lunes, 31 de julio de 2017

The 21st Century's 100 greatest films. BBC Culture


The 21st Century's 100 greatest films




"Mulholland Drive" (2001). David Lynch
Naomi Watts (Betty / Diane Selwyn) and Laura Elena Harring (Rita / Camilla Rhodes)


 Soy de los que creen que el cine murió en el siglo XXEmir Kusturica así lo sostiene. De la lista que a continuación muestro no comulgo con casi ninguna de las películas. Es un escándalo que la excelsa "Les glaneurs et la glaneuse" de Agnès Varda figure en el puesto 99, y que Béla Tarr esté perdido en los puestos 56 y 63. Que el bodrio "The Tree of Life" de Terrence Malick esté en el puesto 7 ya dice mucho de los gustos de la crítica aquí reunida. Cine español brilla por su ausencia ("Hable con ella" es la única), y tampoco hay que digamos demasiado cine francés (por ejemplo la maravillosa "Stella" de Sylvie Verheyde ni siquiera aparece). En cambio aberraciones audiovisuales de efectos digitales vacuos abundan (Christopher Nolan). Las cuotas (África: Abderrahmane Sissako; cine femenino; cine ruso; cine del Este; cine asiático...) están bien equilibradas, pero eso no responde necesariamente al mejor cine.

"花樣年華" (Fa yeung nin wa) (In the Mood for Love) (2000). 英文名 (Wong Kar-Wai)
"Deseando amar"


 "The editors of BBC Culture, decided to commission a poll of critics to determine the 100 greatest films of the 21st Century. Last year, we asked critics to name the greatest American films of all time, and we were surprised that only six films made since 2000 made the top 100. Is there a feeling that time sanctifies a classic? Perhaps. But this time, we wanted to prove that this century has given us films that will stand the test of time, that you will continue to think about and argue about if only you give them a chance and watch them.

 For our poll to determine the 100 greatest American films, we surveyed 62 film critics from around the world. This time, we received responses from 177 – from every continent except Antarctica. Some are newspaper or magazine reviewers, others write primarily for websites; academics and cinema curators are well-represented too. For the purposes of this poll we have decided that a list of the greatest films of the 21st Century should include the year 2000, even though we recognise that there was no ‘Year Zero’ and that 2001 is mathematically the start of the century. Not only did we all celebrate the turn of the millennium on 31 December 1999, but the year 2000 was a landmark in global cinema, and, in particular, saw the emergence of new classics from Asia like nothing we had ever seen before.

 We believe that the new classics on this list are destined to become old classics. Whether or not that happens is ultimately up to you, the moviegoers. But one thing is certain: cinema isn’t dying, it’s evolving"



"There Will Be Blood" (2007). Paul Thomas Anderson
"Pozos de ambición"



