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NYC International Film Festival to Debut in Times Square
- Details
- Parent Category: Film Festivals
- Category: Previews
- Published on Tuesday, 18 May 2010 03:12
- Written by Laura Blum
Times Square may have dodged a car bomb, but now another explosive event is being planned for New York's theater district that's sure to go off. Expect sizzle and smoke August 12 to 19, 2010, when the New York City International Film Festival gets its launch in tourism ground zero.
I just came back from two hours with the man who's behind the plot. Manhattan already has the New York Film Festival and the Tribeca and Gen Art -- whoops, not Gen Art -- and 50 or so other movie pageants, but NYCIFF president and founder Roberto Rizzo says he's now bringing a fresh "opportunity to filmmakers from the USA and around the world to showcase their films in New York City."
As part of my research, I zig and zag through the Crossroads of the World to meet up with this expectedly peppy soul. And while only an Energizer bunny (with a touch of masochism) could dream of entertaining two million guests in this sweaty swath of humanity -- in August -- his amiable vibe suggests a bon vivant, with a surprisingly even keel.
Rizzo has salt-and-pepper hair and the gravitational pull of an artist, writer and director who also appears in film and television; you'd pick him out of a lineup of character actors playing politicians, prosecutors or gamblers, which are precisely roles he's performed. That it's as easy to picture him in a tux as in denim sums up the public/exclusive, free/premium, filmmaker/pedestrian axis of the fest. This gets me wondering…
"What will your New York festival have that the others don't?" I ask.
"Glamor," he nutshells.
"But Tribeca and Lincoln Center are plenty elegant," I challenge.
"Really?" his eyes bulge.
Now if you've attended Downtown's celebrity-pedigreed affair, you know it hardly lacks for glitz, and few would say the Film Society's Upper West bash is half shabby. But this native of Northern Italy who calls New York home and Argentina second home (among other jet-spanned reaches of the globe), has a vision for his fest. And it's largely la dolce vita.
Two years ago, Rizzo went to the Cannes Film Festival with his short film Couples, which he wrote and directed. Cannes' unabashed fabulousness left quite an impression, and that's when it came to him: replicate the panache of the Croisette on and around Broadway.
"You dress, you respect the filmmaker, you respect the actors," urges Rizzo. "It's going to be a hot summer, and I want to see people from everywhere enjoying a classy time in New York City."
Even in the silly weather, you'll now have a chance to wear that gown or tuxedo.
Shoving past the pedestrians and the pedicabs, we wend our way to the Hudson Theatre (145 W 44TH Street), where NYCIFF will hold its Opening Night Gala. Champagne, hors d'ouevres and wine will be served to guests who pony up $250 for the pre-screening black-tie reception on the main floor. Upstairs, ticket holders at $100 a pop will enjoy modest hydration and, of course, nourishment for the eyes.
The Opening Night film will be Lovely, Still. Directed by Nik Fackler, it follows the lighter side of two lonely hearts played by Martin Landau and Ellen Burstyn. Both Oscar winners are invited to attend this sequined New York premiere, as is Elizabeth Banks, who also appears in the movie and whom Rizzo met on the set of 30 Rock.
Isabella Rosselini, Eric Thal, Rick Borgia and Steve Dash are among other glittering entities expected to descend on the Red Carpet not unlike the New Year's Eve ball. Live musical performances will precede the Gala screening, with a Mexican recording artist yet to be announced opening for Spanish electro-pop band Horthy. Details of the post-screening party are similarly in the offing.
On the following evening, Oscar laureate Norma Aleandro (The Official Story) will present the North American premiere of her latest film, Paco. Diego Rafecas directed this Argentine drama about a physics teacher (Tomás Fonzi) suspected of narcotrafficking and the efforts of his politician mother (Aleandro) to salvage his fate.
Also during the Festival, Aleandro will unveil Andres Doesn't Want to Take a Nap/Andrés no quiere dormir la siesta, by Daniel Bustamante. In it she portrays a woman whose daughter-in-law is posthumously revealed to have helped the underground resistance during Argentina's military dictatorship and whose grandson is driven to embrace that regime. Aleandro will be on hand to discuss both films, which will betoken Argentina on the occasion of its Bicentennial.
