#gregory nava

[lobbycards]

A time of Destiny, French Lobby Card. 1988

[thishadoscarbuzz]

241 - Selena (with Luis Rendon!)

And we’re back! We hope you all enjoyed the 100 YEARS, 100... SNUBS! May miniseries, but regular episodes are returning and did we come back with a special one! The Mixed Reviews co-host and journalist Luis Rendon joins us to talk about one of the most beloved musical biopics of all time, 1997′s Selena. The film follows the rise and sudden tragic end of Tejano music legend Selena Quintanilla, and catapulted actress Jennifer Lopez in a major way. Lopez stayed in the conversation to earn a Best Actress in a Musical/Comedy nomination at the Globes, but the Oscars overlooked her now-treasured performance that is often remarked on for her ability to recreate the real life icon that she played.

This episode, we discuss the many phases on Jennifer Lopez’s career from her breakout in 1997 to her emergence into a music career and triumph at the Super Bowl Half Time Show with Shakira. We also discuss the massive casting search that landed her the role, the film as a tool of healing in the immediate aftermath of Selena’s murder, and the visual style of Tejano music videos brought to the film.

Topics also include the 1997 Best Actress race, the tradition of post-Drag Race on VH1 cinema, and character actress legend Lupe Ontiveros.

Links:

The 1997 Oscar nominations

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[theoscarsproject]

El Norte (1983). After their family is killed in a government massacre, siblings Enrique and Rosa flee Guatemala and embark on a perilous journey to "El Norte": the United States.

This has some of the most gorgeous cinematography I've seen in a while, and matched with the haunting story makes it a pretty special viewing experience. Deeply empathetic and deeply tragic, it takes on the American Dream and finds it wanting. Really powerful film. 8/10.

[byneddiedingo]

Zaide Silvia Gutiérrez in El Norte (Gregory Nava, 1983)

Cast: David Villalpando, Zaide Silvia Gutiérrez, Ernesto Gómez Cruz, Alicia del Lago, Lupe Ontiveros, Trinidad Silva, Enrique Castillo, Tony Plana, Diane Cary, Mike Gomez, Abel Franco. Screenplay: Gregory Nava, Anna Thomas. Cinematography: James Glennon. Art direction: David Wasco. Film editing: Betsy Blankett Milicevic

Almost 40 years have passed since the release of El Norte, and the problems it depicts seem as intractable as ever, adding the poignancy of ongoing history to the film's bleak ending. As a document of the tragedy wrought by colonialism and the muddle of U.S. immigration policy, Gregory Nava's film is an essential one. Regarded as a work of narrative filmmaking, it has some deep flaws, particularly in the resort to overly "cinematic" devices like suspense. The intercutting between the plane departing for Chicago and Rosa's hospital room feels like textbook filmmaking, making the audience hold its breath to find out whether Enrique will really abandon his sister in hope of getting a green card. We don't need movie suspense fakeouts at this painful moment. But Nava does so much else right in the rest of the film, including the staging of the harrowing border crossing, as well as allowing humor to share screen time with pathos, that it's hard to criticize his lapses. If sincerity were everything, El Norte could be hailed as a masterpiece.

[allweknewisdead]

El Norte (1983) - Gregory Nava

¿Será que sólo muertos encontraremos un lugarcito?

[d-criss-news]

Darren Criss, Tika Sumpter, Cyndi Lauper, Lil Kim, Christian Siriano, Tiffany Haddish, Selma Blair, Maia Reficco, Christina Hendricks, Alex Newel, Ashley Longshore, Cody Belew, Nava Mau and Leigh Lezark at Christian Siriano show, Backstage, Spring Summer 2025, New York Fashion Week, USA - 06 Sep 2024 ( Photo by Gregory Pace/Shutterstock, Miguel McSongwe/BFA.com/Shutterstock)

[vertigoartgore]

Top 30 Movies that I discovered in 2023 (but not released in 2023) :

Pandora and The Flying Dutchman (Albert Lewin, UK, 1951)

Summertime (David Lean, USA/UK, 1955)

Tea and Sympathy (Vincente Minnelli, USA, 1956)

Murder by Contract (Irving Lerner, USA, 1958)

Nothing But a Man (Michael Roemer, USA, 1964)

Scattered Clouds (Mikio Naruse, Japan, 1967)

Let’s Scare Jessica to Death (John D. Hancock, USA, 1971)

The Hired Hand (Peter Fonda, USA, 1971)

The effect of Gamma rays on man-in-the-moon marigolds (Paul Newman, USA, 1972)

Chilly Scenes of Winter (Joan Micklin Silver, USA, 1979)

Being There (Hal Ashby, USA, 1979)

El Sur (Víctor Erice, Spain, 1983)

El Norte (Gregory Nava, UK/USA, 1983)

Vigil (Vincent Ward, New Zealand, 1984)

Choose Me (Alan Rudolph, USA, 1984)