100. Toni Erdmann (Maren Ade, 2016)

100. Requiem for a Dream (Darren Aronofsky, 2000)

100. Carlos (Olivier Assayas, 2010)

99. The Gleaners and I (Agnès Varda, 2000)

98. Ten (Abbas Kiarostami, 2002)

97. White Material (Claire Denis, 2009)

96. Finding Nemo (Andrew Stanton, 2003)

95. Moonrise Kingdom (Wes Anderson, 2012)

94. Let the Right One In (Tomas Alfredson, 2008)

93. Ratatouille (Brad Bird, 2007)

92. The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik, 2007)

91. The Secret in Their Eyes (Juan José Campanella, 2009)

90. The Pianist (Roman Polanski, 2002)

89. The Headless Woman (Lucrecia Martel, 2008)

88. Spotlight (Tom McCarthy, 2015)

87. Amélie (Jean-Pierre Jeunet, 2001)

86. Far From Heaven (Todd Haynes, 2002)

85. A Prophet (Jacques Audiard, 2009)

84. Her (Spike Jonze, 2013)

83. A.I. Artificial Intelligence (Steven Spielberg, 2001)

82. A Serious Man (Joel and Ethan Coen, 2009)

81. Shame (Steve McQueen, 2011)

80. The Return (Andrey Zvyagintsev, 2003)

79. Almost Famous (Cameron Crowe, 2000)

78. The Wolf of Wall Street (Martin Scorsese, 2013)

77. The Diving Bell and the Butterfly (Julian Schnabel, 2007)

76. Dogville (Lars von Trier, 2003)

75. Inherent Vice (Paul Thomas Anderson, 2014)

74. Spring Breakers (Harmony Korine, 2012)

73. Before Sunset (Richard Linklater, 2004)

72. Only Lovers Left Alive (Jim Jarmusch, 2013)

71. Tabu (Miguel Gomes, 2012)

70. Stories We Tell (Sarah Polley, 2012)

69. Carol (Todd Haynes, 2015)

68. The Royal Tenenbaums (Wes Anderson, 2001)

67. The Hurt Locker (Kathryn Bigelow, 2008)

66. Spring, Summer, Fall, Winter…and Spring (Kim Ki-duk, 2003)

65. Fish Tank (Andrea Arnold, 2009)

64. The Great Beauty (Paolo Sorrentino, 2013)

63. The Turin Horse (Béla Tarr and Ágnes Hranitzky, 2011)

62. Inglourious Basterds (Quentin Tarantino, 2009)

61. Under the Skin (Jonathan Glazer, 2013)

60. Syndromes and a Century (Apichatpong Weerasethakul, 2006)

59. A History of Violence (David Cronenberg, 2005)

58. Moolaadé (Ousmane Sembène, 2004)

57. Zero Dark Thirty (Kathryn Bigelow, 2012)

56. Werckmeister Harmonies (Béla Tarr, director; Ágnes Hranitzky, co-director, 2000)

55. Ida (Paweł Pawlikowski, 2013)

54. Once Upon a Time in Anatolia (Nuri Bilge Ceylan, 2011)

53. Moulin Rouge! (Baz Luhrmann, 2001)

52. Tropical Malady (Apichatpong Weerasethakul, 2004)

51. Inception (Christopher Nolan, 2010)

50. The Assassin (Hou Hsiao-hsien, 2015)

49. Goodbye to Language (Jean-Luc Godard, 2014)

48. Brooklyn (John Crowley, 2015)

47. Leviathan (Andrey Zvyagintsev, 2014)

46. Certified Copy (Abbas Kiarostami, 2010)

45. Blue Is the Warmest Color (Abdellatif Kechiche, 2013)

44. 12 Years a Slave (Steve McQueen, 2013)

43. Melancholia (Lars von Trier, 2011)

42. Amour (Michael Haneke, 2012)

41. Inside Out (Pete Docter, 2015)

40. Brokeback Mountain (Ang Lee, 2005)

39. The New World (Terrence Malick, 2005)

38. City of God (Fernando Meirelles and Kátia Lund, 2002)

37. Uncle Boonmee Who Can Recall His Past Lives (Apichatpong Weerasethakul, 2010)

36. Timbuktu (Abderrahmane Sissako, 2014)

35. Crouching Tiger, Hidden Dragon (Ang Lee, 2000)

34. Son of Saul (László Nemes, 2015)

33. The Dark Knight (Christopher Nolan, 2008)

32. The Lives of Others (Florian Henckel von Donnersmarck, 2006)

31. Margaret (Kenneth Lonergan, 2011)

30. Oldboy (Park Chan-wook, 2003)

29. WALL-E (Andrew Stanton, 2008)

28. Talk to Her (Pedro Almodóvar, 2002)

27. The Social Network (David Fincher, 2010)

26. 25th Hour (Spike Lee, 2002)

25. ​Memento (Christopher Nolan, 2000)

24. The Master (Paul Thomas Anderson, 2012)

23. Caché (Michael Haneke, 2005)

22. Lost in Translation (Sofia Coppola, 2003)

21. The Grand Budapest Hotel (Wes Anderson, 2014)

20. Synecdoche, New York (Charlie Kaufman, 2008)

19. Mad Max: Fury Road (George Miller, 2015)

18. The White Ribbon (Michael Haneke, 2009)

17. Pan's Labyrinth (Guillermo Del Toro, 2006)

16. Holy Motors (Leos Carax, 2012)

15. 4 Months, 3 Weeks and 2 Days (Cristian Mungiu, 2007)

