Film and foodie notes from Tribeca Festival 2024

The year was 2007. Undeniably the most glorious year of my 20s. I was living on the Upper West Side and working at the Tribeca Film Festival. I often wonder, what could have been, with New York had I stayed. She’s a lot of fun, and I know she likes me. But she is something of a commitment phobe. Oh wait a minute, you didn’t come here for my private journal. You are here to read up on the hottest movie picks and creative kiki’s at this year’s Tribeca Festival. And for my fellow foodies, a round up of my old and new go-to’s in the city.

Iyabo Boyd, Elijah McKinnon, Chandler Phillips and Kitty Hu. BGDM 4 life!

My first day in the city started with me participating in a round table with the Rising Voices filmmaker cohort, a partnership between Indeed and Hillman Grad, about film festival strategy for their just pressed short films encompassing the theme of working in the future. Afterwards, a working girl business lunch at my favorite fancy tribeca joint, Frenchette with Elijah Mckinnon. Elijah is the the supreme leadership of OTV a non profit artist development and distribution platform for queer creatives of color. I am so proud to be a member of the governing board. Hit me up if you want to learn more and get involved. We then went to our party, the Tribeca Block Party for Filmmakers and Industry on Tuesday night which we partnered up with our faves Brown Girls Doc Mafia along with other advocacy and industry peer groups.

The next few days was a screening marathon. As always, I come for the Queer and BIPOC created films to scout talent I want to produce, and films I could potentially curate at other film festivals. But super randomly, I ended up watching Daddio at a Press & Industry screening since I was in between meetings. I figured why not, it stars Sean Penn and Dakota Johnson – and from a female filmmaker, co-creator of “I Am Not Okay”. But fam. What. How does this DUD, this totally bland story set entirely inside a taxi ride, get to have theatrical distribution from Sony Pictures Classics – no less. Who is THIS FOR??? My frustration stems from the fact that there are plenty of entertaining, commercial and compelling non-white centered stories made for very targeted audiences THAT ARE FAR SMARTER DISTRIBUTION BETS than this ‘A list’ basic vehicle. Make it make sense. Hair flip and cue: My top three:

LA COCINA directed by Alonso Ruizpalacios

Que puta joya, as they say in Spanish. Raul Briones SLAYS as an agent of chaos line cook inside a Times Square restaurant who is head over heels with Rooney Mara’s waitress character. Set amid the increasingly disorganized havoc and crumbling hierarchy of front of the house and back of the house, this is Alonso’s fourth feature and nearly topples my previously favorite of his, A Cop Movie – which if you haven’t seen it you must seek out. This film premiered months ago in Berlin so why hasn’t there been a bigger buzz or theatrical distribution announcements? Sure it’s black and white. But so what, this is Roma meets The Bear and you can’t take your eyes off it even at the two hour plus total running time. Hanway Films has been selling off territories outside of North America. It’s ripe for Neon and A24. Not sure if their output deals with Hulu and HBO prevent them from picking up this banger.

I’M YOUR VENUS directed by Kimberly Reed

This is the LONG overdue story of Venus Xtravaganza, the Puerto Rican and Italian ballroom ingenue infamously captured in Paris is Burning. Before the movie came out in 1990, she was found strangled underneath a mattress. The film follows her brothers on the Italian side of the family make amends 30 years later with how they treated her and in collaboration with her house family, the House of Xtravaganza, and mother Gisele Alicea they come together to honor Venus, successfully reopening the investigation and making her childhood home a historical landmark. This is one of Participant’s last movies before shutting down last month. I cried, I snickered, I gasped, I lit up. Venus’s softness and her fierceness is everything. I better hear of this locking up distribution soon.

JAZZY directed by Morrisa Maltz

This is a film about a girl whose best friend moves away. This kind of simplicity is wildly relatable and rendered in such a profound coming of age tale. The visual finesse of the floating camera (echoing a tighter more modern Malick) heightens the ordinary, and the girls are so tender and spunky navigating emotional conflicts for the first time. I think it’s absolutely genius that this film exists in the multiverse of Another Country, Morrisa’s previous film where Auntie Lily Gladstone goes on a road trip. She teams up with her writing and producing collaborator Lainey Bearkiller Shangreaux again on this film which stars Jasmine Bearkiller Shangreaux as the titular Jazzy who took home Best Performance in a U.S. Narrative Feature. Lily and the Duplass brothers are among the producers. I hope this doesn’t take forever to get to the masses.

Special Mention:

RENT FREE directed by Fernando Andrés

Mumblecore version Gen Z bro. Don’t hate. At its best, and this is definitely the case here, this genre taps into 20somethings’ inevitable crossroads with adulting with offbeat humor. Rent Free is about two best friends who go about crashing with different friends in Austin in order to save money to get back to New York. The type of film that feels incredibly effortless because of the lived in acting and natural dialogue, and brought a big smile to my face in the end. This is Fernando’s second feature and I can’t wait to see what he does next

Receipts:

9 out of 125 features in the lineup are written/directed by Latinx and Latin American filmmakers – about 7% of the program. Four of them are U.S. films, meaning the money primarily came from U.S. sources. They are:

They’re Here, a cute and caring film about people who aren’t just UFO enthusiasts but fully and deeply believe they have been abducted. The film is co-directed by Pacho Velez who Lin- Manuel Miranda says was one of the three other Latinos he went to school with. You can tell they did their best not to judge or make fun of these folks. They spent real time with the subjects which creates a safe space for them to speak freely, but ultimately… I do think they be judging….or maybe that’s just me.

Beacon which is written by Julio Rojas and starring Demian Bichir as an obsessed with sirens lighthouse keeper. This played in the Midnight Section but ultimately IMO it missed the mark more than it hit it.

The last two are Rent Free mentioned above and In the Summers by Alessandra Lacorazza Samudio, Sundance’s Grand Jury Award winner which recently announced it picked up distribution from Music Box Films.

Rene Pérez Joglar aka Residente stars in In the Summers.

State of Silence – a really moving documentary about the rampant persecution of journalists in Mexico by Argentine filmmaker Santiago Maza and produced by Abril López Carrillo and exec produced by Diego Luna and Gael García Bernal. The courage and conviction of these reporters to report on what is happening in the face of death threats and knowing the government will not or can not help is an utterly remarkable characteristic of the subjects of the documentary, many of who now rest in power if not have been exiled from their country. Between 2001 and 2023, 162 journalists have been killed in Mexico for doing their job. 99% of them have gone ‘unsolved’.

From Argentina, The Freshly Cut Grass by Celina Murga, a superb and sophisticated tale of two different professors’ played by Marina de Tavira and Joaquín Furriel, and their respective messes of starting affairs with their students. I liked seeing the side by side comparison of an older woman with younger man, and an older man with younger woman play out. In both cases regardless of age, the men are boys. This one took home Best Screenplay at the festival. Martin Scorsese is listed as a producer.

