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DP El Nido Vacío
Dossier de presse trigon-film EL NIDO VACÍO de Daniel Burman (Argentine, 2008) DISTRIBUTION trigon-film Limmatauweg 9 5408 Ennetbaden Tél: 056 430 12 30 Fax: 056 430 12 31 [email protected] www.trigon-film.org CONTACT MÉDIAS Régis Nyffeler 077 410 76 08 [email protected] MATÉRIEL PHOTOGRAPHIQUE www.trigon-film.org FICHE TECHNIQUE Réalisation: Daniel Burman Scénario: Daniel Burman, Daniel Hendler Montage: Alejandro Brodersohn Image: Hugo Colace Décors: Aili Chen Musique: Nicolás Cota Production: Diego Dubcovsky, Daniel Burman, Sebastián Ponce, Jose María Morales Langue: Espagnol f/a Durée: 92 minutes FICHE ARTISTIQUE Oscar Martinez Leonardo Cecilia Roth Martha Arturo Goetz Dr. Spivack Inés Efron Julia Jean Pierre Noher Fernando Ron Richter Ianib Carlos Bermejo Marchetti Eugenia Capizzano Violeta PRIX & FESTIVALS Festival de San Sebastián: - Prix du meilleur acteur - Prix du Jury de la meilleure photographie Festival de Venise: - Robert Bresson Award 2 SYNOPSIS Auteur et dramaturge à succès de Buenos Aires, Leonardo est marié à Martha. Parents de trois enfants, ils forment un couple comblé et apprécié. Mais lorsque Julia, leur fille cadette, commence à dévoiler un besoin d’indépendance croissant, Leonardo et Martha se retrouvent soudain dans la perspective de vivre à nouveau tous les deux, seuls. Martha ne se démonte pas, bien prête à profiter de cette nouvelle liberté pour reprendre ses études abandonnées dans sa jeunesse et mener une vie sociale intense. De son côté, Leonardo se réfugie dans ses fantasmes, un livre en gestation. A tel point qu'il ne parvient bientôt plus à distinguer son monde imaginaire de la réalité. -
MD El Abrazo Partido F
Dossier de presse trigon-film EL ABRAZO PARTIDO (Le fils d‘Elias) Daniel Burman, Argentine, 2004 Distribution trigon-film Klosterstrasse 42 Postfach 5430 Wettingen 1 Tel: 056 430 12 30 Fax: 056 430 12 31 [email protected] www.trigon-film.org trigon-film Suisse romande Irène Lichtenstein Tel: 022 329 31 66 Fax: 022 329 31 65 [email protected] Matériel photographique www.trigon-film.org Fiche technique Réalisation: Daniel Burman Scénario: Marcelo Birjmajer, Daniel Burman Image : Ramiro Civita Montage: Alejandro Brodersohn Son: Martin Grignaschi Musique : César Lerner Décors : María Eugenia Sueiro Costumes : Roberta Pesci Producteurs : Diego Dubcovsky, Daniel Burman Coproducteurs : Marc Sillam, Amedeo Pagani, José María Morales Production : BD Cine Coproduction : Paradis Films, Classic, Wanda Vision Avec le soutien : du Fonds Sud, de Canal+ Espagne et Cinemart Langue : Espagnol/f/a Durée: 100 minutes Interprétation / Rôle Daniel Hendler Ariel Adriana Aizemberg Sonia Jorge D‘Elia Elias Sergio Boris Joseph Diego Korol Mitelman Atilio Pozzobón Saligani Silvina Bosco Rita Isaac Fajn Osvaldo 2 Festivals / Prix Nominé pour représenter l'Argentine aux Oscars 2005 Berlinale 2004: Grand prix du Jury, Ours d‘argent du meilleur acteur Festival latino-américain de Lleida, Espagne 2004: Prix de la meilleure réalisation, du meilleur film et de l‘ICCI pour le meilleur scénario Havana Film Festival 2003: Prix de la Société générale des auteurs espagnols Prix de Canal + Espagne pour le meilleur scénario non publié 3 Synopsis La seule image qu‘Ariel ait de son père est claire mais fugitive. Pour la voir, il faut qu‘il se repasse la vidéo familiale de sa circoncision. -
Appendix 1 the World of Cinema in Argentina
