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There are two types of people that are going to be attracted to The Casting of Frank Stone: Dead by Daylight fans, looking for a new game set in the universe of their favorite asymmetrical multiplayer game, or Supermassive fans, who want to see the latest cinematic game from the studio behind Until Dawn and The Dark Pictures Anthology.

I fall into the latter camp, as I’ve played all their non-vr titles since Until Dawn. They’re not always hits, but there’s usually at least something interesting in every one of their games, so it’s cool to see them take their signature movie-like style of game into an already existing universe.

While I dipped my toes in Dead by Daylight in the past, I’m not familiar with the story aside from some border concepts like the Entity and the Trials. Fortunately, The Casting of Frank Stone...

Will Ken Loach three-peat with what could be his last-ever feature? This is the question that Thierry Frémaux put forth and perhaps the best was indeed saved for last. The Kitchen Sink auteur has placed three Jury Prize-winning films in 90’s Hidden Agenda, 93’s Raining Stones and 2012’s The Angels’ Share along with Palme d’Or winning The Wind That Shakes the Barley (2006) and I, Daniel Blake (2016). Of course, we can’t forget the Critics Week selected Kes. The Old Oak was the last of the twenty films in comp.

This sounds a bit familiar. A pub landlord in a previously thriving mining community struggles to hold onto his pub.…...

Sorry We Missed You

One of Britain’s most notable filmmakers of all time, the two-time Palme d’Or winning Ken Loach will be set with his new social issue drama Sorry We Missed You in 2019. Produced by his regular collaborator Rebecca O’Brien and is the director’s fourth consecutive film handled by eOne. His latest stars Kris Hitchen (who previously had a supporting role in Loach’s 2001 title The Navigators) along with Debbie Honeywood, Katie Proctor, Alfie Dobson and Rhys Stone. As mentioned, Loach is one of a select few auteurs to win thePalme d’Or twice, having competed a total of thirteen times winning the Ecumenical Jury Prize in 1981, 1990, 1995, 2009, and 2016, a Fipresci Prize for 1991’s Riff Raff and 1979’s Black Jack, and the Jury Prize in 1993 and 2012.…...

Welcome to The Water Cooler, a weekly feature where the /Film staff is free to go off-topic and talk about everything except the movies and TV shows they normally write about. In this edition: Chris Evangelista sees John Carpenter in concert, Peter Sciretta attends a David Copperfield show, Jacob Hall plays Hidden Agenda, Hoai-Tran Bui watches Buzzfeed Unsolved, and Ethan […]

The post The Water Cooler: John Carpenter in Concert, an Incredible Magic Show, and Buzzfeed Unsolved appeared first on /Film.

Elizabeth Donoghue Nov 24, 2017

Great deals on TVs, consoles and Bond

Black Friday is here! Whether you love it or loathe it, there are some pretty excellent deals happening today that we have kindly rounded up for your perusal/purchase. So why not

Lightning Deals!

From 13.50 today you can get the Logan 4K Ultra HD + Blu-ray + Digital HD for £13.88! It was £33.99 so that's a discount of 59%, wowzers.

Binge watch Sunnydale's finest as Buffy the Vampire Slayer Complete Seasons 1-7 DVDs are £24.10 - they were £ 149.99 so you're saving a massive 84%. Better be quick!

The Nintendo Switch Grey: with Mario Rabbids Was £ 375.00 Now £ 279.99.

The It Crowd - Complete Series 1-4 on DVD was £ 39.99 and is Now £10.90.

The Merc with a Mouth is available to take home as Deadpool 4K Ultra HD + Blu-ray + Uv Copy is now just £14.53, it was £33.99.

PS4, Nintendo Switch and Xbox deals

Get your hands on an Oculus Rift + Touch...

Over the years, the evolution of the “party game” has been something to behold. From the more traditional competitive local games of gaming’s earlier years, a whole range of multiplayer delicacies have spawned to help liven up the atmosphere when you have a few friends gathered. From Mario Party, Sonic Shuffle, Wii Sports, Rock Band, Guitar Hero, Buzz!, SingStar, and the more recent Jackbox Party Pack compilations, there’s been something for every situation. Unless you wanted something that attempts to tickle the old brain cells a little more than with standard general knowledge, that is. Supermassive is trying to fill that gap in the market with Hidden Agenda, which, despite being part of Sony’s PlayLink initiative, is far from the usual party fare.

Hidden Agenda is a crime thriller, where the players interact with the story at crucial points to drive the branching narrative and alter the eventual outcome.

Almost immediately after news broke about Supermassive Games’ Hidden Agenda launching on 24 October, it’s now been confirmed that their next project, The Inpatient, will release on November 21, 2017. This announcement came in the form of a very disturbing… Continue Reading →

The post Until Dawn Prequel The Inpatient Launching On November 21, 2017 appeared first on Dread Central.

The PS4 exclusive Hidden Agenda will launch in the Us on 24 October 2017, and will hit Europe the following day. This news was confirmed in the following tweet from developer Supermassive Games. Hidden Agenda puts you in control of… Continue Reading →

The post Uncover Your Hidden Agenda on October 24th appeared first on Dread Central.

