Experimental films – Monte Carlo Film Festival http://montecarlofilmfestival.com/ Thu, 24 Nov 2022 05:47:49 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 https://montecarlofilmfestival.com/wp-content/uploads/2021/06/cropped-icon-32x32.png Experimental films – Monte Carlo Film Festival http://montecarlofilmfestival.com/ 32 32 International film festival on Puerto Rican heritage is a success in El Barrio https://montecarlofilmfestival.com/international-film-festival-on-puerto-rican-heritage-is-a-success-in-el-barrio/ Thu, 24 Nov 2022 05:00:00 +0000 https://montecarlofilmfestival.com/international-film-festival-on-puerto-rican-heritage-is-a-success-in-el-barrio/

At one point in the history of New York and specifically in Harlem, the Puerto Rican population was large due to migration that began in the 19th century when they were persuaded to leave their island, Puerto Rico, for Better-paying jobs in the United States The majority settled in East Harlem, El Barrio, and today those same streets are inhabited primarily by Puerto Ricans, with significant numbers of Dominican, Cuban, and Mexican immigrants.
Enter the Puerto Rican Heritage International Film Festival. Now in its 12th year, it is clear on its mission to create platforms that allow a diverse pool of influencers in film to reach wider audiences. They develop programs that enable local and international filmmakers, from emerging artists to film industry veterans, to reach audiences throughout New York City and beyond.
This year, the IPRHFF presented Rosie Perez with a lifetime achievement award and the screening included 75 independent films, shorts, web series and music videos from around the world.
Accepting her 2022 Lifetime Achievement Award at El Museo De Barrio, the award-winning actress offered it in her warm and often very funny acceptance speech: “I’m not going to lie. It’s hard. It’s hard. Especially for us. But don’t give up. Don’t give them that satisfaction. Know who you are…know the business inside and out…and don’t be afraid to develop some stories that need to be told. Some stories are not just specific to our community, but stories very specific to the human spirit and the human condition. Because that’s storytelling. These are human beings.
One of the shorts that stands out from the rest is “Daughter of the Sea” written and directed by Alexis C. Garcia. The film stars Puerto Rican American superstar Princess Nokia as a young woman who receives a spiritual call from Yemaya and is filmed on location in Puerto Rico. It won Best Live Action Short Film.

Here are the winners of the IPRHFF, which doubled attendance from last year this year.

Best Animation: “The Walls”
Best student film: “Tip Your Pizza Guy”
Best Music Video: “Round and Round”
Best Live Action Short Film: “Daughter of the Sea”
Honorable mention: “Can I have your plate?” »
Honorable Mention: “The Fix”
Best Documentary Short: “Puntadas Invisibles”
Honorable Mention: “Villas Pesqueras”
Honorable Mention: “Simple Locura: Henry Cole”
Best Web-series: “Slimes”
Honorable Mention: “Papa-raphy”
Best Documentary: “The Biggest Dream”
Honorable Mention: “Silent Beauty”
Honorable Mention: “Stewards of the Land”
Best Narrative Feature: “Mixtape”
Honorable Mention: “Planet b234 Estrella Borinqueña: Memorias de Mi Familia”
Best Experimental Film: “AVA”
Best Director: Luis Enrique Rodríguez, “Todo Por Amor”
Best Actress: Juliana Rivera, “Todo Por Amor”
Best Actor: Martín Solá, “May I Take It Your Plate?”
Audience Award: “For Those to Come” (“Por Los Que Vienen”)

For more information, visit iprhff.org.

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The Beginner’s Guide to Agnes Varda’s Six Best Movies https://montecarlofilmfestival.com/the-beginners-guide-to-agnes-vardas-six-best-movies/ Mon, 21 Nov 2022 08:00:00 +0000 https://montecarlofilmfestival.com/the-beginners-guide-to-agnes-vardas-six-best-movies/

Agnes Varda was one of the most influential and provocative filmmakers to emerge from France in the mid-1950s. In defiance of cinematic conventions, Varda made his first film Short Point in 1954, although she had seen about twenty films in her life. His desire to make films stemmed from his work as a photographer, and the two mediums continued to interact closely throughout his career. She once said, “I take pictures or I make movies. Or I put films in the photos or photos in the films.