Appendix 1 The World of Cinema in Argentina A revelation on January 17, 2002. I am headed to the Citibank on Cabildo Street, where I have a savings account. I try to enter the bank but cannot because of the number of people waiting. So I give up on my errand. I cross the street to return home, and from the sidewalk facing the bank I see, for the first time, the building in which it is housed. The familiar is made strange; shortly after, it becomes familiar again, but in a slightly disturbing way. I recognize the building’s arches and moldings, its fanciful rococo façade. I recognize the Cabildo movie theater, in which I saw so many movies as an adolescent. Although I have been coming to this bank for years, I have never before made this connection. I know movie theaters that have been transformed into video arcades, into evangelical churches,1 into parking garages, even into bookstores. Yet I knew of none that had become a bank. All my savings were housed in a space that had been shadows, lights, images, sounds, seats, a screen, film. I remember that around the age of sixteen, I saw Robert Redford’s Ordinary People (1980) on the same day as Alain Resnais’ Last Year at Marienbad (1961) in the Hebraica theater. Two or three movies a day (video didn’t exist then) in which almost everything was film, film, and only film. These are the adolescent years in which cinephilia is born: a messy love, passionate, without much judgment. -
Identidad Masculina Y Judía En La Trilogía De Daniel Burman* Carolina Rocha University of Illinois- Urbana Champaign
Letras Hispanas, Volume 4, Issue 2 Fall 2007 Identidad masculina y judía en la trilogía de Daniel Burman* Carolina Rocha University of Illinois- Urbana Champaign En pocos años Daniel Burman (1973) ha logrado ocupar un lugar respetable no sólo en el mundo cinematográfico argentino sino también internacional. Como socio fundador de una de las productoras mejor afianzadas y más activas de Argentina, BD Cine –de la cual también forma parte Diego Dubcovsky— coprodujo películas de considerable éxito nacional e internacional: Garage Olimpo (Marco Bechis 1999), Rio escondido (Mercedes García Guevara 1999), Fuckland (José Luis Marqués 2000), Vagón fumador (Verónica Chen 2002), Nadar solo (Ezequiel Acuña 2003) y la aclamada Diarios de motocicleta (Walter Salles, 2004). Su métier como productor le ha permitido acceder a financiamiento externo para llevar sus guiones a la pantalla y participar en el circuito internacional de festivales de cine.1 Sin embargo, estos logros han pasado a segundo plano debido a la fama alcanzada por sus filmes: Esperando al mesías (2000), El abrazo partido (2004) y Derecho de familia (2006).2 Estas películas fueron estrenadas a partir del año 2000 cuando la situación económica en Argentina ya preanunciaba la crisis del 2001 y la asistencia de público a los cines se veía afectada por esta variable; o sea que Burman se ha abierto camino aún a pesar de un clima económico adverso para emprendimientos tanto culturales como comerciales. Asimismo, merece destacarse otro mérito de este joven director que consiste en haber dado visibilidad a la comunidad judía argentina, la más numerosa en América Latina y especialmente a los judíos del barrio porteño de Once, llevándolos como nadie lo había hecho hasta ese momento, a la pantalla grande. -
Journal of Modern Jewish Studies JEWISH CINEMATIC SELF
This article was downloaded by: [Rocha, Carolina] On: 19 March 2010 Access details: Access Details: [subscription number 920030546] Publisher Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37- 41 Mortimer Street, London W1T 3JH, UK Journal of Modern Jewish Studies Publication details, including instructions for authors and subscription information: http://www.informaworld.com/smpp/title~content=t713437952 JEWISH CINEMATIC SELF-REPRESENTATIONS IN CONTEMPORARY ARGENTINE AND BRAZILIAN FILMS Carolina Rocha Online publication date: 19 March 2010 To cite this Article Rocha, Carolina(2010) 'JEWISH CINEMATIC SELF-REPRESENTATIONS IN CONTEMPORARY ARGENTINE AND BRAZILIAN FILMS', Journal of Modern Jewish Studies, 9: 1, 37 — 48 To link to this Article: DOI: 10.1080/14725880903549251 URL: http://dx.doi.org/10.1080/14725880903549251 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.informaworld.com/terms-and-conditions-of-access.pdf This article may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. -
