7 Dias (2005), a film from Mexico, starts with a dream. Claudio decides that he'll bring U2, the famous Irish rock band to Monterey. But first, he needs financing. He decides that a high stakes bet is the way to go... Unfortunately, he loses the bet. This is a man who takes risks. Now, his life is in danger. What follows is an interesting journey into what needs to be done to make things happen. This movie, directed by Fernando Kalife, stars Eduardo Arroyeulo and Martha Higareda. Everything is squeezed into 7 days! Good movie about "the deal."
Speaking about "The Art of the Deal," Mukul Khurana has entered into an agreement with sandiego.com to publish part of his blog on their site as a contributor. The best way to read the entries is to click on the following links:
San Diego Latino Film Festival - Final
San Diego Latino Film Festival - Day 9
San Diego Latino Film Festival - Day 7
San Diego Latino Film Festival - Midweek Report
San Diego Latino Film Festival - Opening Weekend
Thursday, March 23, 2006
3/22/06 Entry on sandiego.com
There is always some sadness as such events such as the San Diego Latino Film Festival end. This year was no exception. SDLFF put on by the Media Arts Center San Diego ended this past weekend with a bang. The crowds were big on both the opening and closing weekends and prime time during the week was also well-attended. Thanks to everyone for their hard work. The parties and galas were great! But before the feeling goes away, a few words about the excellent fare we were served up this year.
E.S.L.(2005), directed by Dexter Delara proves that you never can tell from a title what to expect. This independent American film shot on video was a tour de force about the immigrant experience. Even though it was supposed to be a Latino film, it could have been any group - any nationality... Bolivar de la Cruz makes the dangerous crossing from Mexico to Los Angeles. There, a chance encounter with Lola Sara brings two worlds together that are only differentiated by time - who crossed when - who is established and who is destined to struggle. The movie stars Kuno Becker, Maria Conchita Alonso (as part of the festival's tribute to her), and Danielle Camastra.
Totally on a different note, Duck Season (2006), directed by Fernando Eimbcke, is the story of a Sunday revolving around bored young people. Flama and Moko take us on a journey--a meditation--into childhood existence shot in black and white. This winner of various awards at prestigious film festivals loosely deals with the effects of divorce and how young friendships sometimes form and function.
Caught (1996) is a steamy thriller and is also part of the Maria Conchita Alonso tribute. The beautiful actress plays the part of Betty who is an ambitious and unhappy wife. The passion is gone from her marriage to Joe (Edward James Olmos) until a mysterious drifter enters their lives and sets a chain of events that end in a powerful film noir kind of ending. The film, directed wonderfully by Robert M. Young, uses the metaphors of fishing and being caught throughout without missing a beat. This film should have received more acclaim. It also showcases the talents of Arie Verveen and Steven Schub.
The Latin American shorts were also strong despite their brevity. El Rincon de Venezuela (2005) is the story of Venezuelans in exile trying to escape the "Cubanization" of Venezuela. Directed by Reyther Ortega, this film is another example of the immigrant experience - this time set in New York. Worthy of mention also is El Ajedrez de los Colores (2004). This Brazilian short deals with issues of racism using chess as a metaphor for transformation. It is brilliant and very engaging.
By far the most magical and enchanting film this time around was A Dios Momo (2005). A film from Uruguay, directed by Leonardo Ricagni, it tells the story of Obdulio, a street boy selling newspapers. But, he can't read the newspapers that he sells. It is a poetic tale of the mysterious twists and turns on Obdulio's road to literacy and a love for Murgas and the Uruguayan Carnival. Why can't other films be like this one? And more important, why don't such films find distribution? This is a 2005 AFI Festival hit. Mukul Khurana
E.S.L.(2005), directed by Dexter Delara proves that you never can tell from a title what to expect. This independent American film shot on video was a tour de force about the immigrant experience. Even though it was supposed to be a Latino film, it could have been any group - any nationality... Bolivar de la Cruz makes the dangerous crossing from Mexico to Los Angeles. There, a chance encounter with Lola Sara brings two worlds together that are only differentiated by time - who crossed when - who is established and who is destined to struggle. The movie stars Kuno Becker, Maria Conchita Alonso (as part of the festival's tribute to her), and Danielle Camastra.
