Almei- De Sangre, Gabriel Retes’ Un Dulce Olor A whose rise from humble circumstances to nal began performing in stage productions da Theatre in London. And in 2008 he also Meute, Marisa Sistach’s El Cometa, Fernando thirty-seven world title fights mirrored the with his parents in Mexico, and later studied participated in the play “Together” with the Sarinana’s Todo El Poder, Criminal by Ste- struggle of his people and allowed him to at the Central School for Speech and Drama Vesturport Theatre Group in Iceland and phen Soderbergh, The Terminal by director win the hearts of the world. in London. Bernal then appeared in several México. García Bernal made his directorial Steven Spielberg, Solo Dios Sabe (What God

20 21 classes. Underneath the setting of a party 2008 / Mar del Plata, 2008 / Berlin Inter- at Cristobal’s summer home, a story of lost national Film Festival, 2009 / Guadalajara About CANANA innocence and social tension brews leading International Film Festival 2009, Best Cin- CANANA is a film and television production company based in Mexico City whose funda- to the acceptance that a social and political ematography - Mayahuel Prize, Press Award mental vision is to develop projects of the highest caliber that offer varied points of view in system is about to collapse. for Best First time or Second time Feature, dynamic settings. Cannes Film Festival, Semaine de la Cri- Premio Mezcal / Istanbul Film Festival, 2009 CANANA defines itself as an innovative company through its material selection, produc- tique, 2007 / Toronto Film Festival, 2007 / / Hong Kong Internacional Film Festival, tion style, distribution, and marketing by focusing on projects that are of Latin American origin NY Latin Beat, 2007 / AFI Fest, 2007 / Rio 2009 or themes but have a worldwide perspective. CANANA was founded in 2005 by Gael García de Janeiro Film Festival, Brazil, 2007 / Goth- Bernal, Diego Luna and Pablo Cruz. Their main objective is not only to develop projects that enburg Film Festival 2008 / Singapore Sólo Quiero Caminar [Just Walking], pertain to their needs as actors and producers, but also to open doors for Latin American International Film Festival, 2008. 2008 talent (actors, writers, directors). Over the past four years, CANANA has produced and distrib- —Dir. Agustín Díaz Yanes uted over 10 films including: J.C. Chávez, 2007 Three women set out to seek revenge —Dir. Diego Luna against their friend’s husband, a ringleader A documentary about the legendary Mexi- and gigolo, who brutally attacked her. As Drama / Mex, 2006 across the majestic Sierra Tarahumara. In an can boxer Julio César Chávez. The film traces they put their plan in motion, unexpected —Dir. Gerardo Naranjo effort to shorten their trip, the boys decide his humble beginnings as a pugilist, his glory love affairs surge between them and the A mid-summer afternoon in Acapulco; to take the family horse without prior per- years and the bitter end to his career. J.C. group of thugs. Fernanda claims rape by her ex-boyfriend mission from their grandfather. However, Chavez also captures the political history in Berlin International Film Festival, 2009 / Chano, a rebellious teenager while from the they embark on journey that ends up being Mexico during the time Chávez was World International Thriller Film Festival de Beaune, soccer field her snobby boyfriend finds out much longer than they ever imagined. Champion and his interludes with those in 2009. Grand Prix du Jury the ex has returned. In Mexico DF, Jaime Venice Film Festival, 2007: Orizonti; power. flees to Acapulco with money he embez- World Premiere / Toronto Film Festival Festival de Expresión en Corto, Guana- Sin Nombre, 2008 zled from his company and meets Trigillo, 2007, Discovery Award / Paris International juato 2007, Best Documentary / Tribeca —Dir. Cary Fukunaga an under-aged erotic masseuse. Children & Teenagers Film Festival, 2007, Film Festival, NY, 2007/ Latin Beat, Tokio, A story about immigration and the ulti- Zerkalo International