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Rumor has it that IFC Films is in negotiations to pick up Colombian feature "Perro Come Perro," directed by Carlos Moreno for distribution in the U.S. Variety called the crime thriller "a slice of slick trash about bad guys pitched against each other." Blogger CineVista writes:

Para comprender esta película mejor, se hace necesario tener presente antes que todo, que Perro como Perro es una película de género, es más que nada un thriller que incluye tópicos conocidos con creces por todos los colombianos que han sido manipulados, unas veces endiosados y otras veces satanizados y que hacen alusión a la violencia. Sin embargo lo interersante aquí, es el manejo distinto que se le da a través de un guión audaz cargado de humor negro y en muchos casos innovador a lo antes visto

According to IMDB, the film may be the only Colombian release of the year, so it would be a big deal if IFC were to pick it up and distro it in U.S. theaters. It has already been released nationally.

Trailer:

PEDRO E O LOBO

Fábula musical de Sergei Prokofiev

 Giulia Gamm fará as narrações da fábula "Pedro e o Lobo", dirigido por Muriel Matalon e orquestra sinfônica sob a regência do Maestro Carlos Moreno.

O espetáculo terá somente seis apresentações  no período de 12 a 15 de Junho no Auditório Ibirapuera em São Paulo e preços populares.  

A diretora Muriel Matalon fala sobre o espetáculo:

"A fabula musical Pedro e o Lobo é harmônica, sensível e apaixonante. O espetáculo é um entretenimento consagrado internacionalmente para todas as idades. Em dezenas de gravações e milhares de apresentações em todo o mundo, a partitura de Prokofiev já foi interpretada pelas grandes orquestras e os maiores regentes dos últimos 70 anos. o papel do Narrador que em nossa produção é da atriz Giulia Gam, já foi interpretado por Sir Ralph Richardson, Leonard Bernstein, Sean Connery, Hermione Gingold, David Bowie, José Ferrer, Ithzak Perlman, Alec Guinness, Sir John Gielgud, Jack Lemmon, André Previn, Boris Karloff, Dudley Moore, Charles Aznavour, Christopher Lee, Sting e, no Brasil, entre outros, por Paulo Autran, Roberto Carlos e Rita Lee." 

Cada personagem da história é representado por um instrumento da orquestra, e durante o concerto, às vezes numa pausa, outras junto com a música, as palavras do narrador contam as aventuras de Pedro, do Passarinho, do Gato, do Pato, do Lobo e do Avô, e a platéia ouve suas vozes nos violinos, nas flautas, no clarinete, no oboé, na trompa e no fagote.

PEDRO E O LOBO, de Sergei Prokofiev

 12 e 13 de Junho, quinta e sexta-feira, 21h

14 e 15 de Junho, sábado e domingo, 11h e 16h

Duração: 60 minutos

Ingresso: R$ 10,00 e R$ 5,00 (meia-entrada)

Gênero: Fábula Musical

Classificação Indicativa: Livre

 AUDITÓRIO IBIRAPUERA - Capacidade: 800 lugares

Endereço: Av. Pedro Álvares Cabral, s/nº – Portão 2 do Parque do Ibirapuera.

 Site: www.auditorioibirapuera.com.br

Nós recomendamos!

Roberto Rodrigues (Officecomm) 

A nova campanha da Bombril, chamada "Não leve gato por lebre", vai aproveitar o caso Ronaldo com os travestis para dar uma cutucada na sua principal concorrente no segmento de lã de aço, a Assolan, marca que vem oferecendo seu produto numa embalagem muito parecida com a da Bombril.

Com o seu tradicionalíssimo garoto-propaganda Carlos Moreno, os anúncios vão ser veiculados nas principais revistas semanais do país e são um belo exemplo de anúncio de oportunidade.

Via.

http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2008/05/15/BAGAVNC5K.DTL

05-15) 11:16 PDT SAN FRANCISCO -- Gays and lesbians have a constitutional right to marry in California, the state Supreme Court said today in a historic ruling that could be repudiated by the voters in November.

