Barcelona-based production-distribution-sales outfit Filmax has taken on international sales on Spanish director Víctor García León’s new comedy “One Hell of a Holiday!”
Filmax is presenting the trailer to international buyers at this week’s Malaga Film Festival at Mafiz’s Spanish Screenings Content, a massive industry platform where Filmax is also talking up a raft of titles led by “Girl, Unknown” and “Co-Husbands.”
“One Hell of a Holiday!” is written by Manuel Burque and Josep Gatell (“Undercover Wedding Crashers”).This grandparents’ tale follows Manuela and José, two grandparents who love looking after their grandkids but have had enough of their children dumping their offspring on them every five minutes.
Indeed, Manuela and José can’t remember when they last had some free time. To top it all off, they’ve had to cancel their summer holiday, because their children have an important business trip and need them to look after the grandkids.
Filmax is presenting the trailer to international buyers at this week’s Malaga Film Festival at Mafiz’s Spanish Screenings Content, a massive industry platform where Filmax is also talking up a raft of titles led by “Girl, Unknown” and “Co-Husbands.”
“One Hell of a Holiday!” is written by Manuel Burque and Josep Gatell (“Undercover Wedding Crashers”).This grandparents’ tale follows Manuela and José, two grandparents who love looking after their grandkids but have had enough of their children dumping their offspring on them every five minutes.
Indeed, Manuela and José can’t remember when they last had some free time. To top it all off, they’ve had to cancel their summer holiday, because their children have an important business trip and need them to look after the grandkids.
- 3/14/2023
- by Liza Foreman
- Variety Film + TV
Argentina’s Impacto Cine (“Lady Di”) has swooped on all Latin American sales rights to Cesc Gay’s comedy “Stories Not To Be Told” (“Historias Para No Contar”), propelling it into the territory and cementing its regional footing.
International sales on the title are handled by Filmax, in a longterm relationship with Gay.
News of the sale comes as Filmax readies to present Alex de la Iglesia’s shook-up black comedy “Four’s a Crowd” (“El cuarto pasajero”), a wayward romance tale that takes a dark turn, to industry peers at Argentina’s Ventana Sur this week in Buenos Aires.
“We’re proud to have the opportunity to join forces with Filmax and bring this Spanish film, from the excellent Cesc Gay to Latin American audiences,” Impacto Cine’s Luis Ignacio Perez Endara told Variety, talking “Stories Not To Be Told.”
He added:“The director, now in full creative maturity and with his trademark fluid,...
International sales on the title are handled by Filmax, in a longterm relationship with Gay.
News of the sale comes as Filmax readies to present Alex de la Iglesia’s shook-up black comedy “Four’s a Crowd” (“El cuarto pasajero”), a wayward romance tale that takes a dark turn, to industry peers at Argentina’s Ventana Sur this week in Buenos Aires.
“We’re proud to have the opportunity to join forces with Filmax and bring this Spanish film, from the excellent Cesc Gay to Latin American audiences,” Impacto Cine’s Luis Ignacio Perez Endara told Variety, talking “Stories Not To Be Told.”
He added:“The director, now in full creative maturity and with his trademark fluid,...
- 11/29/2022
- by Holly Jones
- Variety Film + TV
Leticia Dolera, co-writer, lead director and star of the Movistar Plus-HBO Max produced “Perfect Life,” a 2019 double Canneseries winner, is developing a new series, “Puberty,” which looks sure to be one of the hottest titles at this month’s Conecta Fiction & Entertainment.
Now in development, “Puberty” will be presented in Conecta Fiction’s High-End Series section.
Penned by Dolera and writer-producer Almudena Monzú and to be directed by Dolera, “Puberty” (“Pubertat”) turns on an alleged sexual assault among adolescents, which sheds light on the sexual taboos of the adults in charge of them.
“Can a 13-year-old boy be a sexual aggressor? And who’s responsible? The under-age boy, his family or society? Surely all of them,” the synopsis runs.
“‘Puberty’ talks about the weight of taboo and how this is transmitted between generation and generation, at a cultural, emotional and psychological level,” Dolera commented. “One of the big taboos...
Now in development, “Puberty” will be presented in Conecta Fiction’s High-End Series section.
