Damsels in Distress
Opens: 2011
Cast: Adam Brody, Analeigh Tipton, Megalyn Echikunwoke, Ryan Metcalf
Director: Whit Stillman
Summary: The story revolves around a group of style-obsessed college girls who take in a new student (Gerwig) and teach her their misguided ways of helping people at their grungy university.
Analysis: The first film in a decade from arthouse darling Whit Stillman, a filmmaker's filmmaker whose three Manhattan-based, yuppie-themed mannerist comedies - "Metropolitan," "Barcelona" and "The Last Days of Disco" - were a big influence on the likes of auteurs such as Wes Anderson and Noah Baumbach. Stillman says this film varies somewhat from his previous trilogy of sorts, telling First Things that "This film is different, Completely different. Okay, not completely different, but it’s different".
Independently financed by Castle Rock CEO Martin Shafer, the project recently wrapped filming in Manhattan where Stillman returned to last year after having spent much...
Opens: 2011
Cast: Adam Brody, Analeigh Tipton, Megalyn Echikunwoke, Ryan Metcalf
Director: Whit Stillman
Summary: The story revolves around a group of style-obsessed college girls who take in a new student (Gerwig) and teach her their misguided ways of helping people at their grungy university.
Analysis: The first film in a decade from arthouse darling Whit Stillman, a filmmaker's filmmaker whose three Manhattan-based, yuppie-themed mannerist comedies - "Metropolitan," "Barcelona" and "The Last Days of Disco" - were a big influence on the likes of auteurs such as Wes Anderson and Noah Baumbach. Stillman says this film varies somewhat from his previous trilogy of sorts, telling First Things that "This film is different, Completely different. Okay, not completely different, but it’s different".
Independently financed by Castle Rock CEO Martin Shafer, the project recently wrapped filming in Manhattan where Stillman returned to last year after having spent much...
- 12/28/2010
- by Garth Franklin
- Dark Horizons
Damsels in Distress
Opens: 2011
Cast: Adam Brody, Analeigh Tipton, Megalyn Echikunwoke, Ryan Metcalf
Director: Whit Stillman
Summary: The story revolves around a group of style-obsessed college girls who take in a new student (Gerwig) and teach her their misguided ways of helping people at their grungy university.
Analysis: The first film in a decade from arthouse darling Whit Stillman, a filmmaker's filmmaker whose three Manhattan-based, yuppie-themed mannerist comedies - "Metropolitan," "Barcelona" and "The Last Days of Disco" - were a big influence on the likes of auteurs such as Wes Anderson and Noah Baumbach. Stillman says this film varies somewhat from his previous trilogy of sorts, telling First Things that "This film is different, Completely different. Okay, not completely different, but it’s different".
Independently financed by Castle Rock CEO Martin Shafer, the project recently wrapped filming in Manhattan where Stillman returned to last year after having spent much...
Opens: 2011
Cast: Adam Brody, Analeigh Tipton, Megalyn Echikunwoke, Ryan Metcalf
Director: Whit Stillman
Summary: The story revolves around a group of style-obsessed college girls who take in a new student (Gerwig) and teach her their misguided ways of helping people at their grungy university.
Analysis: The first film in a decade from arthouse darling Whit Stillman, a filmmaker's filmmaker whose three Manhattan-based, yuppie-themed mannerist comedies - "Metropolitan," "Barcelona" and "The Last Days of Disco" - were a big influence on the likes of auteurs such as Wes Anderson and Noah Baumbach. Stillman says this film varies somewhat from his previous trilogy of sorts, telling First Things that "This film is different, Completely different. Okay, not completely different, but it’s different".
Independently financed by Castle Rock CEO Martin Shafer, the project recently wrapped filming in Manhattan where Stillman returned to last year after having spent much...
- 12/28/2010
- by Garth Franklin
- Dark Horizons
'Soledad' takes top nods at Goyas
MADRID -- Jaime Rosales' Festival de Cannes entry La Soledad walked away from the Spanish Film Academy's Goya Awards ceremony with the top honors, but the night undoubtedly belonged to Juan Antonio Bayona's directorial debut, The Orphanage.
Rosales took home the Goya for director, beating Gracia Querejeta for Siete mesas de billar frances, Emilio Martinez-Lazaro for 13 roses and Iciar Bollain for Mataharis.
"We live in a frenetic society, and that is time that we are stealing from our children," Rosales said.
His film focusing on loneliness and what he called "polyvision" triumphed over Roses, Seven Billiards Tables and Orphanage for Spain's top honor of the night.
"The richness of our cinema is in its diversity, and I dedicate this award to the people that are just starting out in cinema," said Wanda Vision president Jose Maria Morales, producer of Soledad.