Totally on a different note, Duck Season (2006), directed by Fernando Eimbcke, is the story of a Sunday revolving around bored young people. Flama and Moko take us on a journey--a meditation--into childhood existence shot in black and white. This winner of various awards at prestigious film festivals loosely deals with the effects of divorce and how young friendships sometimes form and function.
Caught (1996) is a steamy thriller and is also part of the Maria Conchita Alonso tribute. The beautiful actress plays the part of Betty who is an ambitious and unhappy wife. The passion is gone from her marriage to Joe (Edward James Olmos) until a mysterious drifter enters their lives and sets a chain of events that end in a powerful film noir kind of ending. The film, directed wonderfully by Robert M. Young, uses the metaphors of fishing and being caught throughout without missing a beat. This film should have received more acclaim. It also showcases the talents of Arie Verveen and Steven Schub.
The Latin American shorts were also strong despite their brevity. El Rincon de Venezuela (2005) is the story of Venezuelans in exile trying to escape the "Cubanization" of Venezuela. Directed by Reyther Ortega, this film is another example of the immigrant experience - this time set in New York. Worthy of mention also is El Ajedrez de los Colores (2004). This Brazilian short deals with issues of racism using chess as a metaphor for transformation. It is brilliant and very engaging.
By far the most magical and enchanting film this time around was A Dios Momo (2005). A film from Uruguay, directed by Leonardo Ricagni, it tells the story of Obdulio, a street boy selling newspapers. But, he can't read the newspapers that he sells. It is a poetic tale of the mysterious twists and turns on Obdulio's road to literacy and a love for Murgas and the Uruguayan Carnival. Why can't other films be like this one? And more important, why don't such films find distribution? This is a 2005 AFI Festival hit. Mukul Khurana
Wednesday, March 22, 2006
3/19/06 Entry on sandiego.com
Reality TV Never Looked Like This
The San Diego Latino Film Festival continues and La Sierra (2005) is a startling contribution from Colombia. This documentary, directed by Scott Dalton, is about the glamour of drugs, guns, and motorcycles in Medellin. It is also a rude awakening as to what constitutes reality in other parts of the world. Paramilitary gangs roam the streets and guns are a fact of everyday life. Like you would pick up your cell phone before going out, young adults in the poorer parts of Columbia pick up their guns. Extremely insightful (and an act of courage to film amidst such violence), La Sierra shows how corrosive facets of life define existence in Medellin. But, it also shows tenderness and a love for family life and religion that seems to be equally potent in Latin America. On the other hand, we also have our gang problems...
Cero y Van Cuatro (2005) is not a documentary, but the theme is related--crime and corruption in Mexico City. Four very talented Mexican directors, Carlos Carrera, Alejandro Gamboa, Fernando Sarinana, and Antonio Serrano are given the task of depicting a topic fraught with fear and pain--and inject humor into the mix. Using mostly the same cast and a storyline that weaves through all of the vignettes, these directors have created a masterful piece. It is a story with a drug bust, a kidnapping, a mob bent on lynching, and a restaurant robbery--with humor! As befits the stature of such great directors, the storylines are incredible and the production values would make anyone proud.
In a similar vein, Batalla en el Cielo (2005) is about crime and the human condition. But, this feature from Mexico was surrounded by controversy due to the explicit sex scenes. However, that's not what the movie is about. The camera handling has a voyeuristic feel to it as we are forced to observe but never participate. In fact, sometimes, the camera goes on journeys by itself. You, the viewer, have to find your own meaning as to motives and emotions (as the picture doesn't help very much in that regard). Carlos Reygadas directed this film.
Are all the films dark and about crime? Of course not. El Viento (2005) from Argentina is a meditative study of family and family secrets. Eduardo Mignona directed this slow but powerful Argentinian movie. A sheep farmer, Frank, travels to Buenos Aires in order to give the news of his daughter's death to his granddaghter. We learn about landscape and the contrast between city and rural life in this excellent film.