Gamers looking forward to Supermassive Games’ crime thriller Hidden Agenda won’t have to wait long, as the company announced via their Twitter that the game will see its release on October 24th (25th for the EU) for PlayStation 4. The game will receive both a digital and a physical release, and will require a smartphone […]...

Welcome to the latest installment of Trailer Park, our semi-regular look at the latest trailers to hit the interwebs. This weeks line-up features a handful of the latest video game trailers to come our of this years E3…

God of War

From Santa Monica Studio and creative director Cory Barlog comes a new beginning for one of gaming’s most recognizable icons. Living as a man outside the shadow of the gods, Kratos must adapt to unfamiliar lands, unexpected threats, and a second chance at being a father. Together with his son Atreus, the pair will venture into the brutal Norse wilds and fight to fulfill a deeply personal quest. Coming in 2018.

Uncharted: The Lost Legacy

Watch the all-new story trailer for Uncharted: The Lost Legacy—a new adventure from acclaimed developer Naughty Dog coming August 22 to the PlayStation 4. In order to find an ancient Indian artifact, Chloe Frazer and...

No we are not talking about "playing as Link," we are talking about a new service by Sony that connects your phone to your games. Check it out after the jump.

Revealed during the "Pre" Sony Press Conference was a new service that probably needed the most explaining of all the things Sony revealed.

PlayLink is a new service that connects your mobile phones to PlayStation games. For example the first title shown was Hidden Agenda, which will allow players to use their phones to vote on decisions that characters will make in the game. Also happening will be secrets sent to each players phone that gives them an agenda, other players then need to figure out what it is these players have up their sleeve.

Another game called That's You will let players decide who knows who the best. Players will vote on questions that ask personal questions like "who is the best at.

Matthew Byrd Jun 13, 2017

From the makers of Until Dawn comes the cop thriller Playlink game, Hidden Agenda. Here's the first trailer...

The first trailer for Hidden Agenda, the next game from the developer behind Until Dawn, showcases a game that looks pleasantly familiar and refreshingly original. 

See related  Neill Blomkamp interview: sci-fi shorts and Oats Studios

It's impossible to talk about Hidden Agenda without first mentioning PlayLink. PlayLink is an upcoming series of PlayStation games designed to be played via your phone. Those familiar with the recent Jack Box party games will probably have a vague idea of how this will work. 

Hidden Agenda takes advantage of the PlayLink system in a fairly unique way. It's the story of a serial killer known as The Trapper who booby traps the bodies of his victims and the detectives tasked with bringing him down. While the game can be experienced as a...

This year’s Cannes Film Festival featured the premieres of many of the year’s most acclaimed films, including “American Honey,” “Elle,” “Toni Erdmann,” “Paterson” and more. But only one of the films in competition won the coveted Palme d’Or prize and that was Ken Loach’s “I, Daniel Blake,” about a middle-aged carpenter (Dave Johns) who requires state welfare after suffering a heart attack on the job and who befriends a single mother (Hayley Squires) in similarly dire straits. Watch an exclusive clip from the film below featuring Squires shoplifting at a store out of desperation.

Read More: Cannes Review: Why ‘I, Daniel Blake’ is Ken Loach’s Best Movie in Years

This is Loach’s 24th feature film. Some of his most acclaimed work includes the coming-of-age film “Kes,” “Hidden Agenda,” “Riff-Raff” and “The Wind That Shakes the Barley.” He has been nominated for two BAFTA Awards,...

Rebecca O’Brien, who has worked with Ken Loach for last 25 years, warned that Brexit is likely to exacerbate the problem.

I, Daniel Blake producer Rebecca O’Brien has warned that co-productions are becoming trickier for UK film-makers.

Ken Loach’s Palme d’Or-winner was a UK, French and Belgium co-production, and the BAFTA-winning O’Brien [pictured below] has been putting together similar international deals for the last 25 years.

She explained that the co-production landscape is not getting any easier.

“I think the main difficulty in terms of indigenous productions seeking co-production is that it’s very difficult for us to reciprocate,” she said at yesterday’s (Nov 24) Screen Film Summit, held at London’s Picturehouse Central.

“We don’t have a co-production fund in this country anymore that supports films that people come to us with. One of the things about co-productions is that it ought to be a reciprocal arrangement, it doesn’t...

Den Of Geek Nov 24, 2017

Want a cheap PS4 or a deal on the PS4 Pro? Our list of Black Friday deals has you covered

PS4 deals and offers are cropping up everywhere as retailers look to push Sony's 2016 hardware lineup and a slew of this year's best releases.

See related 26 new TV shows to watch in 2017

PS4 Pro deals tend to be a little bit meagre compared to their PS4 Slim counterparts but one deal that really took our fancy this week has to be Game's excellent PS4 Pro deal with Call of Duty: WW2, Destiny 2 and Gt Sport all for under £320. Perfect for those picking up a PS4 for the first time.

Still, Black Friday is here with Amazon and other top retailers unveiling a slew of new deals during the big event itself. We're sure we'll see even more discounts across Sony's hardware.

Best Black Friday UK PS...