But Bayona's haunting tale of a woman's return to the orphanage where she lived as a child -- distributed in the U.S. by Picturehouse -- crowned its winning trot around the globe throughout 2007's festival season with seven statues, including best new director, original screenplay, production design, artistic director, makeup and hair, sound and special effects.
Querejeta's Billiards was hands-down the winner in actress performances, giving Maribel Verdu her first acting Goya after four previous unsuccessful nominations -- including for last year's for Pan's Labyrinth.
The lead actor nod went to Alberto San Juan for his part in Bajo las Estrellas, which also gave Felix Viscarret the adapted screenply award.
Rosales took home the Goya for director, beating Gracia Querejeta for Siete mesas de billar frances, Emilio Martinez-Lazaro for 13 roses and Iciar Bollain for Mataharis.
"We live in a frenetic society, and that is time that we are stealing from our children," Rosales said.
His film focusing on loneliness and what he called "polyvision" triumphed over Roses, Seven Billiards Tables and Orphanage for Spain's top honor of the night.
"The richness of our cinema is in its diversity, and I dedicate this award to the people that are just starting out in cinema," said Wanda Vision president Jose Maria Morales, producer of Soledad.
But Bayona's haunting tale of a woman's return to the orphanage where she lived as a child -- distributed in the U.S. by Picturehouse -- crowned its winning trot around the globe throughout 2007's festival season with seven statues, including best new director, original screenplay, production design, artistic director, makeup and hair, sound and special effects.
Querejeta's Billiards was hands-down the winner in actress performances, giving Maribel Verdu her first acting Goya after four previous unsuccessful nominations -- including for last year's for Pan's Labyrinth.
The lead actor nod went to Alberto San Juan for his part in Bajo las Estrellas, which also gave Felix Viscarret the adapted screenply award.
- 2/4/2008
- The Hollywood Reporter - Movie News
- Juan Antonio Bayona’s The Orphanage (receiving its U.S release on December 28th) and Emilio Martinez Lazaro’s 13 Roses have been nominated for a whopping 14 nominations apiece for the 2007 'Spanish Oscars' also known as the Goyas. Here the complete rundown of the categories. The 22nd Goya Awards will take place on the first weekend in February. And The Nominees Are... Picture"The Orphanage""Solitary Fragments""13 Roses""Seven Billiards Tables"ACTRESSBlanca Portillo, "Seven Billiards Tables"Belen Rueda, "The Orphanage"Emma Suarez, "Under the Stars"Maribel Verdu, "Seven Billiards Tables"ACTORAlfredo Landa, "Sunday Light"Alvaro de Luna, "El prado de las estrellas"Alberto San Juan, "Under the Stars"Tristan Ulloa, "Mataharis"Supporting ACTRESSAmparo Baro, "Seven Billiards Tables"Geraldine Chaplin, "The Orphanage"Nuria Gonzalez, "Mataharis"Maria Vazquez, “Mataharis”Supporting ACTORRaul Arevalo, "Seven Billiards Tables"Jose Manuel Cervino, "13 Roses"Julian Villagran, "Under the Stars"Emilio Gutierrez Cava, " Suso's Tower"Carlos Larranaga, "Sunday Light"Breakthrough Performance,
- 12/17/2007
- IONCINEMA.com
Mataharis
San Sebastian International Film Festival
SAN SEBASTIAN, Spain -- With Take My Eyes, Spanish director Iciar Bollain took a powerful look the disturbing subject of domestic violence. Though it was a strong film, it perhaps lacked a certain dynamism. Now with Mataharis, she goes one better, using the little-explored world of female private detectives to look at themes of spying and betrayal and the dilemma of scruples versus ambition. And all this is done with a sharp eye for a good story.
The film should shine outside Spanish-speaking territories in the art houses in English-speaking market. The film opens in Spain on Sept. 24.
Mataharis tells the story of three women who work in the same Madrid private detective agency. Ambitious Ines (Maria Vasquez) gets a top job spying on union agitators, but falls for the handsome Diego Martin. She eventually quits rather than selling out on her principles. Eva (Najwa Nimri) uses her professional skills to discover her husband has a secret son, which threatens to split the family but finally brings them closer. Carmen (Nuria Gonzalez) is trapped in a dead marriage, but meets a client whose own marital problems prompt her finally to leave her frosty husband.
Storylines feel fresh as they enter the world of private detectives who are invariably seen as macho male figures. Bollain and her co-writer Tatiana Rodriguez skillfully intertwine the professional and personal lives of the three main protagonists so as to bring the audience closer to the characters.
