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Libertador se proyectará en Estados Unidos desde el 3 de octubre

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El filme venezolano Libertador, protagonizado por Edgar Ramírez y dirigido por Alberto Arvelo, comenzará a ser proyectado en salas de cine de 21 ciudades de Estados Unidos desde el próximo 3 de octubre.

La película será exhibida en Nueva York, Los Ángeles, San Francisco y Miami, entre otras ciudades, refiere una nota de prensa. (más…)

“Saluda al diablo de mi parte” la nueva película de Edgar Ramírez

SALUDA AL DIABLO DE MI PARTE

La película “Saluda al diablo de mi parte”, es la historia de Ángel (Édgar Ramírez) y su hija, quienes son raptados por un poderoso hombre llamado Léder (Ricardo Vélez), quien en el pasado habría sido víctima de un grupo de secuestradores del que hacía parte Ángel. Durante el secuestro perdió la movilidad de sus piernas, y ahora, varios años después, obligado a estar en una silla de ruedas, y acompañado de su hermana Helena (Carolina Gómez), Léder está dispuesto a todo con tal de lograr venganza contra quienes destruyeron su vida. Contra su voluntad, Ángel deberá ser el instrumento de retaliación, aniquilando a todos los que participaron en el secuestro de Léder y quienes alguna vez fueron sus compañeros, si es que quiere volver ver a su hija con vida. (más…)

Photos Canal+ TV show ‘Le Grand Journal’ at Cannes Film Festival

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He subido nuevas fotos de Edgar Ramírez en el show de televisión Canal + ‘Le Grand Journal’ en el 63 Festival de Cine de Cannes el 19 de mayo 2010 en Cannes.

I’ve uploaded new photos of Edgar Ramirez at the Canal+ TV show ‘Le Grand Journal’ at the 63rd Cannes Film Festival on May 19, 2010 in Cannes.



Gallery Link: Canal+ TV show ‘Le Grand Journal’ at Cannes Film Festival on May 19, 2010 in Cannes.

Photos: daylife

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Photos red carpet for the screening of the film Poetry

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He subido nuevas fotos de Edgar Ramírez en la llegada en la alfombra roja para la proyección de la película Poetry del director Lee Chang-dong en competición en la 63 ª Festival de Cannes 19 de mayo 2010.

I’ve uploaded new photos of Edgar Ramirez at the arrive on the red carpet for the screening of the film Poetry by director Lee Chang-dong in competition at the 63rd Cannes Film Festival May 19, 2010.

Gallery Link:Premiere film Poetry Cannes Film Festival on May 19, 2010 in Cannes

Photos: daylife

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Cannes Film Festival Review: “Carlos”

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“Carlos” is everything “Che” wanted to be and much, much more—a dynamic, convincing and revelatory account of a notorious revolutionary terrorist’s career that rivets the attention during every one of its 321 minutes. In what is certainly his best work, French director Olivier Assayas adopts a fleet, ever-propulsive style that creates an extraordinary you-are-there sense of verisimilitude, while Edgar Ramirez inhabits the title role with arrogant charisma of Brando in his prime. It’s an astonishing film.

Like “Che,” “Carlos” carries with it an unwieldy running time that will limit wide theatrical release, although it will thrive on television and DVD; the work’s roots as a French TV production are what cost it a competition berth at Cannes, where it world premiered as a non-competing title in the official selection. On the other hand, the vast majority of people keen to see “Carlos” will certainly want to opt for the full five-hour-plus wide-screen experience rather than the two-and-a-half-hour theatrical version Assayas has prepared. And for all its rigor, “Carlos,” unlike “Che,” produces real movie-movie excitement, action, sex and suspense, which will help generate a considerable worldwide public.

This review continues after the jump.

