For the past 14 years Montreal’s Moment Factory has been bucking the online trend to create larger-than-life, physical reality (PR?) experiences that force folks to come together in the flesh-and-blood world. With over 300 multimedia projects in wide-ranging locations under their belt — from the Lax international terminal, to the Atlantic City Boardwalk, to Barcelona’s Sagrada Familia cathedral — the studio is still perhaps best known to Americans for designing Madonna’s halftime spectacle at the 2012 Super Bowl. Filmmaker was fortunate enough to speak with co-founder and creative director Sakchin Bessette about the profession of experience designing, and whether the […]...
- 2/2/2016
- by Lauren Wissot
- Filmmaker Magazine - Blog
For the past 14 years Montreal’s Moment Factory has been bucking the online trend to create larger-than-life, physical reality (PR?) experiences that force folks to come together in the flesh-and-blood world. With over 300 multimedia projects in wide-ranging locations under their belt — from the Lax international terminal, to the Atlantic City Boardwalk, to Barcelona’s Sagrada Familia cathedral — the studio is still perhaps best known to Americans for designing Madonna’s halftime spectacle at the 2012 Super Bowl. Filmmaker was fortunate enough to speak with co-founder and creative director Sakchin Bessette about the profession of experience designing, and whether the […]...
- 2/2/2016
- by Lauren Wissot
- Filmmaker Magazine-Director Interviews
Millennium Films
Though production has yet to begin, the Texas Chainsaw Massacre “origin story” Leatherface has significant presence at the European Film Market, happening in Berlin right now. There’s even a sales poster doing the round, as tweeted by Fantastic Fest.
Guess who is back? pic.twitter.com/38e953tdqE
— Fantastic Fest (@fantasticfest) February 5, 2015
That doesn’t quite work because of the gap between the shadow’s legs. It looks more like Sagrada Familia than a chainsaw to me.
Perhaps the major reason to be excited about this project is that Alexandre Bustillo and Julien Maury are directing. They made a big splash – a red, sticky one at that – with their debut feature, L’Interieur, or Inside, and followed up in fine style with Livide. Last year’s Among the Living was less consistent, but still featured a series of interesting images and a few gripping sequences between the less compelling stretches.
Though production has yet to begin, the Texas Chainsaw Massacre “origin story” Leatherface has significant presence at the European Film Market, happening in Berlin right now. There’s even a sales poster doing the round, as tweeted by Fantastic Fest.
Guess who is back? pic.twitter.com/38e953tdqE
— Fantastic Fest (@fantasticfest) February 5, 2015
That doesn’t quite work because of the gap between the shadow’s legs. It looks more like Sagrada Familia than a chainsaw to me.
Perhaps the major reason to be excited about this project is that Alexandre Bustillo and Julien Maury are directing. They made a big splash – a red, sticky one at that – with their debut feature, L’Interieur, or Inside, and followed up in fine style with Livide. Last year’s Among the Living was less consistent, but still featured a series of interesting images and a few gripping sequences between the less compelling stretches.
- 2/7/2015
- by Brendon Connelly
- Obsessed with Film
Gloria, which just finished playing Tiff, directed by Sebastian Lelio and starring Paulina Garcia has been selected to represent Chile in the Foreign Language race for the 86th Academy Awards ®
Fresh off its highly successful North American premiere at The Telluride Film Festival, Gloria was Special Presentation at the Toronto Int'l Film Festival.
I was lucky to be able to spend an hour speaking with director Sebastián Lelio and
2013 Berlin Film Festival Best Actress Award winner Paulina Garcia, the film’s star.
Paulina Garcia in real life barely resembled Gloria who is a seemingly comfortable “woman of a certain age” who still feels young…like me, and also like me, she enjoys dancing. Her children have lives of their own as does her former husband, she has a job and while comfortable, she is a bit at a loss for a place and for love. I had not realized that in fact those people I dance with are perhaps also looking for love – all I ever see them do is dance.
But like Gloria, though lonely, they are making the best of their situation. Her fragile happiness changes the day she meets Rodolfo. Their intense passion, to which Gloria gives her all, leaves her vacillating between hope and despair - until she uncovers a new strength and realizes that, in her golden years, she can shine brighter than ever.