The 1980s were a quiet period for British auteur Ken Loach, at least as far as film features were concerned. Though he directed six documentaries during the decade (nearly all of them for television), he’d only complete three narratives, none of which were as celebrated as his early works or the prolific period which would follow through the 1990s and 2000s. As the insert essay on this re-release from Julie Kirgo points out, this was a direct result of Thatcher’s government shutting down avenues for Loach to maintain funding for his features. Of the items he managed to get off the ground, his first and only foray (to date) into European filmmaking is 1986’s Fatherland (aka Singing the Blues in Red), a film about an East German musician defecting to the West to escape the political repression of his music. Written by Trevor Griffiths (best known for writing Warren Beatty’s Reds,...

Shortly before news broke of British auteur Ken Loach’s latest production (a surprise since his 2014 title Jimmy’s Hall was intended to be his last film) his 1990 film Hidden Agenda received a Blu-ray release. An interesting footnote in Loach’s extensive filmography, the film is a definite departure from a director whose work is usually invested in portraits of British Socialist realism. Sandwiched between 1986’s Fatherland (a co-production with West Germany, also seeing a Blu-ray release this November courtesy of Twilight Time) and 1991’s Riff-Raff, Loach tried his hand at a political thriller based on actual events. It took home the Jury Prize at that year’s Cannes Film Festival (of the many times Loach has competed for the Palme d’Or, he’s won this particular distinction three times, and the Palme itself in 2006) and caused a significant furor in the UK thanks to its blunt references to...

This week on Off The Shelf, Ryan is joined by Brian Saur to take a look at the new DVD and Blu-ray releases for the week of September 15th, 2015, and chat about some follow-up and home video news.

There are some audio problems towards the very end of the episode, when Skype decided it had enough of our shenanigans.

Subscribe in iTunes or RSS.

Episode Links & Notes Follow-up Refresh, refresh, refresh William Becker Arrow’s Free Shipping Exploitation.tv Apple TV Ripping discs MakeMKV Handbrake The Wirecutter’s recommendation Don Melton’s scripts News Scorpion Releasing – Grizzly & Where the Boys Are ‘84 up for pre-order at Screen Archives Shout / Scream Factory: Garbage Pail Kids cover art New Releases American Experience: Walt Disney The Beast The Big Picture Billy Two Hats Blind Chance Disneynature: Monkey Kingdom Eaten Alive Fast & Furious 1–7 Collection Furious 7 Hanna-Barbera Specials Collection Hidden Agenda House of the Long Shadows...

Us actress best known for her work in Coen Brothers’ movies including Fargo to receive talent award.

Us actress Frances McDormand is to be awarded the Persol Tribute to Visionary Talent Award 2014 at the 71st Venice International Film Festival (Aug 27 - Sep 6).

The prolific actress is best known for her collaborations with the Coen Brothers in films including Fargo, Raising Arizona, Burn After Reading and her first ever film role, Blood Simple.

McDormand will receive the honour on Sept 1 in the Sala Grande (Palazzo del Cinema) and will be followed by the out of competition screening of Olive Kitteridge directed by Lisa Cholodenko.

The four-part HBO miniseries adaptation of the eponymous Pulitzer Prize winning novel by Elizabeth Strout co-stars Richard Jenkins, Bill Murray, John Gallagher Jr. and Zoe Kazan.

The Playtone / As Is production will debut on HBO in the Us in November and is executive produced by McDormand alongide Gary Goetzman, Tom Hanks and [link...

Welcome back to Cannes Check, In Contention's annual preview of the films in Competition at this year's Cannes Film Festival, which kicks off on May 14. Taking on different selections every day, we'll be examining what they're about, who's involved and what their chances are of snagging an award from Jane Campion's jury. Next up, the lineup's second Palme d'Or-winning British stalwart: Ken Loach's "Jimmy's Hall." The director: Ken Loach (British, 77 years old). Often labelled the father of British social realism on film, Ken Loach is as famed for the no-nonsense naturalism of his aesthetic as for his defiantly socialist politics -- evident to varying degrees in 26 cinematic features (narrative and documentary) over 47 years. A lower-middle-class grammar school student turned Oxford law graduate, Loach began his career in television, directing a series of socially conscious BBC teleplays -- most famously the homelessness study "Cathy Come Home" -- before making his first feature film,...

Whether or not it turns out to be Ken Loach's final narrative film, Jimmy's Hall (2014) looks like being a favourite when it lands on the Croisette in competition at this year's 67th Cannes Film Festival. Cannes has commonly been a home from home for British director Loach where - despite the glam, the frocks and the yachts - this master of social realist and politically committed cinema has consistently scored successes. He's taken the Jury Prize on three different occasions with Hidden Agenda in 1990, Raining Stones in 1993 and The Angels' Share in 2012. In 2006, Loach even took the prestigious Palme d'Or for his brilliantly stirring portrayal of early twentieth century Irish history in The Wind that Shakes the Barley. With Jimmy's Hall, the director returns to similar territory - here's the film's official synopsis.

Over the course of a career spanning 5 decades, director Ken Loach has made a mark for himself in the international film community, helming features such as Sweet Sixteen, The Wind That Shakes The Barley, and Hidden Agenda. Many fans of Loach were saddened to hear of the director’s possible retirement from feature filmmaking, but were intrigued by what would mark his potential final project. The film, titled Jimmy’s Hall, sees Loach working from a screenplay by Paul Laverty, with a cast that includes Andrew Scott, Jim Norton, Barry Ward, and Simone Kirby. The first trailer for the film has now been released, and can be seen below.

