Wednesday, September 13, 2017

Tempestad; is Mexico’s Selection for the 90th Academy Awards

By Jose Alberto Hermosillo
The award-winning documentary “Tempestad” has been chosen the official Mexican submission to the Oscars© for Best Foreign Language Film, 2018.
Tatiana Huezo, filmmaker, © 2017 Pimienta films 
The film directed by talented Salvadorian filmmaker Tatiana Huezo won the Ariel (the Mexican equivalent to the Oscar©) for Best Director, Best Documentary, Best Sound, and was nominated for Best Picture, 2017.

Tatania has been working in Mexico for quite some time. Her reputation as a visionary director has grown notability after her remarkable directorial debut in 2011 with the documentary “The Tiniest Place/El lugar mas pequeño.” In there, Huezo, beautifully detailed the footprints of survivors of El Salvador's civil war in the 1980's.

The Mexican Academy of Arts and Cinematographic Sciences made the announcement of its selection Wednesday morning, detailing that an individual committee composed of 123 voting members viewed 15 pre-selected works choosing "Tempestad."

The other 14 films include this year’s Cannes Un Certain Regard Jury Prize Michel Franco’s “April’s Daughters,” and last year’s Best Director at the Venice Film Festival Amat Escalante for his sexual-extraterrestrial-drama “The Untamed/La región salvaje.”

Other remarkable films on the list were “Nocturno” by Luis Ayhllon which was an official selection of the LA Film Festival, and the beautiful “Moonlight” like nostalgic production “I Dream in Another Language” screened at OUTFEST 2017.

2016 was a prosperous year for Mexican films, including the extensive line-up of outstanding documentaries such as the nostalgic box-office smash “Beauties of the Night/Bellas de Noche.” 

Also, “All Of Me/Llevate mis amores,” a marvelous human portrait of women helping 
the migrants from Central-America with food and first aid, who traveled through Mexico on top of the train named “The Beast/La bestia” on their way to the United States.

Another high-quality documentary was the one about a journalist photographing the chaos in the streets of Mexico, “The Man Who Saw Too Much.”

Finally, the beautifully shot “Plaza de la Soledad” by Maya Goded was also a good candidate.
"Tempestad" still © 2017 Pimienta films 
“Tempestad” is a heart-wrenching documentary that reflects the reality of the human trafficking in a country plagued by the infamous “war on drugs.” The film follows two unrelated storylines of women who are suffering the abuse of an endemic system where prostitution, corruption, bureaucracy, and drug dealing damage their lives.

The film submitted by Mexico has not been the only documentary on the competition. Last year, Italy presented “Fire at Sea” landing a nomination in a different category, Best Documentary Feature. In 2011, the German submission “Pina” by Wim Wenders had the same luck.


Every year, many countries submit documentaries to the Foreign Language Film category, hoping to get a nomination -- if they don’t, at least they have their voices heard in America. Perhaps the Academy will consider a new category: “The Foreign Language Documentary Feature.”
"Tempestad" still © 2017 Pimienta films 
“Tempestad” can qualify in other categories including Best Documentary Feature by getting one week of theatrical release in L.A. and N.Y.


In the past, three Mexican documentaries have been nominated for an Oscar© for Best Documentary Feature, “Torero!” by Carlos Velo, 1956. “The Olympics in Mexico” directed by Alberto Isaac, 1969. And “Promises,” directed by Carlos Bolado, a documentary about the lives of seven children during the Israeli-Palestinian conflict in 2001.

Recently, Mexican films competed in the international festival circuit receiving significant awards, rising in popularity worldwide.

In the Foreign Language Film category, Mexico has been nominated eight times and never won. 

In the last decade, the Mexican submissions have been surrounding the same recurrent themes: the war on drugs, immigration, and violence. For instance, “Backyard/El transpatio” in 2009, “Miss Bala” in 2011, “600 Milles” in 2015, “Desierto” in 2016, and “Tempestad,” 2017. 

Alfonso Cuarón's “Roma” could be Mexico's next best thing for next year. 

“Tempestad” has been released in Germany as “Sturmisches Land” and in France as “Tempte.” The French TV called it “Un pays dans la tourmente.” 

Finally, to send "Tempestad" to the Oscars© represents an enormous opportunity for a documentary to draw everybody's attention to the terrible condition of human trafficking, not only in Mexico but around the world.

 http://www.festivalinla.com/2018/08/the-best-latina-theme-movies-in-america.html  

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Copyright © 2017 Festival in LA 

Friday, September 1, 2017

Polina: From Classic Russian Ballet to the World of Contemporary Dance

By José Alberto Hermosillo

Inspiring and beautiful, “Polina,” or in French, “Polina, danser sa vie,” recounts the incredible journey of a young Russian ballerina with big dreams and great expectations. 