Friendship was a theme in the films I saw at the festival and Don’t You Let Me Go or the original title which I like better, Agarrate Fuerte by Ana Guevara and Leticia Jorge is another tale of how irrevocable that bong between friends are even when they are no longer here. From Uruguay, this film won the Nora Ephron Award for distinctive female voice and it certainly deserves it.

The Dog Thief from Bolivia, a co-production with Chile, Mexico, Ecuador, France, and Italy which I tried to get into emotionally as it seems to have a strong concept in that a boy steals a dog from the man he shines shoes for to get his father figure attention. This one stayed a little too muted for me.

Talent to watch

MVP of the festival belongs to Mexican NY based cinematographer Alejandro Mejia who won for his two films in the festival; In the Summers and The Knife, a tense home invasion story that speaks volumes about the human condition by Nnamdi Asomugha.

And special shout out to these shorts: Salsa! and I Want to Violently Crash into the Windshield of Love

Culinary Cruising

When I wasn’t having a bagel or a slice, I splurged on my favorites; The Odeon, Russ & Daughters and Blue Ribbon Brasserie after 11pm. New spots for me include Grand Banks which is a total vibe at magic hour, Thai Diner – the reincarnation of Uncle Boons, and shout out to my sister who booked a reservation directly with the chef for me and my girls at Frog Club NYC the new, wierd and SOLO spot from Liz Johnson (formerly of LA’s Horses).

I can’t show you any food porn because the doorman had to affix a sticker on our phone cameras. The building is an old prohibition era speakeasy that inside is bathed in soft red light. The nostalgic, LSD laced frog themed decor lends itself to the playful dishes on the menu which were delightfully satisfying. I had a lovely dinner here with superstar Anonymous Content manager Monica Villareal and casting SVP queen of CBS, Claudia Lyon. I recommend the place, even if it is less secretive now that it is on Resy. High Key, get the Dirty Kermit. IYKYK

My biggest takeway this festival is that business is still businessing (see Daddio). Non-white centered voices will stay resisting. The hustle and struggle of making indie film is a long game and requires wild activism on behalf of the makers and audiences to make sure they consummate their intrinsic reason of existence. There is always a pragmatic sounding reason a buyer doesn’t pick up a film but it speaks more about their incompetence, lack of adaptability and unsustainable business model that they can’t figure out how to make deals that aren’t copy and paste.

I’m Your Venus was by far the biggest gift of my festival. It provoked fury and inspired light in me. Venus Xtravaganza is officially my saint of ‘Know Who You Are’. Follow the film’s director Kim Reed, exec producer Jonovia, and House Lives Matter a non profit impact partner of the film.

Rest in power to the original ICON.

Cine Mexicano, Morelia Film Fest, Rain and Shine

November 2, 2015November 3, 2015Christine Davila1 Comment

FullSizeRender(2) — Pueblo Magico, Valle de Bravo

Two transcendent nights in two pueblos magicos, (Valle de Bravo and Tepotzlan), hallucinating pulque, and an overdose of Mexican cinema at the Morelia Film Festival later, I’ve got a roundup of what and who you need to know in new Mexican Cinema (fiction), the 13th edition of the Festival (and my 8th consecutive year!), and whats to come in 2016.

cuando-es-festival-de-cine-de-morelia-2015-programacion-1 — no-show Toro

HEADLINERS

While one of the biggest Mexican movie rockstars (no pun intended), Guillermo del Toro did not show up to Morelia’s Opening Night screening of his latest, La cumbre escarlata aka Crimson Peak, there were plenty of internationally acclaimed Mexican cinéastes present.

First, outside the festival’s competition, making their home turf Mexican premieres was young auteur David Pablos’ remarkable, bittersweet and bleak Tijuana set portrait, The Chosen Ones which premiered earlier this year in Cannes’ Un Certain Regard. A Canana production. Mundial handling sales. Yet to premiere in the U.S.A.

It was a family affair for the querido Cuarón clan at the festival. Oscar winning director Alfonso accompanied his son Jonas, along with his brother, Carlos. Jonás’ second feature, Desierto which premiered in Toronto and won the FIPRESCI award stars Gael García Bernal. The Mexico/U.S. border crossing story intends to imbue a “Hunger Games” type/hyper sensory action thriller approach but falls a bit short of that cool aim. STX, a new distributor led by producer Bob Simonds picked up North American rights. It is yet to screen in the U.S.

Raised in Mexico, Rodrigo García, who I had no idea until recently is the son of famed Colombian author Gabriel García Márquez which gives me another perspective and appreciation of the symbolic father/son relationship in his astral film, Last Days in the Desert, made his first long-awaited visit to the festival. The Ewan McGregor starrer, Emmanuel Lubezki shot film was picked up by Broad Green recently.

Tim Roth and his directors, Michel Franco and Gabriel Ripstein — The new three amigos? Tim Roth, Michel Franco and Gabriel Ripstein

I missed two Mexican co-productions but thanks to AFI Film Festival will catch this coming week in LA. From Afar, a Venezuelan/Mexican co-production and first feature from Lorenzo Vigas which won Best Film at Venice Film Festival, and Chronic by Michel Franco which won Best Screenplay at Cannes is also making its U.S. premiere at AFI. Franco has been busy directing and producing through his shingle Lucia Films which also includes 600 Miles by Gabriel Ripstein, Mexico’s entry in the best foreign language film category at the 88th Academy Awards. Tim Roth stars in both Chronic and 600 Miles, and was in Morelia presenting them where he was given a tribute for his body of work which includes directing. Rumor has it he will be directing his next film in Mexico.

COMPETITION

The competition was a bit more uneven than in previous years, comprised of a few fantastic films among many more average. But that has always been the tightrope walk; using the platform as a discovery of Mexican world premieres, and the necessity of including films in competition that come with built in word of mouth from having played abroad at prestigious festivals. In fact, 7 out of 10 films in the official feature fiction competition were world premieres. More so than in previous years and I applaud that direction as it’s a risky but one that should further consolidate its reputation of supporting Mexican filmmakers, as well as encourage more Mexican filmmakers to world premiere their features at home. 3 were first time feature filmmakers, 3 co-productions including 2 with Spain, 2 out of 10 directed by women, of which are the only films who have a female lead/role with the exception of Rodrigo Pla’s film, A Monster with a Thousand Heads.

Having seen all the films in competition – and for that matter many of this year’s Mexican films, I Promise you Anarchy by Julio Hernandez Cordon (Marimbas from Hell, Gasolina) stands out above the rest. A skater boy lovestory that is genre and gender bending, it’s played in all the big fests including Locarno, Toronto, San Sebastian. It’s his first film shot outside his country of Guatemala, in various exterior locations in Mexico City, and the first with a real budget. It took home an Honorable Mention at Morelia. I found each shot transfixing and saw depth and true emotion within the surreality of his narrative. Interior XII is behind the film, a film production company known for its risk-taking bent. Latido Films is handling rights, and the film is yet to premiere in the U.S. Hernandez Cordon is already at work developing his next film.

