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Jessica Alba and Tracey Nyberg’s Lady Metalmark Entertainment has boarded “Queens,” Switzerland’s official selection for the international feature Oscar, as executive producer.

The film follows two teenage sisters living in Peru in 1992 as the country slides into political unrest. They are about to leave with their mother to live in the U.S. but they need their father to sign consent papers — he’s been absent for years but now he decides to win back his two “queens.”

Abril Gjurinovic, Luana Vega and Jimena Lindo star. The film won the Audience Award at this year’s Locarno Film Festival and the Grand Prix in Generation Kplus at the Berlinale, after world premiering at the Sundance Film Festival.

Reynicke, who co-wrote the screenplay with Diego Vega Vidal, drew on her own experience of leaving Peru as a young girl during a period of political turmoil in the early 1990s.

Off-roading in a sand dune located outside Lima with a borrowed car, Carlos (Gonzalo Molina) only cares about whether or not his two daughters, in the back seat, are having a good time. He won’t admit it, but this jack of all trades — and definitely master of none — doesn’t have much to offer them in the way of financial or home stability. Carlos’ only contribution are the memories he hopes will evoke a positive image of him in the future.

Therein lies the emotional crux of Swiss-Peruvian director Klaudia Reynicke’s poignantly subdued period drama “Reinas,” Spanish for “queens” and the way Carlos refers to his girls. Set in 1992, against the backdrop of social unrest and economic collapse in Peru — when the national currency has devalued greatly, and the insurgent organization Shining Path continues to carry out attacks — the narrative grapples with how two separated parents, neither of them ill-intentioned,...

Creating what looks like one of the undisputed highlights of Ventana Sur’s Spanish Screenings, three of Perú’s foremost filmmakers – Daniel and Diego Vega and Joanna Lombardi –have boarded “Bienvenido Mr. Hollywood,” which promises a complete departure for one of Catalonia’s leading edge cineastes, Mar Coll.

Co-created and directed by Coll (“Three Days With the Family”) and Aina Calleja, an editor on Coll’s first series, “Killing the Father”), “Welcome Mr. Hollywood” is written by Coll, Calleja and Diego Vega, who with brother Daniel broke out with his debut, 2010 Cannes Un Certain Regard Jury Prize winner, “October.” A 2013 Locarno best actor winner for Fernando Bacilio, “El Mudo” consolidated the brothers’ reputation as top young Latin America auteurs.

““Welcome Mr. Hollywood” is lead produced by Barcelona’s Funicular Films and co-produced by Daniel and Diego Vega’s Lima-based Maretazo Cine. Lombardi, a former head of fiction at Telefonica Media Networks Latin America,...

Alpha Violet founding co-heads Virginie Devesa and Keiko Funato are at the Venice Film Festival this year with Indonesian filmmaker Makbul Mubarak’s first film Autobiography, which plays in Horizons ahead of trips to Toronto and London among other festivals.

The coming-of-age drama, exploring the legacy of Indonesia’s 30-year military dictatorship, revolves around a young boy working as a housekeeper in the empty mansion of a retired general.

Venice Film Festival: Memorable Moments 1945-1984 Gallery

Devesa and Funato, who fete the 10th anniversary of their Paris-based sales boutique Alpha Violet in October, have a strong record of launching debut features on the Lido having previously handled Japanese filmmaker Kei Ishikawa’s 2016 feature Gukoroku, Traces of Sin and Greek director Christos Nikou’s 2020 breakout Apples, which both played in Horizons.

Neither title won the top prize, but both works put the directors on the international festival and industry map. Ishikawa...

It’s time to talk about remakes again. In this installment of our series, we’re going to be looking at a revamped version of one of the most legendary fictional heroes ever. This week, Cinelinx looks at The Mask of Zorro (1998).

The Zorro character was introduced in the 1919 serialized story, “The Curse of Capistrano”, written by Johnston McCulley, and was published in All-Stories Weekly, the same magazine that first published Edgar Rice Burroughs’ “Tarzan of the Apes” and “John Carter: Warlord of Mars”. Zorro was partly the inspiration for Batman. (Parenthetically, in DC comics, Bruce Wayne and his parents were coming out of a theater after seeing a film version of Zorro when his parents were killed.)

The story has been adapted several times. The first time was a silent film version in 1920, starring the cinema’s first-ever action star Douglas Fairbanks as the title character. However, we...

Since 1989, the National Film Registry of the Library of Congress has been accomplishing the important task of preserving films that “represent important cultural, artistic and historic achievements in filmmaking.” From films way back in 1897 all the way up to 2004, they’ve now reached 675 films that celebrate our heritage and encapsulate our film history.

Today they’ve unveiled their 2015 list, which includes classics such as Douglas Sirk‘s melodrama Imitation of Life, Hal Ashby‘s Being There, and John Frankenheimer‘s Seconds. Perhaps the most popular picks, The Shawshank Redemption, Ghostbusters, Top Gun, and L.A. Confidential were also added. Check out the full list below.

Being There (1979)

Chance, a simple-minded gardener (Peter Sellers) whose only contact with the outside world is through television, becomes the toast of the town following a series of misunderstandings. Forced outside his protected environment by the death of his wealthy boss, Chance subsumes his late employer’s persona,...

The Mark Of Zorro Screens Sunday, December 13th at Webster University’s Winifred Moore Auditorium (470 E. Lockwood Ave., St. Louis, Mo 63119) with Live piano by Ben Model, one of the nation’s leading silent film accompanists.

I used to check out The Mark Of Zorro on 8mm film from the library and watch it over and over in my basement when I was a kid in the early ‘70s and I can’t wait to see it in glorious 35mm (the print is from the Museum of Modern Art) this Sunday night (December 13th) at Webster University’s Winifred Moore Auditorium. Admission is $6 ($4 for seniors and free for Wu students)

In The Mark Of Zorro (1920), Don Diego Vega (Douglas Fairbanks), a foppish son of a wealthy rancher, disguises himself with a mask and cape and becomes the legendary Zorro, defender of the people when corrupt Governor Alvarado (George Periolat) crushes...

On Wednesday, May 27th, Premios Platino's hosts Alessandra Rosaldo and Juan Carlos Arciniegas alongside actor Eugenio Derbez, as well as Elvi Cano (Director Egeda Us) and Gonzalo Elvira (Fipca Mexico) will announce the nominees for the Awards in Los Angeles, CA.

During the press conference Mexican actress Kate Del Castillo will announce the recipient of the Premio de Honor (Lifetime Achievement Award). In addition Rick Nicita, Chairman of the American Cinematheque, will accept a special Platino Award to The American Cinematheque for its contribution to Iberoamerican Cinema.

Produced by Egeda, in collaboration with Fipca, the Premios Platino of Iberoamerican Cinema was born with the vocation to establish itself as a major international ceremony, promoting Latin American cinema as a whole and transcending borders. It is one of the most important tools to promote and support our film industry and all the professionals who, day after day, put forth all their effort and commitment so that audiences can enjoy the best films.

The candidates for the 2nd Platino Awards (Premios Platino) were announced during the 18th Málaga Film Festival in Spain. 73 feature films and 18 Ibero- American countries compete for the final nominations in the 14 categories for this prestigious award. The competing films had to be commercially released or premiered in an A-List Film Festival during 2014. The final nominations will be announced tomorrow at the Andaz Hotel West Hollywood. The Premios Platino Award Ceremony will take place on July 18, 2015 at Starlite Marbella in Spain.

As part of the same event The Premios Platino has distinguished the Málaga Film Festival with a special award for its contribution to the circulation and promotion of Spanish and Ibero- American cinema.

Here is the list of preselected candidates in each category ahead of tomorrow's final nominations

Premio Platino for the Best Ibero-American Fictional Film

· "Cantinflas"

(Kenio Films) (Mexico).

· "Conducta" (Behavior)

(Instituto Cubano Del Arte E Industria Cinematográfica, Rtv Comercial) (Cuba).

· "El Mudo" (The Mute)

(Maretazo Cine, Urban Factory) (Peru, Mexico).

· "El Niño"

(Vaca Films Studio, S.L., Telecinco Cinema, S.A., Ikiru Films, S.L., La Ferme! Productions, El Niño la película, A.I.E.) (Spain).

· "La Danza de la Realidad" (The Dance of Reality)

(Camera One, Pathe Y Le Soleil Films) (Chile).

· "La Dictadura Perfecta" (The Perfect Dictatorship)

(Imcine - Instituto Mexicano De Cinematografía, Estudios Churubusco Azteca, S.A., Bandidos Films, Fidecine, Eficine 226) (Mexico).

· "La Isla Mínima" (Marshland)

(Antena 3 Films, S.L., Atípica Films, S.L. y Sacromonte Films S.L.) (Spain).

· "Libertador" (The Liberator)

(Producciones Insurgentes, San Mateo Films) (Venezuela, Spain).

· "Matar a un Hombre" (To Kill a Man)

(Arizona Production, El Remanso Cine Ltda) (Chile).

· "Mr. Kaplan"

(Baobab 66 Films, S.L., Salado Media, Expresso Films) (Uruguay, Spain).

· "O Lobo Atrás da Porta" (A Wolf at the Door)

(Tc Filmes, Gullane Filmes) (Brazil).

· "Os gatos não têm vertigens" (Cats Don't Have Vertigo)

(Mgn Filmes) (Portugal).

· "Pelo Malo" (Bad Hair)

(Sudaca Films, Hanfgarn & Ufer Filmproduktion, Artefactos S.F., Imagen Latina, La Sociedad Post) (Venezuela Peru, Argentina).

· "Refugiado"

(Gale Cine, Burning Blue, El Campo Cine, Staron Films, Bellota Films, Río Rojo Contenidos) (Argentina, Colombia).

. "Relatos Salvajes" (Wild Tales)

(Kramer & Sigman Films, El Deseo P.C - S.A.) (Argentina, Spain).

Premio Platino for Best Directing

Alberto Rodríguez (Spain), for "La Isla Mínima." Alejandro Jodorowsky (Chile), for "La danza de la Realidad." Álvaro Brechner (Uruguay), for "Mr Kaplan." António-Pedro Vasconcelos (Portugal), for "Os gatos não têm vertigens." Claudia Pinto (Venezuela), for "La Distancia más Larga." Damián Szifron (Argentina), for "Relatos Salvajes." Daniel Monzón (Spain), for "El Niño." Daniel Vega (Peru) and Diego Vega (Peru), for "El Mudo." Ernesto Daranas (Cuba), for "Conducta." Fernando Coimbra (Brazil), for "O lobo atrás da porta." Fernando Pérez (Cuba), "La Pared de las Palabras." Luis Estrada (Mexico), for "La Dictadura Perfecta." Mariana Rondón (Venezuela), for "Pelo Malo." Miguel Cohan (Argentina), for "Betibú." Sebastián del Amo (Mexico), for "Cantinflas. "

Premio Platino for Best Actor

Benicio Del Toro (Puerto Rico), for Escobar. "Paraíso Perdido." Damián Alcázar (Mexico), for "La Dictadura Perfecta. Dani Rovira (Spain), for "Ocho Apellidos Vascos." Daniel Candia (Chile), for "Matar a un Hombre." Daniel Fanego (Argentina), for "Betibú." Edgar Ramírez (Venezuela), for "Libertador." Fernando Bacilio (Peru), "El Mudo." Ghilherme Lobo (Brazil), "The Way He Looks." Javier Gutiérrez (Spain), for "La Isla Mínima." Jorge Perugorría (Cuba), for "La Pared de las Palabras." Leonardo Sbaraglia (Argentina), for "Relatos Salvajes." Oscar Jaenada (Spain), by "Cantinflas." Salvador del Solar (Peru), for "El Elefante Desaparecido." Viggo Mortensen (USA), for "Jauja." Wagner Moura (Brazil), for "Futuro Beach" .