Varda employed his friend and fellow Left Bank filmmaker Alain Resnais to edit Short Point, whose constant references to other filmmakers Varda hadn’t heard of prompted her to go “to the Cinémathèque to find out what he was talking about”. The director then made her next feature in 1962, the seminal French New Wave classic. Cleo From 5 to 7. Over the following decades, Varda would create a series of feature films and short films, either fiction and documentaries, or sometimes an amalgamation of the two.

The director has always been an advocate for underrepresented groups, once stating her preference for filming “rebels, people fighting for their own lives.” Short films such as Women’s response: our bodies, our sex and black panthers demonstrate Varda’s involvement in feminist and civil rights movements, which she documented with sensitivity and empathy. Varda approached her subjects with a proudly feminine gaze, once saying, “I did it all – my photos, my profession, my film, my life – on my terms, my own terms, and not to do it as a man.”

Varda was unapologetic in his experimental approach to cinema, helping to change many people’s perception of the potential of cinema. She demonstrated that you don’t need an extensive set-up or a very detailed knowledge of cinematic conventions to create amazing films. The director threw herself into her films with passion and bravery, and the results were magnificent. Sadly, Varda passed away in 2019, at the age of 90. However, her impressive filmography spanning seven decades ensures that she will never be forgotten.

The six definitive films of Agnès Varda:

Cleo From 5 to 7 (1962)

Varda’s Pioneering Feminist Tale Cleo From 5 to 7 was released in 1962, making it an early contribution to the French New Wave movement. We follow Cleo (Corinne Marchand), a self-obsessed singer who awaits the results of a medical test that will reveal if she has cancer. The film explores themes of existentialism and mortality while exploring perceptions of women and female identity. Varda also makes numerous allusions to the Algerian war, with reports playing of Cleo’s taxi ride and protesters lining the streets as she tries to get to her next destination.

Marchand gives a fantastic performance as the blonde, beautiful Cleo, whose preoccupation with her looks (“as long as I’m beautiful, I’m alive”) begins to fade as she comes to terms with her mortality. Cleo From 5 to 7 is a powerful exploration of what it means to be a woman and is just one of many examples of the complex female characters that dominate Varda’s work.

Happiness (1965)

Many critics misinterpreted the irony of Varda’s film Happiness (“Bonheur”) when it was released in 1965. The Perfect Film is one of Varda’s finest and most idyllic. Yet she does this to convey artificiality and to poke fun at her male character, François, who is happily unfaithful to his wife. Varda’s film asks its audience many questions about family structures and the true meaning of happiness.

Happiness was Varda’s third film, cementing her as one of France’s most influential filmmakers. She was the only female director aligned with the French New Wave, and her treatment of female characters and gender politics differed vastly from her contemporaries. Happiness works like a domestic horror movie and genuinely upends expectations. Emotional and complex, Varda paints a pastel-colored vision of terror where the main villain is the patriarchy.

One Sings, the Other Doesn’t (1977)

One sings, the other doesn’t is Varda’s powerful and visually stunning feminist feast, which explores the friendship between two women, Pomme and Suzanne, in search of ownership of their own bodies. The film features several musical numbers written by Varda, no doubt influenced by her husband Jacques Demy, the mastermind behind Umbrellas of Cherbourg. The feeling behind One sings, the other doesn’t still rings true today as women seek bodily autonomy.

In the context of the women’s movement of the 1970s in France, Varda was uncompromising in her representation of women’s rights to abortion. In one scene, the couple attend a protest based on a real-life protest that took place in France, with Varda forcing the women to “carry banners in support of ‘343’”, prominent women – including Varda – who had signed a manifesto attesting that they had had illegal abortions. One sings, the other doesn’t is radical and daring – just another example of Varda’s unwavering confidence as a filmmaker.

Vagabond (1985)

Over the decades, Varda has continued to create innovative films that shine a light on the underrepresented. Vagabond stars Sandrine Bonnaire as Mona, a homeless young woman who wanders the Languedoc-Roussillon wine region during the winter. The film opens with an image of a dead woman lying in a ditch, prompting an unseen interviewer, voiced by Varda, to ask the townspeople about the identity of the body. From there, the film details how Mona met her untimely fate, describing her encounters with different locals and her quest to survive.