Penned by Dolera and writer-producer Almudena Monzú and to be directed by Dolera, “Puberty” (“Pubertat”) turns on an alleged sexual assault among adolescents, which sheds light on the sexual taboos of the adults in charge of them.
“Can a 13-year-old boy be a sexual aggressor? And who’s responsible? The under-age boy, his family or society? Surely all of them,” the synopsis runs.
“‘Puberty’ talks about the weight of taboo and how this is transmitted between generation and generation, at a cultural, emotional and psychological level,” Dolera commented. “One of the big taboos...
- 6/6/2022
- by John Hopewell
- Variety Film + TV
Few movies are as awaited at this year’s Málaga Festival as Daniel Guzman’s “Canallas” (“Monkey Business”) which world premieres in competition this March 19.
It marks the follow-up by Guzmán, an acclaimed actor-turned writer-director, to his notable debut “Nothing in Return” which scored best picture, director and a Critics’ Prize at 2015’s Malaga Festival, going on to scoop Spanish Academy Goyas for new director and breakout actor, the latter for Miguel Herrán.
“Canallas” also reps the second original movie production from Movistar Plus, as Spain’s industry looks to the pay TV/SVOD arm of telco giant Telefonica to co-produce some of the biggest movie plays in the country.
Though the subject, setting and tone of “Canallas” could hardly be different from Movistar Plus’ debut movie outing, Alejandro Amenabar’s “While at War,” “Canallas” gives further clues to what kind of movies Movistar Plus is willing to sink money in.
It marks the follow-up by Guzmán, an acclaimed actor-turned writer-director, to his notable debut “Nothing in Return” which scored best picture, director and a Critics’ Prize at 2015’s Malaga Festival, going on to scoop Spanish Academy Goyas for new director and breakout actor, the latter for Miguel Herrán.
“Canallas” also reps the second original movie production from Movistar Plus, as Spain’s industry looks to the pay TV/SVOD arm of telco giant Telefonica to co-produce some of the biggest movie plays in the country.
Though the subject, setting and tone of “Canallas” could hardly be different from Movistar Plus’ debut movie outing, Alejandro Amenabar’s “While at War,” “Canallas” gives further clues to what kind of movies Movistar Plus is willing to sink money in.
- 3/19/2022
- by Pablo Sandoval
- Variety Film + TV
Madrid — Spanish writer-director José Luis Cuerda, a masterful modern practitioner of Spain’s central comedic tradition, died Feb. 4 in Madrid from a stroke. He was 72.
He will also be remembered for discovering Alejandro Amenábar, especially producing his first feature, “Thesis.”
Born in Albacete, central Spain, but moving to Madrid, Cuerda made his feature debut in 1982 with relationship dramedy “Pares y nones.” It was with his second film, 1987’s “The Enchanted Forest,” however, that Cuerda really found his own voice and a place in Spain’s central comedic film tradition, working with screenwriter Rafael Azcona, Luis Berlanga’s regular scribe, and adapting a novel of a writer, Wenceslao Fernández Flórez, who had been brought to the big screen before by two Spanish comedic giants: Edgar Neville and Fernando Fernán Gómez.
Azcona’s humor mixed acidity, the episodic structure of Spanish sainete theater sketches and the social critique of Italian neorealism. Cuerda took this and,...
He will also be remembered for discovering Alejandro Amenábar, especially producing his first feature, “Thesis.”
Born in Albacete, central Spain, but moving to Madrid, Cuerda made his feature debut in 1982 with relationship dramedy “Pares y nones.” It was with his second film, 1987’s “The Enchanted Forest,” however, that Cuerda really found his own voice and a place in Spain’s central comedic film tradition, working with screenwriter Rafael Azcona, Luis Berlanga’s regular scribe, and adapting a novel of a writer, Wenceslao Fernández Flórez, who had been brought to the big screen before by two Spanish comedic giants: Edgar Neville and Fernando Fernán Gómez.
Azcona’s humor mixed acidity, the episodic structure of Spanish sainete theater sketches and the social critique of Italian neorealism. Cuerda took this and,...
- 2/4/2020
- by John Hopewell
- Variety Film + TV
Madrid — Pedro Almodóvar’s “Pain and Glory” took home Best Picture, Best Director, Best Actor (Antonio Banderas) and Best Original Screenplay at the 34th Spanish Academy Goya Awards, as well as Best Editing, Original Music and Supporting Actress (Julieta Serrano).