A typical Hollywood production, on the other hand, is The Virgin of Juarez (2005). It would occur to American producers to deal with such a horrible subject as the kidnapping and murders of nearly 400 women in Juarez and turn it into an entertainment piece--instead of just focusing attention on the fact. This is not a film worth supporting. It is too bad that good acting talent was wasted on this project. Mukul Khurana
The San Diego Latino Film Festival continues and La Sierra (2005) is a startling contribution from Colombia. This documentary, directed by Scott Dalton, is about the glamour of drugs, guns, and motorcycles in Medellin. It is also a rude awakening as to what constitutes reality in other parts of the world. Paramilitary gangs roam the streets and guns are a fact of everyday life. Like you would pick up your cell phone before going out, young adults in the poorer parts of Columbia pick up their guns. Extremely insightful (and an act of courage to film amidst such violence), La Sierra shows how corrosive facets of life define existence in Medellin. But, it also shows tenderness and a love for family life and religion that seems to be equally potent in Latin America. On the other hand, we also have our gang problems...
Cero y Van Cuatro (2005) is not a documentary, but the theme is related--crime and corruption in Mexico City. Four very talented Mexican directors, Carlos Carrera, Alejandro Gamboa, Fernando Sarinana, and Antonio Serrano are given the task of depicting a topic fraught with fear and pain--and inject humor into the mix. Using mostly the same cast and a storyline that weaves through all of the vignettes, these directors have created a masterful piece. It is a story with a drug bust, a kidnapping, a mob bent on lynching, and a restaurant robbery--with humor! As befits the stature of such great directors, the storylines are incredible and the production values would make anyone proud.
In a similar vein, Batalla en el Cielo (2005) is about crime and the human condition. But, this feature from Mexico was surrounded by controversy due to the explicit sex scenes. However, that's not what the movie is about. The camera handling has a voyeuristic feel to it as we are forced to observe but never participate. In fact, sometimes, the camera goes on journeys by itself. You, the viewer, have to find your own meaning as to motives and emotions (as the picture doesn't help very much in that regard). Carlos Reygadas directed this film.
Are all the films dark and about crime? Of course not. El Viento (2005) from Argentina is a meditative study of family and family secrets. Eduardo Mignona directed this slow but powerful Argentinian movie. A sheep farmer, Frank, travels to Buenos Aires in order to give the news of his daughter's death to his granddaghter. We learn about landscape and the contrast between city and rural life in this excellent film.
A typical Hollywood production, on the other hand, is The Virgin of Juarez (2005). It would occur to American producers to deal with such a horrible subject as the kidnapping and murders of nearly 400 women in Juarez and turn it into an entertainment piece--instead of just focusing attention on the fact. This is not a film worth supporting. It is too bad that good acting talent was wasted on this project. Mukul Khurana
3/17/06 Entry on sandiego.com
Socially Relevant Days are Here Again
If it’s Wednesday, it must be "Social Relevance Day" at the San Diego Latino Film Festival. The tone was set by The Devil’s Miner (2005). Shot in Bolivia, this American documentary utilizes the video format very effectively. The emphasis is on the people. The silver mines of Cerro Rico are dangerous places. According to one of the miners, it is said that eight million workers have died there since colonial times. Basilio, a fourteen-year-old boy, has already been at work since the age of ten. It is through his eyes that we see this world. Directed by Kief Davidson and Richard Ladkani, we descend into a place we could literally call hell. In fact, the Catholic miners don’t think that Jesus accompanies them into the bowels of the earth. So, they worship the devil for their safety (or "tios" as they call him).
The other documentary that deals with harsh realities is Estamira (2004). This documentary centers on the story of a 63-year-old woman who has been working at a landfill in Rio de Janeiro for more than 20 years. What makes her special are the philosophical insights that she shares with us. Directors Marcos Prado and Jose Padilha explore the implications of our consumerist society. Our trash is the treasure of others. If you are ever feeling down, seeing how more than half of the less affluent world lives in these two documentaries ought to sober you up. Though the visions look like a post nuclear attack, the photography is poetic and beautiful – though depressing.