Speaking with Paulina Garcia, I was first struck with how unlike the character Gloria she was. Sophisticated and refined, speaking perfect English, we related on a different level from how I related to her in the film, and I had related intimately; I had identified completely with Gloria and I had thought I would, in fact, be meeting Gloria herself.
Paulina told me how unusual it is to be in every scene. Playing such a character focused so deeply into life forced her to move the center of herself to a different point. After the movie had been shot, she felt the pain in her very bones from the different positions and motions of Gloria’s person. When it was over, she felt like she had emerged from a very deep ocean dive. Acting is on the surface, but the character played is really more like an iceberg.
Sebastian added that the relationship between Gloria and everyone else is not the action but in the air around them. It is the anti-matter you experience in the film, not the plot. The spotlight was always upon her. There was not a single frame in which Gloria’s body was not present. Every single scene is about how she is feeling about people, things and the world. And she reflects the world, as it is today in Santiago, Chile – discontented and seeking ways to take action against the discontent.
The relationship built between Sebastian and Paulina prior to filming was not based on the film, but on aligning their minds. It was an unusual friendship that was built between the director and actress. He gave her things to read unrelated to the film, she read Cassavetes on Cassavetes, (the name Gloria was not spurious); he gave her quotes, information on vortexes and whatever else interested him in those days. He was very clear about how personal the film would be, creating layers of emotion and artistry. Once they began working together, they shared a sort of mindful shorthand. He might say, “Do your own vortex” and she would define the world in her own terms so she could do her part. Paulina/Gloria was the point of the film and everything had to go around her, as if she were the vortex.
The other character in the film – whom we did not discuss at all, but who was an extraordinary counterweight to Gloria, was Sergio Hernandez who played Rodolfo. Very sexy and very soulful, he is dogged in his pursuit of Gloria and is dogged by his “ex-wife” and daughters. He has played in Sebastian Lelio’s previous films La Sagrada Familia in 2006 which I caught during my first trip to Chile as an guest of the Valdivia Film Festival in ‘05 and in El Ano del Tigre, his third film which played Locarno in 2011. Both these were also “insistent observations of characters going through evolutionary crossroads: family as a sacred trap; the interest in the tension that exists between a person and character; and the conviction that film is a face-on battle”, to quote Sebastian.
La Sagrada Familia was shot in 3 days in 35mm, a true indie film. It was a sort of “punk” film and it met with great success and so Sebastian could access national funds to make his second film Navidad which along with some private investment was finally paid off two months ago. Navidad was about teenage runaways going through a sort of initiation into the carney world. He directed Year of the Tiger just after Chile’s major earthquake and Fabula put in the money ($100,000) for this urgent film. It is a testament to the Year Zero and was shot in 12 days. It went on to play Toronto and Locarno. These are all available along with interviews on Festival Scope.
The year 2005 was the year that a new generation of filmmakers was beginning to create Chilean cinema as we know it today. Not only Sebastian Lelio withLa Sagrada Familia, but the producer of Gloria and Year of the Tiger, Fabula’s Pablo Larrain (along with his brother Juan de Dios Larrain) was developing his breakout film, Tony Manero and had just finished Fuga. Pablo also wrote and directed Post Mortem , produced El año del tigre , produced and directed No and produced this year’s Sundance hit Crystal Fairy. It was Diego Izquierdo whose Sexo con Amor we were repping who brought us to Valdivia that year as he was working on El rey de los huevones . It was the year En la Cama by Matias Bizes ( La vida de los peces ) was the most popular film in Chile and films were finally breaking from the post-Pinochet trauma. The “other Sebastian”, Sebastian Silva, was the inspiration behind the writers of Mala Leche and La Sagrada Familia, and was writing the first film he would also direct, La vida me mata (Life Kills Me).
Gloria was such a fine work of art that it was developed in the Cannes Residency (Cinefondation) program and garnered national funds for its production. It was screened as a Work in Progress first in Chile’s Sanfic and then in San Sebastian in 2012 where it won the Cine in Construccion Award. Sebastian has recently received a Guggenheim fellowship and support of the Daad Berliner Kunstlerprogram for the development of his new projects.
To be witness to Chile’s spectacular growth in the international business gives me such a thrill. I can’t wait to see Sebastian’s next film which he is working on now in the Berlinale Residency (September – December), writing it with an eye toward co-production. The new film explores masculine emotions. Perhaps it will once again star Paulina Garcia.
