Tuesday, May 31, 2011
Cambio Fecha - Flamenco Flamenco
La fecha de estreno para Flamenco Flamenco cambió. Estrenará el jueves 9 de junio @ Fine Arts.
Saturday, May 28, 2011
Flamenco, Flamenco de Carlos Saura
Artistas como Sara Baras, Paco de Lucía, Farruquito, José Mercé, Estrella Morente o Niña Pastori ponen voz, baile y color a este documental dedicado a introducir al espectador en el mundo del flamenco.
Flamenco, Flamenco exhibiéndose desde este jueves @ Fine Arts Café.
Ficha Técnica
Título: Flamenco, Flamenco
Título original: Flamenco, Flamenco
Dirección: Carlos Saura
País: España
Año: 2010
Duración: 90 min.
Género: Música
Calificación: Apta para todos los públicos
Reparto: Sara Baras, José Miguel Carmona, Montse Cortés, Paco de Lucía, Farruquito, Israel Galván, José Mercé, Estrella Morente, Soledad Morente, Niña Pastori, Miguel Poveda, Manolo Sanlúcar, Tomatito, Eva Yerbabuena, Antonio Zúñiga
Friday, May 27, 2011
Friday, May 20, 2011
Monday, May 16, 2011
Crítica de Carancho por John McCarthy del Box Office Magazine
CARANCHO
Argentine director sees grit and grace in ambulance chasing
By John P. McCarthy Box Office Magazine/Boxoffice.com
Redolent of David Cronenberg's Crash and sundry episodes of ER, Argentinean filmmaker Pablo Trapero's sixth feature concerns two people who fall in love amid sudden corporeal trauma and creeping ethical decay. The influence of Mexican director Alejandro González Iñárritu (Amores Perros and 21 Grams), is evident here, though not his more excessive formal tendencies, which helps Carancho entertain, albeit in a conventional manner more associated with network TV drama. Shrewdly made with an eye toward commercial success, Carancho (translation: vulture) has an outside shot at straddling the arthouse/multiplex divide.
Numerous times throughout, characters are implored to "calm down" or "stay calm." Good advice if you're able. Tranquility is in short supply within the film's perilous milieu, which encompasses streets littered with car crash victims and the emergency rooms to which they're taken by ambulance. Along with inherent distress, somehow it's also natural (according to the laws of cinema) that two souls toiling in such a setting, administering medical aid or pretending to offer the legal variety, will find romance. In fact, it's a classic scenario: love grows in fetid soil, here sprouting through cracks in the asphalt of a Buenos Aires district where, at night at least, it appears only the reckless and mercenary roam.
Lujan (Martina Gusman) is a young physician from the provinces working as an EMT and later as an ER doc. On her shift one night she encounters personal injury lawyer Sosa (Ricardo Darín). Sosa chases ambulances literally; that or he's waiting in the shadows when they arrive at the scene, since he might have staged the smash up with larcenous intent. He works for a seedy law firm that, while posing as an altruistic foundation, is actually a crime front. He and his fellow corrupt counselors get accident victims and their relatives to sign over power-of-attorney and then pocket most of the money subsequently paid out by insurance companies. It's a low-down, lucrative racket and one that Sosa wants to leave behind, as any protagonist worth his salt would.
His quest for spiritual redemption is mirrored by Lujan's desire to do the right thing from a Hippocratic standpoint (she's a talented healer) and with regard to her career. Problem is she's become addicted to narcotics; shooting up is the only way she can endure the suffering she's trying to alleviate. As for the cause of that misery, the sociological hook employed by Trapero and his three fellow screenwriters is the high number of traffic deaths in Argentina, particularly amongst young people. According to the press notes, vehicular incidents are the number one cause of death in Argentina.
Yet rather than get bogged down in the details or implications of this state of affairs, Carancho is driven by two flawed lovers and a sleek thriller plot. Darín, star of last year's foreign-language Oscar winner The Secret in Their Eyes, and Gusman—who resembles Rosario Dawson, especially vocally—both turn in affective performances without being showy. Their relationship is as believable as the moral compromises that enable their paths to cross.
