Adele’s long-awaited Las Vegas residency kicked off over the weekend, with the singer performing shows on Friday 18 November and Saturday 19 November.
On Sunday (20 November) Adele posted a series of images to her Instagram with the caption “Weekend One”, including some images that showed her crying during certain songs.
Adele was originally due to perform shows at the Colosseum stage at Caesars Palace in January, but cancelled them at the last minute and later explained she felt they lacked intimacy.
It seems that audience members agree that it was all worth the wait, as a number of critics, celebrities and fans have shared their ecstatic reactions to the first two shows.
In their review,Billboard called the performance “utterly and breathlessly spectacular” adding: “It was remarkable to see a performer at her level be so present and take in all she had accomplished in arriving at this moment.”
Rapper Stormzy...
On Sunday (20 November) Adele posted a series of images to her Instagram with the caption “Weekend One”, including some images that showed her crying during certain songs.
Adele was originally due to perform shows at the Colosseum stage at Caesars Palace in January, but cancelled them at the last minute and later explained she felt they lacked intimacy.
It seems that audience members agree that it was all worth the wait, as a number of critics, celebrities and fans have shared their ecstatic reactions to the first two shows.
In their review,Billboard called the performance “utterly and breathlessly spectacular” adding: “It was remarkable to see a performer at her level be so present and take in all she had accomplished in arriving at this moment.”
Rapper Stormzy...
- 11/21/2022
- by Megan Graye
- The Independent - Music
Adele was to have launched her Las Vegas residency at the Colosseum in in Caesars Palace back in January, but cancelled the whole thing at the last minute because she felt “my show ain’t ready.”
After a 10-month delay, she finally took to the stage on Nov. 18 for the very first show in her “Weekends with Adele” residency, and Billboard has shared some highlights from opening night.
Read More: Adele Is Feeling ‘Highly Emotional’ And ‘Incredibly Nervous’ About Starting New Vegas Residency
Among these is the innovative 180-degree video screens that envelope the venue, immersing audience members in a visuals — such as the opening sequence of the 007 flick “Skyfall” for her performance of the movie’s theme song, and a tour of London during “Hometown Glory”.
Photo by Kevin Mazur/Getty Images for Ad
Another stunning sequence came during her performance of “Set Fire to the Rain”, when...
After a 10-month delay, she finally took to the stage on Nov. 18 for the very first show in her “Weekends with Adele” residency, and Billboard has shared some highlights from opening night.
Read More: Adele Is Feeling ‘Highly Emotional’ And ‘Incredibly Nervous’ About Starting New Vegas Residency
Among these is the innovative 180-degree video screens that envelope the venue, immersing audience members in a visuals — such as the opening sequence of the 007 flick “Skyfall” for her performance of the movie’s theme song, and a tour of London during “Hometown Glory”.
Photo by Kevin Mazur/Getty Images for Ad
Another stunning sequence came during her performance of “Set Fire to the Rain”, when...
- 11/19/2022
- by Brent Furdyk
- ET Canada
Every now and then, a country emerges from decades of oppression and a film industry, once squashed lest it tell truths uncomfortable for the powers that be, begins to blossom with new, unfettered voices. The country of the moment is Guatemala, which is being honored at this year’s Guadalajara International Film Festival, and has begun to make itself known around the world largely through the success of Jayro Bustamante’s 2021 Golden Globe nominee and Venice Days winner “La Llorona” and Cesar Diaz’s “Nuestras Madres,” which won both the Camera d’Or and the Sacd Critics Week prizes at Cannes 2019.
“I’ve noticed a new generation of filmmakers emerging that are dying to tell their stories after a long bout of silence,” says Justin Lerner, an American who has made Guatemala his second home and directed the Guadalajara competition entry “Cadejo Blanco.”
Guatemala is a small country with a nascent film industry,...
“I’ve noticed a new generation of filmmakers emerging that are dying to tell their stories after a long bout of silence,” says Justin Lerner, an American who has made Guatemala his second home and directed the Guadalajara competition entry “Cadejo Blanco.”
Guatemala is a small country with a nascent film industry,...