Aqui Estamos, y No Nos Vamos! (2006) from the Youth Visions program was a group effort by the Media Arts Center San Diego’s Teen Producers Project. Using video, very young film makers told the sad but very real story of immigrant life. The immigrants talked candidly about their difficulties, immigration, and discrimination. Without meaning to take away from the impressive values of this project, we are dealing with a whole different level in Crossing Arizona (2005). Due to the changing stepped up enforcement along the California and Texas border with Mexico, this video documentary shows how things have shifted to Arizona when it comes to the immigration debate.
In very real instances by virtue of the story of the peoples affected, directors Joseph Mathew and Daniel DeVivo, have done a phenomenal job in terms of objective reporting. Nothing was censored – people were allowed to say whatever they wanted. Despite that, a work has emerged that questions the status quo. Do so many people need to die for something that seems to be needed on both sides of the border? Without giving any answers, Crossing Arizona asks of us to reflect on policy – is it working? What’s the American role in this? How much of it is Mexico’s doing? Most important, how does it affect the people living in the border areas?
This is a "not to be missed" event. There are many good reasons that this was an official selection at the Sundance Film Festival this year. Mukul Khurana
If it’s Wednesday, it must be "Social Relevance Day" at the San Diego Latino Film Festival. The tone was set by The Devil’s Miner (2005). Shot in Bolivia, this American documentary utilizes the video format very effectively. The emphasis is on the people. The silver mines of Cerro Rico are dangerous places. According to one of the miners, it is said that eight million workers have died there since colonial times. Basilio, a fourteen-year-old boy, has already been at work since the age of ten. It is through his eyes that we see this world. Directed by Kief Davidson and Richard Ladkani, we descend into a place we could literally call hell. In fact, the Catholic miners don’t think that Jesus accompanies them into the bowels of the earth. So, they worship the devil for their safety (or "tios" as they call him).
The other documentary that deals with harsh realities is Estamira (2004). This documentary centers on the story of a 63-year-old woman who has been working at a landfill in Rio de Janeiro for more than 20 years. What makes her special are the philosophical insights that she shares with us. Directors Marcos Prado and Jose Padilha explore the implications of our consumerist society. Our trash is the treasure of others. If you are ever feeling down, seeing how more than half of the less affluent world lives in these two documentaries ought to sober you up. Though the visions look like a post nuclear attack, the photography is poetic and beautiful – though depressing.
Aqui Estamos, y No Nos Vamos! (2006) from the Youth Visions program was a group effort by the Media Arts Center San Diego’s Teen Producers Project. Using video, very young film makers told the sad but very real story of immigrant life. The immigrants talked candidly about their difficulties, immigration, and discrimination. Without meaning to take away from the impressive values of this project, we are dealing with a whole different level in Crossing Arizona (2005). Due to the changing stepped up enforcement along the California and Texas border with Mexico, this video documentary shows how things have shifted to Arizona when it comes to the immigration debate.
In very real instances by virtue of the story of the peoples affected, directors Joseph Mathew and Daniel DeVivo, have done a phenomenal job in terms of objective reporting. Nothing was censored – people were allowed to say whatever they wanted. Despite that, a work has emerged that questions the status quo. Do so many people need to die for something that seems to be needed on both sides of the border? Without giving any answers, Crossing Arizona asks of us to reflect on policy – is it working? What’s the American role in this? How much of it is Mexico’s doing? Most important, how does it affect the people living in the border areas?
This is a "not to be missed" event. There are many good reasons that this was an official selection at the Sundance Film Festival this year. Mukul Khurana
3/15/06 Entry on sandiego.com
The Politics of Dancing
Halfway through the San Diego Latino Film Festival and it would seem that technical difficulties would get people down. But film festivals are not your everyday events – they usually happen once a year and bring excitement with them. That being said, this year has had its share of snafus. It doesn’t, however, detract from the possibility of delving into other worlds without the need for travel. Post 9/11, and there has been a climate of "closing down" in America. Like a breath of fresh air, it is nice to know that not everyone thinks like us. There are other ways to see the world.