Premio Platino for Best Actress

Angie Cepeda (Colombia), for "El Elefante Desaparecido." Bárbara Lennie (Spain), by "Magical Girl." Carme Elías (Spain), for "La Distancia Más Larga." Elena Anaya (Spain), for "Todos Están Muertos." Érica Rivas (Argentina), for "Relatos Salvajes." Geraldine Chaplin (USA), for "Dólares de Arena." Isabel Santos (Cuba), for "La Pared de las Palabras." Julieta Díaz (Argentina), for "Refugiado." Laura de la Uz (Cuba), for "Vestido de Novia." Leandra Leal (Brazil), for "O Lobo Atrás da Porta." Maria do Céu Guerra (Portugal), for "Os gatos não têm vertigens." Martha Higareda (Mexico), for "Cásese Quien Pueda." Paulina García (Chile), for "Las Analfabetas." Samantha Castillo (Venezuela), for "Pelo Malo." Silvia Navarro (Mexico), for "La Dictadura Perfecta. "

Premio Platino for Best Original Score

Adán Jodorowsky (Chile), for "La Danza de la Realidad." Antonio Pinto (Brazil), for "Trash. A esperança vem do lixo." Edilio Paredes (Dominican Republic), Ramón Cordero (Dominican Republic), Benjamín de Menil (Dominican Republic), for "Dólares de Arena." Federico Jusid (Argentina), for "Betibú" Gustavo Dudamel (Venezuela), for "Libertador." Gustavo Santaolalla (Argentina), for "Relatos Salvajes." Juan A. Leyva (Cuba), Magda R. Galbán (Cuba), for "Conducta." Julio de la Rosa (Spain), for "La iIsla Mínima." Mikel Salas (Spain), for "Mr Kaplan." Pedro Subercaseaux (Chile), for "Crystal Fairy y el Cactus Mágico." Ricardo Cutz (Brazil), "O lobo atrás da porta." Roque Baños (Spain), for "El Niño." Ruy Folguera (Argentina), for" Olvidados." Selma Mutal (Peru), for "El Elefante Desaparecido." Vicent Barrière (France), for "La Distancia más Larga."

Premio Platino for Best Animated Film

"Até que a Sbórnia nos Separe" (Otto Desenhos Animados) (Brazil). "Dixie y la Rebelión Zombi" (Abra Prod. S.L.) (Spain) "El Ultimo Mago o Bilembambudín" (Fabula Producciones, Aleph Media S.A., Filmar Uno) (Argentina, Chile). "Historia de Cronopios y de Famas" (Prodarte) (Argentina). "La Leyenda de las Momias de Guanajuato" (Ánima Estudios, S.A. De C.V.) (Mexico). "La Tropa de Trapo en la Selva del Arcoíris" (Continental Producciones, S.L, Anera Films, S.L., Abano Producions, S.L. La Tropa De Trapo, S.L.) (Spain, Brazil). "Meñique" (Ficción Producciones, S.L., Estudios De Animación Icaic) (Cuba, Spain). "Mortadelo y Filemón Contra Jimmy el Cachondo" (Zeta Audiovisual y Películas Pendelton) (Spain). "The Boy and the World" (Filme de Papel) (Brazil). "Pichinguitos. Tgus, la Película" (Non Plus Ultra) (Mexico, Honduras). "Ritos de Passagem" (Liberato Produçoes Culturais) (Brazil).

Premio Platino for Best Documentary Film

• "¿Quién es Dayani Cristal?" (Canana Films, Pulse Films Limited) (Mexico).

"2014, Nacido en Gaza" (La Claqueta Pc, S.L.Contramedia Films) (Spain). "Avant" (Trivial Media Srl, Tarkio Film) (Uruguay, Argentina). "Buscando a Gastón" (Chiwake Films) (Peru). "E agora? Lémbra-me" (C.R.I.M. Produçoes, Presente Edições De Autor) (Portugal). "El Color que Cayó del Cielo" (K & S Films) (Argentina). "El Ojo del Tiburón" (Astronauta Films, Gema Films) (Argentina, Spain). "El Río que Nos Atraviesa" (Ochi Producciones, Maraisa Films Producciones) (Venezuela). "El Sueño de Todos" (S3d Films, Tridi Films) (Chile). "El Vals de los Inútiles" (La Pata De Juana, Cusicanqui Films) (Chile, Argentina). "Invasión" (Apertura Films, Ajimolido Films) (Panama, Argentina). "Maracaná" (Coral Cine, S.R.L., Tenfield S.A.) (Uruguay, Brazil). "The Salt of the Earth" (Decia Films) (Brazil) "Paco de Lucía. La búsqueda" (Ziggurat Films, S.L.) (Spain) "Pichuco" (Puente Films) (Argentina).

Premio Platino for Best Screenplay

Alberto Rodríguez (Spain), Rafael Cobos (Spain), for" La Isla Mínima." Alejandro Jodorowsky (Chile), for "La Danza de la Realidad." Álvaro Brechner (Uruguay), for "Mr. Kaplan." Anahí Berneri (Argentina), Javier Van Couter (Argentina), for "Aire Libre." Carlos Vermut (Spain), for "Magical Girl." Claudia Pinto (Venezuela), for "La Distancia Más Larga." Damián Szifron (Argentina), for "Relatos Salvajes." Daniel Ribeiro (Brazil), for "The Way He Looks." Daniel Vega (Peru), Diego Vega (Peru), for "El Mudo." Ernesto Daranas (Cuba), for "Conducta." Fernando Coimbra (Brazil), for "O lobo atrás da porta." Luis Arambilet (Dominican Republic), for "Código Paz." Luis Estrada (Mexico), Jaime Sampietro (Mexico), for "La Dictadura Perfecta." Mariana Rondón (Venezuela), for "Pelo Malo." Tiago Santos (Portugal) for "Os gatos não têm vertigens. "

Premio Platino for Best Ibero-American Fiction Debut

"10.000 Km," by Carlos Marqués- Marcet (Lastor Media, S.L., La Panda) (Spain). "23 segundos," by Dimitry Rudakov (Clever Producciones) (Uruguay). "Branco sai, preto fica," by Adirley Queirós (Cinco Da Norte Serviços Audiovisuais) (Brazil). "Ciencias Naturales," by Matías Lucchesi (Tarea Fina, Metaluna Productions) (Argentina). "Código Paz," by Pedro Urrutia (One Alliance Srl) (Dominican Republic). "Feriado" by Diego Araujo (Cepa Audiovisual S.R.L., Abacafilms, S.A., Lunafilms Audiovisual) (Ecuador, Argentina). Historias del Canal (Hypatia Films, Manglar Films, Tvn Films and Wp Films) (Panama). "La Distancia Más Larga," by Claudia Pinto (Castro Producciones Cinematograficas, S.L.U., Sin Rodeos Films C.A., Claudia Lepage) (Venezuela). "Las Vacas con Gafas," by Alex Santiago Pérez (Cozy Light Pictures) (Puerto Rico). "Luna de Cigarras," by Jorge Bedoya (Oima Films, Koreko Gua, S.R.L., Sabate Films) (Paraguay). "Mateo," by Maria Gamboa (Hangar Filmsdiafragma, Fabrica De Peliculas, Cine Sud Promotion) (Colombia). "Perro Guardian," by Bacha Caravedo, Chinón Higashionna (Señor Z)(Peru). "Vestido de Novia," by Marilyn Solaya (Icaic) (Cuba). "Visitantes," by Acan Coen (Sobrevivientes Films, Akira Producciones, Nodancingtoday) (Mexico). "Volantín Cortao," by Diego Ayala and Aníbal Jofré (Gallinazo Films) (Chile)...

Early predictions have emerged for most Academy Award categories. As the studios reveal their hopeful offers to be released in the final months of the year, the speculation increases. But despite all the information available on the centerpiece awards, other more obscure races remain a complete mystery at this point. Among these, the Best Foreign Language Film Oscar is almost certainly the most complex to prognosticate. The lengthy process that precedes the announcement of the final nominees makes for a competition that begins months in advance in nations around the globe.

Having the opportunity to submit only one film, each country must carry out its own selection process. Once these decisions have been made, their chosen works will compete to make it to the nine-film shortlist, and eventually into the final five slots. Although this procedure allows for a certain degree of democracy, it also excludes all those other films that were left behind in their homelands. This, in turn, gives us a narrow view of what is being produced abroad.

Therefore, after lots of research and arduous educated guessing to put it together, the list below offers a more insightful look at this race before the actual individual selections are announced. For the sake of time, the amount of films is limited to five per country, but in some cases the choices are scarcer and less films are listed. While trying to speculate is always an uncertain endeavor, the factors taken into account to determine which are some of this year’s most important films in each country and their prospects of being chosen as their representative at the Academy Awards, were varied. Festival exposure, release date, the country’s previous submissions, and even the thematic elements of a few of them were considered to create this piece.

Clearly nothing is definitive at this point, but at the very least, this compilation will provide a sense of what the film industries in these territories are putting out and sharing with the world.

It is important to note that several of the films mentioned below are being handled by Mundial, a joint venture between Im Gobal and Canana, including "Gueros," "A Wolf at the Door," and "The Liberator."

Here is the first list dedicated to the Americas

Argentina

With four films presented at Cannes and several others receiving praise in festivals around the world, Argentina has several interesting options this year. Unfortunately, Lisandro Alonso’s period piece “Jauja” will almost certainly be ineligible due to its November release date, unless a qualifying one-week run is scheduled. That scenario seems unlikely. Screening in the Directors’ Forthnight, Diego Lerman’s “Refugee” (Refugiado) will open on October 3rd, also a few days after the deadline. That leaves the Almodovar-produced “Wild Tales” as the undisputed favorite. Acclaimed films such as “Natural Sciences," “The Third Side of the River”, “El Ardor“ (staring Gael Garcia Bernal), and “La Paz” are longer shots but still viable choices.

1. "Wild Tales" (Relatos Salvajes)

2. "Natural Sciences" (Ciencias Naturales)

3."The Ardor" (El Ardor)

4."The Third Side of the River" (La Tercera Orilla)

5."La Paz"

Bolivia

The last time the landlocked country submitted a film was back in 2009. However, this year offers several possibilities for the Bolivian film industry. Given its production value and historical theme, it is likely that - if they choose to send a film - it will be Mexican director Carlos Bolado’s “Forgotten” (Olvidados), which deals with the 70s Operation Condor. Another likely choice is “Yvy Maraey,” which highlights the mysticism of the country’s indigenous people and is the latest work by Juan Carlos Valdivia, whose films have represented Bolivia in 3 out of the 6 occasions they’ve participated. A long delayed road trip flick (“Once Upon a Time in Bolivia”) and a unique documentary (“Apricot”) round up the list of contenders.

1. "Forgotten" (Olvidados)

2. "Yvy Maraey: Land Without Evil" (Yvy Maraey: Tierra Sin Mal)

3. "Once Upon a Time in Bolivia" (Erase una vez en Bolivia)

4. "Apricot" (Durazno)

Brazil

Producing an impressive amount of films per year, the Brazilian film industry is seeing incredible progress recently. Particularly this year, the quality of works was exceptional across the board. Having such an overflow of great material could make it difficult to select just one. However, there are a few films that standout amongst the crowd. Fernando Coimbra’s debut feature “A Wolf at the Door” is undoubtedly the one to beat after receiving rave reviews and touring some of the most important international festivals. Its biggest competitors are the quiet character study “The Man of the Crowd” and the adorable coming-of-age tale “The Way He Looks.” Rounding up the top five are locally acclaimed “Runriver” and powerful Lgbt drama “Futuro Beach.”

1. "A Wolf at the Door" (O Lobo atrás da Porta)

2. "The Man of the Crowd" (O Homem das Multidões)

3. "The Way He Looks" (Hoje Eu Quero Voltar Sozinho)

4. "Riverrun" (Riocorrente)

5. "Futuro Beach" (Praia do Futuro)

Canada

This definitely seems like Xavier Dolan’s year. After sharing an award with New Wave patriarch Jean-Luc Godard in Cannes, the 25-year-old prodigy is almost a safe bet having two films that could represent his country. While “Mommy” is the clear favorite, it will have to go against “An Eye for Beauty, ” the latest film from Oscar-winner Denys Arcand. Both films will screen at Tiff in the upcoming weeks, just as time runs out for Canada to nominate a film by the end of September. Less probable but still great options are Dolan’s own “Tom at the Farm,” quirky black-and-white dramedy “Tu Dors Nicole,” and the well-received rural family drama “The Auction. ”

1. "Mommy"

2. "An Eye for Beauty" (Le Règne de la Beauté)

3. "Tom at the Farm" (Tom à la ferme)

4. "You's Sleeping Nicole" (Tu Dors Nicole)

5. "The Auction" (Le démantèlement)

Chile

Here is one of the few countries in the region with a very clear choice, but which sadly might decide to miss that opportunity. Alejandro Fernández Almendras ‘“To Kill a Man” won at Sundance, Rotterdam, Berlin, Cartagena amongst several other festivals and has received extremely positive reactions from critics and audiences. Yet, its opening date in its homeland (October 16th) might prevent it from being selected, which would be a regrettable mistake. A one-week run or an earlier release date would be a worthwhile investment. If they decide to leave it behind for next year, this great film would definitely miss its chance. If that is the case, the South American nation, which in recent years has garnered incredible success with films like “No” and “Gloria,” might decide to go with “The Dance of Reality,” the first film in over 20 years by veteran auteur Alejandro Jodorowsky. Other plausible candidates include “Illiterate” (starring Paulina Garcia), Marcela Said’s remarkable “The Summer of Flying Fish,” and historical biopic “Neruda.”