Festival Vice President, Cuauhtémoc Cárdenas Batel presenting Elisa Miller

Among the world premieres, the magnetic The Pleasure is Mine by Elisa Miller, is for sure the discovery of the Morelia Film Festival in my mind. It was awarded with Best First or Second feature film (It’s her second). Co-starring Flor Edwarda Gurrola who I first saw in Plan Sexennal and newcomer Fausto Alzati who makes a “big” full frontal impression. Fernando Eimbcke (Duck Season, Lake Tahoe, Club Sandwich) and Christian Valdelievre produces. Playing with the male/female gaze through a female perspective, the arrested in sex lovestory is bound to have a bright future in the hippest festivals around the world

The Heirs is another world premiere worth mentioning. A second feature by Venezuelan Jorge Hernández Aldana, (Buffalo of the Night) featuring the kid actor in Güeros, Sebastián Aguirre. The performances and dynamic between characters are impressive, however the story itself, idle privileged youth who live reckless lives of impunity, feels like over-tread terrain. From Lucia Films and prolific film producer Alex Garcia.

Screen Shot 2015-10-31 at 9.22.22 PM — The Greatest House in the World

I’d give honorable mention to Lucia Carreras’ The Greatest House in the World which premiered in Berlin earlier this year. Her first directorial debut screened a couple years ago at the festival, called Nos Vemos Papa, starring Cecilia Suarez. Her latest co-production is shot in Guatemala, A visually captivating film about a young girl who loses a sheep (read her innocence) it is a jewel of an art house film, and alongside Guatemalan feature Ixcancul by Jayro Bustamante and Hernandez Cordon’s previous films, propelling Guatemala on the film map as of late. Indeed, this year marks the first time Guatemala submits a film for the Academy’s foreign language entry.

Rodrigo Pla’s fourth feature, A Monster with a Thousand Heads, blasts on the bureaucracy and apathetically broken medical care system in Mexico. Taut, it gets right to the point, but it is not as compelling for me as his previous films.

The Best Film Award at Morelia Film Festival went to Matias Meyer’s world premiere (The Last Cristeros) for YO, about a mentally stunted overgrown teenager who lives with his mother, based on a short story by Jean-Marie Le Clezio. Film is handled by Figa Films. The film, like the lead, is touching but overly earnest and ambling.

CINE

new digital platform a la 'mubi' — new digital platform a la ‘mubi’

People outside of Mexico see far more independent and art house Mexican cinema than people in Mexico because of limited exhibition platforms. One shining beacon in Mexico City is La Cineteca Nacional, a cinema palace with 10 theaters that programs year round classic and contemporary Mexican films. The country’s two major film output entities are Cinepolis the largest theater chain in Mexico with over 2500 screens (nearly half the market), and IMCINE, The National Film Institute. Per IMCINE’s film report, 130 Mexican films were produced in 2014 and 68 were released. Cinepolis has established their Sala de Arte, their designated documentary and arthouse theater inside their multiplexes, as well as begun to distribute films. Meanwhile IMCINE, which has long funded development and production, recently created a fund for distribution, so that Mexican independent fiction and documentary films can be seen. Still, because they are the corporate/government film monopolies in Mexico, some feel it is their responsibility to do much more. Yours truly moderated a panel with their new digital platforms CinepolisKlic, and FilminLatino. CinepolisKlic offers VOD of a variety of commercial national and international titles while FilminLatino (IMCINE) is a subscriber based platform with a very curated selection and cool editorial tone. Both are open for filmmakers to submit their films, regardless of whether its had a theatrical or festival premiere.

For far too long Mexican filmmakers have been overly influenced by european cinema- no doubt to appeal to international fests where sometimes its the only place their independent work has a chance to be seen. So I love it when I see filmmakers like Julio Hernandez Cordon, Nicolas Pereda, and Gerardo Naranjo creating original aesthetics and risk-taking narrative approaches. Thematically this year, there seems to be a thruline of simmering desperation, desire, and fighting for something aspirational, even if only for a brief respite…. before landing to reality and surrendering to the same old.

El FESTIVAL INTERNACIONAL DE CINE DE MORELIA

Film Festival heads; President and Cinepolis CEO Alejandro Ramirez, Vice President, cultural ambassador and Architect, Cuauhtémoc Cárdenas Batel, and the always eloquent and die-hard cinephile Festival Director Daniela Michel are super involved and present every day/night hosting their guests and introducing films. They elevated the quality of intros and q&a’s at the festival along with Festival Programmer and filmmaker (and for many years the head of production for the festival) Daniela Alatorre, who framed context and created rich dialogue around the documentary screenings. Although it was rumored that Hurricane Patricia scared away some attendees, the festival seemed to have more special guests and industry presence than ever. Sundance Institute’s Artist Services engineered a popular workshop which included a 101 with Dan Schoenbrun from Kickstarter, a conversation with doc master Ondi Timoner and a conversation with SXSW head, Janet Pierson. This year also marked an alliance between Locarno’s Industry Academy and Morelia Film Festival, focused on developing professionals working in international sales, marketing, distribution, exhibition, and programming. The Festival broke its attendance record reaching 40,000 filmgoers per Alejandro Ramirez at the Closing Night Ceremony.

TRANSCENDENT NATURE OF CINEMATOGRAPHY

FullSizeRender(1) — Mexican cinematographer Diego Garcia in the middle and to his right Apichatpong who hopes to direct his next film in Mexico

I had not seen any of Thai auteur darling Apichatpong Weerasethakul’s films before until now (sigh). Truth be told I only went to see Cemetery of Splendour because it was shot by a Mexican. Cinematographer Diego Garcia (Without, Fogo), who alongside the high profile company of Emmanuel Lubezki aka El Chivo, represent exceptional Latin American cinematographers doing incredible work in and outside of Mexico. I also would include Maria Secco, Sebastian Hiriart and Lorenzo Hagerman among them. Garcia’s latest film is Neon Bull by brazilian filmmaker Gabriel Mascaro, also showing at this week’s AFI Film Festival.

Garcia is shooting Carlos Reygadas next film which starts filming next week and throughout all of next year. We can also expect very soon the new film by Amat Escalante. The Untamed just finished shooting in his home state of Guanajuato. It is produced by Nicolas Celis, a young intrepid producer with impeccable taste in projects he takes on. He is also the producer of first feature, female directed Easter by Alejandra Márquez which world premiered at Toronto. It will be making its Mexican premiere in competition at the Los Cabos Film Festival which starts in a couple weeks, November 11-15. There is some overlap of Mexican films between Morelia and the 4th edition of Los Cabos Film Festival. Among Los Cabos’ world premieres, I’m excited to see Marcelino Islas Hernández new film, Charity. He made a very small and touching film called Martha back in 2010. I’m also curious about You’ll Know What to do with Me by Katina Medina Mora. It will be her directorial feature debut. She has worked as 1st AD on several awesome films like Gerardo Naranjo’s Voy a Explotar, the Gael Garcia Bernal directed Deficit and festival darling Cochochi.