Desert Hearts (Donna Deitch, USA, 1985)

Anguish (Bigas Luna, Espagne, 1987)

The Vanishing (George Sluizer, France/Netherlands,1988)

Chameleon Street (Wendell B. Harris Jr., USA, 1989)

Proof (Jocelyn Moorhouse, Australia, 1991) 

Ninja Scroll (Yoshiaki Kawajiri, Japan, 1993)

Suture (Scott McGehee & David Siegel, USA, 1993)

What Happened Was... (Tom Noonan, USA, 1994)

Leaving Las Vegas (Mike Figgis, USA, 1995)

August in the Water (Sogo Ishii, Japan, 1995)

Shall We Dance ? (Masayuki Suo, Japan, 1996)

Made in Hong Kong (Fruit Chan, Hong Kong, 1997)

Bullets Over Summer (Wilson Yip, Hong-Kong, 1999)

To the Left of the Father (Luiz Fernando Carvalho, Brazil, 2001)

Dead End (Jean-Baptiste Andrea & Fabrice Capepa, France/USA, 2003)

[steveyockey]

On-screen and in life, there’s a false narrative that trans women are tricking men into having sex with us. Watching Aysha and Sky aggressively pursue these boring men, I realized this is an offshoot of that same narrative.

Even the cis people who don’t see us as traps are still comforted by the idea that trans women are the ones doing the chasing. They can’t fathom the Lukes of the world choosing to watch a trans dancer. They can’t fathom the Dylans seeking us out on a queer commune. They imagine we are forcing ourselves on people when they themselves are proof of the opposite. To paraphrase Mariah Carey and Regina George, “Why are you so obsessed with us?”

Whether it’s to fuck or to make movies, cis people are the ones doing the chasing. Cis people might not share their lusts publicly; cis people who make movies about us might do a bad job. But there is no shortage of cis people who want to own a piece of us — our bodies, our stories, their idea of our stories.

The good news is we’re telling our stories too. I’ll say it again: we are in an abundant era for trans cinema. There are low-key indies like Mutt, Something You Said Last Night, and Summer Solstice. There are dreamy fantasias like L’immensita, Death and Bowling, and Playland. There are documentaries pushing the boundaries of non-fiction filmmaking like Framing Agnes, Kokomo City, Queenmaker, and The Stroll. There are auteurs who have broken into arthouse film culture like Isabel Sandoval and Jane Schoenbrun. There are trans filmmakers who have created incredible short form work who will continue to amaze in that medium and probably move on to features like Tourmaline, Rain Valdez, Nava Mau, and Nyala Moon. There are so many more trans filmmakers in features, in shorts, in television who are telling our stories and telling them well. And, just like there are cis people who do share their romantic desires publicly, there have been movies made by cis directors that are great like The Cow Who Sang a Song Into the Future, Dos Estaciones, Bad Things, and Alice Júnior. Some cis people actually can see our humanity.

We don’t have to settle for mediocrity. We don’t have to settle for being the catalyst in someone else’s story. I want nothing less than abundance. Let’s demand it.

Drew Gregory, “TIFF 2023: Trans People Deserve Better Than ‘Unicorns’ and ‘National Anthem’,” September 15, 2023.

[harrison-p-d-m]

Best of July:

Down by Law (Jim Jarmusch, 1986)

Le Bal (Ettore Scola, 1983)

Permanent Vacation (Jim Jarmusch, 1980)

Dusty and Sweets McGee (Floyd Mutrux, 1971)

Bush Mama (Haile Gerima, 1979)

The Dream [المنام] (Mohammad Malas, 1987)

Seven Chances (Buster Keaton, 1925)

Chop Shop (Ramin Bahrani, 2007)

The Clone Returns Home (Kanji Nakajima, 2008)

A Man (Kei Ishikawa, 2022)

Stranger Than Paradise (Jim Jarmusch, 1984)

The Enemy (Živojin Pavlović, 1965)

How to Be Loved (Wojciech Jerzy Has, 1963)

Waiter (Alex van Warmerdam, 2006)

El Norte (Gregory Nava, 1983)

Les rives du fleuve (Eric Pauwels, 1991)

Salt of the Earth (Herbert J. Biberman, 1954)

The Tribulations of Balthazar Kober (Wojciech Jerzy Has, 1988)

Black Sabbath (Mario Bava 1963)

It Is Good to Live (Fumio Kamei, 1956)

A Personal Journey with Martin Scorsese Through American Movies, (Martin Scorsese, Michael Henry Wilson 1995)

The Great Buster: A Celebration (Peter Bogdanovich, 2018)

The Dark Side of the Heart (Eliseo Subiela, 1992)

Tropical Malady (Apichatpong Weerasethakul, 2004)

The Cool World (Shirley Clarke, 1963)

Bless Their Little Hearts (Billy Woodberry, 1983)

The Tree of Guernica (Fernando Arrabal, 1975)

Memoirs of a Sinner (Wojciech Jerzy Has, 1986)

La Vie de Jésus (Bruno Dumont, 1997)

Emperor Tomato Ketchup (Shūji Terayama, 1971)

Fando y Lis (Alejandro Jodorowsky, 1968)

Wham! (Chris Smith, 2023)

[thewomanofrevelation]

800., Selena/dir. Gregory Nava/1997.