Carlos, born Ilich Ramirez Sanchez and later popularly known as “Carlos the Jackal,” allegedly due to a copy of Frederick Forsyth’s “The Day of the Jackal” having once been found among his belongings, is a Venezuelan Marxist whose first steps on his violent path came in league with radical Palestinians in the early 1970s. Taking significant financial backing, first from Saddam Hussein, then from Syria, Libya , East Germany and eventually wherever he could find it, Carlos pulled a few, mostly botched actions before killing two French investigators in Paris before staging his most audacious operation, the kidnapping of OPEC oil ministers in Vienna in December, 1975. Implementing isolated attacks from bases in Eastern Europe and Syria, he finally had nowhere to go but the Sudan, where he was snatched by French agents in 1994 and removed to France, where he remains in prison under life sentence.

Among so many other qualities, one element hat vividly pops out from the film’s vibrant fabric are the numerous scenes in which government officials from Arab and Eastern bloc countries directly order, sponsor or otherwise facilitate terrorism and mayhem in other nations. Some may shrug that the world has known about this sort of thing all along, but it’s quite another thing to see, on the big screen, then-KGB chief and future Soviet leader Yuri Andropov directly ordering the assassination Egyptian President Anwar Sadat, or top Syrian leaders telling Carlos it’s time to give the French a dose of their own medicine by ordering bombings in Paris.

I can’t recall ever seeing scenes quite like these in any movie, and they are bracing. One can only assume Assayas and co-screenwriter Dan Franck, working from an original idea by producer Daniel Leconte and with the assistance of historical advisor Stephen Smith, have done scrupulous homework where such matters are concerned, just as they have been clinically honest in documenting Carlos’ vain interest in liposuction and the concurrent testicular malady that enabled his abduction.

Just about everyone who populates this film is, or was, bad news; the young revolutionaries are violent, delusional, childish in their self-absorption, heedless of human life while professing solidarity with “the people” and handy with all the leftist slogans of the time. To be anywhere near Carlos’ ever-shifting inner circle, “comrades” had to be genuinely committed—he chides anyone he finds unserious as only playing games while he, essentially a revolutionary by birth, considered himself at war.

The film’s scope, range and ambition are incredible; it’s set in at least 16 countries over a 21-year period, and at all times features the characters speaking the languages they would have spoken in the relevant situations—Carlos himself shifts effortlessly among Spanish, English, French, German, Russian and Arabic. An untold number of supporting and bit players pop vividly to life for however many moments they’re onscreen, and the film maintains an exceptional balance between a relentless forward movement and a certain artistic stability—the jagged jump-cutting of editors Luc Barnier and Marion Monnier keeps one’s attention from flagging at any time, but even though the photography is nimble to the point of feeling on-the-run, the camera is always in the right place to maximize the effect of a scene, with Assayas and cinematographers Yorick Le Saux and Denis Lenoir having resisted any temptation to indulge in jittery, whiplash effects.

But perhaps Assayas’ greatest accomplishment is making you feel you’ve entered Carlos’ world. Of course, this is drama, “fiction” rather than documentary or re-enactment, but the film is so convincing that it persuades you this is essentially the way it was. There are few so completely transporting historical movies, in that it drops the viewer down in another world and time without evident artifice, doctoring, nostalgia, revisionist thinking or overt political agenda. Those with a continuing stake in the causes involved or their own memories of the times can be counted upon to dispute this or that, but as a time machine “Carlos” functions brilliantly.

When first seen here, at age 23 in 1973, Ramirez’s Carlos has the same handsome, slightly puffy features as the young Brando (with hints of Mark Ruffalo and Val Kilmer in the bargain), along with the same impudent, bad boy look in his eyes that simultaneously questions all authority, suggests that anything is possible with him and is highly seductive. Ramirez, who played Keira Knightley’s boyfriend in “Domino” and had small parts in “The Bourne Ultimatum” and “Che,” takes complete command of his role from the outset, displaying the ease and confident movements of a large cat, suggesting an ability to never tip his hand until he plays it and indicating the mental agility of a chess master who thinks many moves ahead. It’s a beautifully naturalistic performance, shorn of theatrical mannerisms or grandstanding, other than those that might be displayed by the character at chosen moments, and one that ages internally as well as in the man’s progressive bulk.