WATCH OUT FOR – FILMS IN POST

Aside from Escalante and Reygadas, there are a few hotly anticipated First features which will be ready to premiere in 2016. I’m so glad to have gotten the chance to see a cut of Zeus by multi media artist Miguel Calderon in Morelia’s Work in Progress, Impulso section. The film has an unnerving, escalating tension between a young man and his mother, and unique visual allegory. The film is produced by Christian Valdelievre, and was developed and supported by Sundance Institute’s international Feature Film Program. Also currently in post, first fiction feature Pan American Machinery by Joaquin del Paso, produced by Mantarraya. And one of my favorite filmmakers of the world (for reals), somebody who draws outside any prescribed doc and fiction lines, Nicolas Pereda, has a new project called The Heart of the Sky.

The best dance party was Ambulante! DJ Gil Cerezo from Kinky

To see the full list of winners at the Morelia Film Festival click here. If you missed it, do not fret! You can see great interviews by film critic and friend, Anne Wakefield with Stephen Frears, Rodrigo Garcia, Tim Roth, Peter Greenaway and more on the festival’s YouTube channel. Also, right now until November 15 you can check out some of the short films in competition here! Many short film filmmakers who go on to screen their feature debuts at the festival as well as already well established, compete in the short film competition. Speaking of which one of my favorites (not online yet) was Boy at the Bar Masturbates with Fury and Self Assurance by new wave queer film cineaste, Julian Hernandez. Check out the trailer:

Don’t think I forgot the Mexican documentary treasures! The award for Best Documentary at Morelia went to 25 year old Mazatlan female director, Betzabe Garcia for Kings of Nowhere. The film was developed and supported with a post production grant from Ambulante and had its world premiere at SXSW earlier this year where it won the Audience Award.

Stay tuned for a Mexican documentary round up post, my experience at the first ever Mexican Film Residency, and my visit to the extraordinary Splendor Omnia studios, Carlos Reygadas’ hidden jewel of a post production studio compound in the magical village of Tepotzlan.

Here we go! Kickstarting the Ambulante USA movement

June 17, 2014June 17, 2014Christine DavilaLeave a comment

I nodded off at 3am with Orange is The New Black finale in the background while compiling my old yahoo contacts and email lists from the various film festivals I’ve worked in the past 12 years. Why? To prepare a Master email blast to ask people to back Ambulante California on Kickstarter. If I didn’t love this social cinema platform and believe it to be a noble and radical vehicle that stimulates the ecosystem of audiences and filmmakers I would probably think twice about emailing folks I haven’t talked to in a while. But that’s not the case. Here’s me a few hours ago all showered after two strong instant black coffees making a video to commemorate the launch.

And here is the campaign video and page. Please click HERE to go to page and get involved and support this project!

Don’t be shy, tell me what you think. I will try to update my blog with this crazy rollercoaster journey of the Chicana from Chicago heading up a traveling documentary film festival.

#AllOrNothing

#DoubleDown

Ambulante California – unveiled at the 2014 Sundance Film Festival

Video January 20, 2014Christine DavilaLeave a comment

Diego Luna and Gael Garcia Bernal, co-founders of the traveling documentary film festival, talk about the inception of Ambulante, the power of cinema, and the upcoming launch of Ambulante California. Coming soon September 21 – October 4

@AmbulanteCA

Docs due to break through: Top 5 American Latino Docs to watch out for in 2013

January 16, 2013January 16, 2013Christine DavilaLeave a comment

Last week I offered up my top 5 fiction films to look out for in 2013, and as promised, here is my non-fiction list of films coming down the pipeline, bound to make an impression and impact this year. Two are profiles of influential iconic American activists whose work and spirit have left indelible marks on their generation. Hopefully their reintroduction through the docs will serve to celebrate and carry on their positive influence as Latinos for many next generations. The other films deal with redefining our perception of American identity, gender and human rights while wielding cinematic ingenuity and power. As these films prove, docs can be just as striking in their characterization and cinematic form as their fiction counterparts, in addition to their intrinsic educational value. Take note, all of these are seeking opportunities to engage with their audiences so again click on the links to follow and show your interest in their work so we can bring awareness and demand their exhibition.

1.LAS MARTHAS by Cristina Ibarra, produced by Erin Ploss-Campoamor

In Laredo Texas, there exists a debutante ball held by the exclusive Society of Martha Washington that takes place every year celebrating George Washington’s birthday. A 114 year-old tradition, the lavish affair presents members’ daughters- all of aristocratic pedigree and lineage dating back to the foundation of Texas, who dress up in grand, colonial gowns representing characters from the American Revolution. Las Marthas follows a couple of high achieving, bi-literate and conscious young Mexican Americans going through the lengthy preparations as they enter this rite of passage that ends with a parade that draws huge crowds. What’s especially remarkable about the whole patriotic event is that we are talking about a city that is 94% Latino. Laredo became part of Texas in 1848, when everything north of the Rio Grande became the United States. Many families who stayed, benefited off the oil boom and settled into an upper class aristocracy. Many generations later these are still the most prominent Laredo citizens and proud bearers of this historic tradition.

I’m so proud of this Chicana sister for revealing this world. She has intuitively seized on and explored this unique legacy, which clearly demonstrates the vibrant bi-culture of Texas and shows how aptly the founding father narrative belongs to Mexican Americans. She is also working on a fiction feature titled Love and Monster Trucks about an 18-year-old Chicana artist named Impala Mata who can’t wait to escape her 4×4 truck-obsessed, Texas bordertown family. Sounds so cool. Need to track that one too.

Filmmakers website here

cesareats 2. CESAR’S LAST FAST by Richard Ray Perez, produced by Molly O’Brien

Back in the Spring on Chavez’s anniversary I wrote about this documentary in progress here on the site. Cut to today and I’m happy to share it is just about ripe and ready for its premiere. Wisely and effectively entering the vast legacy by angling on Chavez’s 1988 Fast for Life, the film focuses on conveying the private sacrifice and spiritual conviction behind Chavez’s struggle for the humane treatment of American farm workers. With each and every day adding up that he refused to eat in protest of the rampant use and ill effects of growers spraying pesticides on farm workers, Chavez seriously risked his health and life and in turn inspired a nation. It boasts never-before-seen footage in which artists and activists came to see him, endeared in solidarity by his fortitude, including the likes of Rev. Jesse Jackson, the Kennedy family, interviews with his son Paul Chavez, Chicano filmmaker Luis Valdez, activist veteran, Dolores Huerta and Martin Sheen, along with showing the press hoopla this man was able to attract back then. It’s taken years for the family to trust someone with his story so it’s telling that Rick has managed to gain their support.

