#Alejandro Loayza Grisi

[365filmsbyauroranocte]

Utama (Alejandro Loayza Grisi, 2022)

[moviemosaics]

Utama

directed by Alejandro Loayza Grisi, 2022

[cinemedios]

Premios Rolling Stone en Español | Lista de Nominados

Los Premios Rolling Stones en Español se llevaran acabo este 26 de octubre, con sede en Miami, y hoy se acaban de anunciar los nominados de esta primera edición. Todos los nominados están activos o fueron lanzados desde el 1 de enero del 2022 hasta el 31 de mayo de 2023. Los nominados se dividen en varias categorías, entre las que destacan las musicales, como Álbum del año, Canción del año,…

[mymoviemania-oscar-2023]

Utama (2022), directed by Alejandro Loayza Grisi;

95th Academy Awards for the Best International Feature Film, longlist of submissions, Bolivia (Not Nominated)  

[randomrichards]

UTAMA:

The land’s drying up

Elders face end of their ways

To hope or to leave

[redcarpetview]

Cinema Tropical Announces the Best Latin American and U.S. Latinx Films of 2022

        Cinema Tropical, the non-profit media arts organization that is leading presenter of Latin American cinema in the United States, is proud to announce its annual list of Best Latin American Films of the Year, comprised of 25 Latin American titles from twelve different countries, plus five U.S. Latinx productions—all of them by female directors—that the New York-based organization has selected as the best of the year.

     Featuring productions from Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica, Guatemala, Mexico, Panama, Paraguay, Peru, the United States, and Venezuela, the films selected in this list will compete for the 13th Annual Cinema Tropical Awards.

     The winners for Best Film, Best Director, Best First Film, and Best U.S. Latinx Film, will be announced in an in-person event on Thursday, January 12, 2023, at Film at Lincoln Center in New York City.

    A jury composed of programmer Cecilia Barrionuevo, former Artistic Director of the Mar del Plata Film Festival; Andrea Picard, Senior Curator at the Toronto International Film Festival (TIFF); José Rodriguez, Programmer at the Tribeca Film Festival; and filmmaker Dominga Sotomayor (Too Late to Die Young); will choose the winners of the 13th Annual Cinema Tropical Awards in the Latin American cinema category.

     Filmmaker Rodrigo Reyes (499, Sansón and Me); Ximena Amescua, Manager of Artist Programs at Firelight Media; and film programmer and producer Virginia Westover, will select the winner in the U.S. Latinx category.

         Please note that all the films under consideration had a minimum of 60 minutes in length and premiered between May 1, 2021, and April 30, 2022.        

Cinema Tropical’s List of Best Films of 2022:

(Listed alphabetically by title)

1.    About Everything There Is to Know / De todas las cosas que se han de saber by Sofía Velázquez, Peru 2.    Alis by Nicolas Van Hemelryck and Clare Weiskopf, Colombia/Chile/Romania 3.    Amparo by Simón Mesa Soto, Colombia/Sweden/Qatar 4.    The Box / La caja by Lorenzo Vigas, Venezuela/Mexico/USA 5.    Clara Sola by Nathalie Álvarez Mesén, Costa Rica/Sweden/Belgium/Germany/France 6.    Comala by Gian Cassini, Mexico 7.    The Cow Who Sang a Song into the Future / La vaca que cantó una canción hacia el futuro by Francisca Alegría, Chile/France 8.    Dos Estaciones by Juan Pablo González, Mexico 9.    Dry Ground Burning / Mato Seco em Chamas by Joana Pimenta and Adirley Queirós, Brazil 10.    Eami by Paz Encina, Paraguay/Germany/Argentina/Netherlands/ France/USA 11.    El Gran Movimiento by Kiro Russo, Bolivia/France/Qatar/Switzerland 12.    For Your Peace of Mind, Make Your Own Museum / Para su tranquilidad, haga su propio museo by Ana Endara Mislov and Pilar Moreno, Panama 13.    Jesús López by Maximiliano Schonfeld, Argentina/France 14.    A Little Love Package by Gastón Solnicki, Argentina/Austria 15.    Mariner of the Mountains / Marinheiro das Montanhas by Karim Aïnouz, Brazil/France 16.    Mars One / Marte Um by Gabriel Martins, Brazil 17.    Me & the Beasts / Yo y las bestias by Nico Manzano, Venezuela 18.    Medusa by Anita Rocha da Silveira, Brazil 19.    The Middle Ages / La edad media by Alejo Moguillansky and Luciana Acuña, Argentina 20.    My Brothers Dream Awake / Mis hermanos sueñan despiertos by Claudia Huaiquimilla, Chile 21.    Prayers for the Stolen / Noche de fuego by Tatiana Huezo, Mexico/Germany/Brazil/Qatar 22.    Robe of Gems / Manto de gemas by Natalia López Gallardo, Mexico/Argentina 23.    The Silence of The Mole / El silencio del topo by Anaïs Taracena, Guatemala 24.    Three Tidy Tigers Tied a Tie Tighter / Três Tigres Tristes by Gustavo Vinagre, Brazil 25.    Utama by Alejandro Loayza Grisi, Bolivia/Uruguay/France       