- 10/7/2021
- by Jeffrey Sipe
- Variety Film + TV
The new Mexican film The Golden Dream takes on a timely subject in a timeless way. It’s an expressive, touching look at four teenagers making their way from Guatemala through Mexico in an attempt to reach the United States, and it arrives in theaters at a time when the “immigration debate” has reached a fever pitch worldwide. But don’t expect incendiary topicality from The Golden Dream; this is more poetry than politics. The film starts off wordlessly, in an unnamed shantytown somewhere in Guatemala, and it’s unclear whether this is just a pit stop on a longer journey or a point of origin for three of the film’s protagonists. It may very well be the latter, but the uncertainty seems pointed: This tentative, destitute space feels in no way like home. When we first meet Juan (Brandon López), Sara (Karen Martínez), and Samuel (Carlos Chajon), they...
- 9/6/2015
- by Bilge Ebiri
- Vulture
The first Fenix Iberoamerican Film Awards, highlighting and celebrating cinema made in Latin America, Spain, and Portugal as well as applauding the professionals involved was inaugurated by Cinema23 this October 30 and held its closing night party in México City's Jumex Museum, named after the Lopez family’s fruit juice empire, and commissioned by Eugenio Lopez, the dynastic scion whose intention is to leave an edifice to Mexico City that dignifies his family name. This 21st-century prince is the sole patron of the new Museo Jumex, Latin America’s largest contemporary art museum, designed by the British architect David Chipperfield and just across the street from hourglass-shaped Museo Soumaya, opened in 2011 by the Mexican billionaire Carlos Slim Helú to display his own collection. Worth a trip to Mexico alone just to view the private Jumex collection of Mexican art, to attend the spectacular closing night party topping off the new annual, independent award ceremony which took place at the iconic 1918 Teatro de la Ciudad was an experience of a lifetime.
After an exclusive dinner for the nominees around 11 Pm, the great celebration began. Inspired by Día de los Muertos, or Day of the Dead, one of the most important holidays in Mexico, the party was decorated with elements inspired by this tradition such as "papel picado," and walls decorated with skulls. The vibrant orange color of hundreds of cempasúchil flowers (Marigolds) adorned the hall where more than a thousand guests, among them many film professional, singers and other important figures from across Iberoamerica, attended the celebration organized by Grupo Modelo the brewery in Mexico now owned by the Belgian-Brazilian company Anheuser-Busch InBev, which holds 63% of the Mexican beer market and exports beer to most countries of the world, whose export brands include my own favorite beers, Corona and Pacífico. I was proud to be invited to attend and to be part of the advisory council of Cinema23, founder of this annual Fenix Awards celebration of the art of cinema along with the comcomitant commercial success of Iberoamerican cinema.
Attending the awards and the post-award party were actors such as Alice Braga, Ana de la Reguera, Ana Claudia Talancón, Alfonso Herrera, Bárbara Mori, Brandon López, Camila Selser, Cecilia Suárez, Elena Anaya, Ernesto Alterio, Erick Elías, Ilse Salas, Irene Azuela, Johanna Murillo, José María Yazpik, José María and Pedro de Tavira, Juan Manuel Bernal, Karen Martínez, Luis Gerardo Méndez, Maribel Verdú, Martha Higareda, Maya Zapata and Ximena Ayala; filmmakers Fernando Eimbcke, Gary Alazraki, Jonás Cuarón, Lorenzo Hagerman, Manolo Caro, Natalia Beristáin and Rigoberto Perezcano; musicians Leo Heiblum, Kevin Johansen, León Larregui and Sergio Acosta from rock band Zoé and Leonor Watling, Jesús Navarro, vocalist of pop band Reik; socialites as Rafael Micha, Jorge Gorozpe, Memo Martínez and Max Villegas; fashion designer Oscar Madrazo and jewelry designer Mariana Villarea. They and the other attendees enjoyed a night in which cinema was the most important guest.
In the venue's lower level, Sonido Apokalitzin's beats enhanced the experience with cumbias, salsas and iconic songs from several Iberoamerican countries. Monterrey DJ Toy Selectah also entertained the guests with his musical selection. Upstairs, Sergio and Andres from famous rock band Zoé delighted everyone with their music just before they enjoyed Julian Placencia's DJ set.