Carlos’ early patron is Wadie Haddad (the compactly menacing Ahmad Kaabour), co-founder of the radical Popular Front for the Liberation of Palestine, on whose behalf Carlos attempts the assassination of the Jewish head of Marks & Spencer in London. He’s also involved in the background of some other botched jobs in England and on the continent, notably a hostage-taking at the French Embassy in The Hague in league with the Japanese Red Army and two tries at blowing up El Al jets with rocket-propelled grenades at Orly Airport.

Through it all, Carlos manages to keep a low profile and his identity a secret, while juggling attractive girlfriends and turning them on with firearms—“Weapons are an extension of my body,” he explains to one. When the French police close in on him for the first time, however, the result is a scene that induces sweaty anxiety and tremendous uncertainty the way Assayas stages it, in that you have no idea what’s coming.

The aftermath leads Carlos to South Yemen, where Haddad puts him in charge of a Saddam-financed plot to take over an upcoming conference of OPEC oil ministers in Vienna, put them on a plane to Algiers and kill the ministers from Saudi Arabia and Iran. It’s a cliffhanger ending to the 99-minute part one.

The actual hijacking incident, which occupies roughly the first half of the 104-minute part two, represents a masterpiece of sustained suspense, although not in the conventional sense. Rather than presenting it in the expected hyped-up, artificially stimulated Hollywood manner, Assayas achieves something close to a sense of real time as he mixes moments of dynamic action with charged but quiet talks, such as when Carlos informs the Saudi that he will soon die, and an agonizing period of waiting aboard the DC-9 as it sits in Algiers, is flown to Tripoli, then back to Algiers, while complex high-level negotiations go on in the background, and the hostages and kidnappers both become spent with exhaustion and tension. It’s a set-piece that lasts half the length of a regular movie and is utterly brilliant.

After returning to Yemen and getting kicked out of Haddad’s organization, Carlos regroups with a small cell in East Berlin, then Budapest, from where he tells his patrons that he can launch operations anywhere. This is basically the beginning of Carlos “mercenary” period, during which he becomes a master weapons supplier between the Eastern Bloc and radicals elsewhere and freely operates under Syrian diplomatic protection. Assigned the Sadat hit, Carlos is furious when he’s beaten to the punch, and some of his colleagues get arrested or begin to fall away. But he has reliable cohorts in Magdalena Kopp (Nora von Waldstatten), his girlfriend and, later, wife, and German stalwart Hans-Joachim Klein (Christoph Bach).

With Magdalena and numerous others, Carlos’ relations with women are crucial. Dangerous and sexy, he is catnip to many, whether they know who he was or not, and his ability to manipulate and control them is an enormous help. The scenes between Carlos and his women vibrate with mutual attraction, often accompanied by a teasing quality, adding a sexual charge to the politics and armed conflict of the main action.

Inevitably, part three, which runs the longest at 118 minutes and covers 15 years, is devoted to decline and fall; the support dries up, the operations seem more arbitrary and pointless, relations among comrades becomes fraught and Carlos, at 30, slides into dissolution on his way to becoming “a historical curiosity.” Aiming mainly at French targets, the group is fractured by arrests and imprisonment and, once the Berlin Wall comes down, Hans-Joachim tells Carlos, “The war is over, and we’ve lost.” After getting out of prison, Magdalena splits along with their baby, while Carlos takes sanctuary in the only place that will offer it, Khartoum, where he embraces Islam (after a fashion) and teaches T.E. Lawrence’s theories of guerrilla warfare. No screenwriter could have dreamed up the bizarre details of Carlos’ eventual vulnerability and capture, but they vastly enrich the dense of fabric of the film, which, like “Lawrence of Arabia,” winds down as the life does.

Never dull or slack and crammed with so much incident, character and detail you can’t possibly soak it all in as it charges past you, “Carlos” enters deep and dangerous waters as it takes on biography (of a still-living figure), international politics, terrorism, history, religion, sex and much more and handles all the issues with staggering dexterity, intelligence and skill. It’s terrific.


Source: blogs.indiewire.com/toddmccarthy/

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Photos red carpet for the screening of the film Carlos at the 63rd Cannes Film Festival

He subido nuevas fotos de Edgar Ramírez en la llegada en la alfombra roja para la proyección de la película de Carlos en el 63 Festival de Cannes 19 de mayo 2010.