For more information visit:

www.cinematropical.com/awards13

                                                                                                               # # #

[usuallywisestarlight]

PALMARÉS COMPLETO FESTIVAL DE MÁLAGA 2024

SECCIÓN OFICIAL DE LARGOMETRAJESEl Jurado de la Sección Oficial de Largometrajes de la 27 edición del Festival de Málaga, integrado por Alejandro Loayza Grisi, Antonia Zegers, Claudia Piñeiro (Presidenta), Daniela Fejerman, Javier Ruiz Caldera y José Luis Rebordinos, emite el siguiente fallo:BIZNAGA DE ORO A LA MEJOR PELÍCULA ESPAÑOLA, dotada con 8.000 eurosSegundo premio, de Isaki Lacuesta y Pol…

[personal-reporter]

Corto & Fieno 2023 sul Lago d’Orta

La XIV edizione di Corto e Fieno, il festival del cinema rurale, si terrà venerdì 6, sabato 7 e domenica 8 ottobre nei Comuni di Omegna e Gozzano sul lago d’Orta, oltre ad una serie di eventi speciali previsti per sabato 21 ottobre a Gozzano e domenica 29 ottobre a Miasino. Ancora una volta ci sono film in arrivo da tutto il mondo per l’unico festival cinematografico in Italia interamente dedicato al mondo della ruralità, tra proiezioni, mercati agricoli, incontri dedicati al cinema che guarda alla terra, ai suoi frutti e a chi se ne prende cura. Quest’anno sarà centrale la sezione Mietitura, rassegna dedicata ai lungometraggi, proiettati venerdì e sabato al Cinema Sociale di Omegna. In programma sono previsti Il frutto della tarda estate (Taḥta aš-šajara) di Erige Sehiri che segue per una giornata un gruppo di ragazze e donne che raccoglie fichi in un frutteto tunisino, Innesti di Sandro Bozzolo sui castanicoltori dell’Alta Valle Mongia, Terra e polvere (Yin Ru Chen Yan) diLi Ruijun, su  due solitudini che si incontrano nella Cina rurale e Utama - Le terre dimenticate di Alejandro Loayza-Grisi,dove  la siccità minaccia la vita sugli aridi altopiani boliviani, tra branchi di lama e condor in volo. Quest’anno la sezione Frutteto ospita una selezione di cortometraggi italiani, mentre Germogli – Disegnare il cinema mantiene la sua attenzione su animazioni e cortometraggi animati internazionali e saranno ospitate domenica nei locali della Somsi Gozzano. Corto e Fieno nasce nel 2010 da un’idea dell’Associazione Asilo Bianco ed è diretto da Paola Fornara e Davide Vanotti dove, nelle atmosfere rurali del lago d’Orta, le proiezioni si alternano agli incontri con piccoli produttori locali e registi dei film in selezione. Saranno due le mostre visitabili a Villa Nigra a Miasino, L’altra pelle, personale di Valerio Tedeschi, e Matrice selvatica de La Tana dei Lupi Gentili – Irene Lupia e Giulia Gentilcore e in contemporanea, sul Sentiero Nigra tra Miasino, Ameno, Orta San Giulio, continuano a essere visibili i lupi di Il richiamo del lupo del collettivo Cracking Art. Corto e Fieno continuerà con approfondimenti e proiezioni a tema, con una tavola rotonda con focus sulla ruralità contemporanea, partecipano con film e progetti Cisv Ets, Festival Mente Locale e Regione Piemonte e a Villa Nigra di  Miasino, Attenti al lupo! O forse no con esperti, attori, artisti e registi insieme per parlare di uno dei temi più dibattuti del momento, la figura del lupo tra selvatico e umano. La locandina e la sigla dell’edizione 2023 sono firmate dall’illustratore Paolo Metaldi e tutte le proiezioni di Corto e Fieno, fin dalla sua prima edizione, sono a ingresso gratuito. Read the full article