(Source: The Playlist)

The post ‘Jimmy’s Hall’, from director Ken Loach, releases its first trailer appeared first on Sound On Sight.

'If I'm wrong, I'm insane. If I'm right, it's worse': in conspiracy films – from Rosemary's Baby to State of Play – solving the crime does not bring peace. Michael Newton investigates a rich cinematic genre

Some believe that JFK was shot by his driver, some that Bobby Kennedy was killed by one of his guards; some believe the world is ruled by a Yale fraternity, some by lizard-aliens in disguise; some believe that Obama is a Communist mole; some that, back in 1966, Paul McCartney died. These notions are, at best, deluded; but as potential pitches for an as yet unmade Hollywood movie, they might just secure the contract. For, in movies, you can believe that the moon shots were faked, or that men are replacing their wives with compliant robots, or that space shuttles are firing earthquake-inducing weapons, or that the world itself is a delusion – and in each case you could be proved right.

Ken Loach will retire from making feature-length films after he completes his latest project Jimmy Hall.

According to Loach's long-time producer Rebecca O'Brien, the critically-acclaimed director is "unlikely" to continue making films for the big screen, but will still direct documentaries and TV programmes.

"This is probably the last narrative feature for Ken," O'Brien told Screen Daily.

"There are a few documentary ideas kicking around, and that will probably be the way to go, but this is a serious period drama with a lot of moving parts so it's a big thing to put together. I think we should go out while we're on top."

She continued: "It's such a huge operation and Ken doesn't sit in a director's chair, telling people what to do; he runs around. It requires a lot of physical and mental stamina. Realistically, I'd be very surprised if we made another feature after this one.

Exclusive: Jimmy’s Hall, which has begun shooting in Ireland, is likely to be Ken Loach’s last narrative feature - but he will continue to direct documentaries.

Ken Loach’s upcoming drama, Jimmy’s Hall, will likely be his last, according to regular producer Rebecca O’Brien.

“This is probably the last narrative feature for Ken,” O’Brien told ScreenDaily. “There are a few documentary ideas kicking around, and that will probably be the way to go, but this is a serious period-drama with a lot of moving parts so it’s a big thing to put together. I think we should go out while we’re on top.”

O’Brien, who has produced more than a dozen features with Loach since 1990, said that the 77 year-old director is likely to continue to make documentaries and TV work but that he is “unlikely” to make another narrative feature.

“It’s such a huge operation and Ken doesn...

Exclusive: Jimmy’s Hall, which has begun shooting in Ireland, is likely to be Ken Loach’s last narrative feature - but he will continue to direct documentaries.

Ken Loach’s upcoming drama, Jimmy’s Hall, will likely be his last, according to regular producer Rebecca O’Brien.

“This is probably the last narrative feature for Ken,” O’Brien told ScreenDaily. “There are a few documentary ideas kicking around, and that will probably be the way to go, but this is a serious period-drama with a lot of interconnecting elements so it’s a big thing to put together. I think we should go out while we’re on top.”

O’Brien, who has produced more than a dozen features with Loach since 1990, said that the 77 year-old director is likely to continue to make documentaries and TV work but that he is “unlikely” to make another narrative feature.

“It’s such a huge operation and Ken doesn...

On TV this Thursday: Parks and Recreation dashes down the aisle, Suits goes back on the rack, Archer really bites and Community‘s Jeff samples the joy of Six. As a supplement to TVLine’s original features (linked within), here are 10 programs to keep on your radar.

Preview | Zero Hour First Look: Hank Tells the Team About His ‘Chilling’ Encounter

8 pm The Vampire Diaries (The CW) | Stefan, Elena and Jeremy return to Mystic Falls while Damon, still on the island, relays some somber news to Rebekah – though the revelation doesn’t produce the reaction he expects.

8 pm Community (NBC) | Matt Lucas...

In Clandestine Childhood (Infancia Clandestina), writer/director Benjamín Ávila drew inspiration from his personal exiled childhood during Argentina's Dirty War as the son of two Montoneros guerillas. The film, which took prizes at both San Sebastian and Havana Film Festivals last year, is set in 1979 during the family's return from Cuba to fight in the Montoneros counteroffensive operation under new assumed identities. Benjamín spoke to LatinoBuzz about what it meant to see memories from his formative years unfold on the big screen.

Clandestine Childhood is being released in NY and CA on Friday, January 11th, 2013.

LatinoBuzz: What did the actors take away from spending several days with former Montoneros?

Benjamín Ávila: I wanted the actors to have the chance to physically live that era. The most complex challenge for an actor is the ability to give dimension to the story from the time that it happened, not from the present. For them it was important to get rid of all the Whys and be able to answer them by themselves. So I decided to have the actors meet a couple of former guerrilla members to do a training drill for two days, the way it was done back then, as well as for them to have a chance to talk and for the actors to be able to ask anything they wanted.

It was very productive because their body changed, as well as their stand before history. It also helped me to confirm some doubts that had arisen during the process of writing the script. And from that moment on, the improvisations we did were very important in defining some scenes of the film. Particularly the argument scene between the grandmother and mother. That improvisation came after the work we did, and some glorious moments emerged as a result, very complex and incorrect that served to give another dimension to the movie.