Almodóvar’s night did have one blemish, however. On the red carpet ahead of the ceremony he accidentally let slip that actress Penelope Cruz will be handing out this year’s Academy Award for Best International Feature Film at the Oscars, as she and Banderas did last time Almodóvar won, with 2000’s “All About my Mother.”
Saturday night’s ceremony ran like a marathon, with Almodóvar and Alejandro Amenábar’s “While at War” exchanging the lead back and forth over the 3.5 hour ceremony before “Pain and Glory” took the ceremony’s final three prizes, ending with seven awards while Amenábar’s Spanish Civil War epic notched five.
In his first on-stage appearance of the night,...
Almodóvar’s night did have one blemish, however. On the red carpet ahead of the ceremony he accidentally let slip that actress Penelope Cruz will be handing out this year’s Academy Award for Best International Feature Film at the Oscars, as she and Banderas did last time Almodóvar won, with 2000’s “All About my Mother.”
Saturday night’s ceremony ran like a marathon, with Almodóvar and Alejandro Amenábar’s “While at War” exchanging the lead back and forth over the 3.5 hour ceremony before “Pain and Glory” took the ceremony’s final three prizes, ending with seven awards while Amenábar’s Spanish Civil War epic notched five.
In his first on-stage appearance of the night,...
- 1/26/2020
- by Jamie Lang and Emilio Mayorga
- Variety Film + TV
Buenos Aires — Caracol Televisión is introducing to select sales agents at Ventana Sur “El Olvido que Seremos,” the latest feature film from Academy Award-winning director Fernando Trueba (“Belle Epoque”), which is written by David Trueba (“Living Is Easy with Eyes Closed”) and stars Javier Cámara (“Truman”) and adapts one of the most loved of recent Spanish-language books.
Now in post-production and ready for delivery and potential festival berths in 2020, said a Caracol source, “El Olvido que Seremos” is being introduced to select sales agents at Ventana Sur.
Produced by Dago García Producciones for Caracol TV, which fully funded the feature, “El Olvido que Seremos” shot this year in Medellín, Bogotá, Milán and Madrid. It marks the latest ambitious feature film from the Caracol Television, the Colombian broadcast group whose films in a bold line of big international auteur titles take in Ciro Guerra’s Oscar-nominated “Embrace of the Serpent” and...
Now in post-production and ready for delivery and potential festival berths in 2020, said a Caracol source, “El Olvido que Seremos” is being introduced to select sales agents at Ventana Sur.
Produced by Dago García Producciones for Caracol TV, which fully funded the feature, “El Olvido que Seremos” shot this year in Medellín, Bogotá, Milán and Madrid. It marks the latest ambitious feature film from the Caracol Television, the Colombian broadcast group whose films in a bold line of big international auteur titles take in Ciro Guerra’s Oscar-nominated “Embrace of the Serpent” and...
- 12/4/2019
- by John Hopewell
- Variety Film + TV
Miami — Jan Motjo’s Beta Film has acquired worldwide sales rights to one of the most singular of Spanish comedy series released last year, Paco Leon’s “Arde Madrid,” a Movistar Original.
Beta Film made the announcement just after “Arde Madrid” was confirmed as one of the series at the 2019 Berlinale Drama Series Days Market Screenings.
Movistar’s most binged series ever, Telefonica’s pay TV unit announced after the six-part series’ commercial release in November, “Arde Madrid” is written by León and Anna R. Costa. It turns on Ana Mari, a right-wing governess sourpuss who begins the series instructing a class of young wives. “If your husband beats you,” she tells a packed hall, “it’s because you’re doing something wrong.”
Ana Mari is dispatched to the household of Ava Gardner to spy on her. The clash and gradual confluence of Gardner, Ana Mari and the other domestic staff,...
Beta Film made the announcement just after “Arde Madrid” was confirmed as one of the series at the 2019 Berlinale Drama Series Days Market Screenings.
Movistar’s most binged series ever, Telefonica’s pay TV unit announced after the six-part series’ commercial release in November, “Arde Madrid” is written by León and Anna R. Costa. It turns on Ana Mari, a right-wing governess sourpuss who begins the series instructing a class of young wives. “If your husband beats you,” she tells a packed hall, “it’s because you’re doing something wrong.”