Trapero forgoes transmitting a lot of peripheral information or widening the movie's purview. Neither character has a significant back-story to make matters more complicated than they already are, and the plot is propelled economically yet with sufficient diversion. After a staged accident goes awry, Sosa's plan to extricate himself from his vulpine associates is jeopardized, as is his relationship with Lujan. Like lovers in a Warner Bros. yarn from the 1930s or '40s, they pay a price. But so do the real baddies.
Carancho's noir vibe stems from the scenario itself, plus claustrophobic cinematography and art direction. Only one or two scenes take place during the day or in a space that sunlight can reach. But another tech credit truly stands out: the rich, layered sound design by Federico Esquerro makes brilliant use of ambient urban noise, whether it's the near constant sound of traffic or, for example, the smack of billiard balls during Sosa's meeting with a crime boss in a bar.
Like the rumpled, middle-aged Sosa, Carancho is at once seductive and repellant. Without resorting to sensationalism, gratuitous gore, false spirituality, or any extraneous artificiality, Trapero has fashioned an emotionally involving picture. Its major pitfall is that it lasts one frame too long. I'm not usually a fan of unresolved endings, but less at the conclusion of Carancho would have amounted to more, no matter how logical the fate of its Latin American Bogie and Bacall.
Argentine director sees grit and grace in ambulance chasing
By John P. McCarthy Box Office Magazine/Boxoffice.com
Numerous times throughout, characters are implored to "calm down" or "stay calm." Good advice if you're able. Tranquility is in short supply within the film's perilous milieu, which encompasses streets littered with car crash victims and the emergency rooms to which they're taken by ambulance. Along with inherent distress, somehow it's also natural (according to the laws of cinema) that two souls toiling in such a setting, administering medical aid or pretending to offer the legal variety, will find romance. In fact, it's a classic scenario: love grows in fetid soil, here sprouting through cracks in the asphalt of a Buenos Aires district where, at night at least, it appears only the reckless and mercenary roam.
Lujan (Martina Gusman) is a young physician from the provinces working as an EMT and later as an ER doc. On her shift one night she encounters personal injury lawyer Sosa (Ricardo Darín). Sosa chases ambulances literally; that or he's waiting in the shadows when they arrive at the scene, since he might have staged the smash up with larcenous intent. He works for a seedy law firm that, while posing as an altruistic foundation, is actually a crime front. He and his fellow corrupt counselors get accident victims and their relatives to sign over power-of-attorney and then pocket most of the money subsequently paid out by insurance companies. It's a low-down, lucrative racket and one that Sosa wants to leave behind, as any protagonist worth his salt would.
His quest for spiritual redemption is mirrored by Lujan's desire to do the right thing from a Hippocratic standpoint (she's a talented healer) and with regard to her career. Problem is she's become addicted to narcotics; shooting up is the only way she can endure the suffering she's trying to alleviate. As for the cause of that misery, the sociological hook employed by Trapero and his three fellow screenwriters is the high number of traffic deaths in Argentina, particularly amongst young people. According to the press notes, vehicular incidents are the number one cause of death in Argentina.
Yet rather than get bogged down in the details or implications of this state of affairs, Carancho is driven by two flawed lovers and a sleek thriller plot. Darín, star of last year's foreign-language Oscar winner The Secret in Their Eyes, and Gusman—who resembles Rosario Dawson, especially vocally—both turn in affective performances without being showy. Their relationship is as believable as the moral compromises that enable their paths to cross.
Trapero forgoes transmitting a lot of peripheral information or widening the movie's purview. Neither character has a significant back-story to make matters more complicated than they already are, and the plot is propelled economically yet with sufficient diversion. After a staged accident goes awry, Sosa's plan to extricate himself from his vulpine associates is jeopardized, as is his relationship with Lujan. Like lovers in a Warner Bros. yarn from the 1930s or '40s, they pay a price. But so do the real baddies.