Rizzo already has 20 feature-length works lined up, and there are 60 more to go. With thousands of submissions pouring in from five continents and creators set to attend, he's aiming for the skyscrapers with the Festival, which he hopes will be the highlight of New York's August calendar.
Including short films and music videos, he has lassoed a total of 300 entries to date. One short is Flat Love, narrated by Rossellini and directed by Andrés Sanz, about a man who believes the world is flat, and who falls for a two-dimensional woman at the Museum of Modern Art.
Shorts form the touchstone of NYCIFF, at least in its debut year. This is perhaps as much for expediency sake as it is a programming choice.
As currently envisioned, screenings will run from 7 p.m. to midnight each day of the Festival except Opening Night. A number of these will be full-length movies, mostly presented in Times Square-area theaters, while more fleeting works – matched to the attention spans of pedestrians and tourists – will be displayed al fresco on a huge digital screen by Duffy Square (226 W 47 Street).
"When you go to Cannes, you see the big outdoor screen on the beach," says Rizzo. "But it's only for VIPs." Explaining the glam-for-all ideology behind the Festival, he stresses, "Here anybody can see it."
Though NYCIFF is allegedly the first film festival to showcase free movies in Times Square, it won't be New York's sole source of outdoor, gratis viewing during sultry August. HBO Bryant Park Summer Film Festival (June through August); Central Park (August 18 to 22); RiverFlicks: Summer on the Hudson (Wednesday and Friday evenings in July and August at Riverside Park South's Pier 1); and Movies with a View: Brooklyn Bridge Park Summer Film Series (Thursday evenings from July 8 to August 27) are some of the competition. (And for nine bucks, movies and music can be had at Rooftop Films May through September).
Yet a cinematic display of NYCIFF's volume is unprecedented for a month when anyone who can board a Jitney does.
The eight-day event will culminate in an Awards Night; like Opening Night, it will take place from 6 p.m. to midnight. The top prize has been christened "Laurel d'Or," for best narrative feature. Juried competitions will additionally honor best works in horror, documentary and shorts categories.
Panels, parties and industry networking events are in pre-production for the Festival, which may just be the sexiest spectacle to hit Times Square since X-rated movie houses and peep shows lined the Deuce.
Taxi!
For more information: www.NYCIFF.com
New York City International Film Festival
August 12 to 19, 2010
Hudson Theatre at Millennium Broadway Hotel
145 West 44th Street
New York, NY 10036
Duffy Square
226 W 47th Street
New York, NY 10036
Human Rights Watch Fest Seeks "Accountability and Justice"
- Details
- Parent Category: Film Festivals
- Category: Previews
- Published on Saturday, 15 May 2010 17:49
- Written by Laura Blum
Last July, the nonprofit group Human Rights Watch put out a hefty report drawn from its prior two decades of watching dogs in some 20 countries. Called Selling Justice Short, the dossier showed why accountability was a good thing for peace and, if nothing else, could help heal victims by acknowledging their anguish.
For those who didn't read it, the Human Rights Watch Film Festival supplies some visual Cliff's Notes. This year, its documentaries and fictional dramas give witness to human rights violations in 25 countries, and "Accountability and Justice" is its primary theme.
Jointly presented with the Film Society of Lincoln Center, the New York edition of HRWFF will take place June 10 to 24, 2010 at the Film Society's Walter Reade Theater (165 West 65th Street).
Now in its 21st go-round, the Festival is a top international showcase for cinema focusing on human rights. Amplifying on current events, selections are as topical as tomorrow's news. Take for example Crude, Joe Berlinger's documentary on the ravages of oil exploitation in Ecuador, which screened at last year's festival, and which again bubbled up in the media around a federal judge's May 2010 ruling to allow Chevron to subpoena more than 600 hours of its footage.
HRWFF is looking especially relevant these days for another reason: the dismal distribution and exhibition climate for independent cinema in general and issue-driven works in particular. Its sold-out screenings and radial word of mouth brings films to audiences who may have few if any other ways to catch them in a theater.
The Balibo Conspiracy is a case in point. Robert Connolly's political thriller about a war correspondent who pokes into the 1975 murders of five journalists in East Timor is being feted as the Benefit Night selection (June 10), yet to date no U.S. distributor has nabbed it.