1. "To Kill a Man" (Matar a un Hombre)

2. "The Dance of Reality" (La Danza de la Realidad)

3. "Illiterate" (Las Analfabetas)

4. "The Summer of Flying Fish" (El Verano de los Peces Voladores)

5. "Neruda"

Colombia

Being forced to resort to mainstream cartel-themed fare in past occasions, this year has fortunately seen a fantastic reemergence of auteur-driven works in the country. Cartagena winner “Dust on the Tongue” is by far the most promising Colombian offer of the year with a thought-provoking premise. Next in line is “Mateo” about a young man struggling to pursue his passion for theater while living in a crime-ridden community. Other films include the touching “Catching Fireflies,” apocalyptic comedy “Chronicle of the End of the World,” and music-infused romance “Ciudad Delirio.” Franco Lolli’s award-winning “Gente de Bien” doesn’t have a release date yet, but will probably be in the running next year.

1. "Dust on the Tongue" (Tierra en la Lengua)

2. "Mateo"

3. "Chasing Fireflies" (Cazando Luciernagas)

4. "Chronicle of the End of the World" (Crónica del Fin del Mundo)

5. "Ciudad Delirio"

Costa Rica

Having three great films eligible for consideration, Costa Rica will likely enter the Oscar race for what would be only the third time in its history. Without a doubt, the country is spearheading Central America in terms of increased film production. Lauded throughout multiple festivals, “Red Princesses,” about a girl growing up in the Sandinista-era, is the most notable work. “Port Father,” a coming-of-age drama set in a coastal town and the comedy “All About the Feathers” are the other two that could be picked. Regardless of which one is selected, they all serve as an encouraging sign of growth for the Costa Rican industry.

1. "Red Princesses" (Princesas Rojas)

2. "Port Father" (Puerto Padre)

3. "All About the Feathers" (Por las Plumas)

Cuba

Hosting the Havana International Film Festival and its consistent investment in local talent make Cuba a unique place for film in the Caribbean. In spite of this, only a few national productions have reached cinemas this year. The three notable titles revolve around personal stories of survival and the struggles associated with living on the island. Winner of several international awards, “Behavior” is the clear favorite. “Melaza,” another local drama dealing with the economic challenges Cubans face and the gay love story “The Last Match,” complete the trio.

1. "Behavior" (Conducta)

2."Melaza"

3. "The Last Match" (La Partida)

Dominican Republic

For its size, this island nation has an impressive working industry that steadily produces films in diverse genres. The Dominican Republic will almost certainly participate again with one of the works by its homegrown talent. Screening in Toronto last year, crime romance “Cristo Rey” has the highest probability of being chosen. In second place is the documentary “The Mountain,” which centers on a unique expedition to Mount Everest by a Dominican team. Passionate road trip story “To the South of Innocence” and psychological thriller “Despertar ” conform the list of options.

1. "Cristo Rey"

2. "The Mountain"(La Montaña)

3. "To the South of Innocence" (Al Sur de la Inocencia)

4. "Despertar"

Ecuador

Seemingly dormant for many decades, the Ecuadorian film industry has recently exploded. Even though they have only submitted three times in the past, it appears they plan to make their presence more consistent moving forward. What is even more surprising, are the numerous alternatives they have to make their selection. At the top of the list is “Holiday,” which premiered in Berlin and has received considerable praise. Two other art house offers, “Silence in Dreamland” and “Saudade,” could be serious contenders. “Girl Without Fear,” a gritty crime film and “The Facilitator,” a politically charged work, have less chances but are still interesting offers.

1. "Holiday" (Feriado)

2. "Silence in Dreamland" (El Silencio en la Tierra de los Sueños)

3. "Saudade"

4. "Girl With No Fear" (Ciudad Sin Sombra)

5. "The Facilitator" (El Facilitador)

El Salvador

Sporadically producing feature length works due to the lack of initiatives that facilitate their funding, El Salvador has never entered the race. Nevertheless, there are three films that could potentially be submitted: Supernatural horror film "The Supreme Book," romantic comedy "The Re-Search," and the more viable choice, " The Four Cardinal Points," a documentary about the diverse lifestyles throughout the tiny country. The latter was exhibited commercially as part of Ambulante El Salvador for about a week, which could possibly make it eligible. But in all honesty, it is hard to think they’ll feel so inclined as to participate.

1. "El Salvador: The Four Cardinal Points" (El Salvador: Cuatro Puntos Cardinales)

2. "The Re-Search" (La ReBusqueda)

3. "The Supreme Book" (El Libro Supremo)

Guatemala

With only one submission under their belt back in 1994 and several missed opportunities in recent years, Guatemala might opt to remain out of the spotlight once again. If, however, they change their mind, there are three films that qualify to be entered. Focusing on the indigenous Maya‘s beliefs and legends, “Where the Sun is Born” is surely the most authentic and visually powerful of these films. Then there is “Pol,” a story about two teenage friends and their mishaps. Lastly, there is “12 Seconds,” a sort of slasher flick set in the countryside. It’s been 20 years since their last try, it wouldn’t hurt to see them make the effort once again.

1. "Where the Sun is Born" (Donde Nace el Sol)

2. "Pol"

3. "12 Seconds" (12 Segundos)

Honduras

Although they have never submitted an entry, the Central American country is showing signs of progress in terms of its film industry. With only two local, low budget films released this year, it is highly unlikely they will enter. Nevertheless, they do have an eligible film “11 Cipotes,” a sports comedy about a soccer team in a small town. The other film, “The Zwickys,” is surprisingly ineligible because it is mostly in English.

1. "11 Kids" (11 Cipotes)

Mexico

Now that the Mexican Academy has announced their shortlist - which strangely and inexplicably includes titles that have no scheduled release dates or that will be released after AMPAS' deadline (September 30th, 2014) - the landscape has dramatically changed. Three of the original selections mentioned here (“The Empty Hours,” “Potosi,” and “ Club Sandwich”) are not included among the finalists. It is important to note that films need to be submitted by the filmmakers in order to be considered by the Mexican Academy. One can assume that these films, though they qualify, decided not to participate. The 21 films listed include several documentaries such as “Purgatorio: A Journey Into the Heart of the Border,” “Disrupted” (Quebranto), “Eufrosina’s Revolution” (La Revolución de los Alcatraces), and “H2Omx" among others. But even if many of these are outstanding films, it is highly unlikely that the Academy will decide to go with a documentary over a narrative given their track record and the other options available. Comedic offers like the charming “Paraíso” by Mariana Chenillo, "Flying Low" (Volando Bajo), and "The Last Call" (Tercera Llamada) also made it in. Just like last year with “Instructions Not Included,” most people could assume that the film with the most commercial prospects would make for a good candidate for Oscar consideration, in this case that would be the biopic “Cantinflas," which was also listed. Fortunately, however, the selection committee often prefers to bet on films honored internationally regardless of their controversial content (“Heli,” “After Lucia,” “Silent Light,” “The Crime of Father Amaro”).

With the new additions, the possibilities have shifted. On the top spot is Alonso Ruiz Palacios’ black and white debut “Güeros,” which won in Berlin and Tribeca, and screened at Karlovy Vary. The festival pedigree will definitely help this unique road trip film set in Mexico City during the late 90s. The runner up is Luis Urquiza’s “Perfect Obedience,” though it did not have any festival exposure or a highly profitable theatrical run, the local critics praised the compelling portrayal of a depraved Catholic priest with satirical undertones. It would definitely make for a great contender if the Academy were willing to run the risk given its controversial subject matter. At number three we have Christian Diaz Pardo’s “Gonzalez,” an intriguing drama about a man looking to change his destiny by joining a for profit evangelical church. Dark comedy “ Workers,” by Salvadoran filmmaker Jose Luis Valle, comes in at number four. Lastly, there is Luis Estrada’s long awaited new film “The Perfect Dictatorship,” which made the cut despite having an October 16th release date. The film could definitely come into play; however, voters should consider the fact that its premise and humor might be too specific to the Mexican political idiosyncrasies to connect with foreign voters. Two other films that might be in the race next year are “Perpetual Sadness” (La Tirisia) and “ The Well” (Manto Acuifero)

1."Güeros"

2. "Perfect Obedience" (Obediencia Perfecta)

3. "Gonzalez"

4. "Workers"

5. "The Perfect Dictatorship" (La Dictadura Perfecta)

Nicaragua

With three submissions in over 30 years (1982, 1988, 2010), Nicaragua is the Central American nation with the most attempts at Oscar glory. More astonishing perhaps, is the fact that their first ever entry, “Alsino and the Condor,” earned them a nomination. These days production is almost non-existent. Still, the country’s most prolific filmmaker Florence Jaugey, responsible for their last submission “La Yuma,” made a small documentary titled “Class Days." It is just over 50 minutes long but actually had a theatrical run. Though eligible, it’s probable they’ll decide to skip this year. On the other hand, Jaugey has just finished a new narrative new feature, “The Naked Screen” (La Pantalla Desnuda), which will surely be part of the conversation next year.

1. "Class Days" (Dias de Clase)

Panama

An unprecedented amount of national productions were scheduled to premier in Panama during 2014. All of those four films - which by the country’s standards is an exceptional number - are documentaries. However, only two of them will be eligible given their set release dates. Out of those two, the top choice would certainly be Abner Benaim’s “Invasion” which uses reenactments in lieu of archive footage to revisit the American military intervention in the Central American country in 1989. The runner-up, “Majesty,” deals with the more lighthearted subject of carnival queens. In any case, should Panama decide to submit a film, this would be their first ever appearance.

1. "Invasion"

2. "Majesty" (Reinas)

Paraguay

Disappointed after missing the chance to submit last year's surprise hit “7 Boxes”due to the lack of a selection committee, Paraguayan authorities have stressed their wish to send a film to compete this time around. Unfortunately, it appears that their two best options might be scheduled to open theatrically past the Academy’s deadline. The documentary “Cloudy Times,” a Swiss co-production, has garnered positive reactions internationally and would be their best shot. A second choice could be the crime flick “Filthy Luck,” which sports a decent production value. But if neither of them manages to qualify, then the country’s only other option is yet another crime film “End of the Line.” In any case, hopefully they follow through with their intentions and participate for the first time.

1. "Cloudy Times" (El Tiempo Nublado)

2. "Filthy Luck" (Luna de Cigarras)

3. "End of the Line" (Fin de Linea)

Peru

The eclectic collection of Peruvian films released this year speaks of the great development the medium is experiencing in that country. The five films mentioned here represent the array of genres and stories coming out of Peru today. Given its incredible reception abroad, dark comedy “The Mute” by Daniel Vega Vidal & Diego Vega Vidal is undoubtedly the frontrunner. Behind it comes the intriguing thriller “Guard Dog” starring Peruvian star Carlos Alcántara, multi-narrative drama “The Gospel of the Flesh,” romantic tearjerker “Trip to Timbuktu,” and “Old Friends” about a group of elderly men on a mission. Definitely a though decision needs to be made.

1. "The Mute" (El Mudo)

2. "Guard Dog" (Perro Guardian)

3. "The Gospel of the Flesh" (El Evangelio de la Carne)

4. "Trip to Timbuktu" (Viaje a Tombuctu)

5. "Old Friends" (Viejos Amigos)

Uruguay

Last year the country decided to take a chance and submit the adorable animated film “Anina,” which despite not getting a nomination has become a great success. This time they have “The Militant,” a serious contender about a man retuning to his late father’s hometown. Empowered by a positive festival run, this seems to be their most ideal option. “23 Seconds,” a drama about an unlikely connection between two people and “Mr. Kaplan,” a buddy comedy by Álvaro Brechner - whose previous film “A Bad Day to Go Fishing” was selected a few years back - are the next best choices. The remaining film “At 60 km/h” is a documentary about a unique journey around the world.

1. "The Militant" (El Lugar del Hijo)

2. "23 Seconds" (23 Segundos)

3. "Mr. Kaplan"

4. "At 60 Km/h" (A 60 Km/h)

Venezuela

Dubbed as “the most expensive film ever made in Latin America” and focusing on the accomplishments of the country’s most important historical figure, selecting “The Liberator” is simply a no-brainer. Added to those qualities, the film is actually an elegantly achieved period piece that really showcases the sizable budget and director Alberto Arvelo’s talent. Two of his previous films have also represented his country in the past. On the other hand, this has been a monumental year for Venezuelan films. Festival darling “Bad Hair” would be the perfect choice if it weren’t going against the imposing major production. Other important films that could figure in the mix but have much less prospects are the emotional road-trip film “The Longest Distance,” the women-centered drama “Liz in September,” and the acclaimed thriller “Solo.”