With this event the first edition of the Fenix Iberoamerican Film Awards came to an end. The event brought together hundreds of figures from the Iberoamerican film community who celebrated the well-deserved recognition to their work and dedication. At the same time the event served to strengthen relationships among the diverse industries and will continuously help forge the region's identity.
After an exclusive dinner for the nominees around 11 Pm, the great celebration began. Inspired by Día de los Muertos, or Day of the Dead, one of the most important holidays in Mexico, the party was decorated with elements inspired by this tradition such as "papel picado," and walls decorated with skulls. The vibrant orange color of hundreds of cempasúchil flowers (Marigolds) adorned the hall where more than a thousand guests, among them many film professional, singers and other important figures from across Iberoamerica, attended the celebration organized by Grupo Modelo the brewery in Mexico now owned by the Belgian-Brazilian company Anheuser-Busch InBev, which holds 63% of the Mexican beer market and exports beer to most countries of the world, whose export brands include my own favorite beers, Corona and Pacífico. I was proud to be invited to attend and to be part of the advisory council of Cinema23, founder of this annual Fenix Awards celebration of the art of cinema along with the comcomitant commercial success of Iberoamerican cinema.
Attending the awards and the post-award party were actors such as Alice Braga, Ana de la Reguera, Ana Claudia Talancón, Alfonso Herrera, Bárbara Mori, Brandon López, Camila Selser, Cecilia Suárez, Elena Anaya, Ernesto Alterio, Erick Elías, Ilse Salas, Irene Azuela, Johanna Murillo, José María Yazpik, José María and Pedro de Tavira, Juan Manuel Bernal, Karen Martínez, Luis Gerardo Méndez, Maribel Verdú, Martha Higareda, Maya Zapata and Ximena Ayala; filmmakers Fernando Eimbcke, Gary Alazraki, Jonás Cuarón, Lorenzo Hagerman, Manolo Caro, Natalia Beristáin and Rigoberto Perezcano; musicians Leo Heiblum, Kevin Johansen, León Larregui and Sergio Acosta from rock band Zoé and Leonor Watling, Jesús Navarro, vocalist of pop band Reik; socialites as Rafael Micha, Jorge Gorozpe, Memo Martínez and Max Villegas; fashion designer Oscar Madrazo and jewelry designer Mariana Villarea. They and the other attendees enjoyed a night in which cinema was the most important guest.
In the venue's lower level, Sonido Apokalitzin's beats enhanced the experience with cumbias, salsas and iconic songs from several Iberoamerican countries. Monterrey DJ Toy Selectah also entertained the guests with his musical selection. Upstairs, Sergio and Andres from famous rock band Zoé delighted everyone with their music just before they enjoyed Julian Placencia's DJ set.
With this event the first edition of the Fenix Iberoamerican Film Awards came to an end. The event brought together hundreds of figures from the Iberoamerican film community who celebrated the well-deserved recognition to their work and dedication. At the same time the event served to strengthen relationships among the diverse industries and will continuously help forge the region's identity.
- 11/17/2014
- by Sydney Levine
- Sydney's Buzz
Trains of Innocence: Savage Road Story to the Land of Broken Dreams
Among the vast and redundant collection of tales dealing with illegal immigration, very few can claim to be unique. Given that there are some inherent qualities to these stories, it takes an assertive new voice to infuse the subject matter with honesty. Spanish director Diego Quemada-Díez’ La Jaula de Oro, which translates to “The Golden Cage”, is perhaps the most poetic, and neo-realist film about the struggles of people searching for a better future thousands of miles away from home, and at any cost.
Trying to disguise her feminine qualities, Sara (Karen Martínez) cuts her hair binds her breasts, as she gets ready to depart from her native Guatemala with her boyfriend Juan (Brandon López) and their friend Samuel (Carlos Chajon). The trio of kids, all of them no older than 16, head out determined to make it to the United States.
Among the vast and redundant collection of tales dealing with illegal immigration, very few can claim to be unique. Given that there are some inherent qualities to these stories, it takes an assertive new voice to infuse the subject matter with honesty. Spanish director Diego Quemada-Díez’ La Jaula de Oro, which translates to “The Golden Cage”, is perhaps the most poetic, and neo-realist film about the struggles of people searching for a better future thousands of miles away from home, and at any cost.