Ana Mari is dispatched to the household of Ava Gardner to spy on her. The clash and gradual confluence of Gardner, Ana Mari and the other domestic staff,...
- 1/24/2019
- by John Hopewell
- Variety Film + TV
Cutting-edge international drama used to be deadly serious: Think Nordic Noir.
“Arde Madrid,” represents a departure.
An eight-part half-hour created by Paco Leon and Anna R. Costa, the comedy-thriller yokes Spain’s grand movie comic tradition of caustic neorealism — think Rafael Azcona and Luis Berlanga — with suspense and romance, B&W cinematography of, in set pieces, the highest order; and a period of 1961 Madrid’s little known Dolce Vita, energized with Romani clans, flamenco dives, whiskey and sex, and real-life figures, led by the extraordinary Ava Gardner.
But it is its thoroughly modern feminist filter that really gives “Arde Madrid” its contempo edge and broader attraction while suggesting one way Movistar + is going as a company.
Gardner came to Madrid in 1957 to mourn her failed marriage to Frank Sinatra and find respect and freedom far away from the censorious eye of Hollywood, which deemed her white trash. Four years later,...
“Arde Madrid,” represents a departure.
An eight-part half-hour created by Paco Leon and Anna R. Costa, the comedy-thriller yokes Spain’s grand movie comic tradition of caustic neorealism — think Rafael Azcona and Luis Berlanga — with suspense and romance, B&W cinematography of, in set pieces, the highest order; and a period of 1961 Madrid’s little known Dolce Vita, energized with Romani clans, flamenco dives, whiskey and sex, and real-life figures, led by the extraordinary Ava Gardner.
But it is its thoroughly modern feminist filter that really gives “Arde Madrid” its contempo edge and broader attraction while suggesting one way Movistar + is going as a company.
Gardner came to Madrid in 1957 to mourn her failed marriage to Frank Sinatra and find respect and freedom far away from the censorious eye of Hollywood, which deemed her white trash. Four years later,...
- 10/16/2018
- by Emiliano Granada and John Hopewell
- Variety Film + TV
Once again, Telefonica’s pay TV unit Movistar+ is offering a completely different and new experience to its viewers, while demonstrating a core principle that plays through its original series: High-end scripted content derives from high-quality scripts and creative freedom.
“Arde Madrid” (Madrid on Fire) takes the audience back to a 1961 Spanish capital and the often mundane but sometime vibrant adventures of Ana Mari, a governess dispatched by Franco’s neo-fascist regime to become a spy, working as a servant in the house of one of the most incredible female figures of her time: Ava Gardner.
Channeling Spain’s grand movie comic tradition – think Rafael Azcona and Luis Berlanga – this black and white comedy manages to mix suspense and romance while profiling real life figures such as Gardner, Argentina’s General Perón and Charlton Heston, endowing them with large humanity. While playing the male lead, Spanish actor-director Paco León also directs,...
“Arde Madrid” (Madrid on Fire) takes the audience back to a 1961 Spanish capital and the often mundane but sometime vibrant adventures of Ana Mari, a governess dispatched by Franco’s neo-fascist regime to become a spy, working as a servant in the house of one of the most incredible female figures of her time: Ava Gardner.
Channeling Spain’s grand movie comic tradition – think Rafael Azcona and Luis Berlanga – this black and white comedy manages to mix suspense and romance while profiling real life figures such as Gardner, Argentina’s General Perón and Charlton Heston, endowing them with large humanity. While playing the male lead, Spanish actor-director Paco León also directs,...
- 9/27/2018
- by Emiliano Granada
- Variety Film + TV
This week’s list of horror-themed home entertainment releases is almost exhausting, as we have well over 30 titles coming our way on September 12th. For those who may have missed them in theaters earlier this year, you can now finally catch up with both The Mummy (2017) and It Comes At Night, as they’re both headed home on multiple formats.
Cult film fans should keep an eye out for an array of releases this Tuesday, including The Fox With A Velvet Tail, The Resurrected, the standard two-disc Blu-ray for Dario Argento’s Phenomena, The Creep Behind the Camera, Spider, and Don Coscarelli’s entire Phantasm series comes home in a five-disc DVD set from Well Go USA.