1. "The Liberator" (El Libertador)

2. "Bad Hair" (Pelo Malo)

3. "The Longest Distance" (La Distnacia Mas Larga)

4. "Liz in September" (Liz en Septiembre)

5. "Solo"...

Yesterday the Guadalajara International Film Festival in Los Angeles - Ficg in La - presented by the University of Guadalajara Foundation in USA and Conaculta, with Principal Sponsors University of Guadalajara, the Guadalajara International Film Festival, the Institute of Cinema Mexico (Imcine) and Univision, announced its lineup. "The Hours with You" (Las Horas Contigo) directed by Catalina Aguilar Mastretta, will be the Opening Night film for the 2014 Festival. The film stars Cassandra Ciangherotti, María Rojo, Isela Vega, Arcelia Ramírez and Julio Bracho.

The 2014 Ficg in La, which returns to the Egyptian Theatre in Hollywood for its fourth year and runs from Thursday, September 4 to Sunday, September 7, brings the best of contemporary Mexican and Latin American cinema to Los Angeles, and is an extension of the Guadalajara International Film Festival.

Featuring outstanding and award-winning titles from FICG29, which ran from March 21-29, 2014 in Guadalajara, Ficg in La will offer the premiere of other titles that have emerged in the world of cinema throughout the year to great critical acclaim.

The aim of the festival is to increase access and visibility of Mexican and Latin American cinema in the U.S., facilitating the exchange of ideas through stories and issues of cultural and social relevance, create a space for collaboration between filmmakers, and strengthen relations between the film industry in Mexico and the U.S.

Ficg in La includes film screenings followed by Q&As with filmmakers and talent, as well as galas and special award recognitions to Latin American and U.S. Latino artists.

“This year, we are truly proud to bring two artistic programs to Ficg in La that supports emerging independent filmmakers, in effect, fulfilling part of our mission to nourish and sustain emerging talent across international film industries. Many of the films in this year's showcase reveal the cross-cultural collaborations currently taking place between film industries in Latin America, the Us, and Canada. These collaborations have resulted in the creation of groundbreaking, authentic, multicultural stories that move seamlessly across national and cultural boundaries." said Hebe Tabachnik, Director and Producer of Ficg in La.

“We are constantly finding ways for Ibero-American filmmakers to promote their films and share their experiences with moviemakers from all over the world. Now that we have reached our fourth year, we realized that we have become one of the leading platforms for Latino cinematography to enter the United States market,” said Iván Trujillo, Festival Director of Ficg.

Among the celebrities that have accompanied us in previous editions are: Carlos Cuarón, Edward James Olmos, Sergio Arau, Diana Bracho, Alfonso Arau, Kate del Castillo, Martha Higareda, Beto Cuevas, Irene Azuela, Dulce Maria, Carmen Salinas and Jay Hernandez.

Oscar nominee Demian Bichir , Nalip (The National Association of Latino Independent Producers), Ruben Luengas (journalist) and Gabriela Teissier (anchor woman) from Univision Radio and TV will receive the festival’s Tree of Life Award for their contributions to Mexican, Latino and Ibero American culture. Previous recipients include Ambulante, Juan Carlos Arciniegas (CNN en Espanol), Fernando Luján (actor), Gabriel Beristain (Director of Photography) and Emilio Kauderer (Music Composer).

Ficg in La continues to support Latino and Ibero-American films with Guadalajara Construye in Los Angeles 1 and DocuLab.1 Los Angeles by selecting six projects from filmmakers seeking post-production funds. The films will be screened for jury members, sponsors and film industry professionals. The winners will be announced on Opening Night.

In addition, the winning projects in each competition will automatically qualify to be considered for Guadalajara Construye 9 or DocuLab.7 Guadalajara, or for the Ibero-American Competitions of the next edition of the Guadalajara International Film Festival (FICG30) – March 6 - 15, 2015.

To reaffirm the social mission of Ficg and the University of Guadalajara Foundation in USA, Ficg in La will donate again all of its proceeds to a charitable cause. We will announce soon the recipient of this year’s fundraising effort.

10 Feature and documentary films and six short films will be showcased in this year’s festival

Opening Night Gala – September 5, 2014

• "The Hours with You" (Las Horas Contigo), Dir. Catalina Aguilar Mastretta, Mexico. Us Premiere

Closing Night Gala – September 7, 2014

• "One for the Road" (En el Ultimo Trago), Dir. Jack Zagha Kababie, Mexico. Us Premiere

Feature Films

• "Echo of the Mountain" (Eco de la Montaña), Dir. Nicolás Echevarría, Mexico. Us Premiere (documentary)

• "Grazing the Sky" (A Ras del Cielo), Dir. Horacio Alcala, Spain/ Mexico/ Portugal. L.A. Premiere (documentary)

• "Ignasi M.," Dir. Ventura Pons, Spain. L.A. Premiere (documentary)

• "Los Ángeles," Dir. Damian John Harper USA/Mexico.

• "The Mute" (El Mudo), Dir. Daniel Vega Vidal & Diego Vega Vidal, Peru. L.A. Premiere

• "Natural Sciences" (Ciencias naturales), Dir. Matías Lucchesi, Argentina.

• "Paraíso," Dir. Mariana Chenillo. Mexico. L.A Premiere

• "A Wolf at the Door" (O Lobo atras da Porta), Dir. Fernando Coimbra, Brazil. L.A. Premiere

Short Films

• "Diego," Dir. Sara Seligman, Mexico/Germany. (live action Drama)

• "A Family Day" (Un día en Familia), Dir. Pedro Zulu González, Mexico. (animation)

• "Minerita," Dir. Raúl de la Fuente, Spain (documentary)

• "Pickman's Model" (El modelo de Pickman), Dir. Pablo Ángeles Zuman, Mexico. Us Premiere (animation)

• "The Queen" (La Reina), Dir. Manuel Abramovich, Argentina (documentary)

• "Yearbook," Dir. Bernardo Britto, USA. (animation)

The screening of the selected work-in-progress films will be for industry accredited to the festival. These screenings are not open to the general public or member of the press.

Guadalajara Construye in Los Angeles 1

• "Blue Lips," Dir. Daniela De Carlo, Julieta Lima, Gustavo Lipsztein, Antonello Novellino, Nacho Ruipérez and Nobu Shima USA/Argentina/ Brazil/ Spain

• "Whisper of the Forest" (Gritos del Bosque), Dir. Jorge Olguín, Chile/USA

• Pocha, Dir. Michael Dwyer, Mexico/USA

DocuLab.1 Los Angeles

• "Gaucho del Norte," Dir. Andres Caballero, Sofia Khan Argentina/USA

• "Hotel de Paso," Dir. Paulina Sánchez Mexico/USA

• "Juanicas," Dir. Karina Garcia Casanova, Mexico/Canada

Ficg in La is presented by the University of Guadalajara Foundation in the United States and Conaculta, and Principal Sponsors, the University of Guadalajara, the Guadalajara International Film Festival, the Institute of Cinema Mexico (Imcine) and Univision, and Supporting Sponsors Cultura Udg, University of Guadalajara Foundation in Los Angeles, LeaLa, Channel 31.2 and the Consulate General of Mexico in Los Angeles.

About Ficg

The Guadalajara International Film Festival was founded by Guillermo del Toro and other Mexican filmmakers in 1986, and will celebrate its 30th edition March 6-15, 2015.

Ficg is the lead film festival in Latin America. It is a forum for the training, education, and creative exchange among industry professionals, film critics, and film students from all over Ibero-America.

About the University of Guadalajara – Mexico

The University of Guadalajara is a member of the University Network in the State of Jalisco, and it is the second oldest university in Mexico. The University of Guadalajara is committed to the betterment of society through higher education. It supports scientific and technological research that makes important contributions to a sustainable and inclusive society, respecting cultural diversity and honoring the principles of social justice, democracy, coexistence, and prosperity for all. The University is renowned in Mexico and abroad as a leader in the transformation of society through innovative means of social development and dissemination of knowledge.

About the Foundation of the University of Guadalajara in the U.S.

The University of Guadalajara Foundation in the United States of America (Udg Foundation-usa) is an extension of Fundación Universidad de Guadalajara, A.C., and is made up of a number of prominent academic and social leaders. The Foundation works to attain private support from individuals, foundations and corporations in order to fulfill the mission and vision of the University of Guadalajara in Los Angeles.

U.S. Udg Foundation seeks to improve the quality of life and social integration of migrants and Hispanic nationals by increasing their access to education and enhancing their sense of belonging and identification with their environment by developing their skills and capabilities through educational services and relevant social research.

Today I am writing from Cartagena, Colombia where I attended Ficci, the Festival Internacional de Cine de Cartagena de Indias.

This former colonial jewel in the crown of Spain offers a huge array of delights, film-wise, art-wise, food-wise and people-wise. Gorgeous arts and gorgeous people, sweet, polite and proud. As much as I love Havana, Cartagena is how Havana should look.

And as much as I loved Careyes where I was last week, the art and artisanal scope here is so wide; from the Colombian painter and sculptor, Botero to indigenous palm weaving – décor for homes (not cheap!), bags, designer clothing, linen and rubies.

Aside from films, my big discoveries of the day are Ruby Rumie, a Colombian artist who spends much of her time here in her studio in the Getsemaní section of town and in Chile. Coincidentally (again) Gary Meyer (Telluride Film Festival) and his wife Cathy who are here with Gary on the Documentary Competition Jury (I just left them in Careyas!) also just discovered her as well. The other artist, Olga Amaral, works in indigenous styles of weaving and textile production and now is favoring gold leaf displays of woven wall tapestries. Stunning. Both are available at the Nh Gallery, a place I just happened to wander into as I was walking from the theater to my equally stunning hotel Casa Pestagua.

The courteous and helpful people here are a proud mix of white, brown and black. They say the blacks will never follow the orders of a white. They say the blood of slaves is embedded in the wall fortifications of the city. The Inquisition here was very powerful, and they say the Jews (Conversos) coming in the conquistadors’ ships went to settle Medellín and the Catholics to Bogotá. Cartagena was the last city to be free of the Spanish crown and as such, it was extremely conservative.

It would take days to visit all the museums throughout the city. The Art Biennale is now in many of them (free entry) including the Museum of the Inquisition with its torture machines. The Museum of Gold with pre-Colombian gold artworks is astounding. All the gold of Latin America (and emeralds, diamonds and silver) went from here in the Spanish galleons back to Spain until the city declared its independence in 1811. We in the North know this history but from a different perspective. Eduardo Galeano’s Open Veins of Latin America and Gonzalo Arijon’s documentary Eyes Wide Open, an update of Galeano’s ideas are good starting points for understanding this part of the world. Eye opening indeed!

The beauty of the city and its people is matched by the food. There is great food here here and some very haute cuisine restaurants. Ceviches of many kinds, new sweet fruits like the pitaya and the drink mixing limeade and coconut milk delight the palate. The festival invites enough but not too many industry folks so it can host lunches and dinners in wonderful venues along with cocktail hours where we can all meet and talk. Talk among us is of food and film, film and food…even of food film festivals that are cropping up from Berlin, San Sebastian, here and in Northern California…stay tuned.

The Colombian government is aware of the need for the public to rediscover their own stories and to this end all the festival screenings are free, and all are packed Sro. The government also supports filmmakers with a deliberate, well-planned and well executed strategy to increase production and create an infrastructure.

Colombian films’ biggest challenge is to increase their share of their rapidly growing domestic market, worth $182.3 million in box office in 2012. One way forward is international co-production, where Bam (Bogotá Audiovisual Market) July 14-18, 2014 plays a large role. There is a mini version of this here (Encuentros Cartagena), centering on French and Colombian co-production, but not limited to that, with guests like George Goldenstern from Cinefondation (Cannes), producer/ international sales agent Marie-Pierre Masia and and the ever present Thierry Lenouvel of Cine-Sud whose film Tierra en la lengua aka Dust on the Tongue won the Best Picture Award in Competition. Vincenzo Bugno of World Cinema Fund of the Berlinale is always here too as is Jose Maria Riba on the Jury of the Competition and programmer for San Sebastian and Directors Fortnight. Also on the jury are Wendy Mitchel and Pawel Pawlikowski whose film Ida (Isa: Portobello Film Sales) is playing (outside of the Competition). A look at the winning competition films shows the strength of co-productions today.