In a 4-3 decision, the justices said the state's ban on same-sex marriage violates the "fundamental constitutional right to form a family relationship." The ruling is likely to flood county courthouses with applications from couples newly eligible to marry when the decision takes effect in 30 days.

"The California Constitution properly must be interpreted to guarantee this basic civil right to all Californians, whether gay or heterosexual, and to same-sex couples as well as to opposite-sex couples," Chief Justice Ronald George wrote in the majority opinion.

Allowing gay and lesbian couples to marry "will not deprive opposite-sex couples of any rights and will not alter the legal framework of the institution of marriage," George said.

In addition, he said, the current state law discriminates against same-sex couples on the basis of their sexual orientation - discrimination that the court, for the first time, put in the same legal category as racial or gender bias.

The ruling set off a celebration at San Francisco City Hall, where nearly 4,000 same-sex weddings were performed in 2004 before the state high court put a halt to the marriages while challenges to the California law worked their way through the courts. Today's ruling has no effect on those annulments.

Outside the city clerk's office, three opposite-sex couples were waiting at 10 a.m. for marriage certificates. City officials had prepared for a possible rush on certificates by same-sex couples, but hadn't yet changed the forms that ask couples to fill out the name of the "bride" and "groom."

City officials say they'll probably be unable to marry the same-sex couples for another 30 days when the decision fully goes into effect. But they're making appointments for those weddings now.

Ed Harrington, the general manager of the city's Public Utilities Commission, has lived with his partner for 35 years. In 2004, he performed marriage ceremonies for about 40 same-sex couples.

"You wait for this your whole life," said Harrington, who said he planned to call his partner and say, "I love you. What more do you say on a day like this?"

He said he didn't know if he would marry, but that "what's important is to be able to (get married) if you want to."

The celebration could turn out to be short-lived, however. The court's decision could be overturned in November, when Californians are likely to vote on a state constitutional amendment banning same-sex marriages. Conservative religious organizations have submitted more than 1.1 million signatures on initiative petitions, and officials are working to determine if at least 694,354 of them are valid.

If the measure qualifies for the ballot and voters approve it, it will supersede today's ruling. The initiative does not say whether it would apply retroactively to annul marriages performed before November, an omission that would wind up before the courts.

Liberty Counsel, which represented the group Campaign for California Families before the court in arguing for the state law, denounced the ruling and said it would ask the justices to stay its effect until after the November election.

George was joined in the majority by Justices Joyce Kennard, Kathryn Mickle Werdegar and Carlos Moreno. Justices Marvin Baxter, Ming Chin and Carol Corrigan dissented - though Corrigan, writing separately, said she personally believes "Californians should allow our gay and lesbian neighbors to call their unions marriages."

Baxter, writing for himself and Chin, accused the court majority of substituting "by judicial fiat its own social policy views for those expressed by the people."

Both he and Corrigan noted that California voters reaffirmed the state's ban on same-sex marriage in a 2000 ballot initiative.

The court "does not have the right to erase, then recast, the age-old definition of marriage, as virtually all societies have understood it, in order to satisfy its own contemporary notions of equality and justice," Baxter said.

But George, in a 121-page opinion, said California has already recognized, in its laws and public policy, that gays and lesbians are entitled to equal treatment in every legal area except marriage. He also noted that state laws and traditions banned interracial marriage until the California Supreme Court, in 1948, became the first court in the nation to overturn such a law.

"Even the most familiar and generally accepted of social policies and traditions often mask an unfairness and inequality that frequently is not recognized or appreciated by those not directly harmed," the chief justice wrote.

The legal case dates back to February 2004, when San Francisco Mayor Gavin Newsom ordered the city clerk to start issuing marriage licenses to couples regardless of their gender, saying he doubted the constitutionality of the state marriage law.

The state's high court ordered a halt a month later, after the nearly 4,000 same-sex weddings had been performed at City Hall. The court annulled the marriages in August 2004, ruling that Newsom lacked authority to defy the state law. But it did not rule on the validity of the law itself and said it would await proceedings in lower courts.

