Sílvia Munt
Silvia Munt Quevedo, is a Spanish actress and film director. She has won two Goya Award, Best Actress for her role in Alas de mariposa, Best Short Documentary, Lalia and directed by Munt, she has two brothers. 2006- Remake 2000- Aunque tú no lo sepas 1999- El viaje de Arián 1998- Subjudice 1997- El faro 1996- El dominio de los sentidos 1996- Una piraña en el bidé 1996- Secretos del corazón. 1996- Todo está oscuro 1995- Asunto interno 1995- Éxtasis 1995- Razones sentimentales 1994- La pasión turca 1994- El rey del río 1994- El porqué de las cosas 1993- Nexo 1993- Los baúles del retorno 1993- Bloodline 1992- Cucarachas 1992- El cazador furtivo 1991- Alas de mariposa 1991- Los papeles de Aspern 1987- Quimera 1985- Golfo de Vizcaya 1984- Bajo en nicotina 1984- Le grand voyage 1983- Soldados de plomo 1983- Sal gorda 1983- Akelarre 1982- Pares y nones 1981- La plaza del diamante 2003- Elena Dimitrievna Diakonova. Gala 1999- Lalia 1998- Déjeme que le cuente 2005- Surabaya, by Marc Rosich Teatre Romea, Barcelona.
1996/97- Ángeles en América Tony Kushner. Dir. Josep M. Flotats TNC 1994- La muerte y la doncella Ariel Dorfman. Dir. Boris Rotenstein 1993- Cartas de amor A. R. Gurney. Dir. Josep Costa 1990- Las tres hermanas Anton Chekhov. Dir. Pierre Romans. Cía. J. Ma. Flotats 1990- Trío en Mi bemol Eric Rohmer. Dir. Fernando Trueba. Centro Dramático Nacional. Gira años 91 y 92. 1987- La Filla del Carmesí. J. Ma. de Sagarra. Dir. Jordi Mesalles. 1986- Romeo y Julieta William Shakespeare. Dir. Esteve Polls. 1986- Antígona Salvador Espriu. Dir. Joan Ollé. 1982- Cyrano de Bergerac Edmond Ronstand. Dir. Damià Barbany. 1979- La Blancarrosa, sirena de la mar blava. Damià Barbany. 1977- Sueño de una noche de verano William Shakespeare. Salón Diana. 1977- Canigó J. Verdaguer. Dir. Esteve Polls. In 1987 she creates her own company: Ondina, by J. Giraudoux. Dir. Santiago Sans. La nieta del sol, by Ever M. Blanchet. Dir. Colectiva. 2004 - The Crown, telefilm by Peter de Vamm. 2004 - Palabras mágicas, telefilm by Octavi Masiá. 2003 - Le meilleur commerce du monde, telefilm by Bruno Gantillon.
2003 - Fragmentos, telefilm by Judith Collell. 2001 - Maxima's Miracle, telefilm by Paul Ruven. 2002 - L´aîné des Ferchaux, telefilm in two parts by Bernard Stora. Prod. GMT-TF1. 1998 - Tío Willy. 1995 - Dones i homes, telefilm by Antoni Verdaguer para TV3. 1993 - Arnau, TV3. 1992 - Celia in the role of Madre Corazón, directed by José Luis Borau for Televisión Española. 1989 - El obispo leproso, TVE. 1983 - Teresa de Jesús, TVE. 1981 - La plaza del diamante, TVE. 2006 - Cosses que passen, TV movie. Co-Prod. TV3 y Canal Sur. 2003 - Las hijas de Mohamed. 2000 - Quia. Sílvia Munt on IMDb
Fernando Trueba
Fernando Rodríguez Trueba, known as Fernando Trueba, is a book editor, film director and producer. Between 1974 and 1979 he worked as a film critic for Spain's leading daily newspaper El País. In 1980, he founded the monthly film magazine Casablanca, which he edited and directed during its first two years, he is the editor of Diccionario del Jazz Latino. Among other awards, he has won the Academy Award for Best Foreign Language Film with Belle Époque in 1994, the Goya Award as Best Director three times and a Silver Bear for Year of Enlightment at the 37th Berlin International Film Festival. Miracle of Candeal won the Goya for Best Documentary, Chico and Rita won the Goya for Best Feature Animation. In 1999, The Girl of Your Dreams was nominated for the Golden Bear at the 49th Berlin International Film Festival. In 2011 he won the Award of the Hungarian National Student Jury for Chico and Rita at the 7th Festival of European Animated Feature Films and TV Specials; as a music producer he has won two Grammy Awards and four Latin Grammy Awards.