MD El Abrazo Partido D
Mediendossier trigon-film EL ABRAZO PARTIDO von Daniel Burman, Argentinien 2004 VERLEIH trigon-film Klosterstrasse 42 Postfach 5430 Wettingen 1 Tel: 056 430 12 30 Fax: 056 430 12 31 [email protected] www.trigon-film.org MEDIENKONTAKT Nathalie Bao-Götsch Tel: 056 430 12 35 [email protected] BILDMATERIAL www.trigon-film.org MITWIRKENDE Regie: Daniel Burman Buch: Marcelo Birmajer, Daniel Burman Kamera: Ramiro Civita Schnitt: Alejandro Brodersohn Ton: Martín Grignaschi Musik: Cesar Lerner Ausstattung: María Eugenia Sueiro Kostüme: Roberta Pesci Produzenten: Diego Dubcovsky, Daniel Burman Produktion : BD Cine (Argentinien) Koproduziert von: Wanda Vision (Spanien); Paradis Film, (Frankreich); Classic (Italien) Dauer / Format: 100 Minuten / 35mm / Farbe Sprache: Spanisch/d/f DARSTELLENDE / ROLLEN Daniel Hendler Ariel Adriana Aizenberg Sonia, Ariels Mutter Jorge d‘Elia Elias, Ariels Vater Sergio Boris Joseph, Ariels Bruder Rosita Londner Ariels Grossmutter Diego Korol Mitelman Silvina Bosco Rita Isaac Fain Osvaldo Aitilio Pozzobón Saligani Juan José Flores Quispe Ramón Norman Erlich Rabbi Benderson Salo Pasik Marcos Melina Petriella Estela 2 AUSZEICHNUNGEN Oscars 2005: Argentiniens offizieller Vorschlag für die Oscar-Nominierung als bester ausländischer Film Berlinale 2004: Grosser Preis der Jury und Silberner Bär für den besten Darsteller Lateinamerika Filmfestival Lleida, Spanien 2004: Beste Regie, bester Film und ICCI-Auszeichnung für das beste Drehbuch Havanna Filmfestival 2003: Preis der Sociedad general de autores españoles Gewinner des Canal Plus Preises in Spanien für das beste unveröffentlichte Drehbuch INHALT Das ist Ariels Welt: Eine kleine, leicht heruntergekommene Ladenpassage der Innenstadt von Buenos Aires. Den ganzen Tag über kann man hier die italienischen Ladenbesitzer herumschreien hören; zusehen, wie die Koreaner Feng-Shui-Artikel verkaufen und der alte Schreibwarenhändler Osvaldo auf seinem Kram sitzen bleibt. -
1 Journeys in Argentine and Brazilian Cinema
1 Journeys in Argentine and Brazilian Cinema: Road Films in a Global Era. Natália Pinazza. New York: Palgrave Macmillan, 2014 (187 pages). ISBN: 9781137336033. A Review by Jamie Steele, University of Exeter Natália Pinazza’s Journeys in Argentine and Brazilian Cinema: Road Films in a Global Era navigates a particularly complex and multifaceted terrain that considers several complementary key concepts, such as transnational, national, regional, local, and diasporic cinema. The author draws upon major theorists in the field, and provides compelling evidence for the claims made in two national contexts, Argentine and Brazilian cinema. The book deals with broad themes that cohere with explorations in transnational cinema, by focusing on identities in flux and in renewal, border controls and border crossing, issues of belonging, home and homeland, social marginalisation, and poverty. It is possible to separate this book into three distinct sections: the first an industrial analysis of a transnational cinema; the second dealing with the transnational and accented aesthetics of films in Argentina and Brazil; and the third a return to the local and regional articulations on the margins and peripheries. From this premise, Pinazza posits a need to move beyond the transnational/national binary (as Elizabeth Ezra and Terry Rowden have outlined in their approach to “What is Transnational Cinema?”), incorporating microgeographical analyses of local areas that highlight cultural differences from a national interpretation of the selected film texts. The Foreword and the Introduction outline an analysis of the road movie genre in the context of Latin American filmmaking, but the book commences with a more detailed analysis of the industrial context. -