Some of the couples immediately sued in Superior Court and were joined by the city of San Francisco, which said it had a stake in ensuring equality for its residents. The case that ultimately reached the state Supreme Court consolidated four suits, one by the city and three by 23 same-sex couples in San Francisco and Los Angeles.

Superior Court Judge Richard Kramer, ruling in the San Francisco cases, declared the ban on same-sex marriage unconstitutional in March 2005. He said the law violates the "basic human right to marry a person of one's choice," a right declared by California's high court in the 1948 ruling.

Kramer said the law also constituted sex discrimination - prohibited by another groundbreaking California Supreme Court ruling in 1971 - because it is based on the gender of one's partner.

But a state appeals court upheld the law in October 2006, ruling 2-1 that California was entitled to preserve the historic definition of marriage and that the state's voters and legislators, not the courts, were best equipped "to define marriage in our democratic society."

The appeals court also said California is not discriminating against same-sex couples, citing state laws that give registered domestic partners the same rights as spouses. Those laws provide such rights as child support and custody, joint property ownership, inheritance and hospital visitation, and access to divorce court.

But domestic partners are denied marital benefits under federal law, which means they can't file joint federal tax returns, collect Social Security survivors' benefits or sponsor one another as immigrants.

The suits before the court relied on the California Constitution, which state courts have long interpreted as being more protective of individual rights than the U.S. Constitution. The initiative that California voters are likely to consider in November would write a ban on same-sex marriage into the state Constitution, a step already taken by voters in half the states.

Gov. Arnold Schwarzenegger has twice vetoed same-sex marriage bills, citing the 2000 ballot measure that reaffirmed California's opposite-sex-only marriage law. That initiative was not a constitutional amendment.

The governor issued a statement today saying, "I respect the court's decision and as governor, I will uphold its ruling." He also reiterated his opposition to the constitutional amendment that is likely to be on the November ballot.

Suits similar to those that went before the California Supreme Court have been filed in other states, but only the Massachusetts Supreme Judicial Court has ruled that the state's constitution gives gay and lesbian couples the right to marry.

Courts in Vermont and New Jersey have found their states' marriage laws discriminatory but left the remedy up to state legislatures, which opted in both cases for civil unions for same-sex couples rather than marriage. A similar ruling by the Hawaii Supreme Court in 1993 was overturned by a ballot initiative.

The California case is In re Marriage Cases, S147999. The ruling is available at www.courtinfo.ca.gov/opinions.

Chronicle staff writers Cecilia M. Vega and Heather Knight contributed to this report. E-mail Bob Egelko at begelko@sfchronicle.com.

My first celebrity sighting of Sundance 2008 was at the Salt Lake City airport. I watched Tilda Swinton navigate her bags and a European looking hunk from the baggage claim to her private vehicle. I had just pushed my way though the fifty or so limo drivers waiting for various celebrities including Bono, Seal and Danny Glover to reach the baggage claim. While the chosen few were whisked away in SUV's, the rest of us die hard film obsessed commoners waited patiently to be called for the next shuttle to Park City.

 After a long two-hour wait, I finally found myself in the midst of eight strangers jam packed in a cramped van, making small talk and becoming bff's for the hour ride to our respective condos and hotels. It was sort of like the Breakfast Club in a van. At one point the guy in the front seat says, "Did you guys hit Sundance last year? The movies were so depressing I felt suicidal afterwards." We laughed and readily agreed. Ah the memories of Sundance 2007. The movies were provocative yet sitting through three raw, dark, intense movies a day is not for the weak hearted.

 We optimistically anticipated a more balanced selection this year. Little did we know this year's film festival was to be darker and gloomier than ever. No wonder distribution deals were few and far between. Even those films armed with A-list celebrities went home without deals. Sundance 2008 was indeed dark, but did not disappoint. I can only hope these films find their audience. Here are my Sundance highlights from the first half of the festival.

Ballast. To me, this movie is what Sundance used to be about and should strive to reclaim. I just love the fact that a first-time director made a movie with no celebrities or major connections and then holy shit.. finds himself at Sundance winning awards. That's as cool as it gets. Ballast's writer/director, Lance Hammer, put everything into this remarkable film shot in the Mississippi Delta using non-professional actors and a unique rehearsal process. The result is one of the most honest films in this year's festival. A true gem in every sense.