He is the father of Jonás Trueba. 1980: Ópera prima 1982: Mientras el cuerpo aguante 1983: Sal gorda 1985: Sé infiel y no mires con quién 1986: El año de las luces 1989: La mujer de tu vida: La mujer inesperada 1989: The Mad Monkey / aka Twisted Obsession 1992: Belle Epoque 1995: Two Much 1998: The Girl of Your Dreams 2000: Calle 54 2002: The Shanghai Spell 2004: El milagro de Candeal 2009: El baile de la victoria 2010: Chico and Rita 2012: The Artist and the Model 2016: La reina de España 2000: Calle 54 2002: Lágrimas Negras 2003: We Could Make Such Beautiful Music Together 2004: Bebo de Cuba 2005: Bebo 2006: Paz 2007: Live at the Village Vanguard 2008: Juntos para siempre 2009: Caribe - Michel Camilo Big Band 2010: Española Fernando Trueba on IMDb Official web by Trueba Fernando Trueba Productions web
Montxo Armendáriz
Montxo Armendariz is an award-winning Spanish film director and screenwriter. His film Las cartas, his next film, Historias del Kronen, was entered into the 1995 Cannes Film Festival. Secretos del corazón won several Goya Award, Berlin Film Festival and received the Academy Award nomination for Best Foreign Film. Born on 27 January 1949 in Olleta, Navarra, he was the last hope for his parents, who had lost three baby sons. His father was a farmhand and blacksmith and Armendáriz spent his first year in rural Basque Country, a landscape that would reappear in his filmography, he was six years old when, in 1955, he moved with his parents to Pamplona in search of a better life. At age eighteen, he discovered existentialism in the works of foreign authors. After completing his mandatory military service, he studied electronics, a subject he taught as university professor at the Instituto politecnico de Pamplona. Interested in filmmaking, he joined a film club, studied folklore and performed protest songs and bought a Super 8 camera to make his own short films.
In 1975 he was arrested for protesting the killing of a Basque activist and faced trial on charges of conspiracy. Armendáriz left his teaching profession behind to follow a career as film director, he joined Euskal Zinegille Elkartea, a new association of Basque filmmakers and made a series of documentary shorts on Basque topics including: Barregwrien Dantza and Ikusmena. Ikusmena presents a ten-year-old girl winning a prize in a school painting competition in a narrative disruptive by flashbacks that reveal how her artistic creativity had been stifled by censorship and social pressures. Ikusmena was a success at festivals, but it suffered the inevitability limited distribution of short films. Armendáriz turned towards the more relevant documentary genre and made the eleventh episode in the Ikuska series: La ribera de Navarra; this he followed with Nafarrako Ikazkinack in a portrait of the hard life of charcoal burners. It was while making this project that the director met Tasio Ochoa, who inspired his first feature-length film.
Tasio, Armendáriz's debut as full-length feature film director, traces the generational history of the title character, a charcoal burner in the Urbasa mountains, whose threaten way of life is detail in a series of elliptical sequences in a visual style that approximates ethnographic cinema. Produced by Elias Querejeta, who worked on the screenplay, Tasio is played by three actors at different ages. Tasio's realism demanded a three months shoot that involved the actors living and working in primitive conditions. Tasio placed Armendáriz as an emerging talented director to be considered. Two year he made his second film 27 horas which center in a group of youngsters in San Sebastián involved with by drug addiction and delinquency, it was part of a popular trend of Spanish films focused in youth problems that it was falling out of favor by the time this film was released. 27 hours won the Silver Shell at the San Sebastián International Film Festival. In 1990, Armendáriz returned to the ethnographic style of his first film with: Las Cartas de Alao, a narrative that follows a Senegalese black young man who arrives in Spain as an illegal immigrant and has to confront personal and institutional discrimination.