LatinoBuzz: Was there a particular audience for this film that was most important for you to see it?

Benjamín Ávila: Not really. But firstly, it is a film that I made for my brothers. And for the children of the disappeared and those killed during the last dictatorship in Argentina. They are the primary audience, but the story is not constructed so that only they understand. On the contrary, I wanted the film to move people, to it would provoke feelings and ideas, without sacrificing the cinematic and artistic construction. Luckily, for all the feedback that I receive from the people who have seen it, I think we have achieved that goal. It's a film that provokes many emotions, that endures for days within the people who see it, and that generates the need to reiterate the questions that were supposedly already answered.

LatinoBuzz: When was the first time you realized that 'Infancia Clandestina' was the story you had to tell?

Benjamín Ávila: I always knew it. Since I was 13, I knew I wanted to work in film. I also knew back then that one day I would film my childhood. Somehow I made a tacit commitment at that time with myself, with my family, and with my own story. Therefore it is very important for me to have completed this process. It is a feeling of a debt paid, like I "had to do" this film. It was a duty rather than a necessity. Now that the film is finished I feel a relief, that of mission accomplished. Now I can be at peace.

LatinoBuzz: How much of what was going on were you very much aware of and how did you process that as a young boy?

Benjamín Ávila: My older brother and I were very aware, even though we were 7 and 8 years old at the time. I always think we were like the kids living in the street, who have a very conscious relationship with their environment. We knew what was happening, what we could and could not say. Although we were doing and saying what we were living, we could not have a dialectical discussion nor a real argument. We understood it all.

For us what we lived was not anything special, but it was normal. It was our life. We could not imagine anything different. This is why we were never traumatized. Even nowadays I miss that lifestyle. That clear and powerful bonding we all had. What was traumatizing was everything else: the absence, the persecution, the disappearance of my mother and not knowing anything to this day, not having been raised with my younger brother (Vicky in the movie). It was not until three yeas ago that we started having a life of ordinary siblings. And it cost a lot to have it...

LatinoBuzz: You were a child of Montoneros, so your childhood was unlike many others yet in the film we largely see this sweet portrayal of this blossoming first love between Juan and Maria –just like any teenager experiences. How much of that was Benjamín wishing that childhood was that innocent?

Benjamín Ávila: What you need to understand is that living in hiding was not something different to normality. It had parameters that were unusual, but we lived them like any other, even inside the house. I remember many common and normal family moments. Like waking up too late at night to watch the matches of the national team playing the World Cup youth soccer, Maradona’s first in Japan, and the matches were at 4 or 6 am. I remember going out at 7am in the morning with all the neighbors to celebrate the championship. My mother chastising me because I was late for school, or because I hadn't made my bed. Family barbecues, like any other Sunday, and so on, thousands of memories as normal as any other.

LatinoBuzz: What happened to “María”?

Benjamín Ávila: Maria never existed at that time. I had my Marías, but in other places and other times!

LatinoBuzz: In writing such a personal story what was the hardest thing to

write and did you avoid anything?

Benjamín Ávila: The most difficult part was at the beginning, trying to detach myself from my own history. Because several things were clear to me: the subject of film, that I did not want to be the protagonist of the story, that the most important part was the reconstruction of a routine

that has never been shown but that was not only mine but of many. That's why I took anecdotes and stories from others... Writing the script with Marcelo Muller, a dear Brazilian friend, helped me to achieve that distance I wanted for the construction of the story. With him I was able to rule out what wasn't important to the film’s story even if it was personally very important to me, and so we achieved that distance even though I deepened what remained. It was as if Marcelo pulled out to keep it to the essential, and I pulled inwards to deepen what remained.

LatinoBuzz: Was the casting difficult? Were you looking for yourself in

the Actor?

Benjamín Ávila: The casting of the children was complicated. We did it with María Laura Berch, an incredible casting director specializing in children, and we elaborated a very clear, yet complex, strategy. We saw over 700 children in total for all the roles, and it took us three months as planned.

But most importantly, we wanted to cast very homely, to give the kids the idea of what the shooting was going to be right from the beginning. And as I do my own camerawork every time I film, I decided I was going to shoot the casting so the kids could get used to my presence close to them and behind the camera from the beginning. And it worked really well.

With the adults it was very different. I saw Ernesto Alterio in the TV series "Vientos de Agua" by Campanella miniseries and compared to other roles I've seen him perform, I found the construction of his character wonderful. Something similar happened with Natalia Oreiro, she is very famous in Argentina but because of roles in comedies or romantic comedies, but seeing her in Caetano's "Francia" I noticed a dramatic profile in which I was very interested. With Cesar Troncoso, he was recommended by Luis Puenzo who had worked with him in "Xxy" the film he produced, directed by his daughter Lucía Puenzo. I had seen him in "The Pope's Toilet" and I had loved his role. And it was always a dream that Cristina Banegas play the role of the grandmother, and luckily we did it!

LatinoBuzz: Was seeing the film for the first time like looking at

photographs of your childhood?

Benjamín Ávila: No, this film has a lot of traits that belong to my childhood but they're for the most part, changed or modified. What does happen to me, is that I see through them my own memories. That happens to me, but it's something very intimate. The photos that appear at the end, which are from my family in reality, is the moment that moves me the most as I get haunted by the echoes of that wonderful past that was destroyed at the moment portrayed by the film.