Sundance describes the movie as "In the cold, winter light of a rural Mississippi Delta township, a man's suicide radically transforms three characters' lives and throws off-balance what has long been a static arrangement among them." Hammer spent months in rehearsal collaborating with his actors while they acted out scenes from his script according to their instincts and inner voice. His mission with these actors was to dig deep and find out how these actors from the deep south would react to his story, and then capture these mesmerizing scenes on film. In the Q&A we learned that Hammer was immensely inspired by the Mississippi Delta landscape. He would drive for hours trying to loosen up his writer’s block and it was during these driving episodes through the dreary landscape that he decided to make a movie about life in the Delta. This subtle and moving film continues to be well received in Berlin and was one of the few films to reach a distribution deal during the festival.

Perro Come Perro. My house mates called at 8:30 AM saying they had extra tickets to see this movie. My friends and I are suckers for Latin films so we jumped out of bed, into our long underwear and raced to catch a taxi. There was no room for error and we miraculously reached our destination with two minutes to spare. The benefit of seeing this film first thing in the morning was there is absolutely no need for a coffee jolt. From the opening sequence peppered with catchy Latin pop music, you are hooked. The story is quite simple as Director Carlos Moreno and his talented cast and crew tell the story of a ruthless crime boss trying to find out who stole the money his thugs were supposed to collect on a job that went wrong. Quentin Tarantino and Guy Ritchie would be proud of these folks. You are on the edge of your seat for most of this amped up film and although incredibly violent, you can't help but appreciate that this film is indeed special.

Downloading Nancy.  We chose to attend this film premier because we spent two hours standing in the main box office line at 6 AM with one of the producers. After a late night of partaking in the Sundance festivities, this poor guy had to endure the box office line at this ungodly hour to purchase tickets for their premiere because he’d already given his allotment away. His misfortune worked for us, though, because waiting in line we heard all about the controversial film including the financing challenges, change in cast members and late night drinking/rehearsal episodes in Canada. We decided to see what all the hype was about. And this film does indeed warrant hype. Or at least therapy.

The story centers on Nancy, played perfectly by Maria Bello, who is a despondent, empty soul living an unfulfilled life with her apathetic and distracted husband played by the superb Rufus Sewell. Nancy brings new meaning to the word disappointment. This woman has been let down by everyone around her and is so full of disappointment, there is literally no hope or chance of recovery. She is numb and struggles to make it through each day. She desperately wants to end her pain, and searches and finds an answer to her misery on the Internet, Jason Patric’s character Louis. The movie takes you on this emotionally exhausting journey as Nancy plans to do whatever it takes to find peace. This story is based on true events.

When this film was over I had two thoughts: Thought one - this is the most disturbing film I have seen since Deliverance (that is until I saw that one scene in the otherwise exceptional 4 months, 3 weeks, 2 days , which is another story altogether); thought two - this film is flawless. Maria Bello is exceptional and deserves an Oscar even if no one ever sees this film. The other cast members were outstanding as well. Someone in the Q&A even asked the director "Why wouldyou ever want to make a movie this demoralizing and unconventional?" I have never felt a character's inner turmoil and desperation before like I felt watching Maria Bello go to places I didn't even know actors could go. This movie will haunt you for weeks but I am still glad we stood in the wait list line for over two hours to watch geniuses do their thing.

My biggest regret is choosing to see Henry Poole is Here, starring Luke Wilson and George Lopez over Hamlet 2, which is tapped to be the Little Miss Sunshine of this year's festival and received one of the largest distribution deals in Sundance history. In my trancelike state after seeing ten or so hardcore depressing movies, I was going to laugh with Luke Wilson no matter what. The Owen Brothers do not disappoint. Or usually don't. And I chose wrong! My housemates raved all night about the brilliant, smart and often hilarious Hamlet 2 starring Steve Coogan, about a high school drama teacher who tries to motivate his students and save his department by writing a musical sequel to Shakespeare's "Hamlet". Catherine Keener and Elizabeth Shue co-star. How could I have missed Elizabeth Shue’s big comeback?