Vasquez portrays a divided personality -- a snoop who she is above spying on people for a living and has some principles. Nimri is the tricked wife, who easily shows another side when she opts to forgive her husband for not telling her about the hidden son. Gonzalez talks to the plants as her husband refuses to engage in conversation but her tender words with a client about lost love hit home.
The undercover photography is also a clever touch. Inside a bar, Ines pins a tiny camera to her jacket to grab a few shots of her target and, suddenly, we there at the smoky bar with her. Bollain worked using a hand-held camera and it gives the film a documentary feel. She said: "One thing I like to do is to 'steal' the shot: Get out on the street and shoot people who don't know you are there." This works.
Mataharis deals with themes of distrust, false appearances, career vs. principles, not to mention surveillance as cameras surround us more and more. Bollain does this subtly, mixing three intertwining stories that are ultimately far more powerful and interesting for the way they deal with personal themes. So here is a private eye movie that makes us ponder the morality of that eye.
MATAHARIS
A La Iguana/Sogepaq Prod.
Credits:
Director Iciar Bollain
Writers: Iciar Bollain, Tatiana Rodriguez
Producers: Santiago Garcia de Leaniz, Simon de Santiago
Executive producer: Santiago Garcia de Leaniz
Director of photography: Kiko de la Rica
Music: Lucio Godoy
Art director: Josune Lasa
Costume: Estibaliz Markiegui
Editor: Angel Hernadez Zoido
Cast:
Eva: Najwa Nimri
Inaki: Tristan Ulloa
Ines: Maria Vazquez
Manuel Diego Martin
Carmen: Nuria Gonzalez
Sergio: Antonio de la Torre
Running time -- 95 minutes
No MPAA rating...
SAN SEBASTIAN, Spain -- With Take My Eyes, Spanish director Iciar Bollain took a powerful look the disturbing subject of domestic violence. Though it was a strong film, it perhaps lacked a certain dynamism. Now with Mataharis, she goes one better, using the little-explored world of female private detectives to look at themes of spying and betrayal and the dilemma of scruples versus ambition. And all this is done with a sharp eye for a good story.
The film should shine outside Spanish-speaking territories in the art houses in English-speaking market. The film opens in Spain on Sept. 24.
Mataharis tells the story of three women who work in the same Madrid private detective agency. Ambitious Ines (Maria Vasquez) gets a top job spying on union agitators, but falls for the handsome Diego Martin. She eventually quits rather than selling out on her principles. Eva (Najwa Nimri) uses her professional skills to discover her husband has a secret son, which threatens to split the family but finally brings them closer. Carmen (Nuria Gonzalez) is trapped in a dead marriage, but meets a client whose own marital problems prompt her finally to leave her frosty husband.
Storylines feel fresh as they enter the world of private detectives who are invariably seen as macho male figures. Bollain and her co-writer Tatiana Rodriguez skillfully intertwine the professional and personal lives of the three main protagonists so as to bring the audience closer to the characters.
Vasquez portrays a divided personality -- a snoop who she is above spying on people for a living and has some principles. Nimri is the tricked wife, who easily shows another side when she opts to forgive her husband for not telling her about the hidden son. Gonzalez talks to the plants as her husband refuses to engage in conversation but her tender words with a client about lost love hit home.
The undercover photography is also a clever touch. Inside a bar, Ines pins a tiny camera to her jacket to grab a few shots of her target and, suddenly, we there at the smoky bar with her. Bollain worked using a hand-held camera and it gives the film a documentary feel. She said: "One thing I like to do is to 'steal' the shot: Get out on the street and shoot people who don't know you are there." This works.
Mataharis deals with themes of distrust, false appearances, career vs. principles, not to mention surveillance as cameras surround us more and more. Bollain does this subtly, mixing three intertwining stories that are ultimately far more powerful and interesting for the way they deal with personal themes. So here is a private eye movie that makes us ponder the morality of that eye.
MATAHARIS
A La Iguana/Sogepaq Prod.
Credits:
Director Iciar Bollain
Writers: Iciar Bollain, Tatiana Rodriguez
Producers: Santiago Garcia de Leaniz, Simon de Santiago
Executive producer: Santiago Garcia de Leaniz
Director of photography: Kiko de la Rica
Music: Lucio Godoy
Art director: Josune Lasa
Costume: Estibaliz Markiegui
Editor: Angel Hernadez Zoido
Cast:
Eva: Najwa Nimri
Inaki: Tristan Ulloa
Ines: Maria Vazquez
Manuel Diego Martin
Carmen: Nuria Gonzalez
Sergio: Antonio de la Torre
Running time -- 95 minutes
No MPAA rating...
- 9/24/2007
- The Hollywood Reporter - Movie News
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