Posts tagged ‘latin american films’
31 fictional features from 23 countries will provide insights into contemporary world cinema production, and this includes a number of works just invited from Turkey, Indonesia, India, Taiwan and the Ivory Coast. (more…)
A couple opposed to the injustice of modern Mexico through music and activism commit to an act of ‘poetic terrorism’. A potent punk statement on underground culture and the extent to which middle class kids can really reject their roots.
Director: Kyzza Terrazas
LATAM FILM is proud to introduce LATIN AMERICAN MOVIES DATABASE and LATAM FILM PORTAL your one stop for the Latin American Film Industry
Latam Film has merge their experience in the world of marketing and promotion with the new technologies to offer you the bilingual Portal from which you will be able to:
– Create your own film portfolio as a independent filmmaker or distribution/sale company (more…)
Alejandro A. Riera, of the Chicago Latino Film Festival, on giving Latin American cinema the respect it deserves
As we celebrate our third year with GFI, Global Lens Series Manager Jeremy Quist asked me to reflect on the state of Latin American film distribution in the United States. And the more I thought about the subject, I found myself asking: When will Latin American cinema get the respect it deserves?
Yes, our cinema has an illustrious history that dates back to the silent era and includes such high points as the Golden Age of Mexican Cinema; the rise of Brazil’s Cinema Novo movement in the 50s and 60s; the emergence of post-Revolutionary Cuban cinema in the 60s and 70s; and, more recently, what some critics describe as the “New Argentinean Cinema.” And yet, even when countries such as Ecuador, Bolivia and Venezuela — not exactly film production powerhouses — are coming out with powerfully moving visual (more…)
A year goes by and we have all finished as usual with the same feeling: Which was the best film we saw this year? Well, it is quite hard to say.
If there was one Latin film in 2011 that marked the year for Latin American Cinema, it is with no doubt Las Acacias from Argentina, directed by Pablo Giorgelli. After premiering at the Critics’ Week at Cannes and winning the award for best first film, Las Acacias went on to win the award for best film at Biarritz, Horizons award in San Sebastian, best first film in London, and many, many other awards and selections in a large number of film festivals.
After the success of Las Acacias, there were many other Latin films selected at the main festivals such as (more…)
It’s hard to name a specific year as the launching-point of the renaissance that Latin American cinema has experienced over the past decade. What is hardly debatable, however, is the significant increase in exposure and presence that the cinema from that region has accomplished in such a time-span. The last ten years have proved to be tremendously influential for Latin American films and the people who make them, providing opportunities that were unimaginable a generation before. Previously hindered by an imposing multitude of production difficulties, the films that were able to get made would face the near impossible task of finding screens at home and abroad. This is hardly the case today, and New (more…)
This top 10 list is Hollywood 100%. The major studios constitute a completely different business from the indies. They can carry on business as usual, luxuriating in the ease of releasing without sweating too much over originality or innovation. They are expanding with their big budget films into the realms of transmedia to brand their films across toys, games, webisodes, telecom shorts, clothing, TV series, etc. They own real estate and the means of distribution if not of production. The reason they are mentioned here be me at IndieWIRE is that their presence determines the world market on many levels. On the face of it, there is no relationship, especially moneywise, between the uber wealthy majors and the hungry struggling independents. But the pie is shared even with the runts and this article explores how the majors’ shares impact upon the indies of the world.
The international theatrical revenues of major studio films and indies are worth looking at because the majors’ presence abroad—as at home—inevitably impacts worldwide film distribution for all films. Most obvious is that their mega releases reduce the number of screens available to the indies. Theaters are recognizing that this may not be in their best interest. Megaplexas are increasingly reserving one or two screening rooms for the indies and arthouses, at least in the U.S. are holding convergence discussions. But that is another story taking place on a different front.
Latin American cinema (subsidized by their countries) is now gaining subsidy money for international co production and distribution from Europe as well. The need to pay back investors is less important than it is to their U.S. indie filmmaker colleagues.
Read the rest of the entry at Indiewire