Bailando Cha Cha Cha (directed by Manuel Herrera) is a quaint Cuban feature from 2005, but it feels like the 50's (because it is). Cuban films don’t access the kind of money Hollywood lavishes on its productions. It was refreshing to see life in a "simpler" time. That illusion gets dispelled once we are reminded of the premise of the film. It is a story about a mixed-race family and prejudice certainly plays a role. Ultimately, it is a story about family. It is very well-acted though probably because the budget wasn’t there for special effects of great magnitude.
from Ladies NightContrast that with Ladies Night (2004) – this movie from Mexico obviously had the budget to buy good production values. In fact, in places, it seems like a commercial shoot. It is flashy, the camera moves fast, and the women are pretty (yes, it does star Ana de la Reguera and Ana Claudia Talancon). A hit in Mexico, it is a romantic comedy about finding love – not where it was expected...
On a more serious note, Nica/Raguense (2005) proves that discrimination and arrogance is not a racial/ethnic issue. Nica is not a kind word. Filmmaker Julian Fleming shot this video in Costa Rica. People on the street are asked their opinions about their neighbors from the poorer Nicaragua. The opinions are not flattering. It seems like stability has bred contempt for those who are not as fortunate. A theme that repeats often in the festival as we deal with border issues right here at home.
Much in the same vein (but this one being a feature and not a documentary), Four Days in September takes us on a journey to the dark days of the Brazilian dictatorship. Though filmed in 1997, this film has great relevance unfortunately as we deal with issues of freedom and terrorism. How far can the state go? What is permitted in order to respond? Is it o.k. to kidnap innocent "civilians" for a greater cause? Another film which is a part of the Bruno Barreto tribute, this American/Brazilian production details the workings of MR-8 (a radical leftist organization) in a very credible way. The fact that one of the original kidnappers wrote the book on which the film is based might have something to do with that. Alan Arkin stars as the U.S. ambassador.
There is something for everyone at the San Diego Latino Film Festival this week from the entertaining to the profound. Mukul Khurana
Halfway through the San Diego Latino Film Festival and it would seem that technical difficulties would get people down. But film festivals are not your everyday events – they usually happen once a year and bring excitement with them. That being said, this year has had its share of snafus. It doesn’t, however, detract from the possibility of delving into other worlds without the need for travel. Post 9/11, and there has been a climate of "closing down" in America. Like a breath of fresh air, it is nice to know that not everyone thinks like us. There are other ways to see the world.
Bailando Cha Cha Cha (directed by Manuel Herrera) is a quaint Cuban feature from 2005, but it feels like the 50's (because it is). Cuban films don’t access the kind of money Hollywood lavishes on its productions. It was refreshing to see life in a "simpler" time. That illusion gets dispelled once we are reminded of the premise of the film. It is a story about a mixed-race family and prejudice certainly plays a role. Ultimately, it is a story about family. It is very well-acted though probably because the budget wasn’t there for special effects of great magnitude.
from Ladies NightContrast that with Ladies Night (2004) – this movie from Mexico obviously had the budget to buy good production values. In fact, in places, it seems like a commercial shoot. It is flashy, the camera moves fast, and the women are pretty (yes, it does star Ana de la Reguera and Ana Claudia Talancon). A hit in Mexico, it is a romantic comedy about finding love – not where it was expected...
On a more serious note, Nica/Raguense (2005) proves that discrimination and arrogance is not a racial/ethnic issue. Nica is not a kind word. Filmmaker Julian Fleming shot this video in Costa Rica. People on the street are asked their opinions about their neighbors from the poorer Nicaragua. The opinions are not flattering. It seems like stability has bred contempt for those who are not as fortunate. A theme that repeats often in the festival as we deal with border issues right here at home.
