Production
Debutant Galen Rosenthal‘s “Robber’s Roost,” the last film starring Margot Kidder, has resumed production with the addition of Shiladitya Bora (Platoon One Films) as executive producer. The project is currently filming in Park City, Utah. A psychological thriller set at the turn of the 20th century during the last days of the Wild West, “Robber’s Roost” is the story of a woman who has lived alone in a desolate mountain cabin for decades until one day a mysterious person from her past emerges from the depths of a brutal winter.
Kidder, best known for playing Lois Lane opposite Christopher Reeve in the “Superman” films, died in May 2018 while the film was still incomplete. Mexican actor Nathalia Acevedo, who debuted in Carlos Reygadas‘ 2012 Cannes winner “Post Tenebras Lux,” stepped in to play a younger version of Kidder’s character to finish the film. The cast also includes...
Debutant Galen Rosenthal‘s “Robber’s Roost,” the last film starring Margot Kidder, has resumed production with the addition of Shiladitya Bora (Platoon One Films) as executive producer. The project is currently filming in Park City, Utah. A psychological thriller set at the turn of the 20th century during the last days of the Wild West, “Robber’s Roost” is the story of a woman who has lived alone in a desolate mountain cabin for decades until one day a mysterious person from her past emerges from the depths of a brutal winter.
Kidder, best known for playing Lois Lane opposite Christopher Reeve in the “Superman” films, died in May 2018 while the film was still incomplete. Mexican actor Nathalia Acevedo, who debuted in Carlos Reygadas‘ 2012 Cannes winner “Post Tenebras Lux,” stepped in to play a younger version of Kidder’s character to finish the film. The cast also includes...
- 3/24/2022
- by Naman Ramachandran
- Variety Film + TV
Ruined Heart: Another Love Story between a Criminal and a Whore
Written by Khavn De La Cruz
Directed by Khavn De La Cruz
Philippines/Germany, 2014
A nobly attempted experiment in visual and sonic storytelling with virtually no dialogue, the film begins as an interesting and beautifully photographed (by esteemed cinematographer Christopher Doyle) silent film of sorts, which quickly becomes a showcase of filmic ideas set to a series of the director’s favourite songs that the scant plot and characters can barely hold together.
The story of Ruined Heart is as old as time, and purposefully so: a criminal (Tadanobu Asano) rescues a prostitute (Nathalia Acevedo) and they fall in love. They try to escape their life of criminality, but the local godfather (Vim Nadera) has designs on the prostitute and the star-crossed lovers try to flee the city. Alas, they are found and killed by the godfather’s henchmen.
Written by Khavn De La Cruz
Directed by Khavn De La Cruz
Philippines/Germany, 2014
A nobly attempted experiment in visual and sonic storytelling with virtually no dialogue, the film begins as an interesting and beautifully photographed (by esteemed cinematographer Christopher Doyle) silent film of sorts, which quickly becomes a showcase of filmic ideas set to a series of the director’s favourite songs that the scant plot and characters can barely hold together.
The story of Ruined Heart is as old as time, and purposefully so: a criminal (Tadanobu Asano) rescues a prostitute (Nathalia Acevedo) and they fall in love. They try to escape their life of criminality, but the local godfather (Vim Nadera) has designs on the prostitute and the star-crossed lovers try to flee the city. Alas, they are found and killed by the godfather’s henchmen.
- 10/16/2015
- by Liam Dunn
- SoundOnSight
To cinephiles, few cinematographers get the blood truly pumping quite like beloved and Criterion-approved director of photography Christopher Doyle. Best known for his iconic work in films like Wong Kar-Wai’s In The Mood For Love (to this very day one of the greatest achievements in film photography), Doyle has honed his craft largely outside of the United States, occasionally coming stateside to work with filmmakers like Gus Van Sant (Paranoid Park) or even Barry Levinson (Liberty Heights). Working numerous times with directors like Wong Kar-Wai, as well as the likes of Zhang Yimou and Edward Yang (Doyle’s first film was Yang’s That Day, on the Beach), he has become a bastion of the world cinema scene and one of today’s most beloved photographers.