Henry Poole is a mediocre display of Luke Wilson's improving acting talent. He proves he can carry a film, however the storyline is weak and unimpressive. The gist of this film is that Luke Wilson’s character believes he is dying and this film teaches us about miracles and having faith. This ‘nice’ film has a few charming moments, however is mostly too predictable. The highlight is the excellent soundtrack. It's hard to believe this film was bought while other masterpieces still sit in limbo.

Other movies my group of friends enjoyed and would recommend seeing include:

Up the Yangtze. Upon completion, China’s mammoth Three Gorges Dam on the Yangtze River will be the largest hydroelectric power station in the world. Progress, though, comes at a price: the dam will displace more than a million residents and destroy numerous cultural and archaeological sites, upending a way of life. In Up the Yangtze, filmmaker Yung Chang sensitively examines the effects of this massive project on personal lives as he follows two young people, each one transformed by the construction.

Under the Bombs. In the summer of 2006, Lebanon was relentlessly bombed for 34 days in a row. Bold and riveting, Under the Bombs is Philippe Aractingi’s captivating account of what happens next.

Nerakhoon. With the rise of a Communist government in Laos, killings and arrests became common among those affiliated with the former government and the Americans. Families were torn apart--some finally emigrating to the U.S. In a truly remarkable collaboration spanning more than 20 years, famed director of photography Ellen Kuras debuts her first directorial effort with Laotian co-director Thavisouk Phrasavath, the main subject of the film. Phrasavath takes us through his youth, his escape from persecution and arrest in Laos, his family’s reunion, their journey as immigrants to America, and the second war they had to fight on the streets of New York City. By the way, this film took 23 years to make!

Red. Set in small-town America, Red derives its title from a 14-year-old dog that is the sole companion of Avery (Brian Cox), an older gentleman who lives alone with his memories in a simple existence posing no threat to anyone. One day while he is fishing, three troublesome teens terrorize him and kill the only thing he has left to love in the world—his dog. He sets out on a quest for an apology, but the situation soon escalates into much more.

We also enjoyed several of the Shorts programs. In fact, I enjoyed the shorts at Sundance more than the ones nominated for the Oscars. Looking back on Sundance 2008, including the sleep deprivation and carb-only diet, I find myself counting the days until next year's showcase of the best in independent film. I am even looking forward to the 6 AM box office lines and torturous shuttle rides. It’s definitely worth it.

Anunciada como "la primera cinta 100% colombiana seleccionada para competir en el Festival de Cine Independiente más importante del mundo" hoy (viernes 18 de Enero de 2008), se estrena a nivel mundial.

No soy muy devoto del cine nacional, pero con la creciente proliferación de producciones cinematográficas, no solo colombianas sino latinoamericanas, empiezan a salir a la luz cintas que llaman la atención. Bajo la dirección del caleño Carlos Moreno; Victor Peñaranda (Marlon Moreno) y Eusebio Benítez (Óscar Borda) viven una historia que promete humor negro, brujería, venganza y una buena suma de dinero en juego.

La música de esta película tiene el sabor de Superlitio y la cinta tiene la producción de Antorcha Films y Patofeo Films, éstos últimos ganadores en los premios Mucha Música por el video "Deja" de Sidestepper, un indicio del buen trabajo que puede aparecer en "Perro come Perro".

Admirable también el hecho de que el patrocinio para hacer esta película se consiguió de otros sitios diferentes al auxilio del Ministerio de la Cultura, ya que no fueron favorecidos por esta entidad.

Espero ver la película pronto, tengo grandes expectativas por esta producción.

Sinópsis:

Vengar la muerte de un tal William Medina y la prisa por recuperar unos dólares perdidos son el pretexto inicial que une a los protagonistas de este relato: Víctor Peñaranda (Marlon Moreno) y Eusebio Benítez (Óscar Borda), quienes tienen que someterse a las órdenes de ¨El Orejón¨(Blas Jaramillo), un poderoso empresario devoto de la brujería, deseoso de vengar la muerte de su ahijado y obsesionado por encontrar su dinero.Con un ¨tufo¨ de comedia negra y muchos elementos de acción, Perro come Perro es un thriller que narra la historia de dos hombres unidos por su destino fatal: ambos rompen las reglas del mundo del hampa y tienen que pagar por sus faltas.