Well received by film critics, Las Cartas de Alou won the Golden Shell as best film at the San Sebastian film festival and Armendáriz received a Goya Award and the Spanish guild award of film writers in the original screenplay category. Armendáriz reached wide popular success with his third film Historias del Kronen Stories from the Kronen, about alienated upper class young friends in Madrid, who meet at the bar that gives the film its title, it was adapted from a novel by José Angel Mañas in an Elias Querejeta's production. The film, starring Juan Diego Botto and Jordi Mollà, follows two close friends filling their summer vacation with sex and rock; the film became emblematic of the Spanish young generation of the 1990s. Armendáriz subsequent film became his best regarded artistic success Secretos del Corazon. An intimist drama that centers on Javi, a nine-year-old boy who while visiting relatives in rural Navarre during the early 1960s discovers the world of the adults; the film reflected the director's own nostalgic views of his childhood in the Navarrese countryside, portraying with sensibility the growing up of the child.
Secretos del Corazon received a number of awards and was Spain's candidate to the Academy Awards in the foreign language film category that year. In 1999 Armendáriz founded his own production company Oria films with Pui Oria. Two years he directed his next film Silencio Roto, a story about Maquis, the guerilla fighters that confronted the Francoist forces in the aftermath of the Spanish civil war; the director's subsequent project was a return to his origins as a documentarist, making Escenario Movil which follows the itinerant life of a musician through different musical venues. A year Armendáriz directed Obaba, a fragmented tale based on the compilation of short stories book Obabakoak written by Bernardo Atxaga. Armendáriz most recent film No tengas miedo stars Michelle Jenner as Silvia a young woman confronting her past as an abused child. At Gijón International Film Festiv
Ángeles González-Sinde
Ángeles González-Sinde Reig is a Spanish scriptwriter, film director and politician. She was Culture Minister of Spain from April 2009 until December 2011. González-Sinde studied Classics at the Complutense University of Madrid and did a Masters in Cinema Scriptwriting at the AFI Conservatory in Los Angeles, she was president of AACCE since 2006 until April 2009. Her appointment was received with anger and rejection by the Spanish Internet Community, due to González-Sinde's opposition to P2P file sharing and the alleged conflict of interest due to her ties to the film industry. A strict anti-piracy law enacted in Spain in December 2011 has become known colloquially as Ley Sinde, or the Sinde Law, as she was seen as the primary backer of the measure, she is the daughter of José María González-Sinde, Sr.. Her brother, José María González-Sinde, Jr. is involved in the film industry. La casa de los líos —television series. La buena estrella, by Ricardo Franco. Lágrimas negras, by Ricardo Franco. Segunda piel, by Gerardo Vera.
Las razones de mis amigos, by Gerardo Herrero. Antigua vida mía, by Héctor Olivera. Cuéntame cómo pasó — television series. El misterio Galíndez, by Gerardo Herrero. Manolito Gafotas, by Antonio Merecero. La suerte dormida. La vida que te espera, by Manuel Gutiérrez Aragón. La puta y la ballena, by Luis Puenzo. Madrid 11M: Todos íbamos en ese tren, by several directors. Entre vivir y soñar, by Alfonso Albacete and David Menkes. Heroína, by Gerardo Herrero. Los aires difíciles, by Gerardo Herrero. Todos estamos invitados, by Manuel Gutiérrez Aragón. Una palabra tuya. Mentiras y Gordas. La suerte dormida. Madrid 11M: Todos íbamos en ese tren — «Como los demás». Una palabra tuya. Goya Award for La buena estrella, by Ricardo Franco. Goya Award for Best New Director for La suerte dormida. Prize Turia for Best New Work La suerte dormida. XX Festival de Cine Español de Málaga, Best Script for Heroína, by Gerardo Herrero. Premio Planeta de Novela, runner-up for El buen hijo On April 2009, Ángeles González-Sinde was appointed Culture Minister.