Adversity can often add to a film's sex appeal, yet Balibo has been hard pressed to parlay its banning in Indonesia into commercial come hither in this country. And not even a quake of earth shattering proportions has launched Raoul Peck’s Haitian drama, Moloch Tropical, onto the "must have" list of stateside distributors. Yet the film will be honored as this year’s Festival Centerpiece. Just as Connolly and special guests will attend the Balibo post-screening discussion and reception, Peck will be on hand to discuss his film.
The official Opening Night screening, on June 11, is 12th & Delaware. Directors Heidi Ewing and Rachel Grady are back from Jesus Camp with this revelation of the Florida crossing where pro-life and pro-choice facilities push their mandates across from one another. The documentary, which debuted at this year's Sundance Film Festival, was shot during the year when abortionist Dr. George Tiller was assassinated. If that isn't news peg enough, what is?
Presumed Guilty/Presunto culpable is the Closing Night film. The documentary by Roberto Hernández and Layda Negrete fingers the dysfunctions of Mexico's penal system in its chronicle of a Mexican street vendor mistakenly accused of murder and sentenced to two decades behind prison bars. As with their short documentary, The Tunnel, the filmmakers' intervention led to the protagonist's release from jail. Law and Order may be a closed dossier, but Presumed Guilty is open for business.
Mexico reclaims the screen in Backyard/El traspatio, Carlos Carrera's crime drama about the real murders of young women in Ciudad Juarez. Starring Jimmy Smits and Ana de la Reguera, the film can't hope to top Carrera's 2002 film, The Crime of Father Amaro -- Mexico's biggest box office performer – however, the topic and its link to the police system in that country continue to haunt today's headlines.
Two other titles take on official systems. One is In the Land of the Free, Vadim Jean's inquiry into possible miscarriages of justice for three Black Panthers serving in Louisiana's Angola prison, and the other, a non-fiction courtroom drama from Rebecca Richman Cohen called War Don Don, about prosecuting war crimes in Sierra Leone.
Films under the aforementioned "Accountability and Justice" rubric include Enemies of the People, in which co-director Thet Sambath unearths bloody truths behind his parents' slaughter -- and that of two million other Cambodian victims of the Khmer Rouge. Sambath and his directing partner Rob Lemkin will be on hand to discuss the film and to receive this year's HRWFF Nestor Almendros Award for courage in filmmaking. Enemies of the People snared the 2010 Sundance World Cinema Documentary Special Jury Prize.
"Development and Migration" comprise the second programming theme of this year’s Festival. Pushing the Elephant is one of two films to consider migration resulting from war. Late '90s strife in the Democratic Republic of Congo is the point of departure for this non-fiction narrative about a family now living in Phoenix, Arizona and their reunion with a long-missing daughter. The film, co-presented with Mapendo International, will be followed by a Q&A with directors Beth Davenport and Elizabeth Mandel and film subject Rose Mapendo.
Nero’s Guests studies the agrarian distress and inequality that has resulted in an epidemic of suicides among Indian farmers. The award-sweeping film is by P. Sainath, rural affairs editor of The Hindu.
Michael Camerini and Shari Robertson return to HRWFF with the latest two entries in their series, "How Democracy Works Now: Twelve Stories." Last Best Chance and Mountains and Clouds bring viewers into the U.S. Congress as it grapples with immigration reform. The filmmakers will entertain audience questions following the screenings.
"Societies in Conflict: Iran and Afghanistan" forms the third theme of HRWFF 2010. Highlights include Restrepo, Sebastian Junger and Tim Hetherington's chronicle of a U.S. platoon's deployment in Afghanistan.
Twenty-eight of this year's 30 selections are New York premieres. Youth Producing Change, now in its third version, will make its world 2010 debut at the Walter Reade. The project groups 11 short films made by teen filmmakers from around the world, and is presented in collaboration with Adobe Youth Voices. (For a related article, see our story "'Youth Producing Change' Opens Denver Human Rights Watch.")
Complementing this year's screenings will be a photographic exhibition about maternal mortality in India. Called In Silence, the collection by noted photojournalist Susan Meiselas will be presented in the Walter Reade's Frieda and Roy Furman Gallery throughout the festival.
The full Festival program is posted at www.hrw.org/iff.
Human Rights Watch Film Festival
June 10 to 24, 2010
Walter Reade Theater
Lincoln Plaza (Upper Level, between Broadway and Amsterdam)
165 West 65th Street
New York, NY 10023
212-290-4700
Hola México Film Festival Tours the U.S.