Film contact <CesarsLastFast@earthlink.net>

Website, Facebook

RUBEN-SALAZAR-PREVIEW — created by Ernesto Yerena. Click on the image to see his work.

3. RUBEN SALAZAR: MAN IN THE MIDDLE by Phillip Rodriguez, produced by City Projects

On August 29 1970, just as the Chicano Moratorium March, a protest denouncing the extremely high number of Chicano soldier casualties in Vietnam (front of the line browns), was winding down, a tear gas canister was suddenly thrown by LA County police into the old Silver Platter Cafe on Whittier Blvd, killing the pioneering civil rights journalist Ruben Salazar. Set to broadcast on PBS in the Fall, this documentary is the first thorough investigation into the life and mysterious death of Salazar who was raised in El Paso and went on to become a brilliant reporter covering Vietnam, the Olympics and the Chicano movement for the LA Times and KMEX TV 34 television, making him the first Mexican American to cover news for mainstream outlets. In that critical and turbulent moment in the Chicano rights movement, Salazar gave voice, rationale and dignity to Chicanos’ fight to demand equality. An inquest was later regarding his untimely death made but murder charges were never brought. Instead Los Angeles County paid $700,000 to the Salazar family to settle a wrongful-death lawsuit.

Just last month, after two years of requests, Philip Rodriguez finally won the battle to uncover case details when MALDEF sued Sheriff Lee Baca for withholding unredacted records regarding the 42 year old case. This new unearthed footage, photos and documents will appear in the film along with interviews with Salazar’s family, friends, colleagues as well as the deputy who threw the fatal tear gas missile, Tom Wilson. So the story goes, there had been allegedly a tip that an armed man entered the bar (hence blindly throwing tear gas while folks were in there?). For the first time we might get answers and insight surrounding the mysterious and suspicious circumstances of this leading Latino voice. As quoted on KPCC, Phillip Rodriguez says, “I think this is one of the most important stories that has remained on the margins and that has been characterized as a regional or an ethnic story and it’s a fantastic American story”.

4. THE WILDNESS by Wu Tsang produced by Kathy Rivkin

Although this premiered at a few noteworthy film festivals in 2012, including Austin’s SXSW, Outfest in Los Angeles and MOMA in NYC last December, I’m thrilled to know there is still a long life ahead towards sharing this beautiful experience with the public so it definitely deserves to be on the Watch Out For list. A dazzling requiem to the 7th & Alvarado corner bar joint, Silver Platter, specifically the transformation and haven as a Latin/LGBT/immigrant community spurred on by the introduction of performance parties known as Wildness, produced by a fiercely talented collective including Wu Tsang, the director of the film. The intersection of stories and people borne out of that multi cultural, trans and cross-generational magic potion is fascinating and poignant to behold in this cinematic and audiovisual piece. The cinematography captures the wonderful and tragic beauty, and by personifying the bar as a majestic hostess welcoming all wayward transients, the film pulses with heart. Currently looking for distribution opportunities (repped by Cinetic). Check out the trailer below and go to the Facebook for more info.

5. WHO IS DAYANI CRYSTAL? by Marc Silver, produced by Canana and Pulse

I previously highlighted this unique docu-drama about the discovery of a migrant found dead in the border desert and the unfolding mystery of his identity with the parallel of a retracing of his journey, as part of my WTF is Latino at Sundance post. The film will open the World Cinema Documentary Competition at the 2013 Sundance Film Festival this Thursday and I will be onsite to cover the audience’s reaction (Don’t forget to follow me on twitter for my sporadic SFF coverage). Not only is it a feat of ingenuity in the way the narrative is structured, it’s an extremely urgent topic deserving a larger audience to provoke more humanity and thought into the pressing immigration reform debate. I guarantee this one will travel to many festivals in 2012 and get theatrical distribution, aided in no small part by its compassionate and driven producer and narrator, Gael Garcia Bernal. Last year, Searching for Sugarman screened in the same Day One screening slot, was subsequently snapped up by Sony Pictures and as of last week officially nominated for an Academy Award. Hmmmm. Get updates by following their twitter @DayaniCristal

Film Contact: < lucas@pulsefilms.co.uk>

WTF is Latino at the 2013 Sundance Film Festival?

December 4, 2012February 24, 2013Christine Davila3 Comments

Glad you asked. Now that the entire programming slate has been announced for the 2013 edition of the Sundance Film Festival, let’s take a look at the representation of Latinos in the broadest, most diverse sense, because that is what that ill-defined lump category encompasses. {Full disclosure: I work as a Programming Associate for the Festival. These are not reviews but an insider breaking-it-down preview}

dayani — Gael Garcia Bernal in Who is Dayani Cristal?

At first glance the Latino representation may not seem obvious. Nor may it seem as strong as the films and filmmakers from the African-American and LGBT community representing, or the record breaking number of female directors’ – each group highly visible by their nature. We may not have a Mosquita y Mari or Filly Brown, two fiction films, which broke out of the festival this past year, but we do have two hugely relevant and urgent documentaries exploring the effects of a bi-cultural U.S. & Mexico social fabric, NARCO CULTURA which explores the phenomenal music and social culture being shaped and perpetuated by the influence of Mexico’s violent drug cartels, and WHO IS DAYANI CRISTAL? an innovative doc-fiction hybrid produced by Gael Garcia Bernal that will hopefully re-divert much needed attention back to the US/Mexico border. By the way, Who is Dayani Cristal? screens in the high profile DAY ONE slot.

What’s Latino anyway?

I personally embrace the responsibility of changing the conversation as to what constitutes representing American Latinos. First, by focusing on both the above-the- line-talent (filmmaker or actor) AND storyline/subject. The second part is highlighting the second, third, fourth and so-on generations of filmmakers. What about the filmmakers in the festival like Kyle Patrick Alvarez (C.O.G), Liz W. Garcia (The Lifeguard) and Eduardo Sanchez (S-VHS horror anthology and co-director of the infamous Blair Witch Project)? I don’t know these filmmakers personally so I can’t speak to how they might view their cultural identities and how it informs their work, if at all. But I do believe it is worth pointing out and feeling good about these last names being out there as part of the mainstream fabric. It is similar to how Robert Rodriguez does not identify himself as a Mexican-American yet his last name has been key to driving the younger Latino generation in feeling a proud connection as an American and not just “dash” American.