Carancho's noir vibe stems from the scenario itself, plus claustrophobic cinematography and art direction. Only one or two scenes take place during the day or in a space that sunlight can reach. But another tech credit truly stands out: the rich, layered sound design by Federico Esquerro makes brilliant use of ambient urban noise, whether it's the near constant sound of traffic or, for example, the smack of billiard balls during Sosa's meeting with a crime boss in a bar.
Like the rumpled, middle-aged Sosa, Carancho is at once seductive and repellant. Without resorting to sensationalism, gratuitous gore, false spirituality, or any extraneous artificiality, Trapero has fashioned an emotionally involving picture. Its major pitfall is that it lasts one frame too long. I'm not usually a fan of unresolved endings, but less at the conclusion of Carancho would have amounted to more, no matter how logical the fate of its Latin American Bogie and Bacall.
Lo que dicen de CARANCHO
Esto es lo que dicen de CARANCHO los críticos internacionales:
This is a film that's musical with the cracking of bones and crashing of cars. -- Wesley Morris, Boston Globe
A no-frills version of a perennial dark story: how love of a sort can take root in a festering place. -- Walter V. Addiego, San Francisco Chronicle
"Carancho" was Argentina's nominee for the foreign-language Oscar. It didn't make the short list, but life isn't always fair. -- V.A. Musetto, New York Post
At heart an unlovely love story illuminated by sudden flares of violence, the film reeks of hopelessness and moral destitution, offering its lovers few means of escape. -- Jeannette Catsoulis, New York Times
You can see the influence of 1950s film noir, the ballsy renegades of 1970s American cinema (especially early Martin Scorsese) and a little touch of the Coen brothers. -- Andrew O'Hehir, Salon.com
Hard to watch, though fascinating for its performances, and the bottomless corruption it portrays. -- Joe Morgenstern, Wall Street Journal
[Trapero's] stylistic showmanship eventually pays off in a bravura single-take climax, his camera navigating physical and emotional spaces with the fatalistic urgency and despair of film noir. -- Nick Schager, Village Voice
Carancho begins to accelerate with alarming speed - and doesn't stop until the startling, bitterly ironic final frame. -- René Rodríguez, Miami Herald
Trapero's Carancho is a thrill to watch but not for the faint of heart. -- Ron Wilkinson, Monsters and Critics
Gripping film noir from Argentina's most visionary film director. -- Louis Proyect -- rec.arts.movies.reviews
Director Pablo Trapero employs a gritty handheld documentary style in keeping with his sobering subject matter. This approach is at times disconcerting, but then it should be. -- Moving Pictures Magazine
Un thriller urbano oscuro, denso, pesimista, con grandes brillos formales (sobre todo en fotografía, sonido y montaje) y un retrato hiperrealista de ambientes y personajes que encierra una historia de amor. -- Enrique Buchichio, Ururguay Total
CARANCHO exhibiendose YA @ Fine Arts
MON - THUR 1:40 PM, 4:15 PM, 6:50 PM, 9:25 PM
FRI
1:40 PM, 4:15 PM, 6:50 PM, 9:25 PM, 12:00 AM
SAT
1:40 PM, 4:15 PM, 6:50 PM, 9:25 PM, 12:00 AM
SUN & HOL
1:40 PM, 4:15 PM, 6:50 PM, 9:25 PM
This is a film that's musical with the cracking of bones and crashing of cars. -- Wesley Morris, Boston Globe
A no-frills version of a perennial dark story: how love of a sort can take root in a festering place. -- Walter V. Addiego, San Francisco Chronicle
"Carancho" was Argentina's nominee for the foreign-language Oscar. It didn't make the short list, but life isn't always fair. -- V.A. Musetto, New York Post
At heart an unlovely love story illuminated by sudden flares of violence, the film reeks of hopelessness and moral destitution, offering its lovers few means of escape. -- Jeannette Catsoulis, New York Times