14. The Act of Killing (Joshua Oppenheimer, 2012)

13. Children of Men (Alfonso Cuarón, 2006)

12. Zodiac (David Fincher, 2007)

11. Inside Llewyn Davis (Joel and Ethan Coen, 2013)

10. No Country for Old Men (Joel and Ethan Coen, 2007)

9. A Separation (Asghar Farhadi, 2011)

8. Yi Yi: A One and a Two (Edward Yang, 2000)

7. The Tree of Life (Terrence Malick, 2011)

6. Eternal Sunshine of the Spotless Mind (Michel Gondry, 2004)

5. Boyhood (Richard Linklater, 2014)

4. Spirited Away (Hayao Miyazaki, 2001)

3. There Will Be Blood (Paul Thomas Anderson, 2007)

2. In the Mood for Love (Wong Kar-wai, 2000)

1. Mulholland Drive (David Lynch, 2001)



viernes, 28 de julio de 2017

"El secreto libre" (2016). Horacio Florentín. Cine independiente argentino


"El secreto libre" (2016). Horacio Florentín
Cine independiente argentino




"El secreto libre" (2016). Horacio Florentín


 Realizada con la colaboración de los compañeros del Cluster Audiovisual de la Provincia de Buenos Aires, en el marco del el proyecto "Talento Integrado" que proponía rodar una película en 5 días, con toda la factura técnica posible.

"El secreto libre" (2016). Horacio Florentín


El secreto libre
Argentina  2016
Dirección : Horacio Florentín
Guion: Horacio Florentín
Adaptación: Obra de teatro "El Secreto libre" de Charlie Gerbaldo
Actores : Scarlett  Jaimes, Nahuel  Yotich, Luis Ziembrowski,  Rodolfo Avalos, Estafania  Danna, Ruben Bagliani
Coproducción : José Celestino Campusano
Jefe de Producción : Diego Napoli
Fotografía : Federico Jacobi
Asistente de dirección : Martin Santamaría 
Música original : Rubén Bagliani
Sonido directo : Assiz Alcaraz / Nahuel Reyes Sosa
Dirección Arte y Vestuario :  Micol Metzner / Verónica Velazquez
Montaje : Horacio Florentín
Posproducción de Sonido: Alud Arte Sonoro - Assiz Alcaraz / Nahuel Reyes Sosa
Postproducción de color: Hellkin Cine Post - David Alexander Vargas


"El secreto libre" (2016). Horacio Florentín


Sinopsis : Una pareja de jóvenes militantes de una agrupación política es secuestrada durante la ultima dictadura militar argentina, sufriendo las consecuencia previstas,  se conocen por casualidad a través de unos  caños en desuso, allí nace el amor, dándose esperanzas y aliento. Sus captores de alguna manera también denotan el hastió del encierro. Inspirada en hechos reales.

"El secreto libre" (2016). Horacio Florentín
MARFICI. Festival Internacional de Cine Independiente de Mar del Plata (Argentina)
Sala Roxy. San Luis 1750. Mar del Plata
Martes 8 de agosto de 2017. 16:00 horas
Proyección y charla con el director Horacio Florentín


Besta kvikmyndir Íslands - Best Film of Iceland - Mejores películas islandesas


Besta kvikmyndir Íslands - Best Film of Iceland
Mejores películas islandesas




"Börn náttúrunnar" (Children of Nature) (1991). Friðrik Þór Friðriksson


"Börn náttúrunnar" (Children of Nature) (1991). Friðrik Þór Friðriksson

Children of Nature is not a flawless film but it‘s magic far outstrips it‘s flaws and hasn‘t been bettered before nor since. The film somehow captures the essence of being Icelandic, an essence that seemst to be vanishing but is captured in this film.
Árni Þórarinsson, novelist and former film critic