Chile is still hot

There are three films from Chilean filmmakers. In unprecedented fashion – because that’s how Sundance likes to roll- there is a repeat of last year with two in competition, EL FUTURO by Alicia Scherson (mostly taking place in Italy) and CRYSTAL FAIRY by Sebastian Silva, an alumnus who broke out in 2009 with LA NANA. In the section Spotlight aka “Movies we love and don’t care if they’ve traveled the festival circuit”, is Pablo Larrain’s NO starring Gael Garcia Bernal. Chilean cinema is hot and king of engrossing character-driven fare. What we are seeing is a boom on two fronts; an invigorating new generation of provocateurs (Marialy Rivas’s Young & Wild comes to mind) and a slightly older generation of equally exciting filmmakers who continue to sustain their careers with their distinct voice (like Pablo Larrain along with Andres Wood).

So now lets dive in and look at the list. Loglines copied from official press release – BOLD ITALICS are my comments.

US DRAMATIC COMPETITION

The lovely and talented Boricua actress Melonie Diaz

Fruitvale / U.S.A. (Director and screenwriter: Ryan Coogler) — The true story of Oscar, a 22-year-old Bay Area resident who crosses paths with friends, enemies, family and strangers on the last day of 2008. Cast: Michael B. Jordan, Octavia Spencer, Melonie Diaz, Ahna O’Reilly, Kevin Durand, Chad Michael Murray.

Puerto-Rican Diaz delivers a fiercely moving performance embodying the girlfriend of Oscar Grant who was with him that fateful day. Diaz is no stranger to the festival. She’s previously been at the festival with four films including seminal indie American Latino story, RAISING VICTOR VARGAS 2002 and comedies like HAMLET 2 20008. Why homegirl hasn’t gotten more props for her mad acting skills I don’t know, but this girl is wildly talented and Fruitvale showcases her dramatic chops.

US DOCUMENTARY COMPETITION

an image from Narco Cultura. For more images check out: http://www.shaulschwarz.com — an image from Narco Cultura. For more arresting film stills check out: http://www.shaulschwarz.com

Narco Cultura / U.S.A. (Director: Shaul Schwarz) — An examination of Mexican drug cartels’ influence in pop culture on both sides of the border as experienced by an LA narcocorrido singer dreaming of stardom and a Juarez crime scene investigator on the front line of Mexico’s Drug War.

Absolutely arresting photography that works in giving weight to the violent images the public has become numb from seeing. I predict some of my hard core brown and proud friends might focus and hence diminish this film based on the fact that this bi-cultural, Mexican-American subject is made by non-Latino filmmakers. It could be argued as a valid point. When it comes to documentaries a legit question to make when evaluating is “What makes THIS person the right one to tackle THIS subject? What is their connection?” Let’s watch it to find out, then give consideration to what other docs are currently out there on this same timely topic made by Latinos, and without bias regard their depth and artistic merit.

WORLD CINEMA DRAMATIC COMPETITION

Crystal Fairy / Chile (Director and screenwriter: Sebastián Silva) — Jamie invites a stranger to join a road trip to Chile. The woman’s free and esoteric nature clashes with Jamie’s acidic, self-absorbed personality as they head into the desert for a Mescaline-fueled psychedelic trip. Cast: Michael Cera, Gabby Hoffmann, Juan Andrés Silva, José Miguel Silva, Agustín Silva. World Premiere. DAY ONE FILM

This marks Sebastian’s third appearance at the festival following LA NANA and GATOS VIEJOS. Remember what I said about character driven? Silva excels at getting at spilling out the insides of his protagonists.

elfuturo — Manuela Martelli in El Futuro

The Future / Chile, Germany, Italy, Spain (Director and screenwriter: Alicia Scherson) — When their parents die, Bianca starts to smoke and Tomas is still a virgin. The orphans explore the dangerous streets of adulthood until Bianca finds Maciste, a retired Mr. Universe, and enters his dark mansion in search of a future. Cast: Manuela Martelli, Rutger Hauer, Luigi Ciardo, Nicolas Vaporidis, Alessandro Giallocosta. World Premiere

Scherson’s last film, TURISTAS screened at various film festivals including the Los Angeles Film Festival in 2009. Shot in another country and in a different language, The Future continues the filmmaker’s incisive capturing of the strong female led journey.

WORLD CINEMA DOCUMENTARY COMPETITION

Who is Dayani Cristal? / United Kingdom (Director: Marc Silver) — An anonymous body in the Arizona desert sparks the beginning of a real-life human drama. The search for its identity leads us across a continent to seek out the people left behind and the meaning of a mysterious tattoo. World Premiere. DAY ONE FILM

An extraordinary cinematic and symbolic approach to the border crossing genre, this meta reflexive journey retraced by none other than Gael Garcia Bernal imagines the grueling experience of a migrant and who he might have been. Bernal has been lending his star power to the social justice causes that move him and you can tell its genuine.

NEW FRONTIER

From the eerie and haunting Mexican film, Halley

Halley / Mexico (Director: Sebastian Hofmann, Screenwriters: Sebastian Hofmann, Julio Chavezmontes) — Alberto is dead and can no longer hide it. Before surrendering to his living death, he forms an unusual friendship with Luly, the manager of the 24-hour gym where he works as a night guard. Cast: Alberto Trujillo, Lourdes Trueba, Hugo Albores

As unsettling it is watch, it is as deep to ponder, this incredibly-shot first feature had its world premiere at the Morelia Film Festival and its inclusion in the most daring section of the festival speaks to the highly diverse and radical new cinema coming from Mexico.

SPOTLIGHT

No / Chile, U.S.A. (Director: Pablo Larraín, Screenwriter: Pedro Peirano) — When Chilean military dictator Augusto Pinochet calls for a referendum to decide his permanence in power, the opposition persuades a young advertising executive to head its campaign. With limited resources and under scrutiny, he conceives a plan to win the election. Cast: Gael García Bernal, Alfredo Castro, Antonia Zegers, Luis Gnecco, Marcial Tagle, Néstor Cantillana.

There have been many films about the Pinochet regime and its wide-reaching after effects. But none have had as unique an entry point as NO. Trust.

MIDNIGHT

We Are What We Are / U.S.A. (Director: Jim Mickle, Screenwriters: Nick Damici, Jim Mickle) — A devastating storm washes up clues that lead authorities closer and closer to the cannibalistic Parker family. Cast: Bill Sage, Ambyr Childers, Julia Garner, Michael Parks, Wyatt Russell, Kelly McGillis.

Okay, I only include this because this is based on the Mexican cult hit, Somos Lo que Hay by Jorge Michel Grau. Jim Mickle of Stakeland has promised to “Not Fuck it Up” per Twitch interview

To cap off the features; Stalwart Spanish actor Alfred Molina is in Emanuel and the Truth About Fishes by Francesca Gregorini in US Dramatic Competition, and we have a strong acting splash by Marcus DeAnda, a co-lead in PIT STOP directed by Yen Tan and co-written by David Lowery. The film about two gay working class lovers in small town Texas is in the Next section.