“Polina” still courtesy of Oscilloscope Laboratories© 2017 

Based on the graphic novel by Bastein Vivès, “Polina” opens with an unforgettable, recurring image of a seven-year-old girl performing in the woods.

Polina grows into a beautiful teenager. With discipline and talent, she continues to develop as a ballerina at a prestigious Academy in Moscow.

“Polina” still courtesy of Oscilloscope Laboratories© 2017 

At the Academy, Professor Bojinski’s military methods make Polina’s life more stressful. The tutor challenges his pupils with pain and strict discipline. “A real artist always longs for perfection,” he says.

The Bolshoi Ballet is one of the most significant contributions to Russian culture, a national symbol of pride. Every year, many young aspiring Russian dancers compete to be part of it. The Bolshoi is the ultimate goal. Polina is not the exception. She, as well, will do the impossible to be part of the most prestigious dance company in the world.

“Polina” still courtesy of Oscilloscope Laboratories © 2017 

In life, love always plays a tricky game—Polina falls for Adrien, played by Niels Schneider (“Heartbeats,” “I Killed My Mother”), a charming French dancer who introduces her to the world of contemporary dance.

In France, Polina lands in the hands of a famous modern dance guru named Liria Elsaj, played by Oscar-winning Juliette Binoche (“The English Patient”).

Binoche is a chameleon of an actor who transforms herself into an extraordinary character with perfection in every film. 

Liria is a professional coach who demands that her talented dancers tap into the best of their inner selves if they want to continue pursuing their dreams.

She firmly believes, “When you dance, it is important to feel the absence of someone you love.” 

She continues, “An artist observes, looks around, and masters his technique. A real artist is always looking for perfection. You must learn your craft and be ready for your big moment.”

In the streets, Polina bounces with the underground dancers of Paris, the unprivileged, marginalized immigrants who like to dance to contemporary music in the free spaces, plazas, and alleys. She is amazed to see the dancers moving with the freedom she never had. 

Jérémie Bélingard is a real-life star of the Paris National Opera. He plays a motivator who helps troubled kids improve through modern dance with striking techniques. 

“Polina” still courtesy of Oscilloscope Laboratories© 2017 

Bélingard’s presence is sublime. His interaction with Polina marks a turning point in the story and gives Polina’s life real meaning. 

For the role of Polina, directors Angelin Preljocaj and Valérie Müller-Preljocaj auditioned 700 dancers before they discovered Anastasia Shevtsova at the Mariinsky Theater in Saint Petersburg.


Anastasia Shevtsova is a real virtuoso. Her breakthrough performance in “Polina” is extraordinary - she has exceptional acting abilities and professional dancing skills.

“Polina” graces some of the most stunning locations across Russia, France and Belgium. The gorgeous cinematography is by George Lechaptois. He displays Polina’s world with elegance and beauty.

The original music score is by 79D. “Polina’s” musical evolution seamlessly goes from the classics to the contemporary sounds of modern dance.

“Polina” is enjoyable and original, and it breaks conventions, although the editing could be more timely, with smoother transitions to lend the film a sense of modernity.

Polina’s final conflict is within herself—she has to make important decisions about her life. Will she play a character in “The Nutcracker,” perhaps in “Snow White,” or will she merely perform herself in contemporary ballet?

Remember, the best role of your life is the one where you can be yourself.


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Copyright © 2017 Festival in LA 

Friday, August 11, 2017

16 Latino Submissions for the Academy Awards® 2017

By José Alberto Hermosillo,
This year, many great films from all over the world submit for consideration in the Best Foreign Language Film category, a record number of 85 films had the requisites to claim one Oscar.

Notably, 2017 is not a good year for the Latino productions. Most of those submissions have no possibilities to compete with the European productions in contention. 
The list of best foreign films includes legendary directors and some favorites to get a nomination. Paul Verhoeven for "Elle" representing France. Oscar winner Iranian director Asghar Farhadi for "The Salesman." Xavier Dolan for "It's Only the End of the World" from Canada, and the German festival sensation "Tony Erdmann," or the Swiss animation "My Life as a Zucchini."
The Latino-American countries have to learn what kind of movies the Academy is looking for, to choose better and more competitive films. 

We need to have those films screening in Los Angeles, New York, and San Francisco, where the members of the Academy are. Also, they need to invite more press to review our films and meet the filmmakers. Still, a lot of work to do to reach Universality for Latino films

What is important is that the Latino Submissions have to be watched by more Academy members and also by the Latino community, just to appreciate the excellent representation of the Latino culture in films. 