Best Picture: Dust on the Tongue of Ruben Mendoza (Colombia) Colombia Film of $15,000. Special Jury Prize: The Third Side of the River (La tercera orilla) which premiered in Competition at the Berlinale, by Celina Murga (Argentina, Netherlands, Germany) (Isa: The Match Factory) Best Director: Alejandro Fernández Almendras for To kill a man (Matar a un hombre) which premiered in Sundance (Chile, France). Film Factory is selling international rights and Film Movement has U.S. It also won the Fipresci or International Critics’ Award. Best Actor: Fernando Bacilio by El Mudo (Peru, Mexico, France), Urban Distribution International is the sales agent.

Cinema in Colombia continues its steep ascent in the international production world. The reasons, according to Bugno, lie in “new political decisions, funding structures, and the developing of a new producing environment that also has to do with new emerging young talent.”

A visit to the festival headquarters proves the point of the extensive government support of film not only for its own sake, but for the sake of all the people, dispossessed, abused, Lgbt, children and women. It is a beautiful sight to see such support, and the people seem to reciprocate; I hear more praise than complaints about the government and everyone seems cautiously optimistic, aware of its current position vis à vis what has thankfully become recent history with the guerillas who had been waging war with the government for the past 40 years and the current elections and competing points of view between the former President Uribe and the current President Juan Manuel Santos.

Aecid , Association Espagnola de Cooperacon Internacional para el Desarrollo (The Spanish Association for International Cooperation for Development), a festival sponsor supports social cohesion, equality of genders, construction of peace, respect for cultural diversity and the reduction of poverty.

Currently in Colombia, national cinema holds a 10% share of the Colombian market and 8% of the box office. In 2012, 213 films were produced in Colombia, a huge increase since 2009 when 19 were produced according to Ocal, the Observotario del Cine f nCl [sic]. In 2012, 23 of the 213 domestic films were released theatrically, a tremendous increase from the 6 Colombian films released in the year 2000. [1],[2] This number surpasses every record in Colombia’s film history

This 10 day spectacular film festival gives free entry to all at 8 theaters and, proving the point that people love the movies, every single screening is packed solid, Sro. More than 135 films come from 27 countries. 48 daily screenings include 14 open air screenings in great locations. There are 40 world premieres and 26 Latin American premieres.

150 invited guests included Abbas Kiarostami, Clive Owen, Alejandro Gonzales Inarritu, Pavel Pawlikowsky with his film Ida, John Sayles with whom I had an interesting talk about U.S. current distribution and of Return of Seacaucus Seven and Sunshine State. The screening of his film Go For Sisters has received an enthusiastic response from the audiences.

Since 2013, coproductions between the U.S. and Colombia with variations on the theme are on the rise. With its 40% cash rebate, Colombia is proving to be a great place to make movies.

Colombians such as Simon Brand are making English language genre films such as this year’s festival debuting Default (Isa: Wild Bunch). For budgets under Us$1 million, action, thrillers and horror genres can cross borders, and can recoup costs and even profit.

The reverse is also notable. Four films screening here are Colombian films made by Americans. The winner to three prizes here for Best Director, Best Documentary and the Audience Prize, Marmato by Marc Grieco was workshopped twice at Sundance where it premiered this January 2014. It is represented internationally by Ro*co and its U.S. representative is Ben Weiss at Paradigm. The other three remarkable debut films are Mambo Cool by Chris Gude,Manos Sucias by Josef Wladyka (a Japanese-Polish American) and Parador Hungaro by Patrick Alexander and Aseneth Suarez Ruiz. Look for upcoming interviews with these four directors who came to Colombia and, because of their experiences here, decided to make these exceptional movies. My next blog will be interviews with each of these films’ directors.

Secundaria , the first film I saw here was not shot here although it too was directed by an American who made 21 trips to Cuba to make it. Documenting the high school ballet training and competitions held by Cuba’s world famous National Ballet School -- Watch the trailer here -- it was not only beautiful but it magically captured the ever-present economic issues of Cuba. I can’t wait to see Primaria about the grade school of the Nbs.

Director and coproducer Mary Jane Doherty has been an Associate Professor of Film at Boston University since 1990. Proud of her lineage as a student of iconic documentarian Ricky Leacock, she developed B.U.’s Narrative Documentary Program: a novel approach to non-fiction storytelling using the building blocks of fiction film. Lyda Kuth , the coproducer, is founding board member and executive director of the Lef Foundation, which supports independent filmmakers through the Lef Moving Image Fund. In 2005, she established Nadita Productions and was producer/director on her first feature documentary, Love and Other Anxieties.

A cocktail party is given daily at the festival where we can all meet up. It was there I met Gail Gendler VP of Acquisitions for AMC/ Sundance Channel Global (international not domestic) and Gus

Dinner one night was with the jury for Nuevos Creadores (New Creators). Cynthia Garcia Calvo, Editor in Chief of LatamCinema.com, a Latino equivalent to Indiewire.com out of Chile and Argentina and I spoke of possible ways to cooperate. The third member of the jury, Javier Mejia, director of Colombia’s best film of 2008 Apocalypsur also has a documentary here, Duni, about a Chilean filmmaker who left Chile during the dictatorship and came to Colombia where he made political films in Medellin but never discussed his reasons for coming or even his Chilean roots. How happy I was that I had seen and enjoyed the films of the third jury member, Daniel Vega, who with his brother Diego made The Mute aka El Mudo (Isa: Urban Media) which played in Toronto and San Sebastian and his earlier film October, both dark comedies or perhaps dramadies dealing with subjective realities in unique environs of Peru we have never seen. He promised to help me with the Peru chapter of my upcoming book. Peru is in the lower middle of countries which support filmmaking. Their film fund is a rather laid back affair administered by the Ministry of Culture who receives money from the Ministry of Finance when they “get around to it”.

Jury for New Creators: Javier Mejía, Cynthia García Calvo and Diego Vega,displaying the winner for the Best Short Film: Alen Natalia Imery (Universidad del Valle) who won a Sony video camera, 2,000, 000 pesos of in kind services from Shock Magazin, and a scholarship for graduate Project Management and Film Production at the Autonomous University of Bucaramanga

Second prize went to The murmur of the earth Alejandro Daza (National University) - Win a Sony camera, and a Fellowship for Graduate Record Audio and Sound Design of the Autonomous University of Bucaramanga.

Other winners are:

Official Colombian Film Competition

Jurors: David Melo - Alissa Simon - Daniela Michel

Best Film: Marmato by Mark Grieco (Colombia, USA) Winner of the I.Sat Award for $30K and the Cinecolor Award for $11k in deliveries

Special Jury Prize: Mateo by María Gamboa

Best Director: Rubén Mendoza for Dust on the Tongue (Tierra en la lengua). Winner of Hangar Films Award for $30K in film equipment to produce his next film.

Additional Awards

Audience Award Colombia: Marmato by Mark Grieco (Colombia, USA). Winner of $15K

Official Documentary Competition

Jurors: Gary Meyer- Luis Ospina - Laurie Collyer

Best Film: Marmato by Mark Grieco (Colombia, USA). Winner of the Cinecolor Award for $13Kin post-production services.

Special Jury Prize: What Now? Remind Me (E Agora? Lembra-me) by Joaquim Pinto (Portugal)

Best Director: Justin Webster for I Will Be Murdered (Seré asesinado) (Spain, Denmark, U.K.)

Official Short Film Competition

JurorsOswaldo Osorio -Pacho Bottia - Denis de la Roca

Best Short Film: Statues (Estatuas) by Roberto Fiesco (Mexico). Winner of a professional Sony camera and $3K from Cinecolor in post-production services for his next project.

Special Jury Prize: About a Month (Pouco Mais de um Mês) by André Novais Oliveira (Brazil)

Best Director: Manuel Camacho Bustillo for Blackout chapter 4 "A Call to Neverland" (Blackout capítulo 4 "Una llamada a Neverland") (Mexico). Winner of a Sony photographic camera.

Gems

Jurors: Mauricio Reina - Manuel Kalmanowitz - Sofia Gomez Gonzalez

Best Film: Like Father, Like Son by Hirokazu Koreeda (Japan). Winner of the Rcn Award for $50 to promote the release of the film in Colombia.

Special Jury Prize: Ilo Ilo by Anthony Chen (Singapore)

[1] http://www.cinelatinoamericano.org/ocal/cifras.aspx

[2] http://www.mincultura.gov.co/areas/cinematografia/estadisticas-del-sector/Documents/Anuario%202012.p...

The 54th Edition of the Cartagena Film Festival has come to an end and the winners have been announced. The indisputable protagonists this year were Marmato by Mark Grieco, winning three awards, Rubén Mendoza's Dust on the Tongue, and the Chilean film To Kill a Man by Alejandro Fernández Almendras, with two awards each. Surely these three films and several other winners will become important works at other upcoming festivals since many of them have already done well at Sundance, Rotterdam, and Berlin.

Official Competition: Narrative Feature

Members of the Jury: Wendy Mitchell - Jose Maria Riba - Pawel Pawlikowski

Best Film: Dust on the Tongue (Tierra en la Lengua) by Rubén Mendoza (Colombia- Winner of $15K

Special Jury Prize: The Third Side of the River (La Tercera Orilla) by Celina Murga (Argentina, The Netherlands, Germany)

Best Director: Alejandro Fernández Almendras for To Kill a Man (Matar a un hombre) (Chile, France)

Best Actor: Fernando Bacilio for El Mudo (Peru, Mexico, France)

Fipresci

Members of the Jury: Carlos Heredero - Hiroaki Saitô - Michal Oleszczyk

Best Film: To Kill a Man by Alejandro Fernández Almendras (Chile, France)

Other Awards

Oclacc Award (Catholic Organization of Communications for Latin America and the Caribbean)

Special Mention: Mateo by María Gamboa (Colombia

Official Competition: Colombian Cinema

Members of the Jury: David Melo - Alissa Simon - Daniela Michel

Best Film: Marmato by Mark Grieco (Colombia, USA) Winner of the I.Sat Award for $30K and the Cinecolor Award for $11k in deliveries

Special Jury Prize: Mateo by María Gamboa

Best Director: Rubén Mendoza for Dust on the Tongue (Tierra en la lengua). Winner of Hangar Films Award for $30K in film equipment to produce his next film.

Additional Awards

Audience Award Colombia: Marmato by Mark Grieco (Colombia, USA). Winner of $15K

Official Competition: Documentary

Members of the Jury: Gary Meyer- Luis Ospina - Laurie Collyer

Best Film: Marmato by Mark Grieco (Colombia, USA). Winner of the Cinecolor Award for $13Kin post-production services.

Special Jury Prize: What Now? Remind Me (E Agora? Lembra-me) by Joaquim Pinto (Portugal)

Best Director: Justin Webster for I Will Be Murdered (Seré asesinado) (Spain, Denmark, U.K.)

Official Competition: Short Film

Members of the Jury: Oswaldo Osorio - Pacho Bottia - Denis de la Roca

Best Short Film: Statues (Estatuas) by Roberto Fiesco (Mexico). Winner of a professional Sony camera and $3K from Cinecolor in post-production services for his next project.

Special Jury Prize: About a Month (Pouco Mais de um Mês) by André Novais Oliveira (Brazil)

Best Director: Manuel Camacho Bustillo for Blackout chapter 4 "A Call to Neverland" (Blackout capítulo 4 "Una llamada a Neverland")  (Mexico). Winner of a Sony photographic camera.

Gems

Members of the Jury:Mauricio Reina - Manuel Kalmanowitz - Sofia Gomez Gonzalez

Best Film: Like Father, Like Son by Hirokazu Koreeda (Japan). Winner of the Rcn Award for $50 to promote the release of the film in Colombia.

Special Jury Prize: Ilo Ilo by Anthony Chen (Singapore)

New Creators

Members of the Jury: Javier Mejía- Diego Vega - Cynthia García Calvo

Best Short Film: Alén by Natalia Imery (Universidad del Valle).

Runner-up:  The Earth's Whisper (El murmullo de la tierra) by Alejandro Daza (Universidad Nacional)...

Dust On The Tongue [pictured], Marmato, To Kill A Man take home prizes.

The 54th edition of the Cartagena Film Festival wrapped tonight in Colombia, with the festival’s main Latin American competition prize going to a local film, Ruben Mendoza’s Dust On The Tounge (Tierra En La Lengua). The award comes with $15,000.

The film blends fake documentary and fiction in the story of a crude, violent patriarch (Jairo Salcedo) who brings his cityslicker grandchildren to his ranch to help him die.