Sin conocerse, Peñaranda y Benítez son contratados para un confuso operativo del que tienen pocos detalles. Comparten la habitación de un céntrico hotel, donde deben permanecer atentos y a la espera de instrucciones telefónicas. Cada uno obedece órdenes y trata de ocultar sus culpas: Peñaranda esconde los dólares que robó hace un par de días y Benítez carga con el peso de haber asesinado a William Medina.

¨El Orejón¨, rodeado de personajes como ¨Iris¨ (Paulina Rivas), su bruja de cabecera, y ¨Sierra¨ (Álvaro Rodríguez), su mordaz y más cercano colaborador, cierra el cerco de su venganza; atormenta a Benítez hasta llevarlo a la locura y acorrala a Peñaranda cuyo botín se convierte hora tras hora en un pesado lastre.

En Perro come Perro la acción se sucede vertiginosamente. En un mundo donde La lealtad es palabra muerte, la tensión de cada personaje señala que no siempre el que ríe de último ríe mejor.

Ficha Técnica:

Director:

Carlos Moreno

Guión:

Carlos Moreno y Alonso Torres

Reparto:

• Marlon Moreno: Víctor Peñaranda
• Oscar Borda: Eusebio Benítez
• Álvaro Rodríguez: Silvio Sierra
• Blas Jaramillo: ¨El Orejón”
• Andrés Toro: Zabala
• Hansel Camacho: Don Pascual
• Paulina Rivas: ¨Iris¨, la Bruja
• Diego Quijano: Don Pablo
• Julián Caicedo: Portero
• Rodrigo Vélez: ¨Torres¨
• Gianina Arana: Chica Joven

Productor:

Diego F. Ramírez

Productores ejecutivos:

Diego F. Ramírez, Carolina Barrera y Rodrigo Guerrero

Director de Fotografía:

Juan Carlos Gil

Cámara:

Diego Jiménez

Edición:

Felipe Guerrero, Santiago Palau y Carlos Moreno

Jefe de Producción:

Johnny Hendrix

Director de Arte:

Jaime Luna

Diseño de vestuario:

Luz H. Cárdenas

Producción:

Antorcha Films / Patofeo Films

Género:

Thriller Comedia Negra

Canción original:

SUPERLITIO, 2007

Música Original:

SULTANA

Colombia, 2007, super 16 mm, 97 minutos.

//Tomado de PerrocomePerro.com

Enlaces relacionados:

Sundance Film Festival (web)

Perro come Perro (web)

Patofeo Films (web)

Algunos videoclips de Patofeo:

(Deja - Sidestepper@Youtube) (Soñar despierto - Pestilencia@Youtube)

Superlitio (web) (myspace)

La 24ª edición del Festival de Cine de Sundance, probablemente el más relevante del cine independiente, dará comienzo mañana con algunas novedades, como la incorporación de nuevas categorías que pretenden llamar la atención de guionistas, cineastas y editores en general.

Este año, más que nunca, este festival que creara Robert Redford hace un par de décadas para ofrecer un espacio donde mostrar la diversidad y creatividad de las propuestas de directores independientes, verá realzada sus heterodoxa alternativa una vez ensombrecido el glamour de los certámenes convencionales por la huelga de los guionistas.

En esta edición se podrán presenciar 121 largometrajes, entre los que se incluyen 87 estrenos mundiales, en representación de 25 países, con óperas primas de 55 realizadores, 32 de los cuales competirán por hacerse con alguno de los galardones de las seis categorías a concurso.

Sin olvidar que Sundance ha servido de lanzadera de producciones hispanas de cierta repercusión como la road-movie de corte erótico Y tu mamá también, de Alfonso Cuarón, el drama colombiano Maria llena de gracia, opera prima de Joshua Marston, o El Mariachi de Robert Rodríguez, este año también encontramos un interesante ramillete de cine con versión original en español.