You can see the influence of 1950s film noir, the ballsy renegades of 1970s American cinema (especially early Martin Scorsese) and a little touch of the Coen brothers. -- Andrew O'Hehir, Salon.com
Hard to watch, though fascinating for its performances, and the bottomless corruption it portrays. -- Joe Morgenstern, Wall Street Journal
[Trapero's] stylistic showmanship eventually pays off in a bravura single-take climax, his camera navigating physical and emotional spaces with the fatalistic urgency and despair of film noir. -- Nick Schager, Village Voice
Carancho begins to accelerate with alarming speed - and doesn't stop until the startling, bitterly ironic final frame. -- René Rodríguez, Miami Herald
Trapero's Carancho is a thrill to watch but not for the faint of heart. -- Ron Wilkinson, Monsters and Critics
Gripping film noir from Argentina's most visionary film director. -- Louis Proyect -- rec.arts.movies.reviews
Director Pablo Trapero employs a gritty handheld documentary style in keeping with his sobering subject matter. This approach is at times disconcerting, but then it should be. -- Moving Pictures Magazine
Un thriller urbano oscuro, denso, pesimista, con grandes brillos formales (sobre todo en fotografía, sonido y montaje) y un retrato hiperrealista de ambientes y personajes que encierra una historia de amor. -- Enrique Buchichio, Ururguay Total
CARANCHO exhibiendose YA @ Fine Arts
MON - THUR 1:40 PM, 4:15 PM, 6:50 PM, 9:25 PM
FRI
1:40 PM, 4:15 PM, 6:50 PM, 9:25 PM, 12:00 AM
SAT
1:40 PM, 4:15 PM, 6:50 PM, 9:25 PM, 12:00 AM
SUN & HOL
1:40 PM, 4:15 PM, 6:50 PM, 9:25 PM
Monday, May 9, 2011
Friday, May 6, 2011
Entrevista a Ricardo Darín, protagonista de CARANCHO, por Juanma Fndz Paris de El Nuevo Día
En el tope de su profesión
Su participación en varios filmes nominados al Oscar le ha ganado respeto y aclamación a nivel internacional
Por Juanma Fernández-París / Especial El Nuevo Día
 |
| Ricardo Darín como Sosa en Carancho. |
En contraste con su personaje, Darín está en el tope de su profesión. Aunque lleva actuando desde antes de la adolescencia, el estreno consecutivo de filmes como “Nueve reinas”, “La fuga”, “El hijo de la novia”, “Kamchatka”, “XXY” y “El secreto de sus ojos” le han ganado respeto y aclamo a nivel internacional.
Durante una agradable charla telefónica, Darín compartió los detalles de llevar un filme crudo como “Carancho” y las pequeñas transformaciones que ha sufrido a lo largo de su carrera
.
“Carancho” toma como punto de partida un dato de la cantidad de accidentes que hay en Argentina. ¿Cuánto del mundo de Sosa refleja la realidad y cuánto ha sido dramatizado para el filme?
En términos de lo que presentamos en pantalla no hubo que hacer mucho cambio. Todos esos círculos viciosos de corrupción y de huecos en las alternativas que tienen las víctimas son situaciones que existen en nuestro país, aunque no es exclusivo. Esto desafortunadamente es algo que se da en todos los lugares del mundo, bajo circunstancias específicas, claro está. Lo que pasa es que muchas de las historias que se presentan en el filme no eran de conocimiento de la masa. Y un aspecto curioso del estreno es que la prensa se enfoco en tratar de buscar historias verídicas que estuvieran relacionadas. Y, bueno, eso es típico de los medios, pero ese tipo de diálogo valida nuestros esfuerzos con la historia que hemos contado en este filme, que a fin de cuenta es de lo que se trata.
En tu carrera has interpretado todo tipo de personajes. ¿Fue un reto interpretar a uno como éste, con un compás moral defectuoso?
No, no tuve que hacer mucha investigación para entender a este personaje, porque he conocido a tipos como Sosa. Pero en cuanto a la moral, o su falta, me parece que el mejor que lo explica es el personaje del chofer de la ambulancia. Él le dice a Luján (Martina Gusman) ‘si estás en la calle, sin dinero y sin alternativa, lo mejor que te puede pasar es tener a un tipo como Sosa representándote’.
¿Cómo es la atmósfera emocional en un set donde se está trabajando una temática tan fuerte de una forma tan realista?