And lets not forget about shorts!

SHORT FILM COMPETITION

Broken Night / U.S.A. (Director and screenwriter: Guillermo Arriaga) — A young woman and her four-year-old daughter drive across desolated hills. Everything looks fine and they seem to enjoy the ride, until an accident sends them into the nightmare of darkness.

Ever since writing and directing team Arriga and Innaritu broke up (Amores Perros, Babel) Arriaga has been trying to make his stamp directing his own material.

The Companion / Peru (Director and screenwriter: Alvaro Delgado-Aparicio) — On the outskirts of Lima, a young prostitute tends to his father, a fallen-from-grace artisan. However, the young man feels that his efforts are never enough. He tries to break free, but his father’s dependence is stronger than his son’s will.

Intriguing and highly atmospheric gem from Peru!

Paraíso / U.S.A. (Director: Nadav Kurtz) — Three immigrant window cleaners risk their lives every day rappelling down some of Chicago’s tallest skyscrapers. Paraíso reveals the danger of their job and what they see on the way down

Chicago? Check. Mexicans check! No, but really this intimate glimpse is poetic and moving.

A Story for the Modlins / Spain (Director: Sergio Oksman, Screenwriter: Sergio Oksman) —The tale of Elmer Modlin, who, after appearing in Rosemary’s Baby, fled with his family to a far-off country and shut himself away in a dark apartment for 30 years.

Must see. Fascinating and inventive ‘Found family photos’ yarn.

#PostModem / U.S.A. (Directors and screenwriters: Jillian Mayer, Lucas Leyva) — A comedic, satirical, sci-fi pop musical based on the theories of Ray Kurzweil and other futurists, #PostModem is the story of two Miami girls and how they deal with technological singularity, as told through a series of cinematic tweets.

My favorite locos from Miami. After making the rounds with Life & Freaky Times of Uncle Luke, which played last year, these rump-shakers have been busy with their work in and out of their funky audiovisual collective Borscht Corp.

{check my addendum to this post here}

See you on the mountain!

Morelia Film Festival celebrates a decade of discovery – A conversation with Festival Director, Daniela Michel

October 30, 2012February 14, 2013Christine DavilaLeave a comment

Since 2003, the Morelia Film Festival has been nurturing filmmakers and audiences, and has rooted its niche as a discovery festival of up and coming Mexican filmmakers. At the same time it’s earned a prestigious reputation for its expertly curated sidebars that would make the most hard core cinephile drool, and for the Festival’s unparalleled attention and hospitality to their guests, Invitados. Each year the Festival invites renowned international cineastes to participate in showing their films for the first time in Mexico, in turn enticing them to experience the vibrant scene of Mexican Cinema in the most charming historic city of Morelia, Michoacán.

To celebrate its 10^th year anniversary the powerhouse boutique festival has put together an epic program consisting of over 2oo hand picked films as part of special screenings, tributes and homages to compliment its more solid than ever Mexican Competition made up of 25 documentaries, 45 shorts, 9 narrative features, along with 12 films from the hosting state of Michoacán. Among the special guests this year, English filmmaker Sally Potter, Iranian filmmaker Abbas Kiarostami, and Chicano filmmaker Gregory Nava.

I thank the tirelessly dynamic Director of the Festival, Daniela Michel for talking with me about the Festival’s programming then and now. {redacted and translated}

Daniela Michel_5 — Daniela Michel, Festival Director, Festival Internacional de Cine de Morelia (FICM)

C: From the return of Regyadas with his highly anticipated Post-Tenebras Lux, who was one of three Mexican directors awarded a prize at Cannes (along with Fogo by documentary and fiction director, Yulene Olaizola, and Después de Lucía by Michel Franco which is Mexico’s foreign language Oscar entry), to Locarno Film Festival’s Carte Blanche spotlight of Mexican works in progress, 2012 has been a stellar year for Mexican films. The Festival is showing nine narrative features in competition, seven of them world premieres by first time filmmakers, reflecting this building breakthrough momentum…

D: Yes, we’re thrilled that Cannes was a big year for Mexican film. We were honored to have Artistic director, Thierry Frémaux as a guest at the Festival last year. He’s truly been supportive of Mexican films and we are profoundly thankful. When we first started the festival there just weren’t enough features films to warrant a solid competition program. Our mission was to build a program made up of the next generation of filmmakers and support them. We weren’t interested in showing already established Mexican filmmakers. In 2007 we had our first narrative feature length competition and we were grateful for having such a prominent jury comprised of Trevor Groth, Director of Programming at Sundance Film Festival, Peter Scarlet, at that time Artistic Director of Tribeca Film Festival and Cecilia Suarez, a talented Mexican actress. They bestowed the Best Film award to Nicolás Pereda’s first film, Where are their Stories. Pereda has gone on to be a prolific and singular talent. We are screening his 7th film out of competition, The Greatest Hits.

C: Documentaries are an integral part of the festival, this year the festival is showing a record breaking 25 documentaries in competition. Typically the Mexican documentary genre has generally fit into the ethnographic study type. How has this changed over the years?

D: We are seeing more intimate and personal journey type of stories that are breaking with that notion that there is only that kind of Mexican documentary. There are looks of forgotten history like Flor en Otomi by Luisa Riley about a young female guerilla fighter who disappeared following a violent raid, or Convict Patient by Alejandro Solar Luna about a man who attempted to assassinate the president in 1970 and is now homeless and mentally unstable. There are more experimental films, more personal portraits like Carriere, 250 Meters by Juan Carlos Rulfo and Natalia Gil about the inspiring writer and Bunuel collaborator Jean-Claude Carriere, Diario a Tres Voces by Otilia Portillo Padua, a compelling multigenerational look of three women in relationship to their age, Miradas Multiples (La Maquina Loca) by Emilio Maille which is about the great cinematographer Gabriel Figueroa. Definitely, Mexican documentary is expanding its horizons.

C: Last year you had Luis Valdez as an honored guest and screened his seminal Chicano film, Zoot Suit. This year you are honoring Gregory Nava with a screening of El Norte and Mi Familia. What prompted this recognition of Chicano filmmakers at the festival?

Screen Shot 2012-10-30 at 8.16.40 PM — Luis Valdez at FICM 2011

D: We’ve always had a section called Cine Sin Fronteras (Cinema without Borders) curated by Jesse Lerner an academic expert on border films. While we had not, up until last year, recognized such well known chicano figures like Luis Valdez we’ve shown the work of lesser known, independent filmmakers. We felt it was overdue and important to introduce chicano films to mexico. Not necessarily a border crossing story but the perspective of Mexicans living in the United States. Certainly Luis Valdez deserved a homage here in Mexico. Unfortunately chicano cinema is not well known in Mexico. We are very happy that Gregory Nava who we highly respect, will be joining us this year.