This sparked a movement against her from the Spanish Internet users community, represented by the Asociacion de Internautas. They stated that she was unable to fulfill the needs and obligations of her position because of a conflict of interest, as she had personal ties with businesses involved in the film industry and would not be impartial. Moreover, Spanish law 5/2006 of April 10, 2006 regulates conflicts of interest among high-ranking positions in the Spanish government. Ángeles González Sinde on IMDb
Fernando León de Aranoa
Fernando León de Aranoa is a Spanish screenwriter and film director. He achieved acclaim with his film Mondays in the Sun. Since early childhood Fernando León de Aranoa wanted to become an artist, he had a passion for comics that led him to study art. It was while taking classes of Image, he studied literature and writing. He began winning awards for his narratives. Meanwhile, he had a job drawing for an advertising agency, but quit the job to pursue a career as a screenwriter. With help from his literature and writing teachers, he found a job writing scripts for television, he became involved in films for the first time as a screenwriter on three undistinguished films directed by Antonio del Real. León de Aranoa moved on to become a director, making the short film Sirenas which received a number of awards, his first feature film was Familia, for which he wrote the screenplay. For this film León de Aranoa was given the Goya Award for Best New Director, as well as the Audience Award and Special Mention from FIPRESCI at the Valladolid SEMINCI festival.
The screenplay was adapted into a theatrical play produced in several countries. In 1998 he directed Barrio, a portrait of the lives of three young teens in a slum. Thanks to this film, León de Aranoa received the Goya Awards for Best Director and Best Original Screenplay; the film was presented in the official section of the San Sebastian Festival, where León de Aranoa earned the Silver Shell for Best Director. The film received other major awards such as the FIPRESCI Prize, the Fotogramas de Plata Award for Best Spanish Film, the José María Forqué Prize, the Sant Jordi Award and the Turia Award. In 2002 he directed Mondays in the Sun, starring Javier Bardem, which became a major winner at the Goya Awards that year, winning five awards including Best Picture and Best Director; the film triumphed in the San Sebastian Film Festival, winning the Golden Shell for Best Film. The Spanish Academy of Arts and Cinematographic Sciences selected the film to represent Spain at the Oscars in the category of Best Foreign Language Film, although it ended up not being one of the five films nominated.
Princesses would be his fourth film as director and screenwriter, his debut as a producer after he created his own production company, Reposado. The film was seen by more than a million viewers, received three Goya Awards from the Spanish Academy of Cinema, for Best Actor, Best Actress and Best Original Song, composed by Manu Chao; the Ondas Awards gave Princesses its Film of the Year Best Film Actors Award. The film was part of the official selection of the Sundance Film Festival; as a documentary filmmaker León de Aranoa directed the Mexican film Walkers, which won festival awards in Havana, Los Angeles, New York City and Alcalá de Henares. In 2007 he took part in the documentary Invisibles directing the chapter entitled "Buenas Noches, Ouma"; this documentary featured the participation of the directors Mariano Barroso, Isabel Coixet, Wim Wenders and Javier Corcuera and was given the Goya Award for Best Documentary. In addition, in 1994 he collaborated in the direction of Izbieglize, in 2000 he wrote the script for the documentary The Back of the World.
In addition to writing his own films, León de Aranoa has worked as a screenwriter for other directors. He has published several short stories, he has worked as a cartoonist and illustrator. His film A Perfect Day was selected to be screened in the Directors' Fortnight section at the 2015 Cannes Film Festival. Familia Barrio Caminantes Mondays in the Sun Princesses Amador A Perfect Day Política, manual de instrucciones Escobar Fernando León de Aranoa on IMDb
Baroque
The Baroque is a ornate and extravagant style of architecture, painting and other arts that flourished in Europe from the early 17th until the mid-18th century. It preceded the Rococo and Neoclassical styles, it was encouraged by the Catholic Church as a means to counter the simplicity and austerity of Protestant architecture and music, though Lutheran Baroque art developed in parts of Europe as well. The Baroque style used contrast, exuberant detail, deep colour and surprise to achieve a sense of awe; the style began at the start of the 17th century in Rome spread to France, northern Italy and Portugal to Austria and southern Germany. By the 1730s, it had evolved into an more flamboyant style, called rocaille or Rococo, which appeared in France and central Europe until the mid to late 18th century; the English word baroque comes directly from the French, may have been adapted from the Portuguese term barroco, a flawed pearl. Both words are related to the Spanish term berruca; the term did not describe a style of music or art.