Pues en realidad esta filmación no fue diferente, en términos de desempeño técnico, a ninguna de las otras en las que he estado. Sí hubo que tomar precauciones de seguridad, porque en algunos de los lugares donde filmamos no puedes simplemente tirarte a la calle. Pero también tuvimos suerte de que el director estaba muy consciente de que la temática podía ser abrumadora para los actores.
Y no sé si te fijaste lo mucho que utilizó los plano secuencias. Esos son emplazamientos que requieren muchos detalles de producción, pero ayudan al actor a mantenerse en el contexto emocional.
En la última década te has distinguido a nivel internacional como actor de cine, pero llevas muchos años en la profesión. ¿En algún momento encontraste alguna resistencia de cambiar de medio o algún límite por tratar de brincar de la televisión al cine?
Con toda honestidad, no. Para mí estar en esta profesión siempre ha sido algo de por vida. Soy hijo de actores y me he ido cocinando en el medio. Así que creo que los diferentes cambios de mi carrera han sido vistos como la evolución natural de ser actor. Lo que sí ha tomado esfuerzo es siempre tratar de hacer algo diferente y no repetir lo que ha traído éxito en otra ocasión.
¿Notaste algún cambio en la cantidad o calidad de las ofertas después de haber estado en filmes que han recibido nominaciones al Oscar?
Pues quizás en la cantidad, no te puedo decir mucho de la calidad. Lo que sí cambia son las compensaciones económicas, lo cual es fantástico para mí (ríe). Pero la gratificación de pasar por ese proceso es saber que ese filme en el que todos nos hemos esforzado está recibiendo atención por sus méritos, algo que no se puede controlar ni anticipar.
Me comentaste que heredaste la profesión de tus padres. ¿Alguna preocupación de que alguno de tus hijos quiera hacer lo mismo?
RD- Ninguna. Mi hijo mayor ya se está desempeñando como actor y nunca hubo ninguna razón para decirle que no. Poder trabajar y hacer lo que a uno le hace feliz es lo que uno quiere para ellos. De eso se trata.
Reseña de CARANCHO por Juanma Fernandez Paris de El Nuevo Día
Romance al filo de la muerte
El filme cuenta con formidables actuaciones
Por Juanma Fernández-París / Especial El Nuevo Día
Lo otro que tienen en común estas películas es el nivel de calidad técnica y artística que acompaña una trama que claramente no tiene en mente al espectador promedio.
La historia de “Carancho” gira alrededor dos figuras que tienen que lidiar con los resultados de actos violentos como parte de su trabajo.
Ricardo Darín interpreta a Sosa, un abogado que por razones no muy detalladas ha llegado al nivel más bajo de su profesión: perseguir y manipular para sacar provecho económico de los que han sido víctimas de una accidente de carro.
Es bajo estas circunstancias que el protagonista conoce a Luján (Martina Gusman), una joven doctora que trata de sobrevivir los horrores de su trabajo (que incluyen largas horas sin descanso y la presencia constante de víctimas de actos de violencia que no sobreviven), literalmente, anestesiándose.
Tan pronto como inician su romance unas circunstancias particularmente horribles lo ponen a prueba. Y aunque Luján trata de terminar la relación y Sosa intenta arreglar su compás moral, los dos están destinados a fracasar.
La ambientación del filme (con planos que captan toda la acción en un solo movimiento de cámara) logra que la miseria y la corrupción que los consume sea una peregrinación dramática lenta.
Tanto la dirección de Pablo Trapero como las actuaciones de los actores principales son formidables. Aún así, la inmersión total en el mundo oscuro y pesimista que presenta este filme es una prueba que muchos del público no van a querer pasar.
MON - THUR 1:40 PM, 4:15 PM, 6:50 PM, 9:25 PM
FRI 1:40 PM, 4:15 PM, 6:50 PM, 9:25 PM, 12:00 AM
SAT 1:40 PM, 4:15 PM, 6:50 PM, 9:25 PM, 12:00 AM
SUN & HOL 1:40 PM, 4:15 PM, 6:50 PM, 9:25 PM
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