Film Festival, Ru- “Passeurs d’Images” Prize /Gijon Film Festi- 2007/ Rio de Janeiro Film Festival, Brasl, 2007 mate journey. SIN NOMBRE introduces us sia, 2007, Best Film, /Cannes, Semaine de la val, FIPRESCI Award / Miami Film Festival, / Discovering Latin America Film Festival, to Sayra, a migrant from Honduras and Wil- Critique 2006 / Toronto Film Festival, 2006 / 2007, Best Ibero-American Dramatic Feature London, 2007 / F! Fest , Istanbul, 2008 ly, a gangster. Both are train-bound to the AFI Los Angeles, 2006 / Thessaloniki, Greece, / Toulouse Film Festival, France, 2007, Grand United States; Sayra in search for a better 2006 / Festival Internacional de Morelia, 2006 Prix Coup de Ceur and FIPRESCI Award Voy A Explotar [I’m Gonna Explode], life while Willy flees from his ex-gang who / Gothenburg Film Festival, 2007 / Rotter- / Havana Film Festival, 2007 / Rotterdam 2008 is out to kill him. dam Film Festival, 2007 / BAFICI, Argentina, Film Festival, 2008 / Oslo Film Festival, 2008 —Dir. Gerardo Naranjo Sundance Film Festival, U.S. Dramatic 2007 /Vancouver Latin Film Festival, 2007 / Gothenburg Film Festival, 2008 / Valdicia Set in Guanajuato, Mexico, Voy A Explotar Film Competition, Best Director, Best Cin- Hola Mexico, Australia Film Festival, 2007. International Film Festival, 2008, Special Jury tells the story of Roman and Maru, two ematography, 2009 Prize. troubled teenagers who attempt an im- Cochochi, 2007 possible rebellion against the adult world. Abel, 2009 —Dir. Laura Guzmán and Déficit, 2007 Thinking only of the immediate future, they —Dir. Diego Luna Israel Cárdenas —Dir. Gael García Bernal runaway and set up a makeshift camp in a Abel is a nine-year-old boy whose con- Evaristo and Tony are two indigenous broth- It is through Cristobal, a self-centered twen- place where no one will think to look. founding behavior and refusal to speak has ers from northern Mexico who at the start of ty something year old, that we get closer to Venice Film Festival, 2008: Orizonti; landed him in a mental health facility near their vacation are entrusted by their grand- the realities of the affluent Mexican soci- World Premiere / Toronto Internacional his home. His single mother, convinced that father with the task of delivering medicine ety and their relationship with other social Films Festival, 2008 / New York Film Festival, a reunion with his brother and sister might

22 23 help his condition, persuades Abel’s doctor tation, 2010 / Festival Mar de Plata, 2011 / tival (Poland), 2010 / BFI London Film Festival, to release the boy for a single week. With Cartagenas International Film Festival 2011 2010 / Films from the South Festival, 2010 / his father absent, Abel becomes the un- / Prague International Film Festival (Fa- New York Film Festival, 2010 / Los Angeles orthodox paternal figure who brings the bioFest) 2011 / Augsburg Film Festival 2011 Film Festival , Gala Screening, 2010 / Abycine family together. (Alemania) Film Festival, 2010 / Biarritz Festival Latine, Sundance Film Festival, Premiere section Best Film Award, 2010 / Seoul International 2010/ Cannes Film Festival, Special Presenta- Revolución, 2009 Film Festival, 2010 / Russia Film Festival, 2010 tion, 2010/ Aruba International Film Festival, —Dir. Mariana Chenillo, Patricia Riggen, / Ischia Film Festival (Italy), 2010 / Chicago 2010 / Film Fest Munich, 2010 / SANFIC Fernando Eimbcke, Amat Escalante, International Film Festival, 2010 / Morelia In- – Santiago Chile, 2010 / Deauville Interna- Rodrigo Pla, Rodrgio Garcia, ternational Film Festival, 2010 / Festival del tional Film Festival, In Competition, 2010 Diego Luna, Gael Garcia Bernal, Cervantino 2010 / Festival Mar de Plata, 2011 / San Sebastian International Film Festival, Carlos Reygadas, Gerardo Naranjo / Cartagenas International Film Festival 2011 Horizontes Award & Euskaltel Youth Award, Ten voices on the forefront of Mexican Vistas Film Festival (Texas), 2010 / San Diego 2010 / Haifa International Film Festival, 2010 cinema