DANCER: THE UKRAINIAN BILLY ELLIOT OF ‘TAKE ME TO CHURCH’

By José Alberto Hermosillo

“Billy Elliot” is a fictional character; Sergei Polunin, in the documentary “Dancer,” is real. 

“Dancer” chronicles the life of the remarkable ballet performer whom the British media named “the bad boy of ballet,” Sergei Polunin. Polunin was also called “The New Nureyev of Ukraine.”

In Polunin’s early days, he had to learn a valuable lesson: “Dancers have to be tougher.”

His mother recalls his son’s fervent passion for dancing since childhood and how he first learned gymnastics before moving into ballet. “Polunin wanted to be the best,” his loving grandmother remembers.

To provide Sergei with the tuition funds to succeed in dance, his family separated and worked in different countries (Greece, Portugal, and Russia).

Polunin moved with his mom to Kyiv. The emotional toll of his journey pursuing his dreams worsened when he and his mother separated in London due to a visa problem.

19 Polunin became the Royal Ballet’s youngest principal dancer in history. His family never saw him on stage. 

Sergei was so demanding of himself that the pain in his body had to be mitigated with cocaine.  

Polunin’s virtuoso recognition began in Ukraine when he moved to the U.K., then to Russia, and now continues in the U.S.A.

While planning his last dance performance in Los Angeles, Polunin contacted the famous photographer David LaChapelle. After that, they went to Hawaii to shoot the music video “Take Me to Church.”

 TAKE ME TO CHURCH

Sergei Polunin, “Take Me to Church” by Hozier, Directed by David LaChapelle

Sergei Polunin, in those four minutes of breathtaking performance, conquered the world and inspired thousands of fans who could not stop playing the clip repeatedly. 

The music video went viral in days, with more than 17 million views worldwide.

In the documentary “Dancer,” Sergei Polunin’s sexuality was never disclosed, as the story centers on his struggle, moves, skills, personality, and family.

“Dancer” took nine months to edit, yet there was still insufficient time to make the documentary flow more creatively and with a tighter structure.

The film’s transitions were rough. The story is linear, with flashbacks from different sources (video, cell phones, the internet, film, news, and TV shows). These were not properly trimmed and timed to keep the movie evenly in color and mood from beginning to end.

Some beautiful dancing shots were seemingly cut too soon, and other moments about his family were too long. The information was tilted to present Sergei’s good image and family ties.

 

Director Steven Cantor, photo by José Hermosillo, copyrights Festival in LA, 2016

 

The director of this touching documentary, Steven Cantor, captured Sergei Polunin’s emotions, skills, and creativity with an open heart. 

 

Polunin’s awareness was to use his body and dancing moves to give people joy.

“Dancer” is an inspirational documentary about sacrifice and personal growth that deserves to be seen by a broader audience worldwide.

 DANCER official trailer 

Film critic José Hermosillo, Director Steven Cantor. Copyrights Festival in LA 2016

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Copyright © Festival in LA 2016

Latinos Win Big at The 73rd Venice International Film Festival

By José Alberto Hermosillo

The Latino talent shined at the 73er Venice Film Festival. 

From Mexico, “La región salvaje” (The Untamed) by Amat Escalante (“Los Bastardos,” “Heli”) won the best director. 

Amat Escalante with this win become one of the select group of directors winning Venice and Cannes; Scorsese, Kusturica, and Paul Thomas Anderson are the only four directors winning both film festivals.

Argentine actor Oscar Martinez took the Coppa Volpi award for best actor for his work in the film “El ciudadano ilustre” (The Distinguished Citizen).

Noah Oppenheim won the best screenplay for "Jackie" directed by Pablo Larrain (Chile). 

In the Orizzonti Competition, Spanish actress Ruth Díaz took home the best actress award for her interpretation in “Tarde para la ira” (The Fury of a Patient Man).

The Orizzonti Award for Best Short went to “La voz perdida” (The Lost Voice) from Paraguay, Venezuela, and Cuba.

The Venezia 73er Jury:

Chaired by Sam Mendes and integrated by Laurie Anderson, Gemma Arterton, Giancarlo De Cataldo, Nina Hoss, Chiara Mastroianni, Joshua Oppenheimer, Lorenzo Vigas and Zhao Wei awarded the following films:

THE VENEZIA WINNERS ARE:

GOLDEN LION for Best Film to:

ANG BABAENG HUMAYO (THE WOMAN WHO LEFT)

by Lav Diaz  (Philippines).