Much in the same vein (but this one being a feature and not a documentary), Four Days in September takes us on a journey to the dark days of the Brazilian dictatorship. Though filmed in 1997, this film has great relevance unfortunately as we deal with issues of freedom and terrorism. How far can the state go? What is permitted in order to respond? Is it o.k. to kidnap innocent "civilians" for a greater cause? Another film which is a part of the Bruno Barreto tribute, this American/Brazilian production details the workings of MR-8 (a radical leftist organization) in a very credible way. The fact that one of the original kidnappers wrote the book on which the film is based might have something to do with that. Alan Arkin stars as the U.S. ambassador.
There is something for everyone at the San Diego Latino Film Festival this week from the entertaining to the profound. Mukul Khurana
Thursday, March 16, 2006
3/13/06 Entry on sandiego.com
Passion makes the World go Round
The Media Art Center San Diego's San Diego Latino Film Festival opened during beautiful and sunny days in San Diego – but mixed in were dark and rainy days, too. In fact, that’s a good metaphor for the festival itself. SDLFF in its 13th year has elements of both – the good and the bad – the light and the dark... As befits an art film festival, the first film, a documentary from the Netherlands, was dark and brooding. The video of El Perro Negro: Stories from the Spanish Civil War was grainy – on purpose. Also on purpose, was the disturbing music in the background. This was an important story told from the viewpoint of a wealthy Catalan family that witnessed Spanish history. If you like black and white and want to learn about political turmoil, watch this 2004 production. A lot can be learned about the present from the past.
O Casamento de Romeo e Julieta is one of Brazil’s entries to the festival. This film is about soccer. Well, not really – soccer is the background, but it is about the passion for soccer. Actually, if you think about it, it is also about romance. But, it has comedic twists. Granted, they are right on the edge of a "gentle" tragedy. So, is it comedy-romance? Yes, but what about the soccer?
There is no doubt that soccer is a Latin American passion. People kill for soccer. They even have heart attacks due to soccer. But this film is not about heart attacks but rather about the heartaches of love – specially if the two people involved are fans of opposing soccer clubs. The acting in this film, directed by Bruno Barreto, is incredible. The chemistry between the two stars, Marco Ricca and Luana Piovani, is a joy to behold. The production values exceed our expectations. This is a very good film – go see it!
Humor makes life bearable, but life is about much more – life is also about death. In our culture, we shy away from the emotions surrounding death. In case that’s your attitude, you might not want to see Para Que No Me Olvides. A Spanish film with a lot of heart (there’s that word again)... This film is about emotions – the raw feelings around death. The charming David, an aspiring architect, is in love with a beautiful, lively, and loving Clara. The problem is that David’s mother, Irene, feels that a cashier is beneath her son.
David is torn between the hormone-fueled love that he feels for his girlfriend and the familial love/loyalty he feels for his mother. The only other man in the movie is his grandfather, Mateo. Mateo helps bring some perspective into his grandson’s life, guiding by virtue of age and experience. But nothing prepares us for what comes next. This movie also has superb acting and great production values.
This year’s San Diego Latino Film Festival also has its share of documentaries–the political kind are a staple of Latin American culture. Worthy of a mention due to demographic concerns alone are Letters From the Other Side and The New Los Angeles (both American). The former is about the human side of immigration – specifically, the families that get left behind. The latter is about the politics in Los Angeles that recently led to a Latino mayor being elected after 130 years of all other ethnicities (mainly Anglo). Mukul Khurana
The Media Art Center San Diego's San Diego Latino Film Festival opened during beautiful and sunny days in San Diego – but mixed in were dark and rainy days, too. In fact, that’s a good metaphor for the festival itself. SDLFF in its 13th year has elements of both – the good and the bad – the light and the dark... As befits an art film festival, the first film, a documentary from the Netherlands, was dark and brooding. The video of El Perro Negro: Stories from the Spanish Civil War was grainy – on purpose. Also on purpose, was the disturbing music in the background. This was an important story told from the viewpoint of a wealthy Catalan family that witnessed Spanish history. If you like black and white and want to learn about political turmoil, watch this 2004 production. A lot can be learned about the present from the past.