The jury gave its best director prize to Alejandro Fernández Almendras for To Kill A Man (Matar a un hombre), a Chilean dark dramatic thriller that also took home Cartagena’s Fipresci prize.

Best actor was Fernando Bacilio for The Mute (El Mudo) by Daniel and Diego Vega from Peru. The special jury prize went to Celina Murga’s The Third Side of the River (La tercera orilla) from Argentina.

Best documentary...

The 54th International Film Festival of Cartagena de Indias in Colombia has invited me to attend March 13 - 19, 2014.

One of Ficci's main goals is supporting the development of Colombian cinema. With that in mind, the festival will open with the world premiere of Ciudad Delirio, inviting the audience to get to know Cali, the only city in Latin America that loves all Latin American music, a center of creative development for Colombia's cinema, splendidly and authentically presented through the passion and flavor of salsa. Ficci is once again betting on the kind of cinema that speaks locally and globally, cinema that invites, seduces and embraces all kinds of audiences.

Starring Carolina Ramírez , Cauca Valley dancer and actress renown for her performance in soap operas such as La hija del mariachiand La Pola and Spaniard Julián Villagrán, winner of a Goya for his performance in Grupo 7, Ciudad Delirio also features Colombian actors of such caliber as Vicky Hernández Jorge Herrera , Margarita Ortega and John Alex Castillo. Thanks to a world-class team lead by Spanish dancer, choreographer and filmmaker Blanca Li, who has worked for The Berlin State Ballet, Kylie Minogue, Beyoncé and Daft Punk, and by multiple time Salsa World Champion Viviana Vargas, Cartagena will get to experience the madness of one of the most sensual dances on earth.

Ciudad Delirio was produced by Diego F. Ramírez, head of 64-a Films in Colombia, which has produced such films as Perro come perro,Todos tus muertos, Dr. Alemán, En coma, and180 segundos and Spaniard Elena Manrique, founder of Film Fatal and renown for her production of movies such asEl laberinto del fauno (Pan's Labyrinth), El orfanato and Transsiberiano, to name just a few.

For seven weeks during the making of Ciudad delirio, 45 locations in Cali, Colombia and Madrid, Spain were overrun by salsa. More than 3,200 extras from Cauca Valley helped to tell this love story that revolves around the show Delirio, a long-standing cultural tradition in Sultana del Valle.

In Ciudad Delirio, Javier, a shy, reserved Spanish doctor, attends a medical conference in Cali, Colombia. There, through a chance meeting, he shares a magical night with Angie, a dancer and choreographer who dreams of being part of the world's most famous salsa show, Delirio, if only she can pass the audition. Javier and Angie begin an impossible romance full of obstacles, surrounded by salsa, and accompanied by a cast of characters that are as authentic as they are hilarious.

The festival's guest of honor will be the prolific British actor Clive Owen, who is known for his diverse roles in films like Closer Children of Men, and The International . The Latin American premier of his latest film, Guillaume Canet's Blood Ties (2013), will be a highlight of the Friday, March 14th event, taking place at 6:00 pm in the Adolfo Mejía Theater, where, after being presented with the India Catalina prize, the actor will be interviewed by Ficci's director, Monika Wagenberg.

Another special honoree will be Mexican director Alejando Gonazlez Iñárritu, who has garnered international acclaim throughout the years with films such as Amores Perros , 21 Grams , Babel, and Biutiful . Established within the film industry as one of Latin America's most important directors of the new century, Iñárritu is currently in-production for Birdman (2014), a film he wrote and directed starring Emma Stone and Edward Norton . Participants of the 54th Ficci will have the opportunity to attend the Tribute honoring this Academy Award-nominated filmmaker on Sunday, March 16th, as well as his Master class the following day during Salón Ficci – the festival's academic program.

In regards to the festival's line-up, it is interesting to note that several of the filmmakers that will take part in the Dramatic Competition are directors who have participated at Ficci with their previous films and have established themselves in the international festival circuit winning prestigious awards. Others will arrive to Cartagena for the first time with their operas primas.

"2014 promises to be a good year for Iberoamerican cinema and we are proud to feature several of the most recent films of the region in our Official Dramatic Competition, in which half of the chosen movies are Latin American Premieres (movies that come directly to Cartagena after their world premieres at Sundance and Berlin Festivals). Eight of the twelve films in the Colombian Official Competition (known before as Colombia al 100%) are World Premieres. This way, we have managed to achieve the goal we set four years ago: becoming the main national and international launching platform of local films", stated Ficci's Director Monika Wagenberg.

Wagenberg also addressed some chances in the festival's rules that will allow for more experience filmmakers to partake in the event.

"One of the big news of Ficci 54 is that this time we have not limited the Official Dramatic Competition to first, second and third time Ibero-American films. Ending this restriction will make possible for those directors from this region who are producing feature films at a fast pace not, to be excluded from the competition" Wagenberg added.

The Official Dramatic Competition will feature the Latin American premieres The Lock Charmer (El Cerrajero) by Natalia Smirnoff (Argentina), Natural Sciences (Ciencias Naturales) by Matías Lucchesi(Argentina), The Way He Looks (Hoje Eu Quero Voltar Sozinho) by Daniel Ribeiro(Brazil), Celina Murga's Berlin Official Competition, The Three Sides of the River (La tercera orilla) (Argentina), recent Sundance and Rotterdam winner, To Kill a Man (Matar a un hombre) by Alejandro Fernández Almendras (Chile), Mateo, first film by Maria Gamboa (Colombia), and the world premiere of Dust on the Tongue (Tierra en la lengua) by Ruben Mendoza (Colombia).

This section also includes other outstanding films such as Bad Hair (Pelo malo), written and directed by Mariana Rondón (Venezuela) which comes to Ficci after its triumph at the San Sebastián Film Festival; The Mute (El Mudo), directed by brothers Daniel and Diego Vega (Perú), which had its world premiere at the Locarno Film Festival and are coming back to Ficci after competing winning Best Director award in 2010; premiering at the Toronto International Film Festival and awarded the Concha de Plata for Best Director in San Sebastián, comes Club Sándwich by Fernando Eimbcke(México), and the 12th film in this section is Root (Raíz) by Matías Rojas Valencia (Chile), the winner of Best Chilean Film winner at the Valdivia Film Festival.

The Official Documentary Competition will showcase the world premieres of El color que cayó del cielo by Sergio Wolf (Argentina) and Heaven or Hell (Infierno o paraíso) de German Piffano(Colombia); as well as the Latin American premiere of The Silence of the Flies (El silencio de las moscas) by Eliezer Arias (Venezuela), Marmato by Mark Grieco (Colombia, USA), and Apples, Chickens and Chimeras (Manzanas, pollos y quimeras) de Inés París (España). The rest of the program includes Argentine Street Years (Años de calle) by Alejandra Grinschpun, I Feel Much Better Now (E-agora? Lembra me) by Joaquim Pinto(Portugal), Naomi Campbel by icolas Videla and Camila José Donoso (Chile), Cesar's Grill (El Grill de Cesar) by Dario Aguirre, I Will Be Murdered (Seré asesinado) by Justin Webster (Spain), Mexican documentary, Elevator (Elevador) by Adrián Ortizl and the most recent work by talented Brazilian documentary film director Maria Ramos , Hills of Pleasures (Morro dos Prazeres).

Lastly, in the Colombian Official Competition we will present the world premieres of Banished (Desterrada) by Diego Guerra, Manos sucias by Joseph Wladyka, Memorias del calavero and Tierra en la lengua by Rubén Mendoza, Monte adentro by Nicolás Macario Alonso, Parador Húngaro by Aseneth Suarez and Patrick Alexander, Infierno o paraíso by Germán Piffano; as well as the Latin American premieres of Inés, memorias de una vida by Luisa Sossa; Gente de papel, con el alma en la selva by Andrés Felipe Vásquez, Mateo by Maria Gamboa, Marmato by Mark Grieco and the Colombian premiere of Mambo Cool by Chris Gude.

Steve McQueen’s 12 Years A Slave to open festival; director Peter Greenaway to receive Visionary Award.Scroll down for full line-up

Steve McQueen’s historic drama 12 Years a Slave is to open the Stockholm International Film Festival (Nov 6-17) and is nominated in the Stockholm Xxiv Competition.

Starring Chiwetel Ejiofor, the drama about free black man kidnapped from his family and sold into slavery in the 1850s debuted at Telluride and has received positive reactions throughout its festival tour of Toronto, New York and London among others.

It will be released in Sweden on Dec 20 by Ab Svensk Filmindustri.

Screenwriter John Ridley, who will be present during the festival, is nominated for the Aluminum Horse in the category Best Script.

McQueen’s Hunger won Best Directorial Debut at Stockholm in 2008.

Line-up

The 24th Siff includes more than 180 films from more than 50 countries.

As previously announced, the spotlight of this year’s festival is freedom but Chinese artist...

The 38th Toronto International Film Festival has released an incredible guest list of celebrated talent from around the globe. Filmmakers expected to present their world premieres in Toronto include: Catherine Breillat, Nicole Garcia, Pawel Pawlikowski, Bertrand Tavernier, Steve McQueen, Godfrey Reggio, Denis Villeneuve, Bill Condon, Jean-Marc Vallée, John Wells, Ralph Fiennes, Richard Ayoade, Atom Egoyan, Matthew Weiner, John Carney, Jason Reitman, Jason Bateman, Yorgos Servetas, Liza Johnson, Megan Griffiths, Fernando Eimbcke, Alexey Uchitel, Johnny Ma, Biyi Bandele, Rashid Masharawi, Paul Haggis, Ron Howard, Eli Roth, Álex de la Iglesia, Bruce McDonald, Jennifer Baichwal, John Ridley, and Justin Chadwick.

The Festival also welcomes thousands of producers and other industry professionals bringing films to us.

The following filmmakers and artists are expected to attend the Toronto International Film Festival:

Ahmad Abdalla, Hany Abu-Assad, Yuval Adler, Akosua Adoma Owusu, Alexandre Aja, Bruce Alcock, Gianni Amelio, Thanos Anastopoulos, Madeline Anderson, Nimród Antal, Louise Archambault,...

Europa Cinemas Label awarded to Tableau Noir; Fipresci prize goes to What Now? Remind Me. Talk of Marco Mueller’s return with new Palazzo project.Scroll down for full list of winners

Catalan director Albert Serra was the surprise winner of this year’s Golden Leopard in Locarno for a historical drama with a difference, Story Of My Death.

Described by Serra by as “a movie about the beauty of horror, and also about the horror of beauty,” Story Of My Death imagines an encounter between Casanova of 18th rationalism and Count Dracula from the romantic 19th century.

French co-producer Capricci Films is handling international sales on the Spanish-French co-production which will be screened in Toronto’s Wavelengths programme next month.

However, films tipped for Leopard statuettes such as Claire Simon’s Gare du Nord and David Wnendt’s Wetlands were passed over by the International Jury headed by Filipino director Lav Diaz. Moreover, local...

The 66th Locarno International Film Festival has announced its annual awards, or Palmares. The Pardo d'Oro went to Albert Serra's "La Historia de la Meva Mort." Best Actress went to Brie Larson for "Short Term 12," which also won a special mention, while Balthasar Kormakur picked up the Variety Piazza Grand Award for '2 Guns,' starring Denzel Washington and Mark Wahlberg, Fernando Bacilio took home Best Actor for the Vega brothers' "El Mudo." Concorso internazionale Pardo d’oro Historia De La Meva Mort by Albert Serra, Spain/France Premio speciale della giuria E Agora? Lembra-me by Joaquim Pinto, Portugal Pardo per la migliore regia (Best Director) Hong Sangsoo for U Ri Sunhi (Our Suhni), South Korea Pardo per la miglior interpretazione femminile (Best Actress) Brie Larson for film Short Term 12 by Destin Cretton, United States Pardo per la miglior interpretazione maschile (Best Actor) Fernando Bacilio for El Mudo...

Final batch of Tiff titles were announced today and among the international hodgepodge of items trickling we find Berlin (Golden Bear winner Child’s Pose), Cannes (The Selfish Giant – Europa Cinemas Label winner and Stranger by the Lake by Alain Guiraudie), Karlovy Vary (Crystal Globe winner Le Grand Cahier ) and Locarno (Corneliu Porumboiu’s When Evening Falls on Bucharest or Metabolism) Film Fest items added to the Toronto Int. Film Festival’s Contemporary World Cinema lineup. Alongside those that have already premiered elsewhere, the titles that have got our attention are world premiere offerings from the likes of award-winning Icelandic helmer Ragnar Bragason (Metalhead), Revanche‘s Götz Spielmann (October November – see pic above) and Mexican filmmaker Fernando Eimbcke’s Club Sandwich. Here’s the added titles to the section which already includes: Catherine Martin’s A Journey (Une Jeune Fille), Ingrid Veninger’s The Animal Project, Terry Miles’ Cinemanovels, Bruce Sweeney...