My production company is called Room 1520 in tribute to the last scene of Paris, Texas by Wim Wenders, where the young kid (Hunter) is reunited with his mother after a long time in that same room... My childhood accompanies much of what I do.

LatinoBuzz: How many details from set design and wardrobe to how the actors who played your parents looked and acted did you involve yourself or were you able to separate yourself?

Benjamín Ávila: The shooting process was very intimate, intense and emotional. All of the staff, technicians and actors, we were involved in a special way. I have a way of working which at first puzzled the team. I like getting carried away by what is happening and then decide each scene based on the actors, the set and the light.

I operate the camera, I always do it when I'm the director, and I like to approach it as a documentary, finding the images based on what happens, as it happens. In that sense, each take was a particular universe of its own, unique and not replicable. Of course some takes came out really bad. But others were magical ... and those are the ones remained.

On the third day of filming something happened that made the whole team realize the scope of what we were doing, and from that moment on, everybody trusted my working technique. It happened that we were shooting Juan's (played by Teo Gutiérrez Moreno) first sequence where he burns the photos, near the end of the film. A tough sequence due to the mood that Juan had to reflect (as he just learns that his father was killed and had just hopelessly cried with his mother), and with children you don't work from a rational place but rather from the body directly, something very natural to them. So, I asked Natalia Oreiro to stand off-screen next to me, and that at moment I said 'action', for her to scream inconsolably, begging for help. On the other hand I told Teo that regardless of whatever was happening, he should not take his eyes off the fire, and that he should run out when I called his name. We got ready and at the moment of saying 'action' Natalia started to scream, heart wrenching, and all that I wanted to happen to Teo, started happening to me with the camera on my shoulder. I began to cry inconsolably (if you look carefully at the scene, the camera moves because I'm crying), as if it was an ancestral cry from some other time, and at some point I yelled at Teo and he perfectly did what he had to do, as usual, an he ran. I said 'cut', gave the camera to my assistant and as I was leaving I saw Natalia crying uncontrollably, everyone saw me and realized I was crying. I went to the video assist and as I entered everybody was very excited, they saw me crying. I asked to see the take… At that moment, everybody including actors, technicians and me, realized that we were doing something more than professional, but also very personal.

LatinoBuzz: Were there any films that influenced the look of the film?

Benjamín Ávila: Absolutely. For the tone of the performance and the gaze of the kids, "My Life as a Dog" by Lasse Halstrom. All of Krystof Kieslowski's filmography, and the political view of the films that Ken Loach made in

England such as "Raining Stones", "Riff-Raff" and "Hidden Agenda".

LatinoBuzz: What's the next project?

Benjamín Ávila: I am writing for a TV series of 40 single chapters. Additionally, I am adapting a novel by Elsa Osorio that I've been wanting to do for 12 years. I'm adapting it with her to make a miniseries of 13 chapters. It's about 40 years of history and involves many characters. A different look at the people who survived or were involved in Argentina's dictatorship.

For Screening times in NY and CA visit: http://www.filmmovement.com/theatrical/index.asp?MerchandiseID=314

Like em at: https://www.facebook.com/Infancia.clandestina

Written by Juan Caceres and Vanessa Erazo, LatinoBuzz is a weekly feature on SydneysBuzz that highlights Latino indie talent and upcoming trends in Latino film with the specific objective of presenting a broad range of Latino voices. Follow @LatinoBuzz on twitter.

As Fox’s The Mob Doctor unspools its final four episodes, series cocreator Josh Berman is prescribing a special treat for fans of Bones (where he previously served as a writer/producer): a New Year’s Eve Easter egg hunt.

Related | Fox Sets Mob Doctor End Date, Pushes Touch Season 2 Back Another Week

Mob Doctor resumes its 13-episode run tonight at 9/8c. Then, on Monday at 9, eagle-eyed Bones enthusiasts will be charged with seeking out clues in Episode 11, titled “Sibling Rivalry.”

Explaining the genesis of the sorta-kinda crossover episode, Berman reminds TVLine that Bones executive producers Hart Hanson and...

Carlos Reygadas‘ Post Tenebras Lux Cannes 2012 Winners Pt.1: Michael Haneke’s Amour, Matteo Garrone’s Reality, Cristian Mungiu’s Beyond The Hills The Best Actor was Mads Mikkelsen, who late last year received the European Film Award for European Achievement in World Cinema. (Among Mikkelsen’s future World Cinema "achievements" may be one of the villainous roles in Thor 2.) Mikkelsen’s Cannes victory was for his performance as a man (falsely) accused of sexually molesting a child — and the inevitable hysteria that ensues — in Thomas Vinterberg’s Danish psychological drama The Hunt. Carlos Reygadas cosmically surrealist family drama, Post Tenebras Lux ("Light After Darkness") earned the Mexican filmmaker the Best Director Award. In 2007, Reygadas’ Silent Night tied with Persepolis for the Jury Prize. And just a few days ago, Post Tenebras Lux was greeted by loud boos. And finally, the socially conscious British filmmaker Ken Loach won the...