Gloria
Directed by: Sebastián Lelio
Tiff 2013 - Special Presentation
Chile - 109 minutes - In Spanish with English subtitles
Director: Sebastián Lelio
Starring: Paulina García
Producer: Fabula - Juan de Dios Larraín, Pablo Larraín
Tiff 2013: Special Presentation
U.S. Distributor: Roadside Attractions
Canadian Distributor: Mongrel Media
The film will be released by Roadside Attractions and is being sold internationally by Funny Balloons, who has already sold it to
Australia
Rialto Distribution (Australia)
Austria
Thimfilm Gmbh
Brazil
Imovision
Canada
Métropole Films Distribution
Colombia
Babilla Cine
France
Funny Balloons
Germany
Alamode Film
Greece
Strada Films
Israel
New Cinema Ltd.
Italy
Lucky Red
Japan
Respect
Korea (South)
Pancinema
Netherlands
Wild Bunch Benelux
Portugal
Alambique
Sweden
Atlantic Film Ab
Switzerland
Filmcoopi Zurich Ag
Turkey
Bir Film
United Kingdom
Network
USA
Roadside Attractions...
Fresh off its highly successful North American premiere at The Telluride Film Festival, Gloria was Special Presentation at the Toronto Int'l Film Festival.
I was lucky to be able to spend an hour speaking with director Sebastián Lelio and
2013 Berlin Film Festival Best Actress Award winner Paulina Garcia, the film’s star.
Paulina Garcia in real life barely resembled Gloria who is a seemingly comfortable “woman of a certain age” who still feels young…like me, and also like me, she enjoys dancing. Her children have lives of their own as does her former husband, she has a job and while comfortable, she is a bit at a loss for a place and for love. I had not realized that in fact those people I dance with are perhaps also looking for love – all I ever see them do is dance.
But like Gloria, though lonely, they are making the best of their situation. Her fragile happiness changes the day she meets Rodolfo. Their intense passion, to which Gloria gives her all, leaves her vacillating between hope and despair - until she uncovers a new strength and realizes that, in her golden years, she can shine brighter than ever.
Speaking with Paulina Garcia, I was first struck with how unlike the character Gloria she was. Sophisticated and refined, speaking perfect English, we related on a different level from how I related to her in the film, and I had related intimately; I had identified completely with Gloria and I had thought I would, in fact, be meeting Gloria herself.
Paulina told me how unusual it is to be in every scene. Playing such a character focused so deeply into life forced her to move the center of herself to a different point. After the movie had been shot, she felt the pain in her very bones from the different positions and motions of Gloria’s person. When it was over, she felt like she had emerged from a very deep ocean dive. Acting is on the surface, but the character played is really more like an iceberg.
Sebastian added that the relationship between Gloria and everyone else is not the action but in the air around them. It is the anti-matter you experience in the film, not the plot. The spotlight was always upon her. There was not a single frame in which Gloria’s body was not present. Every single scene is about how she is feeling about people, things and the world. And she reflects the world, as it is today in Santiago, Chile – discontented and seeking ways to take action against the discontent.
The relationship built between Sebastian and Paulina prior to filming was not based on the film, but on aligning their minds. It was an unusual friendship that was built between the director and actress. He gave her things to read unrelated to the film, she read Cassavetes on Cassavetes, (the name Gloria was not spurious); he gave her quotes, information on vortexes and whatever else interested him in those days. He was very clear about how personal the film would be, creating layers of emotion and artistry. Once they began working together, they shared a sort of mindful shorthand. He might say, “Do your own vortex” and she would define the world in her own terms so she could do her part. Paulina/Gloria was the point of the film and everything had to go around her, as if she were the vortex.
The other character in the film – whom we did not discuss at all, but who was an extraordinary counterweight to Gloria, was Sergio Hernandez who played Rodolfo. Very sexy and very soulful, he is dogged in his pursuit of Gloria and is dogged by his “ex-wife” and daughters. He has played in Sebastian Lelio’s previous films La Sagrada Familia in 2006 which I caught during my first trip to Chile as an guest of the Valdivia Film Festival in ‘05 and in El Ano del Tigre, his third film which played Locarno in 2011. Both these were also “insistent observations of characters going through evolutionary crossroads: family as a sacred trap; the interest in the tension that exists between a person and character; and the conviction that film is a face-on battle”, to quote Sebastian.