Prior to the 18th century, the French baroque and Portuguese barroco were terms related to jewelry, An example from 1531 uses the term to describe pearls in an inventory of Charles V's treasures. The word appears in a 1694 edition of Le Dictionnaire de l'Académie Française, which describes baroque as "only used for pearls that are imperfectly round." A 1728 Portuguese dictionary describes barroco as relating to a "coarse and uneven pearl."The French term for the artistic style may have had roots in the medieval Latin word baroco, a philosophical term, invented in the 13th century by scholastics to describe a complicated type of syllogism, or logical argument. In the 16th century the philosopher Michel de Montaigne associated the term'baroco' with "Bizarre and uselessly complicated." In the 18th century, the term was used to describe music, was not flattering. In an anonymous satirical review of the première of Jean-Philippe Rameau's Hippolyte et Aricie in October 1733, printed in the Mercure de France in May 1734, the critic wrote that the novelty in this opera was "du barocque", complaining that the music lacked coherent melody, was unsparing with dissonances changed key and meter, speedily ran through every compositional device.
In 1762, Le Dictionnaire de l'Académie Française wrote that the term could be used figuratively to describe something "irregular, bizarre or unequal."Jean-Jacques Rousseau, a musician and composer as well as philosopher, wrote in 1768 in the Encyclopédie: "Baroque music is that in which the harmony is confused, loaded with modulations and dissonances. The singing is harsh and unnatural, the intonation difficult, the movement limited, it appears that term comes from the word'baroco' used by logicians."In 1788, the term was defined by Quatremère de Quincy in the Encyclopédie Méthodique as "an architectural style, adorned and tormented". The terms "style baroque" and "musique baroque" appeared in Le Dictionnaire de l'Académie Française in 1835. By the mid-19th century, art critics and historians had adopted the term as a way to ridicule post-Renaissance art; this was the sense of the word as used in 1855 by the leading art historian Jacob Burkhardt, who wrote that baroque artists "despised and abused detail" because they lacked "respect for tradition."Alternatively, a derivation from the name of the Italian painter Federico Barocci has been suggested.
In 1888, the art historian Heinrich Wölfflin published the first serious academic work on the style, Renaissance und Barock, which described the differences between the painting and architecture of the Renaissance and the Baroque. The Baroque style of architecture was a result of doctrines adopted by the Catholic Church at the Council of Trent in 1545–63, in response to the Protestant Reformation; the first phase of the Counter-Reformation had imposed a severe, academic style on religious architecture, which had appealed to intellectuals but not the mass of churchgoers. The Council of Trent decided instead to appeal to a more popular audience, declared that the arts should communicate religious themes with direct and emotional involvement. Lutheran Baroque art developed as a confessional marker of identity, in response to the Great Iconoclasm of Calvinists. Baroque churches were designed with a large central space, where the worshippers could be close to the altar, with a dome or cupola high overhead, allowing light to illuminate the church below.
The dome was one of the central symbolic features of baroque architecture illustrating the union between the heavens and the earth, The inside of the cupola was lavishly decorated with paintings of angels and saints, with stucco statuettes of angels, giving the impression to those below of looking up at heaven. Another feature of baroque churches are the quadratura. Quadratura paintings of Atlantes below the cornices appear to be supporting the ceiling of the church. Unlike the painted ceilings of Michelangelo in the Sistine Chapel, which combined different scenes, each with its own perspective, to be looked at one at a time, the Baroque ceiling paintings were created so the viewer on the floor of the church would see the entire ceiling in correct perspective, as if the figures were real; the interiors of baroque churches became more and more ornate in the High Baroque, an
Seattle International Film Festival
The Seattle International Film Festival, held annually in Seattle, Washington since 1976, is among the top film festivals in North America. Audiences have grown steadily; the SIFF runs for more than three weeks, in May/June, features a diverse assortment of predominantly independent and foreign films, a strong contingent of documentaries. SIFF 2006 included more than 300 films and was the first SIFF to include a venue in neighboring Bellevue, after an ill-fated early attempt. However, in 2008, the festival was back to being in Seattle, had a slight decrease in the number of feature films; the 2010 festival featured over 400 films, shown in downtown Seattle and its nearby neighborhoods, in Renton and Juanita Beach Park. The festival began in 1976 at the Moore Egyptian Theater; the first five festivals were held at The Moore Egyptian, now back under its earlier name the Moore Theater and functioning as a concert venue. When founders Dan Ireland and Darryl Macdonald of the Moore Egyptian lost their lease, they founded the Egyptian theater in a former Masonic Temple on Seattle's Capitol Hill.
