Saturday, September 17, 2016

KICKS: KIDS OF COLOR ROAMING IN SUBURBIA

By José Alberto Hermosillo,  


“Kicks” is one of the year’s best and freshest independent films, yet it is ingenious and original. 
 
This new coming-of-age story builds tension over eighty minutes as characters survive in America’s slums.  
 
Courtesy of Focus Features

The first fifteen minutes of the film feel like the most extended Nike Air Jordan commercial ever. This story is not about an ordinary tennis shoe; it is about “THE JORDANS.”

Once the main character starts looking for what is worth in life, the action takes off.

Courtesy of Focus Features

In the suburbs of Oakland, California, we meet Brandon (Jahking Guillory), an introverted teenager who likes to hang out with his older buddies, Rico (Christopher Meyer) and Albert (CJ Wallance). They love to smoke, drink, and rap.

After being beaten up in a humiliating incident, Brandon and his friends set out on a quest to recover his most prized possession, his stolen tennis shoes.

A confrontation like that happens all the time, anywhere; it is real - people can get killed over a backpack.

Courtesy of Focus Features


In “Kicks,” the city is one of the main characters.

The teen drama moves from a small, impoverished ghetto to a more significant and more dangerous part of the town, where the big boys play with huge cars, easy girls, loaded guns, and plenty of drugs. 
 
Courtesy of Focus Features

While the meanest guy in the “barrio,” Flaco (Kofi Siriboe), physically abuses Brandon (14), his five-year-old is also being abused.  

Flaco is played by Kofi Siriboe. Courtesy of Focus Features
 
Flaco tries to teach a lesson to his son, but he has no moral authority over him - this is a fundamental element woven through the plots and subplots of the movie.
 
“Kicks” underlines a cycle of abuse. The irony comes when someone preaches respect while failing to respect the vulnerable. 
 
Courtesy of Focus Features

The young actors in “Kicks” are terrific. They had fun working with director Justin Tipping.

Justin said, “I was terrified the first day of shooting! It was a weird experience, and at the same time, it was incredible to work with all those talented kids.”
 
Director, co-writer Justin Tipping, Photo by José A  Hermosillo, Copyright Festival in LA, 2016 

“Kicks” is a remarkable film debut for director Justin Tipping.

The film’s musical evolution unfolds the drama.

The director cleverly incorporates hip-hop early on to foreshadow the rap that plays later, showing the transformation of a fragile teenager into a robust young adult.


Jahking Guillory as Brandon, Photo by José A Hermosillo, Copyright Festival in LA 2016

In other parts of the world, some movies about troubled kids have been made in a similar tone. For example, the award-winning Mexican production “Güeros,” last year’s independent sensation “Dope,” the Oscar-winning “Tsotsi” from South Africa, “My Brother the Devil” from the U.K., and the iconic “Boys n the Hood” by John Singleton.

A ray of hope shines in the desolate universe of “Kicks,” where friendship remains unbroken.

The film is slightly predictable but satisfies the audience, who cheer for the main character, the vulnerable teen who wants to take justice into his own hands. Whether he succeeds or not, it is worth trying. 



Related Articles: 

Copyright © Festival in LA, 2016

Monday, September 12, 2016

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

By José Alberto Hermosillo

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

“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.”

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.


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

Copyright © Festival in LA 2016

Sunday, September 11, 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.

Follow us on Twitter 
Like us on Facebook

Related Articles:

25 Great Foreign Films that Did Not Get Distribution in US Theaters

“Cezanne and I” An Extraordinary Journey of Art and Friendship

“Elle” The New “Basic Instinct” with a “French Twist”

“My Life as a Zucchini” The Beautiful Animated Life of a Little Swiss Boy

“Neruda” Runaway Poet

“Colossal” Not Your Typical “Godzilla” Movie

MEXICO'S "THE NIGHT GUARD" WINS LA FILM FESTIVAL

15 Must-See French Films at COLCOA 2017

10 The Best Latino Performances of 2016 And Their Absence From The Nominations

                                                                                Copyright © Festival in LA, 2016

Thursday, September 8, 2016

No Manches Frida: L.A. Premiere Exclusive Photos

By Jose Alberto Hermosillo

No Manches Frida, LA Premiere
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
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
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
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.

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

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

 

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

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

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

No Manches Frida, LA Premiere. Photo by Jose A Hermosillo. © Copyrights 2016
Karla Souza "Nosotros los Nobles," Sundown," "¿Qué culpa tiene el niño?").Photo by Jose A Hermosillo. © Copyrights 2016

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

Copyright © Festival in LA, 2016