Trying to disguise her feminine qualities, Sara (Karen Martínez) cuts her hair binds her breasts, as she gets ready to depart from her native Guatemala with her boyfriend Juan (Brandon López) and their friend Samuel (Carlos Chajon). The trio of kids, all of them no older than 16, head out determined to make it to the United States.
- 12/3/2013
- by Carlos Aguilar
- IONCINEMA.com
La Jaula de Oro
Directed by Diego Quemada-Díez
Philadelphia Film Festival
Mexico, 2013
A harrowing immigration-road movie bolstered by three beautifully natural adolescent performances frames Diego Quemada-Díez as a director to watch.
Teenagers Juan (Brandon López), Sara (Karen Martínez), and Samuel (Carlos Chajon) set out from Guatemala to cross the border into Los Angeles. Along the way they pick up Chauk (Rodolfo Domínguez), a taciturn Indian who changes the dynamics of the group as both he and Juan vie for Sara’s attention.
The four leads of Quemada-Díez’s first feature-film are startling strong, made all the more so by the fact that each young actor is making his and her screen debut. While Brandon López starts out as a one-note display of burgeoning masculinity, his Juan soon gains deeper complexities in a nuanced, painful performance from the young actor. Domínguez’s is a deceptively difficult role. Chauk’s Spanish is limited,...
Directed by Diego Quemada-Díez
Philadelphia Film Festival
Mexico, 2013
A harrowing immigration-road movie bolstered by three beautifully natural adolescent performances frames Diego Quemada-Díez as a director to watch.
Teenagers Juan (Brandon López), Sara (Karen Martínez), and Samuel (Carlos Chajon) set out from Guatemala to cross the border into Los Angeles. Along the way they pick up Chauk (Rodolfo Domínguez), a taciturn Indian who changes the dynamics of the group as both he and Juan vie for Sara’s attention.
The four leads of Quemada-Díez’s first feature-film are startling strong, made all the more so by the fact that each young actor is making his and her screen debut. While Brandon López starts out as a one-note display of burgeoning masculinity, his Juan soon gains deeper complexities in a nuanced, painful performance from the young actor. Domínguez’s is a deceptively difficult role. Chauk’s Spanish is limited,...
- 10/26/2013
- by Neal Dhand
- SoundOnSight
Three Guatemalan teenagers' attempts to cross the murderous Mexico-us border region makes for gripping viewing
Even when Ken Loach doesn't have a film in competition in Cannes, his influence is still keenly felt. Spanish director Diego Quemada-Diez was a camera assistant on Loach's Carla's Song, Land and Freedom and Bread and Roses, and there is something very Loachian in this tough, absorbing, suspenseful drama showing in the Un Certain Regard section about three Guatemalan kids trying illegally to cross the Mexican border into the Us.
He has avowedly stuck to Loach's realist directing style: shooting in narrative sequence and using a semi-improvisatory approach on location. It is interesting that while British directors such as Andrea Arnold and Clio Barnard have hyper-evolved the Loach idiom into beautifully realised and photographed dramas of naturalism, Quemada-Diez is arguably closer to the gritty, grainy original.
The title comes from a Mexican ballad, Jaula de Oro,...
Even when Ken Loach doesn't have a film in competition in Cannes, his influence is still keenly felt. Spanish director Diego Quemada-Diez was a camera assistant on Loach's Carla's Song, Land and Freedom and Bread and Roses, and there is something very Loachian in this tough, absorbing, suspenseful drama showing in the Un Certain Regard section about three Guatemalan kids trying illegally to cross the Mexican border into the Us.
He has avowedly stuck to Loach's realist directing style: shooting in narrative sequence and using a semi-improvisatory approach on location. It is interesting that while British directors such as Andrea Arnold and Clio Barnard have hyper-evolved the Loach idiom into beautifully realised and photographed dramas of naturalism, Quemada-Diez is arguably closer to the gritty, grainy original.
The title comes from a Mexican ballad, Jaula de Oro,...
- 5/23/2013
- by Peter Bradshaw
- The Guardian - Film News
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