Playing this year’s New York Asian Film Festival is his latest journey behind the camera, as Filipino poet/filmmaker/artist Khavn (aka...
Playing this year’s New York Asian Film Festival is his latest journey behind the camera, as Filipino poet/filmmaker/artist Khavn (aka...
- 7/3/2015
- by Joshua Brunsting
- CriterionCast
Paris-based sales agent launches new company. First films include Heaven Knows What.
Paris-based Nathan Fischer - one of Screen’s Future Leaders at Cannes last year - has launched a new sales company called Stray Dogs on the eve of Unifrance’s Rendez-vous with French Cinema in Paris.
“The focus is on young, international talents,” said Fischer. “I want want to work with filmmakers and for filmmakers to be an asset to their films.”
“I will be working on theatrical sales, of course, but will also look at innovative distribution strategies with an emphasis on strong festival and digital rollouts,” he added.
Stray Dogs’ debut slate features Ben and Joshua Safdie’s Heaven Knows What starring Arielle Holmes as a young heroin addict who finds mad love on the streets of New York.
Fischer will accompany the film to the International Film Festival Rotterdam (Iffr) where is screening in the Spectrum section.
The Us-French...
Paris-based Nathan Fischer - one of Screen’s Future Leaders at Cannes last year - has launched a new sales company called Stray Dogs on the eve of Unifrance’s Rendez-vous with French Cinema in Paris.
“The focus is on young, international talents,” said Fischer. “I want want to work with filmmakers and for filmmakers to be an asset to their films.”
“I will be working on theatrical sales, of course, but will also look at innovative distribution strategies with an emphasis on strong festival and digital rollouts,” he added.
Stray Dogs’ debut slate features Ben and Joshua Safdie’s Heaven Knows What starring Arielle Holmes as a young heroin addict who finds mad love on the streets of New York.
Fischer will accompany the film to the International Film Festival Rotterdam (Iffr) where is screening in the Spectrum section.
The Us-French...
- 1/14/2015
- ScreenDaily
Reportedly, Post Tenebras Lux was met with a hail of boos by critics and audience members alike upon its premiere at the 2012 Cannes Film Festival, yet the Mexican director Carlos Reygadas was (to many, astonishingly) awarded the Director’s Prize by the Nanni Moretti headed jury. In hindsight, the split response is completely reasonable. Thanks to its surreal impulses and confusingly detached editing, the film might appear anything but a straightforward narrative. On its first watch, it may seem to be little more than a mish-mash of bleak ideology and half baked ideas, but Reygadas’ most personal work to date rewards with multiple viewings. With disjointed multiple timelines and ambiguously shifting character perspectives, Post Tenebras Lux weaves an austere narrative around the crumbling of family life in rural Mexico while dropping in autobiographical c(l)ues of Reygadas’ own upbringing in often breathtakingly beautiful moments of serene cinema.
If anything...
If anything...
- 12/31/2013
- by Jordan M. Smith
- IONCINEMA.com
Post Tenebras Lux
Directed by Carlos Reygadas
Written by Carlos Reygadas
Mexico/France, 2012
The body of work put forth by Mexican auteur Carlos Reygadas has been nothing short of polarizing. At 42, and now with four features under his belt, Reygadas has been earmarked as one of the most ambitious and daring filmmakers working in modern cinema and in the arthouse. With his latest, Post Tenebras Lux (Latin for After Darkness, Light), his status grows; this very personal and seemingly scattered autobiographical account should further mystify the Reygadas faithful and detractors alike. As a symbol of creative ambition, few come close to matching Reygadas, an artist unaware of boundaries and safe zones within the medium. His cinema, and especially Post Tenebras Lux, is miraculous, almost overwhelmingly flowing with flaws and passion. For better or worse, his natural instincts depict a constant beauty amid tragedy and turmoil.
Reygadas sure knows how to open a film,...