The titles just keep coming as we are now just over three weeks away from the start of the 2013 Toronto International Film Festival and they have gone and added 90 new feature length titles to the program and it's not as if they are titles you haven't heard of. New to the Galas selection is Guillaume Canet's Blood Ties which premiered at Cannes earlier this year (read my review here) and Words and Pictures starring Clive Owen and Juliette Binoche. In the Special Presentations selection you find the bulk of the more noted titles including Alex Gibney's new documentary The Armstrong Lie about cyclist Lance Armstrong, Johnnie To's Blind Detective which also premiered at Cannes, James Franco's Child of God based on the Cormac McCarthy novel, John Turturro's Fading Gigolo which features Woody Allen in one of the roles, Kevin Macdonald's How I Live Now...

World premieres of Kevin Macdonald’s How I Live Now, Fred Schepisi’s Words And Pictures and John Turturro’s Fading Gigolo are among the Tiff line-up of galas and special presentations.

The Contemporary World Cinema strand includes first views of Jan Hrebejk’s Honeymoon, Donovan Marsh’s iNumber Number and Fernando Coimbra’s A Wolf At The Door.

The Toronto International Film Festival is scheduled to run from Sept 5-15.

Wp = World premiere

IP = International premiere

Np = North American premiere

Cp = Canadian premiere

Tp = Toronto premiere

GALASBlood Ties Guillaume Canet (France-us) NAPBright Days Ahead (Les Beaux Jours) Marion Vernoux (France) NAPWords & Pictures Fred Schepisi (Us) Wpspecial Presentationsa Promise (Une Promesse) Patrice Leconte (Belgium-France) NAPThe Armstrong Lie Alex Gibney (Us) NAPBlind Detective Johnnie To (Hong Kong) NAPChild Of God James Franco (Us) NAPThe Face Of Love Arie Posin (Us) WPFading Gigolo John Turturro (Us) WPThe Finishers Nils Tavernier (Belgium-France) WPHow I Live Now Kevin Macdonald (UK) WPThe...

World premieres of Kevin Macdonald’s How I Live Now, Fred Schepisi’s Words And Pictures and John Turturro’s Fading Gigolo are among the TIFF line-up of galas and special presentations announced on Tuesday [13].

The Contemporary World Cinema strand includes first views of Jan Hrebejk’s Honeymoon, Donovan Marsh’s iNumber Number and Fernando Coimbra’s A Wolf At The Door.

The Toronto International Film Festival is scheduled to run from Sept 5-15.

Wp = World premiere

IP = International premiere

Np = North American premiere

Cp = Canadian premiere

Tp = Toronto premiere

GALASBlood Ties Guillaume Canet (France-us) NAPBright Days Ahead (Les Beaux Jours) Marion Vernoux (France) NAPWords & Pictures Fred Schepisi (Us) Wpspecial Presentationsa Promise (Une Promesse) Patrice Leconte (Belgium-France) NAPThe Armstrong Lie Alex Gibney (Us) NAPBlind Detective Johnnie To (Hong Kong) NAPChild Of God James Franco (Us) NAPThe Face Of Love Arie Posin (Us) WPFading Gigolo John Turturro (Us) WPThe Finishers Nils Tavernier (Belgium-France) WPHow I Live Now [link...

I have been invited to Locarno this year and am looking forward to going once more.

It is an amazing locale at the Swiss tip of Italy's Lago Maggiore. While the town sure looks old Italian to me people there tend to speak German.

Very charming. Their grand outdoor theater in a big piazza is rare in our film world and quite magnificent. I look forward to the films and seeing old friends.

Just announced the 20-film competition lineup features 18 world premieres and represents 16 countries, while the Piazza Grande selections run from big budget to art house films.

The Locarno Film Festival, in its first edition under the new artistic director Carlo Chatrian, on Wednesday revealed an eclectic and international lineup.

The 8,000-seat Piazza Grande, the largest silver screen in Europe and Locarno’s signature venue, this year illustrates the mixed genres Locarno traditionally features, with a lineup that includes Quentin Dupieux’s crime comedy Wrong Cops, with a cast that includes celebrity goth Marilyn Manson.

“I want the Piazza Grande selection to feature a sampling of what the festival has to offer in its various sections and tributes, and I think we made a big step in this direction,” said Chatrian, a veteran festival programmer and author who took over direction of the lakeside festival after the unexpected departure of Olivier Pere last year.

Mr. Morgan’s Last Love, a drama from Sandra Nettelbeck that stars Michael Cain as a retired professor who finds a connection with a young Parisian woman.

We’re the Millers, a comedy from Rawson Marshall Thurber with a cast that includes Jennifer Aniston and Ed Helms.

Also scheduled to screen in the picturesque Piazza Grande: 1981 classic Rich and Famous, part of the festival’s retrospective dedicated to director George Cukor (the film's star, Jacqueline Bisset, will be in Locarno to introduce the film)

Werner Herzog’s great Fitzcarraldo, the director’s 1982 biopic about Brian Sweeney Fitzgerald that will screen as part of the festival’s homage to Herzog, who will be honored with a lifetime achievement prize.

The Piazza Grande will also feature an Italian film -- La Variabile Umana (The Human Factor), the feature film debut from acclaimed documentary maker Bruno Oliviero -- for the first time in six years.

The festival previously announced that much-heralded blockbuster 2 Guns, from Baltasar Kormákur -- which stars Denzel Washington and Mark Wahlberg -- would open the festival August 7.

The competition lineup, which includes 18 world premieres and two international premieres, is nearly as varied as the selection showing in the Piazza Grande.

Among the highlights: E Agora? Lembra-me (What Now? Remind Me) from Portugal’s Joaquim Pinto, the director’s touching and vibrant telling of his battle with HIV.

Albert Serra's Historia de la Meva Mort (Story of My Death), which had been tabbed by the European press as a likely Cannes selection.

Real, the first film from Japan’s Kiyoshi Kurosawa in five years.

U Ri Sunhi (Our Sunhi) by South Kore's acclaimed Sangsoo Hong.

Sangue (Blood) from Italy’s Pippo Delbono, which explores Italy’s Red Brigade insurgency.

Short Term 12, a remake of a 2008 short (both directed by Destin Cretton), is the only U.S. film screening in competition.

“There’s an intriguing mix of young director and first time works with more experienced talent in the competition lineup,” Chatrian said. “I’m eager to see how the public will react to these films we’ve chosen.”

Piazza Grande selections:2 Guns by Baltasar Kormákur (United States)Vijay and I by Sam Garbarski (Belgium/Luxembourg/Germany)La Variabile Umana (The Human Factor) by Bruno Oliviero (Italy) Wrong Cops by Quentin Dupieux (United States)We’re the Millers by Rawson Marshall Thurber (United States)The Keeper of Lost Causes by Mikkel Nørgaard (Denmark/Germany/Sweden)Les Grandes Ondes (Longwave) by Lionel Baier (Switzerland/France/Portugal) Rich and Famous by George Cukor (United States)Gabrielle by Louise Archambault (Canada)L’Experience Blocher by Jean-Stéphane Bron (Switzerland/France)Gloria by Sebastián Lelio (Chile) Mr. Morgan’s Last Love by Sandra Nettelbeck (Germany/Belgium)Blue Ruin by Jeremy Saulnier (United States)About Time by Richard Curtis (United Kingdom)Fitzcarraldo by Werner Herzog (Germany/Peru) Sur le Chemin de l’École by Pascal Plisson (France) International competition lineup:Când se lasă seara peste Bucureşti sau metabolism (When Evening Falls on Bucharest or Metabolism) by Corneliu Porumboiu (Romania) E Agora? Lembra-me (What Now? Remind Me) by Joaquim Pinto (Portugal)Educacão Sentimental (Sentimental Education) by Júlio Bressane (Brazil)El Mudo by Daniel and Diego Vega (Peru/France/Mexico) Exhibition by Joanna Hogg (United Kingdom)Feuchtgebiete by David Wnendt (Germany)Gare du Nord by Claire Simon (France/Canada)Historia de la Meva Mort (Story of My Death) by Albert Serra (Spain/France) L’Étrange Couleur des Larmes de Ton Corps (The Strange Color of Your Body’s Tears) by Hélène Cattet and Bruno Forzani (Belgium/France/Luxembourg)Mary, Queen of Scots by Thomas Imbach (Switzerland/France) Pays Barbare by Yervant Gianikian and Angela Ricci Lucchi (France)Real by Kiyoshi Kurosawa (Japan)Sangue (Blood) by Pippo Delbono (Italy/Switzerland)Short Term 12 by Destin Cretton (United States) Shu Jia Zuo (A Time in Quchi) by Tso chi Chang (Taiwan)Tableau Noir (Black Board) by Yves Yersin (Switzerland)Tomogui (Backwater) by Shinji Aoyama (Japan)Tonnerre by Guillaume Brac (France) U Ri Sunhi (Our Sunhi) by Sangsoo Hong (South Korea)Une Autre Vie by Emmanuel Mouret (France)...

A total of 18 world premieres feature in the main Competition line-up of this year’s Locarno Film Festival.Scroll down for full lists

The programme for the 66th Locarno Film Festival has been unveiled and was compiled with “diversity” in mind, according to new artistic director Carlo Chatrian.

“The only categorical imperative was to work with diversity, take it to extremes,” said Chatrian.

“For years, the festival’s policy has been to position its mission of discovery within a programme that includes mainstream cinema, but only of the kind that, despite its high production values, is not just pure spectacle, the kind that doesn’t see entertainment and intelligence as incompatible.”

As previously announced, the Swiss festival will open at the open-air Piazza Grande on August 7 with the international premiere of 2 Guns, the action film starring Mark Wahlberg and Denzel Washington as cops, directed by Baltasar Kormakur (The Deep).

Other films to screen at the 8,000 seater venue include...

Sibling directors Daniel and Diego Vega have become two of the most promising filmmakers in modern Peruvian cinema, and all with just one film under their belts. 2010's October was a drama with comedic elements about a Scrooge-like loner forced to take care of an orphaned baby. It was well-received by critics and audiences and went on to win the Un Certain Regard Prize at that year's Cannes Film Festival.The Vega Bros. (sadly, no relation to a Tarantino film) are back with sophomore feature El Mudo, another dark comedy about a judge who, after a series of unexpected happenings, turns paranoid with the fear that someone is out to murder him. With the Peruvian justice system being regularly accused of corruption and judges being seen as...

[Read the whole post on twitchfilm.com...]...

#88. Daniel & Diego Vega’s El Mudo

Gist: Among the hodge-podge of Peruvian government officials, there is a man named Constantino Zegarra. He doesn’t fit anywhere and looks down on his colleagues because he has never succumbed to an act of corruption and, every time he has had the opportunity to do so, he has made an effort to impede it. Over his two decades as a government official he has cultivated purity – the fuel for his soul.

Prediction: Un Certain Regard. In 2010 the Daniel and Diego Vega were included in the exact same section with Octubre and walked away with the Jury Prize. El Mudo was an 2011 Atelier supported project and was recently selected to participate in Films in Progress 23 in Toulouse as part of the Rencontres Cinémas d’Amérique Latine. This potentially means that the Peru, France, Mexico co-production is either deep into the beginning or towards the end of editing phase.

"Lu Chuan's City of Life and Death has the title and the feel of a monument," writes J Hoberman in the Voice. "This widescreen, austerely monochromatic, two-hour-plus collective drama — depicting the worst indignity inflicted by foreigners on modern China, as well as the most terrible atrocity in the run-up to World War II — might have been hewed from rock and colored by soot."

Further in, he notes that the film "frequently, if superficially, adopts a Japanese point of view, something that evidently infuriated a sizable chunk of the Chinese audience. (The movie would have been pulled from theaters after one week were it not for the protection of the Communist Party's chief propagandist; although a popular hit, it received no official awards.) On the festival circuit since 2009, the film has been well-received by foreign critics, recognizing a historical epic in the Griffith-Lean-Spielberg tradition."

This reception bugs Michael Joshua Rowin, writing...