Our guide to the ultimate Cannes 2012 insiders

Lars von Trier: the outcast

Nine-time competition nominee and Palme d'Or winner for 2000's Dancer in the Dark, Von Trier was slung out last year for saying he had sympathy for Hitler at an ill-judged press conference for Melancholia. No film from Von Trier this year – but will he be back next year for Nymphomaniac?

Charlotte Gainsbourg: the golden girl

Combining catwalk poise and dynastic lineage, Gainsbourg gained significant artistic credibility via her Von Trier hookup: Antichrist got her the best actress prize in 2009. This year, she's in the Un Certain Regard section (along with Pete Doherty) with Confession of a Child of the Century.

Ken Loach: the shop steward

The veteran firebrand represents the British cinema the French would like to see: The Angels' Share is his 11th film in competition. He won the Palme for 2006's The Wind That Shakes the Barley,...

Hour-long film made for Save the Children in 1969 will be shown as part of major retrospective at the British Film Institute

The veteran film director Ken Loach is used to having his works banned, but none have previously had to wait more than 40 years for a public showing.

His television documentaries on trade unions in the 1980s were pulled from broadcasting and his film Hidden Agenda found few cinemas willing to show it. In September, however, an hour-long documentary film that he made for the Save the Children charity in 1969 is finally to get an airing as part of a major retrospective at the British Film Institute (BFI).

The reasons for the ban remain obscure. It seems to have had something to do with the director's pugnacious take on race, class and charity in a capitalist society, or perhaps the quotation from Engels that prefaced what was supposed to be...

Neds; Route Irish; Tangled; Barney's Version; Morning Glory; Get Low

Perhaps the most remarkable thing about Peter Mullan's Neds (2010, Entertainment One, 18), a hard-hitting tale of "non-educated delinquents" street-fighting in 70s Glasgow, is just how stylishly cinematic it manages to be. Mullan may have earned his acting spurs working with Ken Loach on the gritty Cannes prize-winner My Name is Joe, but his directorial style here owes more to the colourful choreography of Kubrick's A Clockwork Orange and Boyle's Trainspotting than to any grim social-realist tradition. He is greatly aided by the presence of screen newcomer Conor McCarron who excels as the super-bright schoolkid led astray by a classist slight which turns him against authority and education. It's that crushing sense of wasted youth married with a fearsomely kinetic portrayal of adolescent anarchy which powers the film's infernal combustion engine. Having wrestled with the Catholic church in The Magdalene Sisters,...

Ken Loach brings the horrors of the war in Iraq back home to Liverpool in this gripping conspiracy thriller

All films are political, though most unconsciously so. Along with a handful of others (one thinks of the great Soviet directors of the 1920s, of the Italians Francesco Rosi and Gillo Pontecorvo, of the American John Sayles), Ken Loach is that relatively rare figure, the consciously political film-maker. Only the occasional Loach film lacks some well-considered left-wing agenda, and Route Irish, his response to the war in Iraq, takes up themes he has pursued on several occasions, including crimes committed in the name of the state, the brutalisation of militarism, the exploitation of the demoralised unemployed and the thoughtless ill-treatment of native populations.

Scripted by his regular screenwriter Paul Laverty, Route Irish is a characteristic Loach film, a gripping conspiracy thriller not unlike Hidden Agenda, his film on the Troubles. Quite...

According to The Playlist, John Cameron Mitchell is producing an animated feature for writer and artist Dash Shaw – the creator of Bottomless Belly Button and the man also responsbible for the comic book featured within Mitchell’s new film Rabbit Hole (read my review here).

Mitchell was reported saying, “I’m actually producing his animated feature now,” and when asked if it was based on either Bottomless Belly Button or BodyWorld, an online comic that was collected as a book this spring, Mitchell emphatically said, “No.”

“It’s not based on anything. It’s original. It’s called The Ruined Cast. It’s going to be 2D. It’s going to be weird, surreal… Well you know his style. I keep comparing it to Philip K. Dick meets The Simpsons. And it’s brilliant. He’s gone through all the Sundance labs this year. And I’m producing it with the producer of Shortbus.

As part of this year's Galway Film Fleadh Media Antenna's Irish contingent, fronted by Eibhlín Ní Mhunghaile, hosted a co-producers' dinner. Rebecca O'Brien (who has produced twelve of Ken Loach's films since 'Hidden Agenda' in 1990) was invited to make a key note speech after dinner; her key points are reproduced below: "Co-production is a wonderful thing because it's seemingly such an impossible thing to achieve. If you look at all the rules that we have to abide by, it's just extraordinary that any films get made this way at all. However, the fact that the concoction is so elaborate means that we all become close. We're all trying to work out what the hell to do with the rules we've got in our different countries to make a co-production work and because it's so complicated and impossible we become allies. That's how it works and actually being...

Updated through 5/21.

"Ken Loach's last minute addition to Cannes competition is a hard-edged thriller — his first, in fact, since Hidden Agenda played competition here in 1990 — covering dirty deeds by contractors in Iraq." Screen's Mike Goodridge: "Surprisingly conventional in its plotting but distinguished by an intriguing moral complexity, Route Irish could be Loach's most commercially accessible film to date and is no less gripping or damning of the conflict than Paul Greengrass's Green Zone — although made at a fraction of the budget and mostly set in Liverpool."...