Directed by Carlos Reygadas
Written by Carlos Reygadas
Mexico/France, 2012
The body of work put forth by Mexican auteur Carlos Reygadas has been nothing short of polarizing. At 42, and now with four features under his belt, Reygadas has been earmarked as one of the most ambitious and daring filmmakers working in modern cinema and in the arthouse. With his latest, Post Tenebras Lux (Latin for After Darkness, Light), his status grows; this very personal and seemingly scattered autobiographical account should further mystify the Reygadas faithful and detractors alike. As a symbol of creative ambition, few come close to matching Reygadas, an artist unaware of boundaries and safe zones within the medium. His cinema, and especially Post Tenebras Lux, is miraculous, almost overwhelmingly flowing with flaws and passion. For better or worse, his natural instincts depict a constant beauty amid tragedy and turmoil.
Reygadas sure knows how to open a film,...
- 6/30/2013
- by Ty Landis
- SoundOnSight
An early scene in Carlos Reygadas's Post Tenebras Lux might serve as a metaphor for its audience's experience watching the film: A little girl (the director's daughter Rut) wades through a muddy field, desperately calling out her relatives' names. Confusion often reigns here, but the film offers a degree of lush beauty that makes sitting through it well worth the occasional frustrations. Its middle section depicts racial and class tensions between architect Juan (Adolfo Jiménez Castro), his wife, Nathalia (Nathalia Acevedo), and their darker-skinned, poorer neighbors. This culminates in a blast of violence, but even then the narrative feels like an assembly of disconnected scenes. In one of the weaker set pieces, Reygadas returns to the sexual provocation of Battle in ...
- 5/2/2013
- Village Voice
Courtesy of writer/director Carlos Reygadas, below are the script and storyboards from two sequences from Post Tenebras Lux, which opens at Film Forum today. The first sequence is the sauna scene, in which the film’s two central characters, played by Adolfo Jiménez Castro and Nathalia Acevedo, visit a swingers sauna in France, and the second is the closing sequence of the film. 10. Cave. Camera hand held and on tripod. To be determined whether real steam or fake smoke. Juan, Esther and extras. (French). 1. Series of fixed shots of naked people in a steam bath with red light. …...
- 5/1/2013
- by Filmmaker Staff
- Filmmaker Magazine-Director Interviews
Post Tenebras Lux | Jack The Giant Slayer | Reality | Compliance | Identity Thief | The Croods | Neighbouring Sounds | Stolen | Reincarnated | Small Apartments | The Servant | I, Superbiker: Day Of Reckoning
Post Tenebras Lux (18)
(Carlos Reygadas, 2012, Mex/Fra/Neth/Ger) Adolfo Jiménez Castro, Nathalia Acevedo, Willebaldo Torres. 115 mins
Terence Malick gone a bit mainstream for you? Then try this latest litmus test, in which Mexican auteur Reygadas takes his penchant for striking imagery and disjointed narratives to commendably ambitious/infuriatingly inscrutable extremes. Centred on a troubled architect and his family, it's a shuffled jigsaw puzzle involving class tensions, rugby, swingers' parties and an animated Satan.
Jack The Giant Slayer (12A)
(Bryan Singer, 2013, Us) Nicholas Hoult, Ewan McGregor. 114 mins
Another souped-up fairytale offering commercially calibrated spectacle rather than genuine wonder. The promising cast and giant budget amount to a hill of beans.
Reality (15)
(Matteo Garrone, 2012, Ita/Fra) Aniello Arena, Loredana Simioli. 116 mins
TV's celebrity culture exuberantly satirised,...
Post Tenebras Lux (18)
(Carlos Reygadas, 2012, Mex/Fra/Neth/Ger) Adolfo Jiménez Castro, Nathalia Acevedo, Willebaldo Torres. 115 mins
Terence Malick gone a bit mainstream for you? Then try this latest litmus test, in which Mexican auteur Reygadas takes his penchant for striking imagery and disjointed narratives to commendably ambitious/infuriatingly inscrutable extremes. Centred on a troubled architect and his family, it's a shuffled jigsaw puzzle involving class tensions, rugby, swingers' parties and an animated Satan.
Jack The Giant Slayer (12A)
(Bryan Singer, 2013, Us) Nicholas Hoult, Ewan McGregor. 114 mins
Another souped-up fairytale offering commercially calibrated spectacle rather than genuine wonder. The promising cast and giant budget amount to a hill of beans.