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- Parent Category: Film Festivals
- Category: Previews
- Published on Friday, 14 May 2010 00:19
- Written by Laura Blum
Just as Cinco de Mayo revelers in Miami, Florida, are starting to sober up, another Mexican fiesta is about to intoxicate them. Hola México Film Festival pours into the
"capital of Latin America" May 13 to 16, 2010, with the world's largest showcase of purely Mexican cinema. Back for its second spin through the U.S., the Festival opened this year in April in Los Angeles (Apr. 29 - May 4) and will have made had another appearance in San Francisco (May 6 - 11) before the Miami event.
HMFF is a traveling pavilion curated by its founding director, Samuel Douek, and will tour to Chicago (May 20 - 25), Washington, D.C. (May 27 - June 1) and New York (June 2 - 6) before wrapping up.
Raised in Mexico City, Douek moved at age 23 to Sydney, Australia, where he'd soon rack up degrees in marketing and event management. Once down under, Douek began to visit film festivals in and around Sydney, and found Mexican titles to be conspicuous in their absence. That spurred the ex-pat to launch a series exclusively devoted to the cinema of his native country, and hola! -- the Hola México Film Festival was born.
The 2010 program presents 15 feature-length films, including two documentaries, alongside parties and live musical performances. Miami Dade College's Tower Theater hosts the three-day event (1508 SW Eighth Street, Little Havana).
Each city on the Festival circuit kicks off with a different film. Miami's opening night selection, It Happens in One Day/Sucedió en un día), is a medley of eight shorts shot and edited by as many Mexican filmmakers during 24 hours. Adriana Barraza, whose supporting role in Babel earned her an Oscar nomination, and Joaquín Cosío, who played a henchman in the James Bond vehicle Quantum of Solace, are among the celebrated names who lent their acting talents to this clock-challenged project.
The driving concept behind HMFF is to represent authentic Mexican culture in its complexity, offering a corrective to the stereotypical images that warp most media coverage in this country. Films were selected to give a nuanced range of perspectives and themes on our neighbor to the South.
Not surprisingly, immigration rears its head in a couple of the films. Those Who Remain/Los que se quedan takes the measure of nine Mexican families and villages left behind by loved ones who crossed the Rio Grande to live the American Dream. The film, which picked up a number of prizes at previous festivals, was directed by Carlos Hagerman and Juan Carlos Rulfo.
Rigoberto Pérezcano's Northless/Norteado narrates the fits and starts of a Oaxacan man who sets out for a better life in the U.S., but who finds work and friendships while held back in Tijuana.
Two of this year's titles plumb father-son relationships. To the Sea/Alamar, from Pedro González-Rubio, partly dips into documentary territory in its tale of generational bonding and fishing during one summer before the son joins his mother in Europe. Among other trophies, the nano-budget film reeled in New Director's Award at this year's San Francisco International Film Festival.
Diego Muñoz's Bitten Bullet/Bala mordida takes a shot at the corruption plaguing Mexico and its police force. The cast includes Damián Alcázar, whom U.S. audiences may recognize from The Chronicles of Narnia: Prince Caspian.
As a counterweight to some of the more ponderous takes on Mexico, there's Kitsch is Cool/Naco Es Chido. The comedy by Sergio Arau (A Day Without a Mexican) is about an 80s rock band whose lost recordings fetch up in a junk heap two decades after their members mysteriously vanished.
Raiding the Mexican film cache, HMFF pays tribute to Antonio Serrano's 1999 blockbuster dramedy, Sex, Shame and Tears/Sexo, pudor y lágrimas. Demián Bechir, Susana Zabaleta, Jorge Salinas and Cecilia Suárez played in this classic "battle of the sexes and the exes."
Though last year's inaugural edition also screened a retrospective work, the current mood is understandably more nostalgic. Mexico is now marking its bicentennial of independence and centennial of its revolution.
Looking ahead, Douek hopes to bring the Festival to other countries besides the US and Sydney, where the festival has been running since 2006.