O Casamento de Romeo e Julieta is one of Brazil’s entries to the festival. This film is about soccer. Well, not really – soccer is the background, but it is about the passion for soccer. Actually, if you think about it, it is also about romance. But, it has comedic twists. Granted, they are right on the edge of a "gentle" tragedy. So, is it comedy-romance? Yes, but what about the soccer?
There is no doubt that soccer is a Latin American passion. People kill for soccer. They even have heart attacks due to soccer. But this film is not about heart attacks but rather about the heartaches of love – specially if the two people involved are fans of opposing soccer clubs. The acting in this film, directed by Bruno Barreto, is incredible. The chemistry between the two stars, Marco Ricca and Luana Piovani, is a joy to behold. The production values exceed our expectations. This is a very good film – go see it!
Humor makes life bearable, but life is about much more – life is also about death. In our culture, we shy away from the emotions surrounding death. In case that’s your attitude, you might not want to see Para Que No Me Olvides. A Spanish film with a lot of heart (there’s that word again)... This film is about emotions – the raw feelings around death. The charming David, an aspiring architect, is in love with a beautiful, lively, and loving Clara. The problem is that David’s mother, Irene, feels that a cashier is beneath her son.
David is torn between the hormone-fueled love that he feels for his girlfriend and the familial love/loyalty he feels for his mother. The only other man in the movie is his grandfather, Mateo. Mateo helps bring some perspective into his grandson’s life, guiding by virtue of age and experience. But nothing prepares us for what comes next. This movie also has superb acting and great production values.
This year’s San Diego Latino Film Festival also has its share of documentaries–the political kind are a staple of Latin American culture. Worthy of a mention due to demographic concerns alone are Letters From the Other Side and The New Los Angeles (both American). The former is about the human side of immigration – specifically, the families that get left behind. The latter is about the politics in Los Angeles that recently led to a Latino mayor being elected after 130 years of all other ethnicities (mainly Anglo). Mukul Khurana
I'll try to be kind
But it is hard when a film such as Ladies Night (2003) tries my patience. Don't get me wrong, if you are looking for mindless entertainment, this is your ticket. This is a romantic comedy full of infantile cliches. We all understand about the dual nature of human beings. There is a constant tension between the spirited and the conservative among us. However, being "in your face" about it is so passe. The resources available to the director could have been much better utilized. I think they were hoping that the two pretty stars, Ana Claudia Talancon and Ana de la Reguera, would carry it. Yes, it was a hit in Mexico. As I said, the production values were excellent. But, it felt like a commercial. By the way, the men were hunks too.
Tuesday, March 14, 2006
Very Important Note
Though the author is happy that you enjoy his work, it is expressly forbidden to reproduce or otherwise distribute his content unless permission is granted. In case he is quoted, credit must be given as to the source. Prosecution possible to the fullest extent of the law.
Q & A with Barreto (Continued)
As to how the film was received in Brazil and other South American countries, Barreto reported that the reception to the 2005 release had generally been very good. He also noted that it usually takes about two weeks to figure out a film's potential. In this case, it had taken closer to three weeks. He attributed that to misdirected demographic targeting. Being a soccer film, it was thought that men were the logical target. However, the film was not really about soccer, so women turned out to be the bigger supporters. There was great crossover appeal (imagine, a "date" film for men and women)! This conversation will be continued... Mukul Khurana
Friday, March 10, 2006
Q & A with Bruno Barreto (Director)
Bruno Barreto is the director of O Casamento De Romeu E Julieta. Following the screening of his film, the audience participated in a Q & A session. I talked to him in and out of this forum. What follows are his opinions on various topics. Asked where his idea came for the movie, Baretto said that it was a short story that his sister had read and mentioned to him... His interest in and love for Italian neo-realism was the other part of the inspiration. As he saw it, the movie was a homage to Italian romance-comedies. And, Sao Paulo has a strong Italian flavor. Though born in Brazil, Barreto has divided the past sixteen years between New York and L.A. That shows too in his movies. Asked why he chose Brazil as a locale for his present movie, Barreto disclosed that the Brazilian government indeed provided tax incentives and a welcoming atmosphere to the movie industry. Mukul Khurana
Romeo and Juliet can't be rewritten?