Por parte de México tenemos a Párpados Azules (Blue Eyelids), "anti-comedia romántica" dirigida por el joven director veracruzano Ernesto Contreras con guión de su hermano Carlos, en la cual la pareja protagonista "a falta de amarse, se contenta con acompañarse".

El cineasta trujillano Ricardo De Montreuil presentará una historia de amor y redención en forma de road-movie que lleva por título Máncora, protagonizada por un joven elenco de actores como es el caso del estadounidense Enrique Murciano, estrella de películas como “Miss Simpatía 2” o “Traffic”, Jason Day o la española Elsa Pataky.

De Colombia llegará Perro come perro (Dog eat dog), ópera prima del colombiano Carlos Moreno. Se trata de un comedia de suspense con humor negro y mucha acción rodada en Cali, en la que se nos cuenta la historia de dos hombres unidos por un destino fatal.

Nacho Vigalondo, director del ingenioso cortometraje 7:35 de la mañana nominado a los Óscar en el 2005, presentará fuera de competición en la sección dedicada al cine fantástico y de terror (Park City at Midnight) su particular viaje de terror en la máquina del tiempo.

Los cronocrímenes, que es el título de esta cinta, ya viene precedido de varios galardones como el premio del Jurado y la medalla de plata del público en el marco del Fantastic Fest de Austin (Texas) o el Asteroide de oro en la séptima edición del prestigioso SciencePlusFiction. Protagonizado por la donostiarra Barbara Goenaga y el vitoriano Karra Elejalde, este primer largo artesanal del cántabro muestra que el ingenio y la creatividad pueden suplir con creces la falta de presupuesto.

En el documental Stranded, el director uruguayo afincado en Francia Gonzalo Arijón, dará a conocer a través de entrevistas efectuadas a algunos de los 16 supervivientes, la épica aventura de supervivencia que sucedió al trágico accidente acaecido en octubre de 1972 cuando un avión que transportaba a un equipo de rugby se estrelló en la cordillera andina.

Este documental que ya ganara el prestigioso premio Joris Ivens en su estreno mundial en el IDFA (International Documentary Festival Amsterdam) 2007, participará ahora en la sección oficial disputando por el galardón que reconoce al Mejor Documental Extranjero.

La producción canadiense Les Femmes de la Brukman, de Isaac Isitan, que nos sitúa entre los años 2001 y 2003 en una Argentina sumida en la debacle, propone una aproximación íntima a un grupo de mujeres que saben encontrar su propia dignidad en la superación y el trabajo, tomando el control de una fábrica textil bajo un modelo de autogestión.

Burwa Dii Ebo (El viento y el Agua), una producción panameña dirigida por Vero Bolow y el colectivo Igar Yala y filmada en el territorio de Kuna Yala y los suburbios de la ciudad de Panamá, nos narra la historia de Machi y Rosy, dos nativos Kuna Yala nacidos al mismo tiempo, no muy lejos uno de otro pero bajo circunstancias radicalmente diferentes. Este drama cultural lleno de dulzura y esperanzas y reflejo fiel del conflicto de transición entre culturas competirá dentro de la categoría "World Dramatic".

Y termino en cuanto a largos con la coproducción hispano-alemana Transsiberian, dirigida por uno de los directores más genuinamente independientes como es Brad Anderson (El Maquinista), que nos trae un thriller psicológico al tran-tran del sugestivo transiberiano.

En lo que se refiere a la sección de cortometrajes donde compiten más de 50 trabajos, también encontramos 4 títulos españoles: Rapsodia, Maldición y poder, Sueño de Dios y Laberinto.

Y esto es mayormente lo que se podrá oír en nuestra lengua. Ahora solo cabe esperar que algo de este cine con menos recursos logre el aliento necesario para llegar a nuestras pantallas. Al fin y a la postre, aunque Sundance tampoco es lo que era, cada vez más fagocitado por el sistema, aún sigue siendo un reducto donde encuentran abrigo arriesgadas propuestas que apenas tienen cancha en ningún otro certamen de relevancia.