Reality (15)
(Matteo Garrone, 2012, Ita/Fra) Aniello Arena, Loredana Simioli. 116 mins
TV's celebrity culture exuberantly satirised,...
- 3/23/2013
- by Steve Rose
- The Guardian - Film News
Making its world debut at Cannes last spring, Carlos Reygadas came away from the festival with the Best Director award in hand for his latest feature, Post Tenebras Lux.
After spending much of last year on the festival circuit, Reygadas’ film is finally set for release in the UK and Us, arriving first on our shores in March and then across the Atlantic in May.
With just over a month before its UK release date, Little White Lies have debuted the new quad poster that we can look forward to seeing up on the Underground and elsewhere across the country in the coming weeks.
“Juan (Adolfo Jiménez Castro) is a wealthy industrialist who has chosen to live with his wife and two children away from the trappings of wealth and the city. Yet isolation in this superficially idyllic rural landscape seems to have brought little peace to his world. Juan...
After spending much of last year on the festival circuit, Reygadas’ film is finally set for release in the UK and Us, arriving first on our shores in March and then across the Atlantic in May.
With just over a month before its UK release date, Little White Lies have debuted the new quad poster that we can look forward to seeing up on the Underground and elsewhere across the country in the coming weeks.
“Juan (Adolfo Jiménez Castro) is a wealthy industrialist who has chosen to live with his wife and two children away from the trappings of wealth and the city. Yet isolation in this superficially idyllic rural landscape seems to have brought little peace to his world. Juan...
- 2/12/2013
- by Kenji Lloyd
- HeyUGuys.co.uk
L.A.-based outfit Strand Releasing has grabbed U.S. rights to Mexican director Carlos Reygadas‘ Post Tenebras Lux, which won the best director prize at Cannes in May.
Latin for ‘light after darkness,’ Post Tenebras Lux was also nominated for the prestigious Palme d’Or Award and most recently screened at AFI Fest. The film will open May 1st, 2013 at the Film Forum in New York and dozens of other cities across the country.
Strand’s founder Marcus Hu said:
We’re thrilled to be working on Mr. Reygadas’ film. His sensibilities align with Apichatpong Weerasethakul, Lucrecia Martel and Jacques Nolot, some of the strongest voices we have in our library.
The film which presents itself as a problematic starring Adolfo Jiménez Castro, Nathalia Acevedo and Willebaldo Torres.
Synopsis:
Juan (Castro) and his urban family live in the Mexican countryside, where they enjoy and suffer a world apart. And,...
Latin for ‘light after darkness,’ Post Tenebras Lux was also nominated for the prestigious Palme d’Or Award and most recently screened at AFI Fest. The film will open May 1st, 2013 at the Film Forum in New York and dozens of other cities across the country.
Strand’s founder Marcus Hu said:
We’re thrilled to be working on Mr. Reygadas’ film. His sensibilities align with Apichatpong Weerasethakul, Lucrecia Martel and Jacques Nolot, some of the strongest voices we have in our library.
The film which presents itself as a problematic starring Adolfo Jiménez Castro, Nathalia Acevedo and Willebaldo Torres.
Synopsis:
Juan (Castro) and his urban family live in the Mexican countryside, where they enjoy and suffer a world apart. And,...
- 11/27/2012
- by Nick Martin
- Filmofilia
Post Tenebras Lux, the film that won Mexican director Carlos Reygadas the award for Best Director at the 2012 Cannes Film Festival, has a story. But what it’s about, first and foremost, isn’t narrative but texture: The grainy wetness of mud in an open field. The harsh bristle of matted dog fur. The wet steam of a tiled sauna. It’s also about sound, from the giggle of a boy being tickled by his father to the thunder of rugby cleats on a hard floor.
Shot in an box-y 4:3 aspect ratio with intermittently blurred, rippled edges, Post Tenebras Lux unfolds in a fragile half-light. The film’s textures and sounds are so intense that experiencing it is nearly intoxicating. These qualities do not come through when watching the film’s trailer on a phone or computer. Post Tenebras Lux (the title translates as After Darkness, Light) ought be projected,...