SILVER LION - GRAND JURY PRIZE to:

NOCTURNAL ANIMALS

by Tom Ford (USA)

SILVER LION - AWARD FOR BEST DIRECTOR ex-aequo to:

Andrei Konchalovsky

for the film PARADISE (Russian Federation, Germany)

Amat Escalante

for the film LA REGIÓN SALVAJE (THE UNTAMED)

(Mexico, Denmark, France, Germany, Norway, Switzerland).

COPPA VOLPI

for Best Actress:

Emma Stone

in the film LA LA LAND by Damien Chazelle (USA)

COPPA VOLPI

for Best Actor:

Oscar Martínez

in the film EL CIUDADANO ILUSTRE by Mariano Cohn and Gastón Duprat

(Argentina, Spain)

AWARD FOR BEST SCREENPLAY to:

Noah Oppenheim

for the film JACKIE by Pablo Larraín (UK)

SPECIAL JURY PRIZE to:

THE BAD BATCH by Ana Lily Amirpour (USA)

MARCELLO MASTROIANNI AWARD

for Best Young Actress to:

Paula Beer

in the film FRANTZ by François Ozon (France, Germany)

LION OF THE FUTURE

“LUIGI DE LAURENTIIS” VENICE AWARD FOR A DEBUT FILM to:

Akher Wahed Fina (The Last of Us) by Ala Eddine Slim

(Tunisia, Qatar, U.A.E., Lebanon)

VENICE INTERNATIONAL FILM CRITICS WEEK.

A prize of 100,000 USD, donated by Filmauro of Aurelio and Luigi De Laurentiis.

ORIZZONTI AWARDS

The ORIZZONTI AWARD FOR BEST FILM to:

LIBERAMI  by Federica Di Giacomo (Italy, France)

The ORIZZONTI AWARD FOR BEST DIRECTOR to:

Fien Troch

for HOME (Belgium)

The SPECIAL ORIZZONTI JURY PRIZE to:

KOCA DÜNYA (BIG BIG WORLD)

by Reha Erdem (Turkey)

The ORIZZONTI AWARD FOR BEST ACTRESS to:

Ruth Díazin the film TARDE PARA LA IRA by Raúl Arévalo (Spain)

The ORIZZONTI AWARD FOR BEST ACTOR to:

Nuno Lopes in the film  SÃO JORGE by Marco Martins (Portugal, France)

The ORIZZONTI AWARD FOR BEST SCREENPLAY to:

KU QIAN (BITTER MONEY) by Wang Bing (France, Hong Kong)

The ORIZZONTI AWARD FOR BEST SHORT FILM to:

LA VOZ PERDIDA by Marcelo Martinessi (Paraguay, Venezuela, Cuba)

The VENICE SHORT FILM NOMINATION FOR THE

EUROPEAN FILM AWARDS 2016 to:

AMALIMBO by Juan Pablo Libossart (Sweden, Estonia).

VENICE CLASSICS AWARD FOR BEST DOCUMENTARY ON CINEMA to:

LE CONCOURS  by Claire Simon (France)

The VENICE CLASSICS AWARD FOR BEST RESTORED FILM to:

BREAK UP – L’UOMO DEI CINQUE PALLONI by Marco Ferreri

(1963 and 1967, Italy, France)

GOLDEN LION FOR LIFETIME ACHIEVEMENT 2016 to:

JEAN-PAUL BELMONDO and

JERZY SKOLIMOWSKI

JAEGER-LECOULTRE GLORY TO THE FILMMAKER AWARD 2016 to:

Amir Naderi

PERSOL TRIBUTE TO VISIONARY TALENT AWARD 2016 to:

Liev Schreiber

L’ORÉAL PARIS PER IL CINEMA AWARD to:

Matilde Gioli.

Amat Escalante, LA REGIÓN SALVAJE (THE UNTAMED) and cast.

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                                                                                Copyright © Festival in LA, 2016

No Manches Frida: L.A. Premiere Exclusive Photos

By Jose Alberto Hermosillo

Omar Chaparro, Martha Higadera. No Manches Frida, LA Premiere. Photo by Jose A Hermosillo. © Copyrights 2016

Latino moviegoers are eager for more films centered on Latino themes, and “No Manches Frida” is one of the few movies that can showcase Latino representation in theaters across the United States.

Last week, we had the opportunity to attend the Los Angeles premiere of “No Manches Frida,” or, in English, “W.T.F. Frida,” at LA Live in Downtown. That humongous red carpet was a lot of fun to be part of. 

No Manches Frida, LA Premiere. Photo by Jose A Hermosillo. © Copyrights 2016

 

The leading actors, producers, and other Hispanic celebrities marched in front of over two dozen reporters and photographers from the local Latino media.