[daily-current-affairs]

IFFK 2022: Bolivian film Utama wins Suvarna Chakoram; Nanpakal Nerathu Mayakkam receives Rajatha Chakoram via audience poll

IFFK 2022: Bolivian film Utama wins Suvarna Chakoram; Nanpakal Nerathu Mayakkam receives Rajatha Chakoram via audience poll

Utama’s director Alejandro Loayza Grisi’s brother and film producer Santiago Loayza Grisi with the Golden Crow Pheasant for the Best Film at the 27th International Film Festival of Kerala in Thiruvananthapuram on Friday. | Photo Credit: S. MAHINSHA Utama, Alejandro Loayza Grisi’s artistic statement of the global climate crisis, won the Golden Crow Pheasant (Suvarna Chakoram) for the Best Film at…

[dare-g]

Utama (2022)

[sweetsmellosuccess]

Sundance 2022: Day 3

Number of Films: 4

Best Film of the Day: Watcher

Watcher: In film, it always seems like the kiss of death when young wives move with their husbands to remote or foreign places, but in Chloe Okuno’s terrific paranoid suspense thriller, we’re not entirely certain if the danger is real or imagined until the very end. Julia (Maika Monroe), a beautiful, if somewhat brittle young woman, moves with her husband, Francis (Karl Glusman), to Bucharest, so he can take a high-powered marketing job. Francis, whose mother was a native, speaks Romanian, but Julia, though trying to learn it via a phone app, doesn’t. With nothing else to do during the days while her husband is away, she tries to take in the sights and flavors of their adopted city, walking around in jaunty outfits, doing light shopping, and sightseeing. Only, she begins to notice the silhouette of a man standing in the window of the apartment across from their high-rise building, staring down at her almost constantly. At first, she tries to ignore it, but as the days turn into weeks, she becomes more and more obsessed with tracking him, especially after it’s revealed there’s an active serial killer (“The Spider”) on the loose, cutting off the heads of pretty women, with one victim just a few blocks away from where she and Francis live. She tells her husband her concerns, but preoccupied with his job, his sympathy and concern only goes so far. She insists they call the police, which eventually leads her to meet the mysterious stranger (Burn Gorman) in the window, who apologizes for the misunderstanding, leaving her more confused than before about her instinct. Okuno, who smartly chooses not to translate when Romanian is spoken around Julia, leaving the non-speakers as much in the dark as her protagonist, captures the pitched sense of intense loneliness it can feel like to live in a country whose language you do not understand, and her meticulous visual storytelling (there are many shots of Julia from outside windows, either at her apartment, or through car doors, as if we, too, are involved in her unnerving observation) lends itself well to the sense of creeping doom reinforced in almost every scene. The set-up is pure Hitchcock (an element Okuno playfully acknowledges when Julia runs into a movie theater to watch Charade, before someone creeps up on her in the seat behind hers), but the tone is closer to the nightmarish dread of The Vanishing. Until the very end, the film’s violence is strictly implied rather than depicted, but by then, you’ll feel suitably creeped out anyway.