Varda’s fusion of documentary and fiction—characters often turn to the camera to comment on Mona—makes her story realistic, greatly heightening the emotional impact. Bonnaire’s performance is breathtaking and she won a César for the role. Vagabond forces the audience to question their responsibility to others, and Varda treats Mona’s story with a touch of delicacy – aided by her time researching homelessness by encountering wanderers, some of whom appear in the film.

The Gleaners and me (2000)

With a new millennium came Varda’s foray into new technology – a portable digital camera. Inspired by painting The gleaners by Jean-François Millet, Varda traveled around France to interview various gleaners who do so for necessary or artistic reasons. Varda plays with the sense of gleaning and becomes involved in the documentary, showing her wrinkled hands and graying hair and comparing the lines of her skin to those of discarded potatoes.

The Gleaners and me is one of Varda’s most impressive documentaries due to its warm spirit. She eloquently interviews those who eat out of garbage cans and live off caravans, as well as the arrogant winemakers who forbid gleaning on their property. Varda mixes humor with deep explorations of class and poverty, art, mortality, consumerism, capitalism and gender. She even revisited some of her subjects in a follow-up documentary, The Gleaners and Me: Two Years Later.

Agnès Beaches (2008)

Varda was not one to shy away from mortality, and to celebrate her 80th birthday, the director made an autobiographical film revisiting key moments from her personal life and career. Although she believed the movie might be her last, she followed it up with Faces Places in 2017 and Varda by Agnès in 2019. However, Agnès Beaches is arguably Varda’s best personal piece – both gloriously fun and emotionally poignant. “I’m alive and I remember,” she says at the end of the film.

The film mixes mediums in typical Varda style, such as stills and DIY, bringing together images of important people, places and elements of his life. It explores his journey as a filmmaker, his time in Sète, his relationship with Demy, shooting movies in LA and more. The film will no doubt pique the interest of Varda fans old and new.

]]> “I think it’s a trap” https://montecarlofilmfestival.com/i-think-its-a-trap/ Fri, 18 Nov 2022 19:51:15 +0000 https://montecarlofilmfestival.com/i-think-its-a-trap/

Photo credit: Countess Jemal/Getty Images for Netflix

Jordan Peele denounced the “high horror” title in an interview with The edgeclaiming that he just likes to make “weird movies”.

Jordan Pele is not here for the title of “elevated” cinema. Recently, Peele and Keke Palmerwho played Emerald “Em” Haywood in Peele’s neo-Western sci-fi horror film Nope, sitting with The edge discuss Nope and Peele’s Cinema.

The comedian and director, who co-wrote, co-produced and starred in the new Netflix Animated Horror Comedy Wendell and savagerefuted the idea of ​​doing “high horror», a subgenre of horror and experimental films led by Ari Aster Hereditary and midsummerby Robert Egger The witchby Luca Guadagnino Suspiriaand even Peele’s theatrical debut in 2017 get out. All four of the aforementioned films have artful aesthetics and also tackle grief and trauma, making their films more complex than horror movies that use shock value as their base.

“I don’t want people to think I’m trying to make ‘high’ movies,” Peele said. The edge. “I think it’s a trap that I don’t like too much because I, you know, like making shitty movies. I like to do weird movies that I’m really not supposed to do – and sometimes also challenge people on the other side of things.

However, Palmer understood both sides of the “high” debate.

“The problem with your films is that the observations are so hard-hitting that I think they double-cross people,” the actress said. “And that’s us coming to the theater like, ‘I want to be able to take this observation and know what to do with it.’ [That feeling] challenges me; it challenges me because I know that when Jordan edits his films and does his art, it’s based on something he felt.

Released in July Nope became Peele’s third release to gross over $100 million at the domestic box office after get out and his 2019 film We. Nope will be available to stream on Peacock from November 18.