Other notable releases for September 12th include The Ghoul, Dead Again in Tombstone, The Hatred, Ruby, Tobor the Great, and Night Gallery: The Complete Series.
The Fox With A Velvet Tail (Mondo Macabro,...
Cult film fans should keep an eye out for an array of releases this Tuesday, including The Fox With A Velvet Tail, The Resurrected, the standard two-disc Blu-ray for Dario Argento’s Phenomena, The Creep Behind the Camera, Spider, and Don Coscarelli’s entire Phantasm series comes home in a five-disc DVD set from Well Go USA.
Other notable releases for September 12th include The Ghoul, Dead Again in Tombstone, The Hatred, Ruby, Tobor the Great, and Night Gallery: The Complete Series.
The Fox With A Velvet Tail (Mondo Macabro,...
- 9/12/2017
- by Heather Wixson
- DailyDead
Now for something truly remarkable from the neglected Spanish cinema. Luis García Berlanga's wicked satire is a humanistic black comedy, free of cynicism. The borderline Kafkaesque situation of an everyman forced into a profession that horrifies him is funny and warm hearted - but with a ruthless logic that points to universal issues beyond Franco Fascism. The Executioner Blu-ray The Criterion Collection 840 1963 / B&W / 1:85 widescreen / 92 min. / El Verdugo / available through The Criterion Collection / Street Date October 25, 2016 / 39.95 Starring Nino Manfredi, Emma Penella, José Isbert . Cinematography Tonino Delli Colli Film Editor Afonso Santacana Original Music Miguel Asins Arbó Written by Luis García Berlanga, Rafael Azcona, Ennio Flaiano Produced by Nazario Belmar Directed by Luis García Berlanga
Reviewed by Glenn Erickson
Criterion brings us 1963's The Executioner (El Verdugo), a major discovery for film fans that thought Spanish cinema began and ended with Luis Buñuel. I've seen politically-charged Spanish films from...
Reviewed by Glenn Erickson
Criterion brings us 1963's The Executioner (El Verdugo), a major discovery for film fans that thought Spanish cinema began and ended with Luis Buñuel. I've seen politically-charged Spanish films from...
- 10/25/2016
- by Glenn Erickson
- Trailers from Hell
We here at The CriterionCast wear our admiration for The Criterion Collection squarely on our sleeves. Not only is it in the very title of this website and the podcast from which it spawned, but it is in the very DNA of what we strive to do through both ventures. At their very best, The Criterion Collection doesn’t so much bring to light gloriously dense home video releases of beloved, crystal clear classics from the history of film, but instead highlights lesser known masterpieces from throughout the world and spanning the entirety of film’s history as an artform. Be it esoteric experimental works like that of director Jean Painleve to baroque world cinema classics like La Cienaga, Criterion’s greatest achievement is giving the world a new glimpse at world history through the lens of those directors commenting on it through their films.
And few films quite hit...
And few films quite hit...
- 10/24/2016
- by Joshua Brunsting
- CriterionCast
Stars: Marcello Mastroianni, Michel Piccoli, Philippe Noiret, Ugo Tognazzi, Andréa Ferréol, Solange Blondeau, Florence Giorgetti, Michèle Alexandre, Monique Chaumette, Henri Piccoli | Written by Marco Ferreri, Rafael Azcona | Directed by Marco Ferreri
La Grande Bouffe is a film about food, about decadence and about over indulgence. Not knowing much about the film before watching it, little did I know that I’d feel I’d been the one eating too much, just by watching the movie. Typical of an Arrow Academy release, Marco Ferreri’s film is an education, and one you won’t easily forget…
When four friends Marcello (Marcello Mastroianna), Michel (Michel Piccoli), Philippe (Phillippe Noiret) and Ugo (Ugo Tognazzi) meet for a weekend at Philippe’s villa they plan to eat themselves to death. Indulging in sex with prostitutes, and most importantly never-ending eating the villa around them decays as their over indulgence takes over.
In many ways...
La Grande Bouffe is a film about food, about decadence and about over indulgence. Not knowing much about the film before watching it, little did I know that I’d feel I’d been the one eating too much, just by watching the movie. Typical of an Arrow Academy release, Marco Ferreri’s film is an education, and one you won’t easily forget…
When four friends Marcello (Marcello Mastroianna), Michel (Michel Piccoli), Philippe (Phillippe Noiret) and Ugo (Ugo Tognazzi) meet for a weekend at Philippe’s villa they plan to eat themselves to death. Indulging in sex with prostitutes, and most importantly never-ending eating the villa around them decays as their over indulgence takes over.