The Egyptian theater remains a prime festival venue to this day, although the festival now uses about half a dozen cinemas, with the exact roster varying from year to year. During the 1980s, SIFF audiences developed a reputation for appreciating films that did not fit standard industry niches, such as Richard Rush's multi-layered The Stunt Man. SIFF was instrumental in the entry of Dutch films into the United States market, including the first major American debut for director Paul Verhoeven; the festival includes a component, unique among major film festivals: a four-film "Secret Festival". Those who attend the Secret Festival do not know in advance what they will see, they must sign an oath that they will not reveal afterwards what they have seen. In general, SIFF has a reputation as an "audience festival" rather than an "industry festival"; the festival partially overlaps the Cannes Film Festival, which can reduce attendance by industry bigwigs. The SIFF group curates the Global Lens film series, the Screenwriters Salon, Futurewave, coordinates SIFF-A-Go-Go travel programs, co-curates the 1 Reel Film Feastival at Bumbershoot and the Sci-Fi Shorts Film Festival at the Science Fiction Museum and Hall of Fame.
In 2006, Longhouse Media launched the SuperFly Filmmaking Experience, in partnership with the Seattle International Film Festival, which brings youth together from diverse backgrounds to work collaboratively on film projects that promote awareness of indigenous issues and mutual understanding of each other's cultures. Fifty youth from across the United States arrive in Seattle to travel to a local Pacific Northwest reservation to create 4 films in 36 hours. November 28, 2006, SIFF and Seattle mayor Greg Nickels announced that SIFF would soon have a home and a year-round screening facility in what has been the Nesholm Family Lecture Hall of McCaw Hall, the same building at Seattle Center that houses the Seattle Opera; the city contributed $150,000 to the $350,000 project. This auditorium was the site of most press screenings. Shortly after the 2011 festival, SIFF moved its operations to the SIFF Film Center on the Seattle Center campus; the Film Center includes a 90-seat multi-use theater, multi-media classroom, exhibition spaces and offices for SIFF and the Film School.
In October 2011, SIFF Cinema moved from McCaw Hall to its current location in the Uptown Theater. SIFF utilizes all three of the Uptown's three screens for year-round programming. SIFF has year round programming for four screens in Seattle. In May 2014 it was announced that SIFF had purchased the Uptown Theater, would be leasing and renovating the Egyptian Theater from Seattle Central College. Since 1985, the Seattle International Film Festival has awarded the Golden Space Needle award each year to the festival's most popular movie. Ballots are cast by audience members at the end of each movie. Previous winners of the Golden Space Needle include Whale Rider for 2003, Trainspotting for 1996, Kiss of the Spider Woman for 1985 and Boyhood for 2015, the latter two being the only films to be nominated for the Academy Award for Best Picture and win the Golden Space Needle. Among the films that have received North American or world premieres at SIFF are: Alien – Ridley Scott Arafat, My Brother – Rashid Masharawi Banlieue 13 – Pierre Morel Burning in the Wind – Silvio Soldoni Cafe Society – Woody Allen Creature – Parris Patton Ghost World – Terry Zwigoff I Murder Seriously – Antonio Urrutia Joshua Tree, 1951: A Portrait of James Dean – Matthew Mishory Last Days – Gus Van Sant Mars – Anna Melikian Mongolian Ping Pong – Ning Hao Monster House – Gil Kenan Nate Dogg – Thomas Farone PTU – Johnny To Time Trap – Mark Dennis & Ben Foster Tomorrow's Weather – Jerzy Stuhr List of film awards Official website Official SIFF Flickr Page SIFF celebrates 30 years of movie
