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1. 182 vote
2. Giuseppe Capotondi
3. Creators - Scott B. Smith
4. Story - The Burnt Orange Heresy is a movie starring Claes Bang, Elizabeth Debicki, and Donald Sutherland. Hired to steal a rare painting from one of most enigmatic painters of all time, an ambitious art dealer becomes consumed by his own
5. average Rating - 6,4 of 10 stars
6. release Date - 2019

Looks about as much fun as having an enema. Jon Stewart is Steve Carell's boss again. I love the stones, but my passion like the DOORS. By  Gastón Duprat synopsis Arturo is an unscrupulous art dealer and Renzo his socially-awkward painter and longtime friend. Willing to risk it all, they develop an extreme and ludicrous plan to save themselves. international title: My Masterpiece original title: Mi obra maestra country: Argentina, Spain sales agent: Latido Films year: 2018 genre: fiction directed by: Gastón Duprat film run: 100' release date: ES 16/11/2018, IT 24/01/2019, FR 6/02/2019 screenplay: Gastón Duprat cast: Guillermo Francella, Luis Brandoni, Raúl Arévalo, Andrea Frigerio cinematography by: Rodrigo Pulpeiro film editing: Anabella Lattanzio art director: Cristina Nigro costumes designer: Luciana Marti music: Alejandro Kauderer, Emilio Kauderer producer: Mariano Cohn, Jaume Roures, Fernando Sokolowicz executive producer: Victoria Aizenstat, Javier Méndez associate producer: Eva Garrido production: Mediapro, Arco Libre (AR) Televisión Abierta (AR) backing: Instituto Nacional de Cine y Artes Audiovisuales (INCAA) AR) distributor: A Contracorriente Films, Eurozoom, Movies Inspired.

 

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VENICE 2018 Out of Competition by 31/08/2018 - VENICE 2018: Gastón Duprats tale of forgeries and friendships survives on fine performances from Guillermo Francella and Luis Brandoni Guillermo Francella and Luis Brandoni in My Masterpiece With  My Masterpiece. see also: trailer interview: Gastón Duprat film profile] director  Gastón Duprat  (the director of the 2016 Goya Award-winning  The Distinguished Citizen. see also: film review trailer film profile] sets out to make an entertaining, crowd-pleasing thriller that takes place in the art world and deconstructs capitalism. This tale of forgeries and friendships survives on fine performances from  Guillermo Francella and  Luis Brandoni as artist and dealer before an unexpected twist gives momentum to the final act. Playing out of competition at the  Venice Film Festival, the movie ultimately satisfies, even if it never reaches the heights or the insightful observations of Ruben Östlunds similarly ambitious and actual masterpiece, the Palme dOr-winning  The Square. see also: film review trailer interview: Ruben Östlund film profile. There is a false note in the memorable opening shot. We hear the voice of an off-screen gallery guide challenging her tour group, and the audience, to really look and study a picture by famed artist Renzo Nervi (Brandoni. It feels like an educational art film, but its just one of the many ways in which Duprat keeps the viewer unsettled. The tone quickly shifts as the narrative voiceover by gallery owner Arturo Silva (Francella) kicks in: there are echoes of Charles Dickens  Hard Times as he describes Buenos Aires as both the best and the worst city in the world. He also has a confession to make: “Im a murderer. ” Told in flashback, we rewind five years back to a time when Nervi was considered to be an artist past his prime. Even his trusted art dealer Arturo is beginning to lose patience with him, but just as their relationship seems to be nearing an end, an accident brings them closer together again. They are like chalk and cheese – the liberal artist and the hard-nosed capitalist – but they always manage to find a compromise that allows them to work together. As Arturo meets myriad characters in the Buenos Aires art world, each of them seems to be a good candidate for the grave. With one art dealer, there is even a big and pertinent discussion on whether Nervis paintings will rise in value when he dies. It is not a world for the sympathetic. Its quite a feat by Duprat that he manages to make the many tonal shifts work in a fitting and fun finale. The actors deserve a lot of credit, too, as their performances manage to carry the film through some slipshod scenes. But then the twist is as clever as the opening scene, and  My Masterpiece proves that its no fraud. My Masterpiece  was produced by Argentinas Arco Libre and Televisión Abierta, and Spains  Mediapro. It was co-produced by DIRECTV, Canal 13, Clarín, TX and Hei Films, and saw the involvement of  Movistar+ Orange, Audi, the government of Jujuy Province and the Jujuy Film Commission. Spains  Latido Films  is overseeing its international sales. Did you enjoy reading this article? Please subscribe to our newsletter to receive more stories like this directly in your inbox.