"Mothers of America, let your kids go to the movies! ...It's true that fresh air is good for the body but what about the soul that grows in darkness, embossed by silvery images?"—Frank O'Hara, "Ave Maria" (from Lunch Poems, 1964)

During one of my conversations with San Franciscan film historian Matthew Kennedy, I realized that both of us had acquired our love for movies through our mothers, which led me to wonder how many other cinephiles—filmmakers and audience alike—shared a similar experience? In the past year, I have asked several individuals: "Did your mother have any influence on your cinephilia? Did she influence the movies you watched or—in the case of filmmakers—the movies you've made?" Here are some of the generous responses. And I would be delighted to hear any responses from the Mubi community.

Chris Fujiwara, Critic

My mother was a normal moviegoer of her generation,...

"A onetime yakuza turned jailbird turned filmmaking enfant terrible, the now-75-year-old Japanese director Kōji Wakamatsu has long been loved by cinema cultists for an outrageous string of 1960s provocations made under the guise of the pinku eiga — or 'pink' film." Steve Dollar at GreenCine Daily: "These typically low-budget sex romps could be as insane, surreal, or mind-bending as possible, as long as they included a minimum amount of nudity and softcore humping. Wakamatsu, seizing the opportunity, used the form to pursue the extremes, reveling in obsessive sex and violence as a leftist critique of Japanese society. Beyond the outrage and sleaze of The Embryo Hunts in Secret [1966]; Go, Go Second-Time Virgin [1969]; and Ecstasy of the Angels [1972], was a form of perverse shock treatment. Wakamatsu took a break from the camera in 1977, and didn't return for 27 years. But he still wants to mess with your head."

Steve Erickson for Moving...

Directors: Daniel Vega Vidal, Diego Vega Vidal Writers: Daniel Vega Vidal, Diego Vega Vidal Starring: Bruno Odar, Gabriela Velásquez, Carlos Gassols, María Carbajal Octubre takes the risk of placing at its center a character who is stubbornly passive and almost totally inexpressive. Set in Lima, Peru during the incense haze and sweeping processions of the annual Lord of Miracles festival, the film tells the story of a cold and emotionally inert pawnbroker named Clemente (Bruno Odar), who lives alone in a rundown apartment with cracked walls and peeling wallpaper and maintains a modest business lending small amounts of cash to everyday people facing hard times. For Clemente, life is a series of transactions, exchanges, barters, and cons. He makes his loans, collects the interest, and then when the workday is done, visits prostitutes in ramshackle brothels, leaves his cash behind, and walks back into the night. This is really the...

This interview with "Octubre" filmmakers Daniel and Diego Vega was originally published during indieWIRE's coverage of the 2011 New Directors/New Films festival. "Octubre," their first feature, hits theaters in limited release this Friday, May 6th. Peruvian films are a growing presence at international film festivals, and "Octubre" is an excellent example of why this is so. Winner of the Jury Prize of the Un Certain Regard section at Cannes 2010, ...

This interview with "Octubre" filmmakers Daniel and Diego Vega was originally published during indieWIRE's coverage of the 2011 New Directors/New Films festival. "Octubre," their first feature, hits theaters in limited release this Friday, May 6th. Peruvian films are a growing presence at international film festivals, and "Octubre" is an excellent example of why this is so. Winner of the Jury Prize of the Un Certain Regard section at Cannes 2010, ...

Reviewed by Amanda Georges

(May 2011)

Directed/Written by: Daniel Vega Vidal and Diego Vega Vidal

Starring: Bruno Odar, Gabriela Velásquez and Carlos Gassols

Clemente (Bruno Odar), a small-time pawnbroker, gazes through his jeweler’s eye loupe as he appraises family treasures brought to him by desperate customers hoping for some quick cash. They sit only a few feet across the table from him, but he cannot see their faces past the trinkets gleaming in his hand. In a much too predictable fashion, his worldview gets broadened past the magnifying glass because of a woman and a child.

The Peruvian film “Octubre” from brothers Daniel Vega Vidal and Diego Vega Vidal, which won the jury prize at the 2010 Cannes Film Festival, is unable to expand its own limited view past unoriginal style and characterizations. The film is filled with half thoughts and characters who are not fully dimensional. The film lacks...

Reviewed by Amanda Georges

(May 2011)

Directed/Written by: Daniel Vega Vidal and Diego Vega Vidal

Starring: Bruno Odar, Gabriela Velásquez and Carlos Gassols

Clemente (Bruno Odar), a small-time pawnbroker, gazes through his jeweler’s eye loupe as he appraises family treasures brought to him by desperate customers hoping for some quick cash. They sit only a few feet across the table from him, but he cannot see their faces past the trinkets gleaming in his hand. In a much too predictable fashion, his worldview gets broadened past the magnifying glass because of a woman and a child.

The Peruvian film “Octubre” from brothers Daniel Vega Vidal and Diego Vega Vidal, which won the jury prize at the 2010 Cannes Film Festival, is unable to expand its own limited view past unoriginal style and characterizations. The film is filled with half thoughts and characters who are not fully dimensional. The film lacks...

Today for the kickoff to the 40th edition of the Museum of Modern Art and the Film Society of the Lincoln Center’s New Directors/New Films festival, indieWIRE unleashes two additions to our annual 'Meet the Nd/Nf Filmmakers' series. Today "Outbound" director Bogdan George Apetri and "Octubre"'s Daniel and Diego Vega are profiled. The 2011 Nd/Nf runs March 23 - April 3. Click here for the full Nd/Nf lineup. A snapshot ...

Today for the kickoff to the 40th edition of the Museum of Modern Art and the Film Society of the Lincoln Center’s New Directors/New Films festival, indieWIRE unleashes two additions to our annual 'Meet the Nd/Nf Filmmakers' series. Today "Outbound" director Bogdan George Apetri and "Octubre"'s Daniel and Diego Vega are profiled. The 2011 Nd/Nf runs March 23 - April 3. Click here for the full Nd/Nf lineup. A snapshot ...

Today for the kickoff to the 40th edition of the Museum of Modern Art and the Film Society of the Lincoln Center’s New Directors/New Films festival, indieWIRE unleashes two additions to our annual 'Meet the Nd/Nf Filmmakers' series. Today "Outbound" director Bogdan George Apetri and "Octubre"'s Daniel and Diego Vega are profiled. The 2011 Nd/Nf runs March 23 - April 3. Click here for the full Nd/Nf lineup. A snapshot ...

Have you picked up your tickets yet?

It’s that time of the year, when the early film festivals debut/premiere some of the films that we’ll be talking about later on in the year.

Sundance, Berlin, Pan African, Fespaco, and South By Southwest Film Festivals are done! And this week, the 40th installment of the New Directors/New Films Film Festival here in New York City, begins!

Press screenings for the festival end today, and I saw around 10 films. I’ve already reviewed 4 or so of them, with another 5 or 6 reviews coming, today and tomorrow. I’ll also include a brief write-up of what to expect at the festival, films you should see, those that you could skip, etc… so stay tuned for that.

The lineup of the New Directors/New Films Film Festival follows below, and those of you who live in New York, or who are...

Peruvian brothers Daniel and Diego Vega who blasted on the international scene with Octubre (they'll be at New Directors/New Films next) will be returning to Cannes for their second trip in a row as part of the 2011's L’Atelier -- the Cannes initiative where the participants complete financing packages for their films. Previous projects (I'll take 2008 as an example) include Oleg Novkovic's White, White World, Benedek Fliegauf's Womb, Braden King's Here which just preemie at Sundance and Berlin and you have Lou Ye's "Bitch" which is now called Love & Bruises (look for a Main Comp entry at Cannes this year). Along with the Vega brothers, notable names include the Un Certain Regard selected R U There (2010) helmer David Verbeek and Alvaro Brechner who directed Bad Day to Go Fishing (2010). We'll have more on some select names below -- here are the fifteen selected projects who'll...

Celebrating its 40th year of spotlighting the world’s best up-and-coming feature filmmakers, the Museum of Modern Art and Film Society of Lincoln Center’s prestigious New Directors/New Films series has chosen Portland-based experimental filmmaker Matt McCormick‘s Some Days Are Better Than Others to screen.

McCormick is hardly a “new” director. He’s been making short films and music videos since 1999. However, Some Days Are Better Than Others is his first feature-length project. The movie follows the lives of several quirky Portland residents who all experience the good times of their lives slipping quickly into memory, while their more painful moments are so difficult to let go of.

Starring in the film is Carrie Brownstein, the former guitarist and singer for the band Sleater-Kinney and current star of the hit IFC cable TV series Portlandia. Brownstein previously appeared in Miranda July’s short film Getting Stronger Every Day...

The Museum of Modern Art and the Film Society of Lincoln Center Announce Feature Film Lineup for the 40th Annual New Directors/New Films March 23 . April 3

J.C. Chandor.s .Margin Call. is the Opening Night presentation with Maryam Keshavarz.s Award-winning .Circumstance. the Closing Night selection

The Museum of Modern Art and the Film Society of Lincoln Center announced the full lineup today for the 40th edition of New Directors/New Films (March 23 . April 3). Dedicated to the discovery of new works by emerging and dynamic filmmaking talent, the film festival will screen 28 feature films (24 narrative, 4 documentary) representing 22 countries.

The opening night feature is J.C. Chandor.s Margin Call. Screening on Wednesday, March 23, at 7:00Pm at MoMA, Chandor’s feature film directing debut is a timely and terrifying dramatic expose that tackles twenty-four hours on an investment bank trading floor; a day that brings layer upon layer of human and...

Ahhh yes, it’s that time of the year, when the early film festivals debut/premiere some of the films that we’ll be talking about later on in the year.

Sundance is done; the Berlin and Pan African Film Festivals are currently underway; the South By Southwest Film Festival takes over Austin, TX in less than a month! And a few days after it ends, the 40th installment of the New Directors/New Films Film Festival here in New York City, begins!

Can’t you just feel the excitement in the air? I can!

And I feel even better knowing that I was granted press credentials by the festival organizers, meaning I’ll be seeing as many of these films for Free, with reviews to follow on this site, afterward, as usual.

The lineup of the New Directors/New Films Film Festival was just unveiled, and those of you who live in New York,...

The Museum of Modern Art and the Film Society of Lincoln Center announce the 2011 New Directors/New Films Festival lineup, running March 23 - April 3. J. C. Chandor's Margin Call (here's our Sundance video interview) will open the festival and Maryam Keshavarz's Circumstance will conclude the festival's 40th edition. Programming director Richard Pena says both films are "dynamic and riveting dramas from first time feature film directors that give a unique view into the human lives at the core of two vastly different, but very immediate worlds.” Also screening at the festival are Oscar nominee for Best Foreign Language film Incendies from Denis Villeneuve, Sundance Grand Jury Prize winner Happy, Happy from Anne Sewitzky, Daniel and Diego Vega's Cannes Jury Prize winner Octubre, and ...

This year’s BigPond Adelaide Film Festival will present 20 world premieres of new Australian works, and a total of 48 local features and shorts.

The 12 films competing for the International Award for Best Feature Film have also been announced: Four Times (Italy, dir: Michelangelo Frammartino); Here I Am (Australia, dir: Beck Cole); Tuesday After Christmas (Romania, dir: Radu Muntean); Incendies (Canada,dir:: Denis Villeneuve); Meek’s Cutoff (USA, dir: Kelly Reichardt); Mysteries of Lisbon (Portugal, dir: Raoul Ruiz); Nostalgia For the Light (Chile, dir: Patricio Guzman); October (Peru, dir: Daniel Vega Vidal and Diego Vega Vidal); Piano in a Factory (China, dir: Zhang Meng); Shut Up Little Man! An Audio Misadventure (Australia, dir: Matt Bate); Whisper with the Wind (Iraq, dir: Shahram Alidi); and Year Without a Summer (Malaysia, dir: Tan Chui Mui).

The films will be judged by Julietta Sichel (jury president/Karlovy Vary Film Festival), Pierre Rissient (Cannes), Hossein...

This has been a great year to engage with Peruvian cinema. Not only did I have the chance to speak with Claudia Llosa whose film La Teta Asustada (The Milk of Sorrow, 2009) was nominated for a Best Foreign Language Academy Award®, but I was able to follow-up with Dr. Kimberly Theidon, whose research informed Llosa's film. Also, I had the opportunity to speak with Javier Fuentes-León, whose Contracorriente (Undertow, 2010) has seductively haunted the hearts of festival-goers the world over and earned the honor of being Peru's official submission to the foreign language category for the 2011 Academy Awards®. Further, I was fortunate to sit down with Diego Vega--half of the brother team behind Octubre (October, 2010)--upon the occasion of October's North American premiere at the 2010 Toronto International Film Festival (Tiff). October's full dance card on the festival circuit required filmmaker brothers Daniel and Diego Vega to divvy up rounds.