Children of Nature has not been bettered yet. It‘s Iceland‘s Tokyo Story. Although Friðrik Þór doesn‘t reach the level Ozu does he also deals with the inevitable sorrow of life in a sensitive and powerful way. The Icelandic film that comes closest to equal the best of European cinema.
Jóhann Helgi Heiðdal, philosopher and movie critic at Starafugl


"Sódóma Reykjavík" (Remote Control) (1992). Óskar Jónasson


I think Remote Control is the best Icelandic movie simply because it’s the most entertaining Icelandic movie I’ve seen and because I think it succeeds pretty much perfectly at what it’s aiming to do. It’s funny and clever and original and memorable, filled with colorful and vibrant characters. Director Óskar Jónasson has fun with form and blends Hollywood clichés nicely into Icelandic surroundings. The film is also well shot and edited and full of great music. But overall it’s chock full of quotable lines and thus sits with you long afterwards. Remote Control is a film you can watch again and again, isn’t that what good movies should make you do?
Atli Sigurjónsson, film critic at Klapptré

It‘s almost impossible to choose the best Icelandic film. Children of Nature, Life in a Fishbowl, Angels of the Universe and Metalhead all spring to mind. But Remote Control somehow always sticks out from the crowd. You feel something special just happened on set, it‘s like everything came together. The film just works perfectly. A spectacular script, unforgettable characters and great music. Such a film will never be made again. 10 out of 10.
Jóhann Bjarni Kolbeinsson, journalist at RÚV, the national broadcaster


"
79 af stöðinni" (The Girl Gogo) (1962). Erik Balling
 

The film‘s atmosphere is what stays with me, darkness and beauty at the same time and of course the wonderful actors and the great music. The film is also a really good document about the post-war era in Iceland.
Dögg Mósesdóttir director and chairman of WIFT (Women in Film and Televison)


"
Með allt á hreinu" (On Top) (1982). Ágúst Guðmundsson


There are many good films to choose from and in fact it‘s impossible to name the best film. Many come to mind, for example Children of Nature, Noi the Albino, Remote Control, Angels of the Universe… but the one I first think of, and is probably a terribly unoriginal choice, is On Top. It increases happiness, the humour is delightful, the music is great and the lyrics are exceptional. „Fram þær reiddu hálfmána og kex og astraltertur sex“ [lyrics that are quite impossible to translate properly, dealing with intergalactic astral cakes and crescents] and so on. And you can‘t forget the Grýlurnar, two fine bands did battle in the film, Stuðmenn and Grýlurnar / Gærurnar [the film name of Grýlurnar] and the blend is perfect. The phrases come rolling and so it goes, on and on.
Helgi Snær Sigurðsson, cultural journalist at daily Morgunblaðið

"Benjamín dúfa" (Benjamin Dove) (1995). Gísli Snær Erlingsson


I am certain we’ve yet to see the best Icelandic film, our film history grows stronger by the year. But to name one film I decided not to include any from the last decade or so, you never know how those films will age. The one I went for is Gísli Snær Erlingsson‘s Benjamin Dove, adapted from Friðrik Erlingsson’s novel. A bittersweet and beautiful film that has all the things the great films have, a strong script, fine acting, great cinematography and great music. All this creates a very solid atmosphere, films are such a jigsaw puzzle to put together and hear all the pieces fall together. But principally it’s the magic, how it touches you deep inside and after seing Benjamin Dove once you never forget it. Other films I‘d like to mention are Noi the Albino and Children of Nature.
Sigríður Pétursdóttir, film journalist for decades in both radio and TV


"
Mávahlátur" (The Seagull‘s Laughter) (2001). Ágúst Guðmundsson


A very successful adaptation of a novel; a comical crime story, a stormy love story and a memorable coming-of-age story. A very Icelandic period drama that is charmingly isolated in time and space and features a gallery of very memorable characters. Very well done technically, both regarding cinematography, post production and visual canvas. The acting is also top notch and so is the directing.
Hjördís Stefánsdóttir, film critic at Morgunblaðið daily