If you thought that there wasn't another angle to the love story that defies families and traditions, how about soccer? Soccer is a huge passion for millions of people in the world. Latin Americans take it very seriously. Bruno Barreto masterfully directs this comedy which mixes various genres. Is it a romance? In O Casamento De Romeu E Julieta, Julieta follows the family line and is a fan and player for the Palmeiras Soccer Club. She has been raised that way by her lawyer father--Alfredo Baragatti. Unfortunatly, she falls in love with a fan of the rival team--the Corinthian-worshipping Romeu. Marco Ricca and Luana Piovani play the characters as loveable people you'd like to have as friends and neighbors--if they didn't have family. Bruno Barreto is the famed director of Dona Flor and Her Two Husbands and Bossa Nova. This year is a tribute to this great director (there are other movies directed by him you can see at the festival...). Mukul Khurana
It gets better
Letters from the Other Side was the sleeper surprise. Who knew that a documentary could move one so much? This American production from 2005, treated a political issue with a lot of sensitivity. We get to hear the viewpoints of the people left behind in the immigration debate--the wives and the children in Mexico. With frankness and brutal honesty, people who have been relegated to the background become real again. Heather Courtney tells us the story that the American media won't. Using videos as a form of discourse, she transports images back and forth across the border because we don't allow labor to move freely. Family ties become so clear. We can feel the bonds. Mukul Khurana
Not giving up!
I was determined to start the festival right. I felt stretched in all directions after seeing cazuza too. This Brazilian film from 2004 proves that we are not the only ones blinded by popular opinion. We did applaud Titanic, didn't we? A Brazilian idol who could have served as a universal archetype ended up as weak as Oliver Stone's take on The Doors. Here was a perfect vehicle to deal with issues such as fame and rebelliousness... Cazuza openly announced his HIV status. But the opportunity was missed. Regardless, the film won all kinds of awards. Maybe we are just jaded, but it felt like indulgent behavior--behavior that could have highlighted consequences. I like the idea of peace and love. I like flower power. But, the glorification of self-involved and dysfunctional rock stars--that doesn't work for me. What about Bono from U2? He does something... Why not go there? Cazuza felt choppy and disjointed in places. Smooth flow is not too much to ask, is it? Also, production values could have been better in general. Mukul Khurana
Having said that...
Film festivals are always full of surprises. You never know what to expect. I always try to walk in with an open mind. We all need to be stretched, right? El Perro Negro: Stories from the Spanish Civil War depicted a dark time in Spanish history. Coming from Netherlands, the dark era was matched by an equally dark mood and disturbing music. Seen from the vantage point of a wealthy family from Catalan, we get to witness labor unrest, the collapse of the monarchy, and the Spanish Civil War. In short, things that don't happen in affluent Europe anymore. But here's the scary part--the slippery slope toward anarchy starts to feel possible... A depressing documentary with lessons for us all. I left the screening with a little less bounce in my step. But aren't grainy and dark movies what we generally think of when we think of film festivals? Mukul Khurana
SDLFF Begins (March 9-19, 2006)
When I picked up my press pass on Thursday, I also picked up the program guide for the San Diego Latino Film Festival for 2006. The bold yellow, red, orange, green, brown, black, white, and purple colors energized me. Mexican folk art has certainly come of age--one of the best examples I have seen in years. Good choice SDLFF staff! Keep up the good work! The Media Arts Center San Diego throws a film party every year (this one is the 13th). But don't let the name fool you. SDLFF is much more--it is also music and the visual arts. It wasn't always like that. I remember when SDLff was just a few films. This year, there are over 100 films spread out over 10 days (not to mention the music shows and the art exhibitions). The buffet is served. Enjoy! Mukul Khurana
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