4. Ensayo De Transversalidad. Entre Israel Y La Diáspora ENTRE ISRAEL Y LA DIÁSPORA EL ABRAZO PARTIDO (Daniel Burman, 2004)
4. Ensayo de transversalidad. Entre Israel y la Diáspora ENTRE ISRAEL Y LA DIÁSPORA EL ABRAZO PARTIDO (Daniel Burman, 2004) Between Israel and the Diaspora Lost Embrace (Daniel Burman, 2004) Dr. José R. Ayaso Historiador de Israel y del Pueblo Judío Granada Resumen. El abrazo partido, comedia dirigida por Daniel Burman con la colaboración del escritor Marcelo Birmajer en el guión, se desarrolla en una destartalada galería en el Once, un popular y multiétnico barrio de Buenos Aires donde vive y trabaja una numerosa comunidad judía. La familia Makaroff ejemplifica las luces y sombras de la vida judía en Argentina y las presiones a las que están sometidos los judíos: por un lado, la poderosa atracción que ejerce Israel y, por el otro, la constante tentación de seguir siendo unos judíos errantes. Palabras clave. Judíos, Buenos Aires, el Once, identidad judía, sociedad multicultural, nación de emigrantes, Diáspora, Israel, Holocausto. Daniel Burman. Marcelo Birmajer. Abstract. Lost Embrace, a comedy directed by Daniel Burman with the script writen by Burman and the writer Marcelo Birmajert, takes place in a shopping mall situated in “El Once”, a popular and multiethnic quarter in Buenos Aires where a large Jewish community lives and works. The Makaroffs are an example of the up- and-down situation of the Jewish Community in Argentina. Like other Diaspora groups, the Argentinean Jews are conditioned by two main identitarian constraints: the strong attraction that Israel exerts and the old temptation to live as the Wandering Jew. Keywords. Jews, Buenos Aires, el Once, Jewish identity, Multicultural Society, Immigrant Nation, Diaspora, Israel, Shoah. -
El Rey Del Once the Tenth Man
EL REY DEL ONCE THE TENTH MAN a film by Daniel Burman International Sales Contact Press Contact Guido Rud Claudia Tomassini FilmSharks Claudiatomassini+associates [email protected] International Film Publicity +54-911 4180-6363 +49 1732055794 www.filmsharks.com [email protected] www.claudiatomassini.com CAST ARIEL ALAN SABBAGH EVA JULIETA ZYLBERBERG USHER USHER SUSY ELVIRA ONETTO MAMUÑE ADRIAN STOPPELMAN HERCULES DANIEL DROBLAS MONICA ELISA CARRICAJO MUMI SINGER DAN BRITMAN MARCELITO COHEN URIEL RUBIN ARIEL (11 years) DALMIRO BURMAN CREW DIRECTOR & WRITER DANIEL BURMAN PRODUCERS DIEGO DUBCOVSKY DANIEL BURMAN BARBARA FRANCISCO CO PRODUCERS ALEJANDRO GORODISCH ALFREDO ODORISIO AXEL KUSCHEVATZKY EXECUTIVE PRODUCER BÁRBARA FRANCISCO DIRECTOR OF PHOTOGRAPHY DANIEL ORTEGA PRODUCTION DESIGNER MARGARITA TAMBORNINO FILM EDITOR ANDRÉS TAMBORNINO SOUND DESIGNER CATRIEL VILDOSOLA COSTUME DESIGNER ROBERTA PESCI MAKE UP MARIELA HERMO UNIT PRODUCTION MANAGER CECILIA SALIM FIRST ASSISTANT DIRECTOR MATÍAS FAMULARI TECHNICAL INFO FEATURE FILM: NARRATIVE LANGUAGE: SPANISH SHOOTING FORMAT: HD / 1.1:85 / Color SCREENING FORMAT: DCP 2K / BluRay RUNNING TIME: 80 min PRODUCTION YEAR: 2015 COUNTRY: ARGENTINA PRODUCED BY BD CINE PASTO IN ASSOCIATION WITH ALEGORIA TELEFE FOX + SYNOPSIS SHORT SYNOPSIS Ari, who has built a successful career in New York, thinks he has left his past behind. But his distant father Usher, who runs a Jewish aid foundation in El Once, the close-knit old Jewish neighborhood of Buenos Aires summons him back to his native city. What ensues is a comedy of errors, of missed and found people and connections, and a rumination on the extent to which we can ever really leave our past behind. LONG SYNOPSIS Ariel has left his past behind.