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The burnt orange heresy mick jagger. The burnt orange heresy 2019. Thirty-five-year-old single mother Adela leaves behind her small town setting and moves to Madrid. She takes an unfulfilling but adequate job to support her new life, in which everything is centered around her infant son. A terrorist attack on a bus will shatter her life and she will have to eventually accept returning to a new daily routine… Antonia owns a small supermarket. The handsome widow leads a quiet life centered around work, her boyfriend Manolo and her beloved daughters, Ines, Nieves and Helena. The already tense relationship between the three daughters is further complicated when Helena asks to borrow money from her mother to buy a new flat. Two women, two stories. IFF Cannes 2007 - Un certain regard IFF Edimburg 2007 - Official Selection IFF Bruselas 2007 - Official Selection IFF Haifa 2007 - Official Selection IFF Toulouse 2007 - Official Selection IFF San Sebastián 2007 - Made in Spain IFF Pusan 2007 - Official Selection IFF Quito 2007 - Official Selection - Critic's Award IFF Tesaloniki 2007 - Official Selection Spanish Academy Goya Awards 2008 - Best Film, Best Director (Jaime Rosales) and Best Breakthrough Performance, Actor (José Luis Torrijo) Cinema Writers Circle Awards, Spain 2008 - Best Director (Jaime Rosales) Fotograma de Plata Award 2008 - Best Film Award of the Spanish Actors Union 2008 - Best Lead Performance, Actress (Petra Martínez) and Best Breakthrough Performance, Actress (Sonia Almarcha) in film category Sant Jordi Awards 2008 - Best Film IFF Verona 2008 - Rosa doro Schermi dAmore – Calzedonia Award -Best Film Un reparto sobresaliente contribuye a hacer del resultado algo tan inusual que debe ser llamado por su nombre: una obra maestra. Jordi Costa, EL PAIS. Una película de mirada múltiple que destila autenticidad, emoción y sabiduría cinematográfica y humana. Alberto Bermejo, EL MUNDO. Espléndida lección de ascetismo. Sergi Sánchez, LA RAZÓN La soledad es una obra muy por encima del la media del cine español. Que emociona y divierte, obviando lugares comunes. Lluís Bonet, LA VANGUARDIA Con solo dos películas, el director Jaime Rosales ha conseguido algo que otros cineastas no consiguen en toda su filmografía: afianzar un estilo. Oti R. Marchante, ABC Una obra inmensa, imborrable, hermosa y llena de dolor que fascinará a todos los que crean en el cine como espejo-de-la-vida. David Bernal, ON MADRID Una gran película. Fernando Franco, DIARIO DE LEVANTE Me gusta y me conmueve esta película tan rara. Si Las horas del día me hacía pasar miedo y sentirme mal, La soledad me inyecta comprensión y piedad. Rosales ha elegido un camino difícil, posee estilo, no es un impostor con pretensiones ni un vendedor de humo prestigioso. Carlos Boyero, EL MUNDO. 1/2 Una obra valiente, vital y sin fisuras que desentraña cuestiones ajenas a nuestro imaginario cinematográfico. Un fresco poliforme de acerada y brillante promiscuidad visual. Lolo Ortega, CINEMANÍA Esta no es una película cómoda, pero sí es una película estimulante. Esta no es una película para comer palomitas, pero sí una película para digerir ideas: ideas visuales, ideas formales, ideas humanas. Nuria Vidal, FOTOGRAMAS Un cine capaz de radiografiar las carencias del alma con imágenes tan penetrantes como austeras, tan coherentes como precisas. Un cine de gran envergadura para un horizonte de futuro. Carlos F. Heredero, CAHIERS DU CINEMA El trabajo creativo del autor de Las horas del día en la elaboración del guión y los personajes, como en la investigación sobre las posibilidades del espacio fílmico, el tempo narrativo, la puesta en escena y la dirección de actores, es apasionante. Fernando Méndez-Leite, GUIA DEL OCIO La sabiduría de este director nos recuerda al primer Polanski, Rohmer o Loach. Edmon Roch, GUIA DEL OCIO Es evidente que en Las señoritas de Avignon de Pablo Picasso y en La soledad de Jaime Rosales habita una disposición intelectual semejante. Se trata del mismo esfuerzo