"
101 Reykjavík" (101 Reikiavík) (2000).  Baltasar Kormákur


In my opinion 101 Reykjavík is the best Icelandic film. The script is great, the directing and the editing sophisticated and controlled. The music underscores the daring and funny subtext and the sets look cool. The acting is relaxed yet dynamic, the actors all shaking off the National Theater style by playing off Victoria Abril. When it comes to documentaries Living Dead: HAM is a favourite, a classic just like the band itself.
Heiða Jóhannsdóttir, adjunct of Cinema Studies at the University of Iceland


"Englar alheimsins" (Angels of the Universe) (2000). Friðrik Þór Friðriksson


Angels of the Universe is in my opinion the best Icelandic film. It‘s well acted and directed and there is only a thin line between laughter and tears in the film. The scene where the horses run down to the beach and one of them falls is always memorable and just like in the book it proves prophetic. It‘s only been 15 years since it was premiered but I think it will score highly in lists of the best Icelandic film for years to come, thanks to Einar Már Guðmundsson‘s great story, which Friðrik Þór Friðriksson really managed to capture onscreen.
Brynja Dögg Friðriksdóttir, Documentary filmmaker and Head of Publicity at Reykjavík Shorts & Docs Festival


"
Rokland" (Stormland) (2011). Marteinn Thorsson


 "Stormland is not necessarily the first crisis movie but it could well be the best, something that is rather surprising considering how little attention it got from both critics and audiences. But when you watch you’re met with a vibrant, controlled and fluid fictional world – and everything has it’s flaky rhythm. Laddi gives a bravura performance, Steinn Ármann is brilliant (and he’s only in the picture for three minutes), Ólafur Darri is amazing, and the script is tight, the view of the village is devoid of the usual oddballs, it’s grey and boring and all under the heel of some modern landlord who owns fisheries or a bank, and the heritage of the sagas haven’t been played with so well before in Icelandic films (although I’m not actually sure if I’ve ever seen that heritage put to entertaining use, except when Friðrik Þór filmed Njáls Saga). There is neither a happy nor poetic ending, everybody are still crumpled spirits and a bundle of problems, and not in a funny way, something I felt was fresh and fun to see when considering how many in the Icelandic movie biz have been running away from the uncomfortable things in life. Mockery and criticism in fictionalized visual media during the boom years did have it’s peak in TV shows where a anti-military anti-capitalist (commie that is) with five University degrees, whose promised land is Sweden, gets his putdown. As everyone will know thils personalized ideology was a very actual social factor in Iceland in 2007. Stormland however hits the spot on so many levels, which can in many ways be attributed to author Hallgrímur Helgason, but the adaptation manages to draw the best parts of the book out, create an independent whole, and is the best Icelandic film I can remember.
 Björn Þór Vilhjálmsson, film and literature scholar and critic


"Fúsi" (Virgin Mountain) (2015). Dagur Kári


"A small story about a very large man, Virgin Mountain marks a return to his native tongue for the young Icelandic writer-director Dagur Kári following his 2009 English-language debut The Golden Heart. That film was marred by a seam of cloying sentimentality, where compassion shades into condescension. That same weakness also has a mildly corrosive effect on this otherwise charmingly offbeat rom-com, which is ultimately more com than rom"
Stephen Dalton. "The Hollywood Reporter"


martes, 25 de julio de 2017

Festival Internacional de Cine Independiente de Mar del Plata (Argentina) - Cine inusual en XIII MARFICI / "INTENSAMENTE FRANCIA". 5 al 12 de Agosto de 2017. Centro de Arte MDQ - San Luis 1750



Foco de Cine inusual en XIII MARFICI / "INTENSAMENTE FRANCIA"
Festival Internacional de Cine Independiente de Mar del Plata (Argentina)
Del 5 al 12 de Agosto de 2017
Centro de Arte MDQ - San Luis 1750







FOCO DE CINE INUSUAL en XIII MARFICI / "INTENSAMENTE FRANCIA"
Festival Internacional de Cine Independiente de Mar del Plata / Argentina
Del 5 al 12 de Agosto de 2017
Centro de Arte MDQ - San Luis 1750 

Programación de Cine Inusual: Silvia G. Romero / Fabián Sancho

Presentación  

Desde sus inicios, el "Festival de Cine Inusual de Buenos Aires" se ha propuesto indagar los aspectos menos explorados de la producción cinematográfica actual con el fin de cubrir las expectativas de aquellos que anhelan una visión fílmica diferente. Un objetivo a cumplir es facilitar el conocimiento de muchos autores noveles que, al huir del estereotipo vigente, ofrecen una perspectiva ecléctica desde lo temático y visual.