 

No Manches Frida, LA Premiere. Photo by Jose A Hermosillo. © Copyrights 2016

Panteleon created this remake of the German film “F*** You, Goethe/Fack Ju Göhte,” directed by Bora Dagtekin. Spanish-born Nacho G. Velilla directs the Mexican version.

 

No Manches Frida, LA Premiere. Photo by Jose A Hermosillo. © Copyrights 2016

“F*** You, Goethe” received terrible reviews in its home country. Critics claimed it was one of the worst German films ever, but its box office success prompted the producers to rush its sequel—a field trip to Thailand, the European paradise for sex tourism.

Adal Ramones and his daughter. No Manches Frida, LA Premiere. Photo by Jose A Hermosillo. © Copyrights 2016

 

Regarding “o Manches Frida,” American critics haven’t made any comments, positive or negative, because they haven’t seen the movie. The distribution company is mainly marketing the film to Hispanics. 

 

No Manches Frida, LA Premiere. Photo by Jose A Hermosillo. © Copyrights 2016

 

One of the main reasons to go to the movies is to laugh and have fun. This Mexican teen comedy will entertain viewers because “o Manches Frida” is a feel-good movie.

 

REIK, No Manches Frida, LA Premiere. Photo by Jose A Hermosillo. © Copyrights 2016

 

The fantastic music score of “No Manches Frida” includes original songs by the talented and well-known Mexican pop band REIK, who also appeared in the movie.

 

Technically, the movie is well-made - the colors are vibrant, the editing is quick, the sound quality is good, and the overall production is excellent (including credits, publicity, and visuals). These elements compensate for the issues with the story, script adaptation, directing, and acting. 

 

Omar Chaparro, No Manches Frida, LA Premiere. Photo by Jose A Hermosillo. © Copyrights 2016

The ex-con, who suddenly becomes a substitute teacher and is played by Omar Chaparro (“Strings Attached,” “Compadres”, doesn’t stay true to his character’s nature. The main character is overly influenced by pretentiousness.

The actor’s personality dominates his actions, and he remains the same throughout the movie, showing no development. His jokes could be more fitting and less out of line with his character.

Chaparro’s pretentious attitude distracts viewers, who are left trying to piece the story together.

No Manches Frida, LA Premiere. Photo by Jose A Hermosillo. Copyrights 2016

 

Inside “Frida College,” everyone is very “fresa” (rich kids), even this substitute teacher. Chaparro’s performance is “fresa” for a “mara,” or a gang member. 

 

No Manches Frida, LA Premiere. Photo by Jose A Hermosillo. © Copyrights 2016

 

The director should have created a complete bio on the Ex-Con so Chaparro could portray a credible, strict teacher and command respect from his students.

 

Omar Chaparro, Martha Higadera, No Manches Frida, LA Premiere. Photo by Jose A Hermosillo. © Copyright 2016

Martha Higadera (“Street Kings,” “Mariachi Gringo,” “McFarland, USA” does an excellent job portraying the sweetest teacher everyone hopes for.

 Higadera depicts a low-key, nerdy teacher; her character development feels more genuine and relatable than her male counterpart.

No Manches Frida, LA Premiere. Photo by Jose A Hermosillo. ©Copyrights 2016

In the film’s plot, location is crucial. The importance of the school’s newly built gym isn’t revealed until the very end, but the tension isn’t quite there.

The Ex-Con is digging a tunnel to reach the money, but nothing major happens inside the gym during the movie.

The overuse of profanity, mannerisms, and graffiti on the blackboard might offend some viewers.

 

Fernanda Castillo (“El Señor de los Cielos” rocked the red carpet.
Photo by Jose A Hermosillo. © Copyrights 2016

People go to the movies for entertainment, and “No Manches Frida” is excellent.

 While the Mexican comedy continues earning money at the North American box office, the film is expanding to more theaters.

Aislinn Derbez (“A la Mala”. Photo by Jose A Hermosillo. © Copyrights 2016

At the fantastic premiere of “No Manches Frida,” other Latino celebrities expressed their love and support for this new Cine Mexicano project, which has captivated the Hispanic market in the United States. 

Karla Souza "Nosotros los Nobles," Sundown," "¿Qué culpa tiene el niño?").Photo by Jose A Hermosillo. © Copyrights 2016

Aislinn Derbez (“A la Mala” and his father Eugenio Derbez (“Instructions Not Included,” “Miracles from Heaven”.
Photo by Jose A Hermosillo. © Copyrights 2016

“No Manches Frida” LA Premiere Interior Photo by Jose A Hermosillo. © Copyrights 2016

No Manches Frida trailer with English subtitles

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Copyright © Festival in LA, 2016

HANDS OF STONE: A LATINO HERO HAS RISEN

By Jose Alberto Hermosillo

From the streets of Panamá to legendary status as one of the all-time greatest boxers, the life of boxer Roberto “Hands of Stone” Duran is now the subject of a biopic on an epic scale.