The Latino submissions are hard to catch at regular movie theaters, but we have to watch them somehow.  

ARGENTINA
THE DISTINGUISHED CITIZEN/ 
El ciudadano ilustre
Dir. Gastón Duprat and
Mariano Cohn,
Spanish.














BOLIVIA
SEALED CARGO/
Carga Sellada
Dir. Julia Vargas-Weise,
Spanish.

















BRAZIL
SMALL SECRET/
Pequeno segredo
Dir. David Schurmann,
Portuguese.




















CHILE
Dir. Pablo Larrain,
Spanish.






















COLOMBIA
ALIAS MARIA/
Alias María
Dir. José Luis Rugeles Gracia,
Spanish.




















COSTA RICA
ABOUT US/
Entonces Nosotros
Dir. Hernan Jimenez
Spanish.
























CUBA
THE COMPANION/
El acompañante 
Dir. Pavel Giroud,
Spanish.




















DOMINICAN REPUBLIC
FLOR DE AZÚCAR/
Sugar Flower
Dir. Fernando Baez Mella,
Spanish.





















ECUADOR
SUCH IS LIFE IN THE TROPICS
Sin muertos no hay carnaval
Dir. Sebastián Cordero,
Spanish.



MEXICO
DESIERTO
Dir. Jonás Cuarón,
Spanish, English.




















PANAMA
SALSIPUEDES
Dir. Ricardo Aguilar Navarro and
Manuel Rodríquez,
Spanish.
PERU
VIDEOPHILLIA (AND OTHER VIRAL SYNDROMES).
Dir. Juan Daniel Frenández,
Spanish, English.




















PORTUGAL
LETTERS FROM WAR
Dir. Ivo M. Ferreira,
Portuguese.






















SPAIN
JULIETA
Dir. Pedro Almodóvar,
Spanish.
URUGUAY
BREADCRUMBS/
Migas de pan
Dir. Manane Rodriguez,
Spanish.


















VENEZUELA
Dir. Lorenzo Vigas,
Spanish.

 


















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Copyright © 2016 Festival in LA

Friday, July 28, 2017

Endless Poetry: The Atypical Universe of Alejandro Jodorowsky

By José Alberto Hermosillo

“Endless Poetry” is a visual feast for the soul and a cinematic masterpiece.
                                               
In his latest and most personal film, Alejandro Jodorowsky recounts his adolescent years in Tocopilla, Chile, as part of a traditional immigrant Russian-Jewish family, using his unique, fascinating, and surrealist style of storytelling.

The poet, writer, filmmaker, philosopher, and accomplished artist Jodorowsky expresses himself in the only way he can, through writing.


One of the first and most severe actions any individual must take is to cut off the genealogical tree—an actual act of bravery required to become independent.

Endless Poetry, Photo courtesy of Abkco Records/Films

Many of the conversations young Jodorowsky (played by his son, Adam Jodorowsky) has with his Alter Ego (played by Alejandro) involve extraordinary philosophical concepts that manifest as symbolism. 
 
By taking off the mask imposed by society, the poet must be bold enough to express his emotions clearly.

The poems become shapes and forms, colors and sounds, integrating perceptions of love, greed, spirituality, cowardice, bravery, identity, sexuality, homosexuality, friendship, honesty, fidelity, and desire.
 
Escorted by other artists, musicians, dancers, contortionists, painters, architects, and writers, the poet’s journey is always a quest for spiritual freedom. 


Endless Poetry. Photo courtesy of Abkco Records/Films
Meeting the established Chilean poets Pablo Neruda and Nicanor Parra was a remarkable experience in Jodorowsky’s life that led to a close friendship, especially with Nicanor. Their relationship mirrored that of Emile Zola and Paul Cezanne centuries earlier, as depicted in Daniele Thomson’s French biopic “Cezanne et moi.”

The film’s score is haunting. The music composer is Alejandro’s son, Adam Jodorowsky, who also plays the lead role in this film and in many of his father’s projects, such as “The Dance of Reality” (2013) and “Santa Sangre” (1989).

Alejandro’s vivid imagination is influenced by his Chilean heritage and the cultures of the countries he lived in—Mexico, France, and Spain. His Jewish, Russian, and Latin roots blend together, reflecting a high degree of sophistication in his Corpus de Obra (body of work).


Jodorowsky’s filmmaking technique is exceptional, comparable to the works of the Colombian artist Botero or the Mexican muralist José Chavez Morado.