Agradecemos a la coordinación del "XIII MARFICI" la oportunidad que nos brinda al propiciar un nuevo "Foco de Cine Inusual" en su programación 2017. El mismo está integrado por cinco largometrajes de distintos géneros nucleados bajo el rótulo de "Intensamente Francia", donde conviven las pasiones desenfrenadas de los personajes con problemáticas de índole social. Dichas películas se presentan bajo el auspicio del Institut Français d’Argentine.

Silvia G. Romero y Fabián Sancho





Selección

DES APACHES (2015)

Dirección: Nassim Amaouche. Guión: Nassim Amaouche, Guillaume Bréaud. Producción: Alexandra Henochsberg. Elenco: Nassim Amaouche, André Dussollier, Laetitia Casta, Djemel Barek. Francia. 97 min.




Samir pierde a su madre y este hecho va a transformar su vida, ya que quedará involucrado en un asunto familiar vinculado a la población cabileña parisina. En su derrotero, conocerá a una enigmática mujer. 


LA TÊTE HAUTE (2015)

Dirección: Emmanuelle Bercot. Guión: Emmanuelle Bercot, Marcia Romano. Producción: François Kraus, Denis Pineau-Valencienne. Elenco: Rod Paradot, Catherine Deneuve, Benoît Magimel, Sara Forestier, Diane Rouxel. Francia. 120 min.




Desde niño, Malony vive entrando y saliendo del juzgado de menores. En este difícil proceso, Florence y Yann intentarán reformar el comportamiento del joven quien conocerá a Tess, una chica especial que le ofrecerá las razones para cambiar. Premios César 2016 para Rod Paradot (revelación) y Benoît Magimel (actor secundario). 


MES SÉANCES DE LUTTE (2013)

Dirección/Guión: Jacques Doillon. Producción: Jacques Doillon, Daniel Marquet. Elenco: Sara Forestier, James Thiérrée, Louise Szpindel, Mahault Mollaret, Bill Leyshon. Francia. 99 min.




Una joven viaja al funeral de su padre y se reencuentra con un lugareño. Allí intentará aclarar la relación ambigua que inició tiempo atrás con él, culminando con enfrentamientos físicos que se volverán adictivos. El extraño psicodrama de Doillon presenta escenas de un erotismo atípico. Con James Thiérrée, nieto de Charles Chaplin y protagonista de "Bye Bye Blackbird".


QUI VIVE (2014)

Dirección: Marianne Tardieu. Guión: Mariane Tardieu, Nadine Lamari. Producción: Christophe Delsaux, Céline Maugis. Elenco: Reda Kateb, Adèle Exarchopoulos, Rashid Debbouze. Francia. 83 min.




Chérif trabaja como guardia de seguridad en un centro comercial mientras trata de obtener su grado de enfermería. Pero todo se complica por una banda de adolescentes que lo acosan diariamente. En tanto, traba relación con Jenny y vuelve a contactarse con un amigo de la infancia. 


RESPIRE (2014)

Dirección: Mélanie Laurent. Guión: Mélanie Laurent, Julien Lambroschini. Producción: Bruno Levy. Elenco: Joséphine Japy, Lou de Laâge, Isabelle Carré, Claire Keim. Francia. 92 min.




Charlie está en la edad de explorar sus emociones. Sarah es la chica nueva, hermosa y con mucha personalidad. Nada podía anticipar que sus caminos se cruzarían en forma irrefrenable. 


Contacto:

Silvia G. Romero / Fabián Sancho
Festival de Cine Inusual de Buenos Aires
Mail: festivalcineinusual@gmail.com 

Web Oficialwww.marfici.org