Shot in an box-y 4:3 aspect ratio with intermittently blurred, rippled edges, Post Tenebras Lux unfolds in a fragile half-light. The film’s textures and sounds are so intense that experiencing it is nearly intoxicating. These qualities do not come through when watching the film’s trailer on a phone or computer. Post Tenebras Lux (the title translates as After Darkness, Light) ought be projected,...
- 9/13/2012
- by Livia Bloom
- Filmmaker Magazine - Blog
As I mentioned in the preface to the first part of my Wavelengths preview (the one focusing on the short films), there are significant changes afoot in 2012. Until last year, the festival had a section known as Visions, which was the primary home for formally challenging cinema that nevertheless conformed to the basic tenets of arthouse and/or “festival” cinema (actors, scripting, 70+minute running time, and, once upon a time, 35mm presentation). This year, Wavelengths is both its former self, and it also contains the sort of work that Visions most likely would have housed. While in some respects this can seem to result in a kind of split personality for the section, it also means that Wavelengths, which has often been described as a sort of “festival within the festival,” has moved front and center. Films that would’ve occupied single slots in the older avant-Wavelengths model, like the...
- 9/12/2012
- MUBI
This opaque and exasperating work is a major misfire from the maverick Mexican director
No one ever looked to Carlos Reygadas for a clear picture and straight story, but this maverick Mexican director may have surpassed himself on Post Tenebras Lux, a congealed Jungian stew that went down to a chorus of boos at the Cannes film festival. Upping the ante still further, Reygadas has elected to shoot large portions of his film through a bevelled camera lens, which refracts his figures, doubles the image and leaves the screen's borders blurred. I have no doubt he is deliberately setting out to vex us.
What is he saying? What does he mean? The festival has been an ardent champion of this fiercely talented 40-year-old, who was nominated for the Palme d'Or for 2005's Battle in Heaven and scooped the jury prize for the mesmerising Silent Light back in 2007. And yet Post Tenebras Lux...
No one ever looked to Carlos Reygadas for a clear picture and straight story, but this maverick Mexican director may have surpassed himself on Post Tenebras Lux, a congealed Jungian stew that went down to a chorus of boos at the Cannes film festival. Upping the ante still further, Reygadas has elected to shoot large portions of his film through a bevelled camera lens, which refracts his figures, doubles the image and leaves the screen's borders blurred. I have no doubt he is deliberately setting out to vex us.
What is he saying? What does he mean? The festival has been an ardent champion of this fiercely talented 40-year-old, who was nominated for the Palme d'Or for 2005's Battle in Heaven and scooped the jury prize for the mesmerising Silent Light back in 2007. And yet Post Tenebras Lux...
- 5/24/2012
- by Xan Brooks
- The Guardian - Film News
When discussing Carlos Reygadas’ “Post Tenebras Lux,” comparisons to “The Tree of Life” come easily, though Reygadas’s film is as far from a paean to God as it gets. In fact, while Malick’s movie has a sweeping, hands-on perspective on enlightenment and God, Reygadas’ (“Silent Light,” “Battle in Heaven”) has a brazen, ostentatiously alienating and mostly detached view of redemption and Satan.
That’s right, “Post Tenebras Lux” concerns man’s ability to resist temptation and stop himself from sinning. And it’s literally sometimes told from the perspective of Satan, whose subjective point-of-view perspective shots feature two blurry concentric circles (imagine watching a film through Beer Goggles and you’re almost there). These Pov shots are ambiguously peppered throughout the film, and are never explicitly attributed to a single character. But considering that these Pov shots flit about innocent children and adults talking about sin, over-indulgence and violence,...
That’s right, “Post Tenebras Lux” concerns man’s ability to resist temptation and stop himself from sinning. And it’s literally sometimes told from the perspective of Satan, whose subjective point-of-view perspective shots feature two blurry concentric circles (imagine watching a film through Beer Goggles and you’re almost there). These Pov shots are ambiguously peppered throughout the film, and are never explicitly attributed to a single character. But considering that these Pov shots flit about innocent children and adults talking about sin, over-indulgence and violence,...
- 5/23/2012
- by Simon Abrams
- The Playlist
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