12° Festival - Catálogo by Festival Internacional de Cine de Mar del Plata - Issuu
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Arturo Ripstein was born in Mexico City, Mexico in and is one of the prominent figures of the Central American cinema in the last two decades. He began with 16 mm films, studied law and at 19 was assistant to Luis Bufluel in The Exterminating Angel.
His first full length film came when he was 21 years old: Tiempo de Morir, based on a tale by Gabriel Garcia Mdrquez. En abandona el teatro Para dedicarse por completo al cine y a La television de su pais. She is one of the all-time great Spanish actresses. She had her debut in the theatre when she was an adolescent at age thirteen, in small parts in the Maria Guerrero theatre company of Madrid, with Luis Escobar as her director As leading actress she interpreted Spanish classics and modern authors, such as Luigi Pirandello, Carlos Mufliz, Alfonso Sastre and many others.
She belonged to the group of "realist theatre" and later formed her own company.
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In she gave up the theatre completely for her country's cinema and television. She is married to the producer Alfredo Matas and has participated in over fifty films, some outstanding: No es buena que el hombre estE solo, Beatriz and La loba y la paloma. The success achieved with Rio Cuarenta Graus brought attention to the Brazilian Cinema Novo, and shortly after followed Vidas Secaswhich according to Georges Sadoul was a masterpiece.
After this success, Pereira directed El Justiciero before going into exile and returning in His work is characterized by a dry, incisive style, and in particular with the arrival of the 70s, a concern for the socio-economic problems of his country. He became the Brazilian director with the most identifiable film style. Na Estrada da Vida and Memorias do Carcere are clear examples of his rigorous cinema language which always uses stories from his land.
Recently Pereira dos Santos has come back with titles which have received excellent response at international festivals, such as Cinema das Lagrimas A painter and set designer with well-deserved international recognition, Eugenio Zanetti received the Talia award in Between and he lived in Europe and the United States and had his first contact with the cinema as set designer for Pier Paolo Pasolini's Medea, From to the present he has staged more than 30 individual shows in Argentina and other countries.
From tohe lived in Afghanistan and Pakistan. Upon his return to Argentina he designed stage sets. Soon afterwards, he left again for the United States, where he established himself in the film industry with works of diverse kinds, such as Flatliners, Slam Dance and The Last Action Hero, with Arnold Schwarzenegger In he was awarded the Academy Award for production design in Restoration.
Howard Feinstein Periodista independiente, Estados Unidos. Hacemos esto al escribir sobre pelIcuias en diarios o revistas especializadas, en estaciones de radio y en television, inciuso en la Internet.Hardik Pandya mini-feature
En Mar del Plata, no solo evaluaremos el cine internacional, enfocaremos asimismo nuestra atenciOn en ci cine Iatinoamericano. Esperamos a veces estamos convencidos que este premio puede ayudar a algunas pelIculas a obtener una mejor distribuciOn, o lisa y Ilanamente a lograr set distribuIdas, y a aicanzar la atenciOn del pOblico. Tal vez nuestra actividad pueda ayudar a que el cine latinoamericano sea mejor conocido en Europa y en otras partes del mundo.
Dicho sea de Paso, en los diplomas de nuestros premios reproducimos un dibujo original realizado por Glauber Rocha, el famoso director brasileno. Hacemos esto por razones culturales, no polItias: Estamos cooperando, pot ejemplo, con la Academia Europea de Cine y estamos decidiendo, dentro del marco de los premios europeos de cine, un Felix de los CrIticos.
Finalmente, FIPRESCI defiende los derechos e intereses de los crIticos profesionales de cine y de los escritores sobre cine, y realiza esfuerzos para mejorar sus condiciones de trabajo toda vez que ello es posible. Esto es bueno, pero no suficientemente bueno: Es con sumo gusto que acudimos, con un jurado, a Mar del Plata.
Algunos de nuestros colegas recuerdan a6n el viejo festival, y esperamos y deseamos que la iniciativa de revivir este importante punto de encuentro del cine mundial sea exitosa.
El cine argentino, el cine latinoamericano, necesita de estas vidrieras. Klaus Eder Sergio WolfCestvais offer a most exciting opportunity to become acquainted with world cinema. As film critics, it is our interest, Periodista, Revista Film, Argentina. I and often our pleasure, to support national cinema, in all its form and diversity, considering it an important part of national culture and identity. We do this by writing about films, in newspapers or specialized magazines, in radio and television stations or on the Internet.
In Mar del Plata, we 'II not only judge the international cinema; we also will focus our attention on Latin American cinema. We hope and sometimes we know that this prize can help some films to get a better distribution, or a distribution at all, and to win a better public attention. Maybe our activity can help to make Latin American cinema better known in Europe and in other parts of the world.
The basic purpose of the organization, which now has national sections in over 60 countries all over the world, is to support cinema as an art and as an outstanding and autonomous means of expression.
We do this for cultural, not for political reasons: FIPRESCI also organizes conferences and seminars and is increasingly playing a part in a number of cultural activities designed to protect and encourage independent film-making and national cinema.
We are, for example, co-operating with the European Film Academy and are deciding, within the framework of the European Rim Awards, a "Felix of the Critics. This is good, but it is not good enough: It is with pleasure that we come, with a jury, to Mar del Plata.
Some of our colleagues still remember the old festival, and we hope and wish that the initiative of reviving this important meeting point of world cinema will be successful. Argentine cinema, Latin American cinema do need such showcases. Robin David Peredo Flores Bolivia. Imelda Teresita —Fidelis—Tibaldo H. Su red de relaciones abarca actualmente paIses y territorios. La OCIC, fundada enfue invitada a formar su propio jurado dentro de un festival internacional de cine —el de Bruselas—, en Presentados p6blicamenre por ci festival, a dichos premios y menciones se los conoce como Premios de la OCIC.
Numerosos films argenrinos, y en algunos casos de directores argenrinos residenres en ci exterior, ban sido premiados por la OCIC en distinros festivales internacionales desde mediados de los aflos In their respective countries, these entities coordinate activities by production, distribution, training and audience education centers, with regard to the communication media. The OCIC also includes some international institutions among its members. Its network of relationships currently extends to nations and territories.
Founded inthe OCIC was invited to form its own jury within an international film festival —Brussels— in Since then, it has participated at the major international festivals, such as Berlin, Cannes, Venice, Montreal, San Sebastian, Locarno and Havanna, among others.
In this way, for half a Century, the OCIC has been responding to the invitations issued by the organizers of major international film festivals to set up its own juries. For this, the organization appoints a group of professionals, who are received by the festival, which gives them access to all the film screenings.