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Sylvester Stallone Says He and Arnold Schwarzenegger “Hated Each Other” https://montecarlofilmfestival.com/sylvester-stallone-says-he-and-arnold-schwarzenegger-hated-each-other/ Tue, 15 Nov 2022 19:53:00 +0000 https://montecarlofilmfestival.com/sylvester-stallone-says-he-and-arnold-schwarzenegger-hated-each-other/
Sylvester Stallone recalled how he and Arnold Schwarzenegger despised each other (Picture: FilmMagic)

Sylvester Stallone recalled how he and Arnold Schwarzenegger used to “hate” each other.

The Rocky star, 76, and the Terminator icon, 75, were must-see hollywood action movies in the 80s and 90s, and developed a serious rivalry to the point that they didn’t want to “be in the same galaxy” with each other.

Of course, things have changed now, with the couple maintaining a close friendship – and just a few weeks ago gathered to carve pumpkins for Halloween.

Open up about their friendship in a recent interview on The jonathan ross show though, Sylvester – who recently reconciled with his wife after a brief split – recalled how they hated each other.

“We couldn’t bear to be together in the same galaxy for a while,” he said.

“We really, really hated each other.”

Their well-documented feud finally ended in the 1990s (Picture: Getty Images)

The actors’ well-documented rivalry lasted about 20 years in total, with the two making sarcastic comments about the other in interviews, and even mistaking each other for roles in films they knew would flop.

Sly then told the chat show host how Arnie tricked him into doing a role on Stop! Or My Mom Will Shoot pretending he was interested in starring in it – but the Rambo star got the last laugh.

He joked, “At least I wasn’t pregnant in a movie, Arnold,” referring to the really weird movie Junior, in which Arnold plays a scientist who gets pregnant using an experimental drug.

However, by the late ’90s they had put their rivalry aside, with Arnold inviting Sly to events during his tenure as governor of California, and Sylvster even donating to his re-election campaign.

The couple also starred in several films together, including The Expendables franchise.

The two action heroes are now pretty much best friends (Picture: WireImage)

Having had such an up and down relationship over the decades, it’s no wonder fans went wild for the ridiculously wholesome pumpkin carving post, which the actors shared on Instagram in October.

In the snap, Arnie and Sly can be seen posing proudly in front of their creations – which were, naturally, carved with survivors’ knives.

The Twins star captioned the post: “Happy Halloween @officialslystallone”.

Sylvester, meanwhile, shared the snap on his own Instagram account, writing: ‘Myself and my great friend Arnold, @schwarzenegger spending time in his amazing office carving pumpkin heads for Halloween with knifes survival!!!

‘That’s what the real ACTION guys do in their spare time! Lol…’

A social media user described the photo as “the best photo ever posted on Instagram”. We should all just stop because there is no limit to this… ever.

And another popped up: ‘Rambo and Terminator together. It’s going to be a great Halloween! »

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AFTER : Sylvester Stallone would turn his back on Hollywood “without hesitation” for his family: “You must protect them with your life”

AFTER : Sylvester Stallone reveals why he signed up for a no-holds-barred reality show that, frankly, we can’t wait for

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]]> What is the longest film ever made? Even the answer is not short. https://montecarlofilmfestival.com/what-is-the-longest-film-ever-made-even-the-answer-is-not-short/ Fri, 04 Nov 2022 13:01:04 +0000 https://montecarlofilmfestival.com/what-is-the-longest-film-ever-made-even-the-answer-is-not-short/

Cinema has existed for more than a century. During these years, hundreds and thousands of films have been released, both short and long.

From 2013 Oscar Nominated Animated Short “Fresh Guacamole” to over three hours of epic “Titanic” romance, movies can run for a given length of time.

Some of the shortest movies, like “Fresh Guacamole,” are less than two minutes long. On the other side of the coin are movies that last longer than 24 hours, according to IMDb.

But what is the longest film ever made?

What is the longest film ever made?

There may be different answers to this question depending on the source you consult.

Guinness World Records says the longest movie ever made is “The Cure for Insomnia” released in 1987. The 85 hour experimental film was directed by John Henry Timmis IV. It was performed in its entirety from January 31 to February 3, 1987 at The School of the Art Institute in Chicago, according to Guinness World Records.