In many ways...
- 8/18/2015
- by Paul Metcalf
- Nerdly
Spanish everyman actor who flourished in the country's post-Franco renaissance
The Spanish actor José Luis López Vázquez, who has died aged 87, was so much a part of Spanish cinema for six decades, appearing in almost 250 films between 1948 and 2007, that it seems inconceivable without him. Short and bald, with a little moustache, bearing a certain resemblance to Groucho Marx, he often embodied the average Spaniard. "I was an insignificant person, and I stayed that way," López explained.
As most of López's career was synchronous with Francisco Franco's 36-year repressive regime, when it was almost impossible for Spain to create a vibrant film industry and for talented film-makers to express themselves freely, the majority of his films were conveyor-belt comedies and melodramas, strictly for home consumption. Nevertheless, in the 1950s and 60s, despite restrictions, a distinctive Spanish art cinema managed to emerge, led primarily by the directors Juan Antonio Bardem, Luis García Berlanga and Carlos Saura,...
The Spanish actor José Luis López Vázquez, who has died aged 87, was so much a part of Spanish cinema for six decades, appearing in almost 250 films between 1948 and 2007, that it seems inconceivable without him. Short and bald, with a little moustache, bearing a certain resemblance to Groucho Marx, he often embodied the average Spaniard. "I was an insignificant person, and I stayed that way," López explained.
As most of López's career was synchronous with Francisco Franco's 36-year repressive regime, when it was almost impossible for Spain to create a vibrant film industry and for talented film-makers to express themselves freely, the majority of his films were conveyor-belt comedies and melodramas, strictly for home consumption. Nevertheless, in the 1950s and 60s, despite restrictions, a distinctive Spanish art cinema managed to emerge, led primarily by the directors Juan Antonio Bardem, Luis García Berlanga and Carlos Saura,...
- 11/12/2009
- by Ronald Bergan
- The Guardian - Film News
Marco Ferreri’s Don’t Touch The White Woman boasts a unique premise: a satirical and often absurdist historical reenactment of Custer’s famed Battle at Little Big Horn, more famously known as Custer’s Last Stand. The absurdist elements are increasingly accentuated by the fact that all proceedings take place on the streets of 1970s (then modern-day) Paris, with military engagements playing out on a vast construction site. The characters are adorned with historically correct uniforms and sport a variety of beards and sabers, galloping on stallions through Parisian suburbs while onlookers in T-shirts and jeans look on. A plump anthropologist adorned in sweaters bearing the insignia of American colleges lurks throughout, often feasting on a bag of chips. This is Ferreri’s vision of American corruption, the poisonous effects of the American myth and the mistreatment of American Indians. Unfortunately, Don’t Touch The White Woman is labored and slow to develop,...
- 7/16/2009
- by Mark Zhuravsky
- JustPressPlay.net
Winners of the 23rd Annual Goya Awards, Spain's equivalent of the Academy Awards, have been announced on Sunday, February 1 and "Camino" has come up as the big winner. The Javier Fesser's film about a young girl's death, her mother's staunch Catholic beliefs and the Church's effort to canonize the girl collected six awards, including the coveted prize, Best Film.
Apart from the Best Film prize, the movie also brought home kudos for director and writer Javier Fesser as the fimmaker was awarded with Best Director and Best Original Screenplay. Additionally, its actresses, Carmen Elias and Nerea Camacho, and actor Jordi Dauder have been hailed Best Actress, Breakthrough Actress and Best Supporting Actor in respective order.
Benicio del Toro and Penelope Cruz have also scored an award each. del Toro won the Best Actor title for his performance in "The Argentine", while Cruz was hailed Best Supporting Actress for her...
Apart from the Best Film prize, the movie also brought home kudos for director and writer Javier Fesser as the fimmaker was awarded with Best Director and Best Original Screenplay. Additionally, its actresses, Carmen Elias and Nerea Camacho, and actor Jordi Dauder have been hailed Best Actress, Breakthrough Actress and Best Supporting Actor in respective order.