La Sagrada Familia was shot in 3 days in 35mm, a true indie film. It was a sort of “punk” film and it met with great success and so Sebastian could access national funds to make his second film Navidad which along with some private investment was finally paid off two months ago. Navidad was about teenage runaways going through a sort of initiation into the carney world. He directed Year of the Tiger just after Chile’s major earthquake and Fabula put in the money ($100,000) for this urgent film. It is a testament to the Year Zero and was shot in 12 days. It went on to play Toronto and Locarno. These are all available along with interviews on Festival Scope.
The year 2005 was the year that a new generation of filmmakers was beginning to create Chilean cinema as we know it today. Not only Sebastian Lelio withLa Sagrada Familia, but the producer of Gloria and Year of the Tiger, Fabula’s Pablo Larrain (along with his brother Juan de Dios Larrain) was developing his breakout film, Tony Manero and had just finished Fuga. Pablo also wrote and directed Post Mortem , produced El año del tigre , produced and directed No and produced this year’s Sundance hit Crystal Fairy. It was Diego Izquierdo whose Sexo con Amor we were repping who brought us to Valdivia that year as he was working on El rey de los huevones . It was the year En la Cama by Matias Bizes ( La vida de los peces ) was the most popular film in Chile and films were finally breaking from the post-Pinochet trauma. The “other Sebastian”, Sebastian Silva, was the inspiration behind the writers of Mala Leche and La Sagrada Familia, and was writing the first film he would also direct, La vida me mata (Life Kills Me).
Gloria was such a fine work of art that it was developed in the Cannes Residency (Cinefondation) program and garnered national funds for its production. It was screened as a Work in Progress first in Chile’s Sanfic and then in San Sebastian in 2012 where it won the Cine in Construccion Award. Sebastian has recently received a Guggenheim fellowship and support of the Daad Berliner Kunstlerprogram for the development of his new projects.
To be witness to Chile’s spectacular growth in the international business gives me such a thrill. I can’t wait to see Sebastian’s next film which he is working on now in the Berlinale Residency (September – December), writing it with an eye toward co-production. The new film explores masculine emotions. Perhaps it will once again star Paulina Garcia.
Gloria
Directed by: Sebastián Lelio
Tiff 2013 - Special Presentation
Chile - 109 minutes - In Spanish with English subtitles
Director: Sebastián Lelio
Starring: Paulina García
Producer: Fabula - Juan de Dios Larraín, Pablo Larraín
Tiff 2013: Special Presentation
U.S. Distributor: Roadside Attractions
Canadian Distributor: Mongrel Media
The film will be released by Roadside Attractions and is being sold internationally by Funny Balloons, who has already sold it to
Australia
Rialto Distribution (Australia)
Austria
Thimfilm Gmbh
Brazil
Imovision
Canada
Métropole Films Distribution
Colombia
Babilla Cine
France
Funny Balloons
Germany
Alamode Film
Greece
Strada Films
Israel
New Cinema Ltd.
Italy
Lucky Red
Japan
Respect
Korea (South)
Pancinema
Netherlands
Wild Bunch Benelux
Portugal
Alambique
Sweden
Atlantic Film Ab
Switzerland
Filmcoopi Zurich Ag
Turkey
Bir Film
United Kingdom
Network
USA
Roadside Attractions...
- 9/17/2013
- by Sydney Levine
- Sydney's Buzz
Rod 2.0 has video from this week's L.A. Complex, which has closeted rapper Kaldrick King coming out after an emotional scene with his dying father. "And when I finally found someone that I thought I could love and love me back, it made me hurt them. ... I have wanted to die because I could not be who I wanted to be. Who you wanted me to be. But I couldn't be." "None of these lies I told made me stronger. None of the secrets I kept made me happier. My name is Sean Duggan. Aka Kaldrick King. Aka The King of California. I'm gay."
Logo has dropped their 2007 documentary about Paris Hilton from their lineup in response to her "gay men are disgusting" comments.
MTV Geek wonders if men are being sexually objectified in super hero movies, in a counterpoint to the way that women are portrayed in the comics,...
Logo has dropped their 2007 documentary about Paris Hilton from their lineup in response to her "gay men are disgusting" comments.