[lobbycards]

A time of Destiny, French Lobby Card. 1988

[del9]

I was nominated by @lilpunkrock for 17 questions 17 answers

Nickname: Del

Sign: Sagittarius

Height: 5'3"

Last thing I Googled: Fleetwood Mac members (I searched this up because I barely discovered that there was a lot of drama happening during their Rumors album)

Song stuck in my head: Gilded Lily by Cults (I relate a lot to the lyrics)

#of followers: 9 (Because I barely joined not that long ago and I literally only have 1 post)

Hours of sleep; 8 hours 40 mins.

Lucky number: 9

Dream job: I'm not entirely sure, but I have been toying with the idea of becoming a behavioral psychologist.

Wearing: a old xl t-shirt I got from my sober grad, some leggings, and of course my Harry Potter socks.

Aesthetic: I don't really know my Aesthetic. I'm kinda all over the place. I guess grunge. I wear a lot of dark and kinda baggy clothes. I just wear what I find comfy. I've been described as emo by my own little brother (he literally has that as my contact name on his phone).

Movies/Books that Summarize me: The Curious Case of Benjamin Button Directed by David Fincher, Scott Pilgrim vs The World directed by Edgar Wright, Mi Familia directed by Gregory Nava, La Bamba directed by Luis Valdez, The book Thief written by Markus Zusak, The Invisible Life of Addie Larue written by V.E. Schwab, Jake and lily written by Jerry Spinelli, The Valley of the Wolves written by Laura Gallego Garcia, Airman written by Eoin Colfer. I grew up with all of these movies and books. They taught me some sort of life lesson, whether it is to live life fully and appreciate things we have in life or to appreciate the people we have in our lives. Except for Scott Pilgrim vs The World, that one is just funny and me and my brother quote it to each other all the time

Favorite Song: I Can't Handle Change By Roar. I relate with the lyrics a lot also I love the sound of it. Idk how to explain, it's just satisfying.

Favorite Instrument: My own singing voice, flute, and piano.

Favorite Author: Elise Kova. Her work in her Air awakens series is just so satisfying. I've never met a main character with real character development like that.

Random Fun Facts: I'm quite literally addicted to chocolate. I go crazy for it. I am a child of 5 and I am the 2nd youngest. I take pictures of my dog everyday because he's cute. The one chore I hate doing is folding clothes. I refuse to do it. I would rather clean the rest of the house

[noticlip]

Capturan a uno de los implicados en el asesinato de un joven en Tucacas

A solicitud del Ministerio Público (MP) fue privado de libertad Eudi Rafael Lugo Navas (26) por su presunta responsabilidad en el homicidio de Gregori Alfonso Herrera Sánchez (24). El hecho ocurrió el 9 de julio en la parroquia Tucacas, municipio José Laurencio Silva del estado Falcón. A través de denuncias telefónicas realizadas por los habitantes del sector, se iniciaron investigaciones que…

[byneddiedingo]

Frida (Julie Taymor, 2002) Cast: Salma Hayek, Alfred Molina, Mia Maestro, Diego Luna, Valeria Golino, Roger Rees, Ashley Judd, Antonio Banderas, Edward Norton, Geoffrey Rush. Screenplay: Clancy Sigal, Diane Lake, Gregory Nava, Anna Thomas, based on a book by Hayden Herrera. Cinematography: Rodrigo Prieto. Production design: Felipe Fernández del Paso. Film editing: Françoise Bonnot. Music: Elliot Goldenthal. Biopics too often lurch back and forth between trauma and triumph, subordinating fact to drama. But I admired Julie Taymor's attempt to integrate Frida Kahlo's life with her work, or really to interpret the latter through the former. I think Taymor falls into the inevitable trap of spending more time on her subject's love life than on her actual work, but Salma Hayek and Alfred Molina are so skillful in displaying the passion and volatility of the film's versions of Frida and Diego Rivera that I can forgive the emphasis on that relationship. Taymor and the screenwriters are less successful in integrating the political aspect of their lives, with its culmination in Frida's affair with Trotsky, played a little remotely by Geoffrey Rush. But the film thrives on its visuals, integrating Frida's paintings with her life, and by the evocative use of color to denote the emotional states of its subject. The trolley accident that marked Frida's life is superbly staged and edited, followed by a brilliant use of Day of the Dead images to suggest Frida's delirium as she undergoes treatment. Frida's greatest success is that it will be hard for me to look at her paintings again without summoning up memories of the film.

[criticalbennifer]

2021