reflexivo sobre la imagen y su forma o, si se prefiere, de la misma distancia personal ante el relato y sus arquetipos. (…) Hay tantas cosas en La soledad que no cabe ni enumerarlas. Juan Zapater, DIARIO DE NOTICIAS La soledad, de Jaime Rosales, es una de las mejores películas que he visto en varios años, sin distinción de origen. Creo, sin cortarme, que es una de las mejores películas del nuevo milenio. Creo también que, para el cine español es, por supuesto, un hito que se podría colocar, sin problemas, junto a, por ejemplo, El espíritu de la colmena. Manuel Hidalgo, EL MUNDO “We are beings both sensitive and tough, although in the end, our toughness is greater than our sensitivity. The film portrays vulnerable moments in the lives of the characters. In the end, life continues its course over time. ” “... feeling turned into the need to make a film. A need to share with an audience certain concerns and some anguish as well. Death is somehow at the heart of that anguish. ” A DIFFUSE FEELING ABOUT LIFE It all started with a diffuse feeling about life; about the world around us; about how we relate to each other. That feeling turned into the need to make a film. We are designed both to suffer and to overcome suffering. We are beings both sensitive and tough, although in the end, our toughness is greater than our sensitivity. In the end, life continues its course over time. Jaime Rosales, director and script-writer. Writer-director Jaime Rosales made his debut feature in 2003 with LAS HORAS DEL DÍA (The Hours Of The Day) presented at the Directors Fortnight in Cannes, where it won the FIPRESCI Prize. After beginning his career as a screenwriter for film and television, Rosales received a grant to attend the International Film and Television School (EICTV) in San Antonio de los Baños, Cuba. From there, he went on to study at the Australian Film Television and Radio School (AFTRS) in Sydney. Rosales, born in Barcelona in 1970, founded the production company Fresdeval Films in 2001. Polyvision means dividing the screen (in CinemaScope format) into two equal halves. Each half of the screen shows a different perspective on the same scene. The same space may be seen from two different angles (such as a conversation in a kitchen seen from two different positions. Or two fragments of a wider scene can be seen from two different positions (such as the dining room and living room in an apartment, with people coming and going from one to another. The point of using polyvision is to create a homogenous code made up of a set of rules in order to offer a perception system different from a natural format. The challenge has been to achieve a certain break with natural reading, and at the same time, not interfere with the emotions displayed by the story and the characters of the film. About 30% of the total footage were shot in polyvision. CASTING To bring the fragments making up Adela and Antonia's stories to life, actors were chosen during a long lasting casting process in which, while not widely known, they proved to be excellent performers. The aim was to form a highly transparent cast with the type of actor comfortable improvising within the scenes described in the script. SHOOTING Shooting took place over seven weeks in the summer of 2006, in natural exteriors and interiors in the towns of Sabero and Cistierna in the province of León, and in the city of Madrid. The film was shot in 35mm, to be scanned digitally for postproduction. From its development stage, the project has received support from numerous national and international partners and institutions. Adela Adela is a brave, decisive woman committed to changing her life. Motherless herself, she is a mother who loves her son and wont settle for less than she deserves. She is a solitary woman of few words. A woman who is not frightened by silence; she is comfortable with it. I think I understand her well- her enthusiasm for life, her love for her son, her self-assurance. I wont settle for just anything either. If I dont like something