Posts tagged ‘y tu mama tambien’
Lionsgate’s Pantelion Films wants to do for Hispanic filmgoers what Tyler Perry has done for African-Americans. Is this progress?
When film executive Jim McNamara goes to a movie theater, he has trouble walking past Latino teenagers without stopping to ask what movie they saw and why they chose it. Even more than the newest nubile starlets, it is these bicultural, bilingual teens from Miami to Detroit whom Hollywood studios want. Latinos are the largest and fastest-growing minority group in the United States, and statistics from the Motion Picture Association of America indicate that they are big movie fans: In 2009, Latinos purchased 300 million movie tickets and went to more movies per capita than any other ethnicity.
Last fall, looking to attract the ever-growing number of Latino moviegoers, film studio Lionsgate partnered with Mexican media conglomerate Televisa on a new venture called Pantelion Films, which will release 8 to 10 movies a year, catering specifically to Latinos. With Pantelion, Lionsgate is attempting to replicate its success marketing Tyler Perry’s films — including the $297 million Madea franchise, featuring a crotchety matriarch played by Perry — to African-Americans.
“Latinos don’t see themselves reflected in Hollywood movies,” says McNamara, former (more…)
“Latin American cinema has reinvented itself once again” said Carlos Gutierrez, co-founding director of Cinema Tropical. Throughout the last ten years, Latin American filmmakers have established themselves as ambitious and clearly discernable voices in the cinematographic landscape.
This was the reason, according to Gutierrez, for bringing to life the first ever Cinema Tropical AWARDS that will be presented today at the TimesCenter in New York City. The presentation will honor ten distinguished film productions from the region.
Gutiérrez believes this is truly an exciting moment for Latin American cinema. An extensive list of young filmmakers has emerged from and gained international acclaim for their diverse, artistic, and innovative work. New York based Cinema Tropical—an established purveyor of Latin American cinema—hopes this cutting edge event will have international impact and will help draw even more attention to the creative output from Latin America.
This October, Cinema Tropical has organized a series of events celebrating Latin American cinema that kicked off last week with an insightful panel discussion with Chilean director Sebastián Silva (The Maid). It also includes the publication of a book of essays about the nominated films, a product of a special partnership between Cinema Tropical and Jorge Pinto Books.
The highlight of the ten-day program will be tonight’s AWARDS ceremony, with Triple nominated Lucrecia Martel from Argentina and Mexican director Carlos Reygadas to attend. (more…)
The words “blockbuster,” “Oscar,” and “sold out” don’t always enter into the genre of foreign film. But they did in Latin American movie-making in the last decade. Two films starring Mexican heart throb Gael García Bernal—the 2000 thriller Amores Perros and the 2001 romp about a romantic road trip, Y Tu Mamá También—raked in millions in their first weeks on the screen. City of God, the 2002 Brazilian film from directorial duo Fernando Meirelles and Kátia Lund, received four Academy Award nominations and had a later life as a TV show. Guillermo del Toro’s El laberinto del fauno (Pan’s Labyrinth), which looks at Spanish fascism through a magic realism lense, got three Oscars for his film in 2007. (more…)
In recent years, a significant number of fiction films produced in Latin America deal explicitly with inequality. Some of La Villa del Cine productions such as La clase display an explicit social message and a realist mode which contrast, on the one hand with the sophisticated aesthetics and sometimes metaphorical style of some of the most well-known third cinema fiction of the 1960s and 1970s; on the other, with classic realist films like Rodrigo D No Future (Víctor Gaviria, Colombia, 1990) or City of God (Fernando Meirelles, Brazil, 2002). The “realist mode with a message” also characterizes other films produced in countries across Latin America like Redentor (Claudio Torres, Brazil, 2004), La zona (Rodrigo Plá, Mexico, 2007) and Era uma vez (Breno Silveira, Brazil, 2008), to name just a few. (more…)
With its vibrant and varied national identities, a turbulent and sometimes tortured past along with its proud cultural heritage, Latin America has all the necessary ingredients for a rich tradition of cinema and film.
In the early years, the Latin American film industry was dominated by Mexico, which exported its enormously successful movies throughout the world. But over the second half of the 20th century, a number of other big film centers developed, in particular Cuba, Argentina and Brazil.
Throughout this period, filmmakers drew upon wide political and social influences, reflecting the often chaotic environments they were trying to reflect. Latin America’s prominent role within the non-aligned movement during the Cold War and widespread popular opposition to the giant northern neighbor helped influence the development of Tercer Cine, Third Cinema, as a backlash against Hollywood, US cultural dominance and capitalism.
Led by the Argentinean Grupo Cine Liberacion, but also driven by radicals in Cuba, (more…)
Mickey Rourke and Kim Basinger’s 9 1/2 Weeks has been voted the film with the sexiest moment in cinema.
The 1986 movie, which contains the couple infamous food frolics in front of a fridge, topped a poll by online rental service Lovefilm to find the films with the hottest scenes to celebrate Valentine’s Day, receiving 15 per cent of the vote.
Notoriously raunchy thriller Basic Instinct, starring Sharon Stone and Michael Douglas, came second, followed by Mexican movie Y Tu Mama Tambien, about two young boys who go on a road trip with an older woman. (more…)