join together to celebrate the one Film Festival, 2011 / Warsaw Film Festival, 2010 / BFI London hundred year anniversary of the Mexican Film Festival, 2010 / Mostra Sao Paulo Film revolution. This multi-faceted and energetic Post Mortem, 2010 Festival, 2010 / Hola Film Festival (Australia), compilation expresses the historical mo- —Dir. Pablo Larraín 2010 / Taipei Golden Horse Film Festival, ment that still echoes in today’s society. Mario Cornejo works at the morgue as the 2010 / Cine de Mar de Plata – Argentina, Berlin International Film Festival (Special typewriter in charge of the autopsy reports 2010 / Latin Beat Film Festival (Japan), 2010, Screening), 2010 / Cannes Film Festival (Se- performed by the forensic doctors. On the Best Actor Christopher Ruiz-Esparza / Inter- maine de la Critique), 2010 / Pantalla Latina days surrounding Chile’s 1973 military coup national Film Festival of India (GOA), 2010 / (Switzerland), 2010 / Vistas Film Festival he gets involved in a love story with a danc- AFI Film Festival (Los Angeles), Gala Presen- (U.S.), 2010 / Warszawska Fundacja Film Fes- er from the cabaret Bim Bam Bum.

24 25 Venice Film Festival (In Competition), 2010 / New York Film Festival, 2010 / Gua- CANANA continues to expand and innovate dalajara International Film Festival – Best in areas such as distribution. Film, Best Actor and Best Cinematography, 2011 Following the successful release of the inde- Jean Gentil, 2010 pendent film,Let The Right One In, a Swedish — Dir. Laura Amelia Guzmán, horror film directed by Thomas Alfredson Israel Cardenas CANANA seeks to grow their distribution operations. In 2010 CANANA launches A Haitian man who recently lost his job TANGENTE, a new division within CA- as a French teacher, begins a desperate NANA Distribution. The label aims to release search for work in Santo Domingo. films of the horror genre with an intellectual Venice Film Festival (Orizzonti), 2010 appeal. TANGENTE focuses on captivating – Jury’s Special Mention / Valdivia Interna- audiences with independent and intellec- tional Film Festival (In Competition), 2010 tual films that have a unique point of view / Vienna International Film Festival, 2010/ within the horror genre. TANGENTE aims at Sao Paulo International Film Festival (Com- supporting independent cinema that pres- petition New Directors), 2010 / Carthage ents innovative and original horror themes. Film Festival, 2010 / Cairo Interantional Also, in 2009, CANANA launched CA- Film Festival, 2010 / Festival 3 Continets – NANA ON DEMAND, a partnership with Nantes (International Competition), 2010 Mexico’s largest cable company CABLE- / Thessaloniski International Film Festival VISIÓN. This marks a stepping stone for (International Competition) – Bronze Al- CANANA as they are the first Latin Ameri- exander, 2010 / New Latin American Film can production company to spearhead an Festival (International Competition), 2010 / ON DEMAND project that includes Day and Black Nights Film Festival, 2010 / Rotterdam Date releases of films that are both produced International Film Festival, 2010 / Goteborg and distributed by CANANA. Through this International Film Festival, 2010 / Miami innovative distribution channel CANANA International Film Festival (Ibero America ON DEMAND aims at growing and so- Competition), 2010 / Recontres Cinemas lidifying the ON DEMAND technology in d’Amerique Latine in Toulouse, 2010 / Las Mexico. Also, through this new distribution Palmas de Gran Canaria International Film channel, CANANA hopes to help combat Festival, 2010 / San Francisco International piracy of films by making films more acces- Film Festival / Jeonju International Film Fes- sible to the general public and offering other tival, 2010 / Indie Lisboa International Film a different option for viewing films. Festival, 2010 / Prauge International Film Festival / Buenos Aires International Film Festiva, BAFECI, 2010 / Art Film Festival in Slovakia, 2010

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