and I dont feel good, I do something about it. I look for alternatives. Like her, I am committed to getting on with things, although in her circumstances, I dont know if I would have her strength. Before rehearsals began, I had marked several scenes that frightened me considerably. They were scenes that required delicacy in the telling, where just the right balance had to be struck—not too much or too little. Since I finished the film, Ive realized that aside from how it works out in the end, I feel quite satisfied with what I experienced. I feel I did it all with a great deal of love and dedication, and thats something I can hold onto. Sonia Almarcha graduated from the Royal Drama School and the William Layton theater laboratory. She has appeared in many TV series and plays. Her films include: “Muertos Comunes” by Norberto Ramos, “Las Razones de mis amigos” by Gerardo Herrero, and “Adosados” by Mario Camus. Antonia When I read the screenplay, I felt very moved in many moments and I also wondered many things about myself. The stories it tells are very believable situations, misfortunes that happen in real life. The character of Antonia is an ordinary person; someone you could cross paths with on the street where you live. Id say she is so ordinary that something about her feels familiar to you. To me, Antonia is the synthesis of a mother. She does everything for her daughters, suffers in silence, worries about each of them, and is always available. I understand her love for her children very well. Its something I clearly identify with. Jaimes unique way of working and the way he tells stories is what I think will make this a very special film. I think the audience will feel very touched at some points. At others, theyll watch the action with more distance. That will certainly make them take a colder look at what they are seeing. Petra Mariínez studied at TEM, the Theater School of Madrid. Her extensive background as an actress includes over twenty stage productions and roles in films such as: “La mala educación” by Pedro Almodóvar”, “Noviembre” by Achero Maña, and “Nadie conoce a nadie” by Mateo Gil. Director Script Executive Producer Producers Director of Photography Art Director Casting Director 1st Assistant Director Costumes Sound Editor Sound Editing Mixer Graphic Design Jaime Rosales Jaime Rosales / Enric Rufas María José Díez Jaime Rosales / Ricard Figueras / José María Morales Óscar Durán Ion Arretxe Sara Bilbatual Javier Petit Eva Arretxe Asun Arretxe Eva Valiño Nino Martínez Pelayo Gutiérrez Nacho Royo-Villanova Carlos Garrido Manuel Estrada Ines Nieves Helena Manolo Carlos Alberto Padre Pedro Miriam Sonia Almarcha Petra Martínez Miriam Correa Nuria Mencía María Bazán Jesús Cracio Luis Villanueva Luis Bermejo Juan Margallo José Luis Torrijo Carmen Rodríguez Production Company Locations Language Format Shooting With the support Distribution World Sales Fresdeval Films, S. L. Wanda Vision S. A. In Vitro Films, S. A. Madrid - León Castellano 35 mm 1:2'35 Julio-Agosto 2006 I. C. A. (Ministerio de Cultura) ICO (Instituto Oficial de Crédito) TVE (Televisión Española) I. I. (Generalitat de Catalunya) TVC (Televisió de Catalunya) MEDIA Wanda Vision S. (España) The Match Factory Writer-director Jaime Rosales made his debut feature in 2003 with LAS HORAS DEL DÍA (The Hours Of The Day) presented at the Directors Fortnight in Cannes, where it won the FIPRESCI Prize. After beginning his career as a screenwriter for film and television, Rosales received a grant to attend the International Film and Television School (EICTV) in San Antonio de los Baños, Cuba. From there, he went on to study at the Australian Film Television and Radio School (AFTRS) in Sydney. Rosales, born in Barcelona in 1970, founded the production company Fresdeval Films in 2001. LA SOLEDAD (Solitary Fragments) 2006) Official Selection Cannes Film Festival 2007 – Un Certain Regard LAS HORAS DEL DÍA (2003) FIPRESCI Prize - Director's Fortnight - Cannes 2003.

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