Populist: The column that's fed up of you telling it what it thinks

Ipad experiment of the week

Will It Shred's attempts to see if you can trick up an iPad and skate on it. Warning: warranty may be void. See it here.

Incongrous club name of the week

Stephen Hawking's Answer Phone Message featuring heavy rock and metal. Sat, London N1. Raaaaaaaagh!

YouTube Channel of the week

Ken Loach has uploaded full-length versions of Ae Fond Kiss, Kes, Cathy Come Home, Poor Cow, Riff-Raff, Hidden Agenda and Carry On Ken to YouTube. See youtube.com/user/KenLoachFilms

New trailer mystery of the week

Jj Abrams returns with a new Area 51 project titled Super 8. Steven Spielberg's on board, too. Internet explodes.

Fantasy fanzine of the week

Henry & Glenn Forever imagines what life would be like if Black Flag's Henry Rollins and Misfits' Glenn Danzig had been...

As weary transatlantic travelers straggle into Cannes hours late from flying around clouds of volcanic ash (word is, it's chilly on the Cote d'Azur), as predicted, the Festival has added one more movie to its 2010 competition line-up. Iraq film Route Irish comes from Cannes perennial Ken Loach, who showed Waiting for Eric last year and won the 2006 Palme d'Or for The Wind that Shakes the Barley, one of those well-reviewed films that barely moved the needle when IFC released it stateside. In anticipation, Loach has posted a selection of his films for free-viewing on YouTube. My fave of the lot: Ira thriller Hidden Agenda (which unfortunately has been pulled down by MGM). Loach was ahead of the cinema verite curve; you could argue that ...

The oddsmakers might want to reconsider the Cannes Film Festival competition after the jury just added Ken Loach's Route Irish to the roster: a lot of Cannes Festival prizes have been routed to the filmmaker. He has been nominated for the Golden Palm nine times, and won in 2006 for The Wind That Shakes the Barley. He has won 10 other Cannes awards during his career, including two Jury Prizes--for Raining Stones and Hidden Agenda--and one for his body of work. His latest film focuses on two former soldiers, in love with the same woman, who hire on as contractors [...]...

Toronto -- Veteran Canadian movie distributor John Hamilton has left Seville Pictures to launch his own production/distribution shingle, Hidden Agenda, in time for Cannes.

Hamilton and David Reckziegel co-founded Montreal-based Seville in 1999 and grew the niche distributor before it was acquired in 2007 by local DVD distributor E1 Entertainment as part of a move into Canadian film releasing.

As he sets out on his own, Hamilton has a first look deal with E1 Entertainment for Canadian and worldwide rights for all Hidden Agenda film titles.

E1 will also release Hidden Agenda films outside of Canada through its expanding international distribution network.

Hamilton will unveil his upcoming film slate at the Cannes Film Festival in May.

New York-based independent film company Paladin, formed last fall by distribution veteran Mark Urman, announced today that it will release Angela Ismailos’ Great Directors, a celebration of films and filmmaking starring ten of the world’s most acclaimed, provocative, and individualistic living directors. The documentary had its world premiere at the 2009 Venice Film Festival, and was produced through Ismailos’ Anisma Films. Paladin will open the film in NY, Los Angeles, and other top markets in late Spring.

A deeply personal and intimate look at the art of cinema and the artists who create it, Great Directors features original, in-depth conversations with world-class filmmakers Bernardo Bertolucci (The Conformist, Last Tango in Paris, The Last Emperor, The Dreamers), David Lynch (The Elephant Man, Blue Velvet, Mulholland Drive), Stephen Frears (Dangerous Liaisons, The Grifters, The Queen, High Fidelity), Agnes Varda (Vagabond/Without Roof or Rule), Ken Loach (Hidden Agenda, Land and Freedom, Land and Freedom...

Hello all! It is an exciting night of television this Thursday, as we've got a bunch of favorite shows, a couple premieres, and even a double helping of "30 Rock" for you Liz Lemon-ites! Unfortunately, there's also a lame crossover event happening with "Grey's Anatomy" and "Private Practice" which means that if you still follow "Grey's Anatomy", which is not great but is at least a somewhat enjoyable guilty pleasure, you're going to be forced to watch a full episode of "Private Practice" which is so unrelentingly awful that I've never managed to get through more than five minutes of it at a time. Also, this doesn't actually have any bearing on the whole "late night wars" issue, but I've inadvertently discovered that the guest listings for "The Jay Leno Show" are only about half accurate. I actually watched part of the show yesterday because my future husband Dwayne "The Rock...

Legendary Brit director Ken Loach may be 73, but he isn't slowing down any - after the success of Looking For Eric, he's already lined up his next movie, Route Irish.Like fellow Brit, Paul Greengrass, Route Irish sees Loach tackle the thorny issue of Iraq, with the title referring to the road between Baghdad Airport and the International Green Zone, and should be a return to harder-hitting fare after the relative whimsy of his Eric Cantona-starring outing.Loach will be working with his longtime writing partner Paul Laverty (who's been the writer for his past nine films now) and will feature, in true Loachian style, two relative newcomers in the form of Mark Womack and Andrea Lowe. The plot will revolve around two private security contractors working in Baghdad. When one of them dies on 'Route Irish', the other won't accept the official explanation and decides to find out who's really responsible.