Benicio del Toro and Penelope Cruz have also scored an award each. del Toro won the Best Actor title for his performance in "The Argentine", while Cruz was hailed Best Supporting Actress for her...
- 2/2/2009
- by AceShowbiz.com
- Aceshowbiz
Madrid -- Javier Fesser's mystical "Camino" walked away as the big winner Sunday at the 23rd Goya Awards, taking home nods for best film, director, actress, new actress, supporting actor and original screenplay.
"Camino," which tells the true story of a young girl's death, her mother's staunch Catholic beliefs and the Church's effort to canonize the girl, saw young Nerea Camacho win the new actress award and Carme Elias, who played her mother, take the lead actress honor.
" 'Camino' is a love story and vindication of the right to be happy. In these times, it's important to hope," said producer Jaume Roures, head of Mediapro, which also produced Woody Allen's Spanish film "Vicky Cristina Barcelona."
Penelope Cruz seemed to sum up the international vibe of the evening when she picked up her Goya for supporting actress in "Barcelona," the same role that earned her an Oscar nomination.
"Camino," which tells the true story of a young girl's death, her mother's staunch Catholic beliefs and the Church's effort to canonize the girl, saw young Nerea Camacho win the new actress award and Carme Elias, who played her mother, take the lead actress honor.
" 'Camino' is a love story and vindication of the right to be happy. In these times, it's important to hope," said producer Jaume Roures, head of Mediapro, which also produced Woody Allen's Spanish film "Vicky Cristina Barcelona."
Penelope Cruz seemed to sum up the international vibe of the evening when she picked up her Goya for supporting actress in "Barcelona," the same role that earned her an Oscar nomination.
- 2/1/2009
- by By Pamela Rolfe
- The Hollywood Reporter - Movie News
Spanish screenwriter Rafael Azcona has died at the age of 81.
Azcona lost his fight against lung cancer on Monday after battling the disease for many years, according to local reports.
The late star is widely credited for his role in reviving Spanish cinema after the country's civil war, which ended in 1939.
He worked with the biggest Spanish filmmakers of his time and enjoyed a career spanning more than 50 years.
During that time, he wrote nearly 100 screenplays - including the Oscar-winning film Belle Epoque starring Penelope Cruz. The comedy/drama was awarded the Academy Award for Best Foreign Film in 1993 and scooped nine Goya awards.
Azcona is survived by his wife Susi.
Azcona lost his fight against lung cancer on Monday after battling the disease for many years, according to local reports.
The late star is widely credited for his role in reviving Spanish cinema after the country's civil war, which ended in 1939.
He worked with the biggest Spanish filmmakers of his time and enjoyed a career spanning more than 50 years.
During that time, he wrote nearly 100 screenplays - including the Oscar-winning film Belle Epoque starring Penelope Cruz. The comedy/drama was awarded the Academy Award for Best Foreign Film in 1993 and scooped nine Goya awards.
Azcona is survived by his wife Susi.
- 3/25/2008
- WENN
MADRID -- Categories for best actor and best actress will be added to the Ninth Annual Malaga Film Festival to be held March 17-25 in the Mediterranean seaside city, organizers said Thursday. In addition, veteran Spanish screenwriter Rafael Azcona will be honored for his life's work. Festival director Solomon Castiel said that Azcona, 79, will receive the Ricardo France award, praising him as "a legend in Spanish cinema" who has received six Goya awards (Spain's equivalent of the Oscar) during his career. Along with the new acting award in the feature film category, the festival is adding prizes for best made-for-television movie and best Latin American film entered in competition.
- 10/27/2005
- The Hollywood Reporter - Movie News
Two decades after its first wan movie adaptation (starring Tom Berenger), Stephen Vizinczey's novel "In Praise of Older Women" has been transformed into another movie that doesn't quite work. Although the setting has been changed from World War II-era Hungary to the Spanish Civil War of the 1930s, this version is equally unsuccessful in its depiction of a teenager's erotic coming of age.
The Spanish feature, which received its U.S. premiere at the 15th Miami Film Festival, has some names in its cast (Faye Dunaway, Joanna Pacula) and can certainly exploit its sexual content, but theatrical prospects are limited.