For the full lineup of HMFF USA films and special events, visit: www.holamexicoff.com
Hola México Film Festival
Los Angeles
Apr. 29 - May 4
ArcLight Cinema Hollywood
6360 Sunset Boulevard
Los Angeles, CA
323-464-1478
www.arclightcinemas.com
Los Angeles Film School
Sunset Boulevard
Los Angeles, CA
General Admission $12.50
ArcLight member, Senior and Child (under 12) $11.00
San Francisco
May 6 - 11
Landmark's Embarcadero Cinema
One Embarcadero Center, Promenade Level
San Francisco, CA
415-267-4893
www.landmarktheatres.com
San Francisco Opening Night tickets for STUDENTS with ID - $15.00
Miami
May 13 - 16
Tower Theater
1508 Southwest 8th Street
Miami, FL
305 642 1264
General Admission $10.00
MFS Members/ Seniors $8.00
Students $7.00
Opening Night Film and Fiesta * $25.00
*Fiesta includes Tequila, Beer, Sparkling Wine and Bocaditos
Chicago
May 20 - 25
Landmark's Century Centre Cinema
2828 N Clark St.
Chicago, IL 60657
773-509-4949
www.landmarktheatres.com
Washington D.C.
May 27 - June 1
Landmark's E St Cinema
555 11th Street NW
Washington, DC
202-452-7672
www.landmarktheatres.com
New York
June 2 - 6
QUAD CInema
34 West, 13th St.
New York, NY 10011
212-255-2243
www.quadcinema.com
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Antonio Banderas Curates Realism in Spanish Cinema
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- Parent Category: Film Festivals
- Category: Previews
- Published on Monday, 10 May 2010 03:02
- Written by Laura Blum
Even when he's just voicing Puss in Boots in Shrek movies, Antonio Banderas is one of Spain's most visible cultural exports. His collaboration with 
director Pedro Almadóvar on films such as the Oscar-nominated Women on the Verge of a Nervous Breakdown established him as an international symbol of the Movida -- Spain's post-Franco counter-cultural movement -- while starring roles in Evita, The Mask of Zorro, Desperado and myriad other hits launched him as Hollywood royalty. And now, sharing his luster, the screen idol hopes to spotlight lesser-seen treasures from the Spanish vaults.
Banderas is the curator of a new film series, Realism in Spanish Cinema 1951 – 1963, spanning post-WWII films produced under the authoritarian dictatorship of Francisco Franco. The series is comprised of 10 classic works selected for their artistic and historical merit.
They will be screened from May 10 to 19, 2010, at New York's courtly Cervantes Institute. Banderas, who serves on the Cervantes advisory board, conceived the idea for the program. He will be on hand to open the series on May 10, prior to the screening of Furrows / Surcos, by José Antonio Nieves Conde.
Each selection mounts a veiled critique of 1950s and 1960s life in Spain, with its considerable challenges and repressions. As the Generalissimo enforced cultural politics to engineer national homogeneity, work deemed out of step with Catholic, family and fascist ideals was largely nixed. Filmmakers who failed to toe the line faced incarceration or worse.
This harsh imperative gave rise to artistic sleights of hand that make watching the era's films an adventure in decoding. Not unlike their Eastern Bloc counterparts, Spanish
filmmakers had to shroud their social and political commentary in sly intimations in order to slip past the national censors. Allusion, symbolism and metaphor entered the narrative and visual foreground, and put a fresh spin on Neo-Realism.
A particular blend of tragicomedy also filled Spanish screens of the era. As Banderas points out, "What do expect from a country that produced Goya?"
Most of the Realism in Spanish Cinema titles participated in or earned prizes at international festivals. (Surcos, Bienvenido Mr. Marshall!, Muerte de un Ciclista and Los golfos had a Cannes Film Festival connection, while Venice FF united El cochecito, Calle Mayor and El verdugo, leaving Luis Buñuel's Viridiana one for the film history archives.)
While French, Italian and other European productions from the post-war era have been celebrated around the world, Spanish cinema of the '50s has yet to enjoy broad distribution in the US. Realism in Spanish Cinema seeks to redress this imbalance.
All of the films are in Spanish with English subtitles. Each will receive one screening, beginning with the opening night selection. Admission is gratis.
An annotated listing of the films is available at http://nuevayork.cervantes.es
Realism in Spanish Cinema 1951 - 1963
May 10 to 19, 2010
Cervantes Institute New York
211 East 49th Street
New York, NY 10017
212 308 7720