Utama: An elderly Quechua couple, Virginio (José Calcina), and Sisa (Luisa Quispe), live a simple farming life in the Bolivian highlands, with their herd of llamas, and the beans and potatoes they can grow in their own garden. A longstanding drought that drains the water out of the well in their nearby town, forces them to live an increasingly difficult existence, though Virginio, despite a growing sickness in his lungs he hides from his wife, has no intention of ever making like many of the other former residents in the north, and moving to the nearest city. When the couples’ well-intentioned grandson, Clever (Santos Choque), comes to stay with them, trying to convince the pair to move to the city with him, Virginio (who often refers to him irritably as a “brat”) only digs his heels deeper into the dusty dirt around them. Alejandro Loayza Grisi’s understated drama, in ways both overt and subtle, sets seemingly modest stakes that end up having a profoundly moving affect. Much time is devoted to capture the stark beauty of the landscape, even in its unrelenting heat, allowing us the chance to understand some of Virginio’s stubborn reluctance to leave (receiving a packet of painkillers from a traveling doctor Clever brings to him, Virginio disgustedly pops the pills out of their foil container, and scatters them amongst the rocks of a hill crest). At one point, he explains to his grandson what happens when a condor becomes too old and weak to fly: It walks over to a nearby cliff edge, tucks in its feet, and intentionally plummets down to the rocks below, understanding its usefulness and effectiveness have come to an end. Note for animal lovers: The film’s simplicity and faithful rendering of native traditions does include a scene of animal sacrifice that I absolutely didn’t watch. I can’t speak to its authenticity or its portrayal, but be forewarned.

Sharp Stick: It has been 11 years since Lena Dunham’s sterling debut feature, Tiny Furniture, made such a profound impact on the indie movie scene, she eventually got to make the TV series “Girls” for HBO, and became a lightning rod for her generation, in ways both positive and negative. Her new feature, about a virginal 26-year-old woman named Sarah Jo (Kristine Froseth), still living with her five-time divorced mother (Jennifer Jason Leigh) and budding influencer sister (Taylour Paige), and favoring long colorful socks pulled all the way up her calves, who embarks on her sexual career with the married father (Jon Bernthal), of the special needs boy (Liam Michel Saux) she takes care of during the daytime, is a cloying disaster of bad ideas, executed horrifically. Dunham has long had an interest in playing off of traditional sexual roles and depictions, especially as ubiquitously represented in American film, forcing audiences to consider the less glamorous and romanticised elements of human copulation, like a terrible smell left in a bathroom. But here she’s created an insufferably precious tableau — Sarah Jo, something of an idiot savant, is so inexplicably naive and demonstrative, she takes it upon herself to recreate every possible sexual combination, as represented in the porn she’s taken to watch, placing ads in a hook-up app for willing partners — that starts peculiar and quickly moves to excruciating, until the bitter end. Whatever you may have thought of her past work before, it was pretty clear she had a gift for character iteration, creating memorable — and believable — interactions between human beings. This project is so off-puttingly grating, with characters acting solely as plot devices in order for Dunham to bring us her idiosyncratic ideas on contemporary sexual mores, it feels as if hatched by an alien visitor. Sadly, there are scant positives, though the scenes with Sarah Jo hanging out with her mom and sister suggest Dunham is at least still capable of writing dialogue that doesn’t feel utterly forced. Otherwise, it’s a complete misfire, from a once-talented writer who perhaps needs to go outside in the world a bit more in order to get out of her own head.

You Won’t Be Alone: Something in the realm of Wings of Desire, only with witches replacing the angels, Goran Stolevski’s horror-cum-philosophic treatise follows various iterations of a single woman, first known as Nevena (played at various times by Noomi Rapace, Alice Englert, Carloto Cotta, and Sara Klimoska), cursed as a baby by Maria (Anamaria Marinca), an ancient evil spirit, burned at the stake centuries before, to roam the Earth. Instead of following in her progenitor’s bloody footprints, indiscriminately killing everything in her path to feed her bloodlust, however, the young witch instead takes the lives of different villagers in the mountains of old-world Macedonia, in order to learn about the human condition, eventually seeking a husband with whom to have a family — though constantly under mocking supervision by Maria, who routinely appears in order to cause havoc and destruction to Nevena’s various iterations out of supreme pique and jealousy. Stolevski’s poetic film takes from its folktale elements to eventually forge a kind of exploration of human community, and what it is that binds us, even under unduly harsh conditions (many of the male villagers are violent and brutish, save for that of Nevena’s eventual husband — played by Predrag Vasic). Maria’s evil intent, it turns out, comes more from her alienation from the living world — we are to understand, all she actually wanted with baby Nevena was the approximation of offspring — and, as such, Nevena’s natural inclination towards community becomes her salvation. A beguiling, fascinating piece of work, though it should be noted, there is a lot of blood and gore — from humans and animals alike — that is most certainly simulated, but not easy on the constitution, if you are the least bit squeamish.