"Women" chronicles the amorous adventures of 15-year-old Andres, who is abandoned by his mother. He falls in with a group of anti-fascist rebels near the front, where he has his first romantic experience with a beautiful but slightly seedy countess (Dunaway) who is not above providing sexual favors to assure safe passage for her and her husband.
Andres is then sent to stay at his sergeant's house in Barcelona, where he quickly falls under the spell of the sergeant's beautiful daughter Julia (Ingrid Rubio). Unfortunately, Julia's not-so-understanding mother catches the two in the act and kicks Andres out. Making his living as a black marketeer, Andres enjoys a dissolute but dissatisfying lifestyle until the war ends, when he reunites with his mother, now married to a prominent fascist. His next experience comes with a married neighbor, Marta (Pacula), who starts out educating Andres about books but continues with lessons of a far different kind.
The political aspects of the film are interesting but far from compelling, and screenwriter Rafael Azcona and director Manuel Lombardero fail to render Andres' romantic adventures with sufficient poignance or depth. Even worse, most of the story is not particularly erotic.
The film drifts from one listless episode to another, and many of the characterizations are too broadly drawn to be credible, but not broad enough to be truly entertaining. It does have an evocative re-creation of the period and gorgeous cinematography that makes ordinary objects glimmer with passion. But as with the story and characterizations, all the pleasure lies on the surface.
IN PRAISE OF OLDER WOMEN
A Sogotel, S.A. Lolafilms presentation
with the participation of Canal Plus
and the collaboration of Sogepaq
Credits: Director: Manuel Lombardero; Screenplay: Rafael Azcona; Executive producer: Andres Vicente Gomez; Cinematographer: Jose Luis Alcaine; Editor: Ernest Blasi; Music: Jose Manuel Pagan. Cast: Andres: Juan Diego Botto; Andres (age 15): Miguel A. Garcia; Countess: Faye Dunaway; Irene: Carmen Elias; Marta: Joanna Pacula; Julia: Ingrid Rubio. No MPAA rating. Running time -- 101 minutes. Color/stereo.
The Spanish feature, which received its U.S. premiere at the 15th Miami Film Festival, has some names in its cast (Faye Dunaway, Joanna Pacula) and can certainly exploit its sexual content, but theatrical prospects are limited.
"Women" chronicles the amorous adventures of 15-year-old Andres, who is abandoned by his mother. He falls in with a group of anti-fascist rebels near the front, where he has his first romantic experience with a beautiful but slightly seedy countess (Dunaway) who is not above providing sexual favors to assure safe passage for her and her husband.
Andres is then sent to stay at his sergeant's house in Barcelona, where he quickly falls under the spell of the sergeant's beautiful daughter Julia (Ingrid Rubio). Unfortunately, Julia's not-so-understanding mother catches the two in the act and kicks Andres out. Making his living as a black marketeer, Andres enjoys a dissolute but dissatisfying lifestyle until the war ends, when he reunites with his mother, now married to a prominent fascist. His next experience comes with a married neighbor, Marta (Pacula), who starts out educating Andres about books but continues with lessons of a far different kind.
The political aspects of the film are interesting but far from compelling, and screenwriter Rafael Azcona and director Manuel Lombardero fail to render Andres' romantic adventures with sufficient poignance or depth. Even worse, most of the story is not particularly erotic.
The film drifts from one listless episode to another, and many of the characterizations are too broadly drawn to be credible, but not broad enough to be truly entertaining. It does have an evocative re-creation of the period and gorgeous cinematography that makes ordinary objects glimmer with passion. But as with the story and characterizations, all the pleasure lies on the surface.
IN PRAISE OF OLDER WOMEN
A Sogotel, S.A. Lolafilms presentation
with the participation of Canal Plus
and the collaboration of Sogepaq
Credits: Director: Manuel Lombardero; Screenplay: Rafael Azcona; Executive producer: Andres Vicente Gomez; Cinematographer: Jose Luis Alcaine; Editor: Ernest Blasi; Music: Jose Manuel Pagan. Cast: Andres: Juan Diego Botto; Andres (age 15): Miguel A. Garcia; Countess: Faye Dunaway; Irene: Carmen Elias; Marta: Joanna Pacula; Julia: Ingrid Rubio. No MPAA rating. Running time -- 101 minutes. Color/stereo.
- 2/17/1998
- The Hollywood Reporter - Movie News
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