C: The Michoacán section. The festival recognizes the talent of filmmakers from the hosting state with its separate competition section. How do you make sure this section does not fly under the radar or get lost in the shuffle since it competes with high profile national and international films.

D: Well, first of all the caliber has to be there and I think that since the festival’s inception, the filmmaking scene in Michoacán has been greatly stimulated as there’s been more production, filmmaking has become more accessible and over the past ten years we’ve seen the production value and quality getting better and better. Not only indigenous filmmakers which was very important to us like Dante Cerano and Pavel Rodriguez but filmmakers who were born and raised there and may live elsewhere. We make an effort to give these films the highest visibility by giving them the best time slots so that the public can easily find and discover.

C: Given the Festival’s success, there must be a desire and pressure to continue to expand and grow. How do you navigate the appeal of complimenting the festival with an increasing number of programs yet work to keep the mission’s integrity?

D: Interest in participating in the festival has certainly grown but we can’t lose focus that our main goal is to support the young mexican filmmakers so we select only the best work out there, always. Its important not to have any kind of institutional or political ties that might compromise that mission. One of the sections I most love which we created in 2008, based on the invaluable recommendation of Bertrand Tavernier who has an impressive knowledge of film, is called Imaginary Mexico. This section showcases work connected to Mexico imagined by foreign filmmakers abroad, revealing their perception of Mexico. It’s a rich, eye opening trove. For instance Mexico as seen by Hollywood. This year we are showing a number of Sam Peckinpah’s films (The Wild Bunch, among others). Two years ago we had the extraordinary gift of having Quentin Tarantino present Sergio Corbucci’s spaghetti westerns about the Mexican Revolution. These films had been previously banned in Mexico for its scathing portrayal of the revolution….

It’s a rich diaspora. The Festival supports the future of Mexican Cinema with the best work by the next generation of filmmakers just starting out. It celebrates Mexico of the past, through classics and retrospectives like this year’s homage to cinematographer Jose Ortiz Ramos born in the state of Michoacan, and the other, films about Mexico from outside of Mexico. We attack it on all fronts. This intersection of borders, indigenous films made by indigenous filmmakers who have a permanent space in our festival, film students and history.

C: About the Morelia audience

Screen Shot 2012-10-31 at 2.03.21 AM — Carlos Reygadas and Bela Tarr, BFFs

There is a big population of university students which combined with the city’s strong tradition of historical culture, we felt there was potential there. It wasn’t easy at first. I remember programming a Woody Allen film against a block of unknown shorts. We realized that once the tickets for the Woody Allen movie sold out, people who weren’t able to get in, naturally found their way into the shorts program. We are indeed grateful for that audience. Obviously showing Bela Tarr’s epic eight hour Satantango last year would not have worked had we programmed it the first year. We owe a lot of this audience development to our extraordinary colleague and dear friend Joaquin Rodriguez (founding programmer who passed away earlier this year). He worked year round developing that audience. His film appreciation classes there would have space for twenty, and five times the amount of people would show up. This edition is dedicated to him for his consummate professionalism, passion and brilliance.

C: We are a few days away from the 10th edition. How are you feeling now and do you remember how you felt ten years ago at this point?

D: It was one of the most stressful moments in my life because I had no idea how it was going to work. It was terrifying. Today I feel very blessed to have this incredible team because the work is put in by all of us and it would be impossible without the dedicated group assembled who I admire and respect very much. …Every year there is stress. But like they say “If you stop feeling the nerves then quit”. I’m a huge cinephile so I love sharing this gift of film with new audiences. Its endless, there is an endless vault of films to be re-discovered and that’s what I love best that these films return to life. You learn a lot about life seeing film.

Follow the Festival @FICM. To see the competition lineup click here, and to download this year’s catalogue click here.

Ambulante – Breaking Borders and a Model of Transmedia

February 21, 2012February 21, 2012Christine DavilaLeave a comment

The 7^th Ambulante Film Festival, which was recently bestowed with Washington’s (WOLA) Human Rights Award for using documentary as a tool for change, launched its spring tour by debuting in Mexico City February 19 and will go on until the 23, before it continues its celebrated pilgrimage to Guerrero, Veracruz, Puebla and a dozen other Mexican cities. The 2012 edition of the passionately led, itinerant film organization will screen 81 titles from 24 countries, and will have visited over 28 cities and towns by end of the year. Born during the 2005 Morelia International Film Festival by Diego Luna, Gael Garcia Bernal, Pablo Cruz, lead by Executive Director, Elena Fortes, and Programming Director Ricardo Giraldo, the pioneering non-profit which also brings and produces film workshops as part of its community outreach program, has already expanded and announced more plans to further its mission abroad and within the U.S.

Just this past week Ambulante capped off a successful partnership with Cinema Tropical on MOMA’s documentary fortnight in New York. Ambulante will also have a presence at the upcoming Tucson Cine Mexico, showing four documentaries by female directors. And in October, Ambulante will be hosting a screenings’ series here in Los Angeles (stay tuned for more details). Ambulante has previously partnered with LA film organizations before, notably Film Independent’s Los Angeles Film Festival, which in 2009 offered an Ambulante spotlight. Ambulante’s expansion is testament to its success at presenting an intervention type of programming focus, and screening international documentaries in regions where it would otherwise never be shown, and in this latest edition, spearheading forums in which to address Mexico’s social issues such as the persecution of journalists, migration, drug and arms trafficking.

Showing his support at the premiere of De Panzazo!, a documentary about Mexico’s public school system, Gael Garcia Bernal expressed his deep belief of using film as a tool for social responsibility.

Below are just a few of the highlights of this tour:

VIVAN LAS ANTIPODAS by Vincent Kossakovsky a quirky documentary that compares four pairs of locations on exactly opposite sides of the globe- Catch this at the upcoming SXSW festival!

REPORTERO – World premiere from Bernardo Ruiz, a Sundance Institute and Cinereach supported documentary profiling the fearless Tijuana weekly, Zeta. It will be broadcast on POV in the fall.

UTOPIA IN 4 MOVEMENTS by Sam Green and Dave Cerf – the incredibly unique and live musical accompaniment documentary experience.

PINA in 3D by Wim Wenders, the Oscar nominated documentary about legendary dancer, Pina Bausch

The People Vs. George Lucas by Alexandre O. Philippe – the festival favorite documentary where the public who made the blockbuster franchise what it is today, get their say and take the series into their own creative hands.

Go to Ambulante’s website to see more info on films, interviews and photos.

Follow Ambulante on Twitter

LA COCINA directed by Alonso Ruizpalacios

I’M YOUR VENUS directed by Kimberly Reed

JAZZY directed by Morrisa Maltz

Special Mention:

RENT FREE directed by Fernando Andrés

Receipts:

Talent to watch

Culinary Cruising

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