The Sundance Film Festival has returned, albeit in virtual-only format. We might not be skating on the ice and snow of Park City, but we’re still going to take in a whole bunch of independent films, some of which might be the best things we get to see this year. Let’s see how it goes.

[365filmsbyauroranocte]

Utama (Alejandro Loayza Grisi, 2022)

[mundo-misterio]

Reseña de la película Utama y resumen de la película (2022)

Reseña de la película Utama y resumen de la película (2022)

A partir de estos elementos narrativos familiares, el director boliviano Alejandro Loayza Grisi construye una película de deslumbrante poder visual y genuinamente conmovedora. En las tierras altas de Bolivia, a veces representadas como monolíticamente áridas y a veces como geológicamente paradisíacas, Virginio (José Calcina) y Sisa (Luisa Quispe) crían llamas. Su parcela es pequeña: dos cabañas y…

[tamasaburro]

September

(i am 2 months behind, please ignore the spam ...)

Cinema

🌱 Utama (dir. Alejandro Loayza Grisi) 🇧🇴

A beautiful movie from start to finish. It shows the day-to-day struggle of the people living there, in this beautiful but hostile environment. But it's never tearful or too emotional. Yes they struggle but they are also attached to their lands. They will not leave. And you can understand them. The confrontation of the generations is very well captured with the language barrier that many can relate to. Also too important to not add : the couple are not professional actors but they are so natural that you could say they've done it their whole lives. Truly impressive.

🌱 The Duke (dir. Roger Michell) 🇬🇧

I went to see it without knowing anything about it and I was pleasantly surprised. It's an english comedy as I like them, with english humour, lovely characters and as always a social critic. At the end of the movie you feel good, warm and happy. And I think that's what movies are all about, an enjoyable moment.

TV shows

🌿 Ms. Marvel

Is it the best Marvel show ? Maybe not. Does it have flaws ? Surely yes. But did I have a good moment watching it ? Sure I did ! We have here a FEMALE main character, who is NOT WHITE, played by a YOUNG actress and with a costume that DOESN'T SEXUALIZE her. Let's appreciate all of these good points for once (still too rare even though Marvel try to improve themselves).

🌿 A Model Family (모범가족) (dir. Kim Jin-woo) 🇰🇷

Gonna be honest, watch it for Park Hee-soon because Park Hee-soon as a mafia boss is always a good thing to watch in my opinion. And that will be all for my critic.

🌿 Extraordinary Attorney Woo (이상한 변호사 우영우) (dir. Yoo In-shik) 🇰🇷

For once not too much late on the trendy shows. Deserve all the hype it got. Park Eun-bin is an amazing actress and deserves all the awards. Lee Jun-ho is the greenest flag of all the green flags. Jung Myung-seok is hot.

Others

🍃 Your Name Engraved Herein (刻在你心底的名字) (dir. Patrick Kuang-Hui Liu) 🇹🇼

Heartbreaking. Wonderful. Tragic. Beautiful. There are not enough words to describe this masterpiece. You're left in a painful sorrow that will last for days. Here are two beautiful quotes from this movie :

"So you can love girls, but I can't love boys? Is your love better than the love I give? Tell me. What is the difference between your love and mine ?" "If what you give to me is the same as what you give to others then I don't want it."

[movienation]

Movie Review: Bolivia's Oscar hopes ride on a story of Climate Change killing a way of life -- "Utama"

Movie Review: Bolivia’s Oscar hopes ride on a story of Climate Change killing a way of life — “Utama”

Alejandro Loayza Grisi’s “Utama” is a stark, elegiac memento of a vanishing culture, a way of life dying as our planet’s dry places dry up completely and vulnerable populations stare down their future as climate refugees. Telling this story with non-actors (mostly), Grisi creates a somber, sad and documentary-real eulogy for the Quechua families facing the stark choices that changing…

[haute-lifestyle-com]

NYC Annual Science Film Festival Announces Full State #janetwalker #theentertainmentzonecom #hautelifestylecom #nycevents #nyc #science #sciencefilmfestival