MTV Geek wonders if men are being sexually objectified in super hero movies, in a counterpoint to the way that women are portrayed in the comics,...
- 9/26/2012
- by lostinmiami
- The Backlot
[Note from the Editor: apologies for the delay in getting this episode up on our website. It has been available in iTunes for some time now.]
This is the podcast dedicated to The Criterion Collection. Ryan Gallagher, James McCormick & Travis George discuss Criterion Collection news & rumors and new releases. They also discuss Criterion #425 Hiroshi Teshigahara’s 1984 film, Antonio Gaudi.
Catalan architect Antonio Gaudí (1852–1926) designed some of the world’s most astonishing buildings, interiors, and parks; Japanese director Hiroshi Teshigahara constructed some of the most aesthetically audacious films ever made. Here their artistry melds in a unique, enthralling cinematic experience. Less a documentary than a visual poem, Teshigahara’s Antonio Gaudí takes viewers on a tour of Gaudí’s truly spectacular architecture, including his massive, still-unfinished masterpiece, the Sagrada Familia cathedral in Barcelona. With camera work as bold and sensual as the curves of his subject’s organic structures, Teshigahara immortalizes Gaudí on film.
What do you think of the show? Send your feedback to CriterionCast@gmail.com, call their voicemail line: 209-877-7335, follow us on...
This is the podcast dedicated to The Criterion Collection. Ryan Gallagher, James McCormick & Travis George discuss Criterion Collection news & rumors and new releases. They also discuss Criterion #425 Hiroshi Teshigahara’s 1984 film, Antonio Gaudi.
Catalan architect Antonio Gaudí (1852–1926) designed some of the world’s most astonishing buildings, interiors, and parks; Japanese director Hiroshi Teshigahara constructed some of the most aesthetically audacious films ever made. Here their artistry melds in a unique, enthralling cinematic experience. Less a documentary than a visual poem, Teshigahara’s Antonio Gaudí takes viewers on a tour of Gaudí’s truly spectacular architecture, including his massive, still-unfinished masterpiece, the Sagrada Familia cathedral in Barcelona. With camera work as bold and sensual as the curves of his subject’s organic structures, Teshigahara immortalizes Gaudí on film.
What do you think of the show? Send your feedback to CriterionCast@gmail.com, call their voicemail line: 209-877-7335, follow us on...
- 8/22/2011
- by Ryan Gallagher
- CriterionCast
Barcelona Review editor Jill Adams selects her favourite films showcasing the vibrantly colourful, and gritty, Catalan capital
As featured in our Barcelona city guide
Todo Sobre Mi Madre (All About My Mother), Pedro Almodóvar, 1999
What is arguably Almodóvar's greatest work begins with tragedy in Madrid, but soon moves to Barcelona, beginning with a breathtaking night-time glimpse of the Sagrada Familia, where the sheer buoyancy of the city steers the film in a powerful and dazzling new direction. Here Manuela (the magnificent Cecilia Roth) reunites with her old friend, the witty and wonderful transsexual prostitute Agrado (Antonia San Juan) – whose flat overlooks the Palau de la Música – while inadvertently immersing herself in the world of theatre and helping a naive young nun (Penélope Cruz). Art mirrors life mirrors art in this vibrantly colourful (literally), multi-layered tribute to women ("We are all women!'" says Almodóvar) that beautifully captures the dynamism and...
As featured in our Barcelona city guide
Todo Sobre Mi Madre (All About My Mother), Pedro Almodóvar, 1999
What is arguably Almodóvar's greatest work begins with tragedy in Madrid, but soon moves to Barcelona, beginning with a breathtaking night-time glimpse of the Sagrada Familia, where the sheer buoyancy of the city steers the film in a powerful and dazzling new direction. Here Manuela (the magnificent Cecilia Roth) reunites with her old friend, the witty and wonderful transsexual prostitute Agrado (Antonia San Juan) – whose flat overlooks the Palau de la Música – while inadvertently immersing herself in the world of theatre and helping a naive young nun (Penélope Cruz). Art mirrors life mirrors art in this vibrantly colourful (literally), multi-layered tribute to women ("We are all women!'" says Almodóvar) that beautifully captures the dynamism and...
- 6/21/2011
- The Guardian - Film News
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