 

“Shut-up! Poets don’t give explanations.” Alejandro shouts, making a powerful statement against self-censorship.

 

Jodorowsky is not afraid to expose his soul in the nakedness of the body. In writing, those inhibited thoughts must go. Remember, poetry is food for the soul.

 

The poet is always seeking his own identity.

 

A muse is essential to the poet’s inspiration. In Jodorowsky’s case, she was the mature woman who shaped his life into adulthood. She was the one who seduced him into his first sexual experience and, furthermore, into an eye-opening fetishist ritual and other perversions.


Endless Poetry. Photo courtesy of Abkco Records/Films

The need for attention and dependence on affection shaped his life, but he didn’t fall until she broke his heart. She was also the same unconventional woman who inspired Nicanor Parra’s poems.
 
After a fire, desolation is all that remains. The only badge an artist can carry is the intellect within - hate, jealousy, and guilt. But emptiness brings depression. Suicide is a constant thought for many artists who have not succeeded.
 
Other artists inspire love and respect. Artists help discover the beauty in life. Artists can turn the music up and start the party with joy and happiness. Excess of freedom can turn into anarchy.
 
Finding legitimacy in the tarot is not an esoteric act of sorcery or an empirical labor of witchcraft; it could also bring hope to the artistic community.
 
Overindulgence brings remorse. With faith, artists must confess all their sins, and nothing is irrelevant, finding comfort in religious conviction.
 
A poet can get the “Rock Star treatment” from friends, fans, and strangers. After all, poetry is an illusion, and life is a game.

Endless Poetry. Photo courtesy of Abkco Records/Films
The circus is another critical component in Jodorowsky’s films. In the chaos, we can find elements of illusion and hypnotic colors. The implausible animals are becoming part of the story as well. 

Let’s not forget the multifaceted clowns who awaken destructive emotions in the audience, where anxiety can confront happiness and amusement.

The circus has a unique sense of an eternal “fiesta” that keeps everybody’s spirit alive.

At the end of the 1960s, the world’s political arena was full of paranoia - “The Cold War was still cold,” Alejandro remembers.

The repression of the artists and intellectuals by the Chilean government was constant.

Burning the material elements of his childhood in his parents’ house represents a painful goodbye to his past – another act of liberation, heralding a brighter future.

Endless Poetry. Photo courtesy of Abkco Records/Films

The film’s glorious moment arrives with a colossal Carnival. There, hundreds of dazzling Red Devils and White Skeletons dance in a monumental cacophony of color and rhythm - the infectious Latin beat of the catchy cumbia song makes everybody feel like dancing.

 

Then a profound reflection unfolds as Jodorowsky states, “I can’t change the world, but I can start changing myself - I will burn the bridges down.”

 

Due to the political anticlimax in Chile, Jodorowsky makes a painful decision to say “Adios” to the people he loves and to leave the country by taking a boat into eternal exile. 


Endless Poetry. Photo courtesy of Abkco Records/Films

The nostalgic farewell moment comes from the traditional goodbye song “La barca de oro/The Golden Boat.” With Paris in mind, destiny will take him elsewhere. For instance, Mexico was the country that helped him start his career as a filmmaker. With that location in mind, he may continue the trilogy he began with “The Dance of Reality.”


Jodorowsky’s recurring themes are universal. His distinctive style of filmmaking has remained consistent since his controversial first work, “Fando and Lis,” and has persisted through “El Topo,” “The Holy Mountain,” and “Santa Sangre.”

“Endless Poetry” can be compared to other works of fantasy, surrealism, and existentialism, such as Julie Taymor’s “Titus” (1999) and “Frida” (2002), Alejandro G. Iñarritu’s Best Picture Oscar-winning “Birdman” (2014), Tarsem Singh’s “The Fall” (2006), Peter Greenaway’s “Eisenstein in Guanajuato” (2015), and the French production “Slak Bay” (2016), directed by Bruno Dumont. 

It is worth mentioning Terrence Malick’s “The Tree of Life” (2012) and “Knight of Cups” (2015); Jaco Van Dormael’s “Mr. Nobody” (2013); and the Polish high-spirited masterpiece “Field of Dogs/Onirica” by Lech Majewski (2014). Those eccentric titles follow a pattern of enormous philosophical concepts that seek to explain the meaning of life in movies.

Jodorowsky’s style, as reflected in “Endless Poetry,” can be compared to the works of other great masters of cinema, such as Pasolini, Luis Buñuel, Federico Fellini, or even David Lynch. The truth is, “Endless Poetry” is a very Jodorowsky film in every sense.


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Copyright © 2017 Festival in LA