From the outset, the film plunges into the world of boxing with intensity. Inside Madison Square Garden in New York, during a 66-second fight, Roberto Duran, portrayed by Venezuelan actor Edgar Ramirez (“Libertador,” “Carlos,” “Joy”), knocks out his opponent.

Robert De Niro plays the well-known trainer Ray Arcel, who fondly recalls his first meeting with Duran.

Arcel will never forget Duran’s punching power.

In the locker room, Ruben Blades (“The Maldonado Miracle” and “The Milagro Beanfield War”) portrays Duran’s ambitious manager, Carlos Eleta.

Carlos emphasizes the bond between the boxer and the controversial American trainer. After each fight, Duran likes to eat lots of ice cream to boost his confidence.

To learn the ropes and become a world champion, Duran needs to tone down his anti-American rhetoric and start working with his new American trainer. He must focus on the fundamentals. They had to relocate to Panama for training because Arcel was banned from coaching in the US. If Duran wants to succeed, he must perfect his technique under the world’s best trainer. “Boxing is a mental game. Prison is a mental state.”

 

The main difference between Mexican and Panamanian boxers is that Panamanian boxers are often trained to salsa music, which helps refine their movements and shape their fighting styles. For Panamanians, every Duran fight against an American opponent became a political showdown.

The differences between these two countries are clearly shown in the film. Duran represented hope for his people. The same people who suffered under American colonialism saw each of Duran’s championships as a chance to build strength and resilience.

 

Roberto Duran, alongside Muhammad Ali, Mike Tyson, and Julio Cesar Chavez, is considered one of the greatest boxers in history. Director Jonathan Jakubowicz (“Secuestro Express”) spent seven years bringing his vision to the big screen. The Venezuelan filmmaker wanted to tell the story of a Latino hero but had to wait for all the pieces to fall into place.

Director Jonathan Jakubowicz, photo by Jose Alberto Hermosillo, Copyrights @ Festival in LA 2016

As an outsider, the director was able to objectively portray the political turmoil and the conflict with the USA over ownership of the Panama Canal.

Filmmakers shot every fight with different lenses to recreate the authentic atmosphere of each period, making the film more believable.

In “Hands of Stone,” the actors nailed their characters.

Edgar Ramirez, playing Duran, is outstanding. He trained for nine months before fully immersing himself in the role and beginning the physical transformation needed to match the real-world champion’s level.

This is Robert De Niro’s best performance in years.

Celebrity star and well-known singer “Usher” Raymond IV, who has appeared in other impressive movies such as “The Faculty,” “In the Mix,” and “Light It Up,” is natural, charismatic, and exceptional. He portrayed the remarkable American champion Sugar Ray Leonard with remarkable conviction. 

Usher made the legendary boxer Sugar Ray Leonard seem more human than ever before.

The film’s hyper-realism diminishes the symbolism, as we never learn the origin of the nickname “Hands of Stone.”

In “Hands of Stone,” the transitions move seamlessly from the drama of the fights to the poverty of its people and the parallels with social and political conflict, then shift back to the humanity of the charismatic Latino hero, Duran. 

The famous “No Más Fight” took place on November 25, 1980, at the Louisiana Superdome in New Orleans, featuring Ray Leonard.

The outstanding performances compensate for the unbalanced, poorly structured script, a flaw that weakens much of the champion’s journey.

De Niro’s narration dominates the film, and we see too much of his character. Two compelling storylines compete with each other. For example, we did not need to know anything about Arcel’s unnatural junkie daughter because that doesn’t add anything to Duran’s story.

“Hands of Stone” is not a character-driven story; it’s more of an ensemble-cast plot, with other equally essential characters alongside the champion.

 

In 2013, Lee Daniels’ The Butler tells two compelling stories: one follows the life of the Butler inside and outside the White House, and the other follows his son, an anarchist member of the Freedom Riders fighting for Civil Rights in America. The title is not “The Butler & Son.” In Duran’s movie, the title is not “Hand of Stone & Ray Arcel.”

“Hands of Stone” is entertaining, likable, and exciting, but its delivery is confusing and unconvincing.

 

The significance of Duran’s movie lies in its portrayal of a real Latino hero, which seems almost impossible given the scarcity of positive Latino representation in Hollywood.

 

“Hands of Stone” is an inspiring film about the life, journey, and legacy of one of the greatest boxers in history, as seen by the Panamanian people and the world. It is worth watching.

Hands of Stone trailer:

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Copyright © 2016 Festival in LA