I’ve uploaded new photos of Edgar Ramirez at the arrive on the red carpet for the screening of the film Carlos at the 63rd Cannes Film Festival May 19, 2010.

Gallery Link: Premiere Carlos Cannes Film Festival on May 19, 2010 in Cannes
Photos:
daylife

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Photos of Edgar in the 63rd Cannes Film Festival

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He subido nuevas fotos de Edgar Ramírez durante la 63 ª Festival de Cine de Cannes el 18 de mayo 2010 en Cannes.

I’ve uploaded new photos of Edgar Ramirez at the 63rd Cannes Film Festival on May 18, 2010 in Cannes.


Gallery Link:The 63rd Cannes Film Festival on May 18, 2010 in Cannes

Photos:daylife

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Carlos to be released in two versions

We’ll be given the choice between two different versions of Oliver Assayas’ film Carlos this Fall — as a 6-hour mini-series on the Sundance Channel in October, or later this year in a theatrical cut released by IFC on the big screen.

Sundance Channel and IFC Films announced plans today for a multi-platform release of the highly anticipated film, CARLOS. The five-and-a-half-hour epic is the definitive portrait of the renowned international terrorist known as Carlos the Jackal, who masterminded a wave of terror attacks in Europe and the Middle East in the ‘70s and ‘80s. Produced by Studio Canal in association with Sundance Channel, the film is Sundance Channel’s first original scripted project and is scheduled to premiere on the network as a three-part mini-series in October. Following the Sundance Channel premiere, IFC Films, one of the leading American distributors of independent and foreign films, will distribute both the extended, three-part version of the film as well as a theatrical version nationally in theaters, with the theatrical version available nationally on video-on-demand. Sundance Channel and IFC Films are owned and operated by Rainbow Media.

Directed by acclaimed French filmmaker Olivier Assayas (SUMMER HOURS), the film stars Edgar Ramirez (CHE) in the title role. CARLOS was chosen for the Official Selection at the 2010 Cannes Film Festival and will screen Wednesday, May 19 at 12pm at the Grand Théâtre Lumière.

“Every so often a project like CARLOS comes along that presents a one-of-a-kind opportunity to do something different that will maximize its potential and its exposure,” said Sarah Barnett, Executive Vice President and General Manager, Sundance Channel. “CARLOS is a thrilling adventure, the type of provocative, adventurous fare our viewers crave. We’re excited to partner with our colleagues at IFC Films to make this exceptional film available through an unprecedented multi-platform offering.”

“We’re looking forward to working with our sister company Sundance Channel on the multi-platform release of CARLOS. IFC Films pioneered the day and date VOD model, and we pride ourselves on releasing films in unique ways which will expand the audience for each project,” said Jonathan Sehring, President, IFC Entertainment. “We’re excited to continue our ongoing relationship with Studio Canal and are happy to be working with Olivier once again. His last film, Summer Hours, was such a success for us and we’re excited to bring his newest work to audiences on multiple platforms.”

His name is Ilich Ramirez Sanchez, but everybody calls him Carlos. For two decades, he was the most wanted terrorist on earth. Manipulated by Arab secret services, protected by the Eastern Bloc, in various disguises and under many pseudonyms, he headed a worldwide organization responsible for spectacular killings, hijackings and bombings.

CARLOS examines the life of this infamous criminal, who was alternately seen as a hero, playboy and revolutionary or a villainous assassin. Starring Venezuelan actor Edgar Ramirez (CHE, DOMINO) in the lead role, CARLOS includes a sweeping cast of international talent from France, Germany, Japan and the Middle East, and was shot in various countries including Austria, France, Germany, Hungary, Lebanon and Morocco.

Carlos  sera estrenada en dos versiones

Vamos a tener la posibilidad de elegir entre dos versiones diferentes de la película de Oliver Assayas Carlos este otoño – como un serie de 6 horas  en el Canal Sundance en octubre, o más tarde este año en los  cines estrenado por IFC en la gran pantalla .


Sundance Channel y IFC Films anunció hoy sus planes para un lanzamiento multiplataforma de la película muy esperada, CARLOS. La épica de cinco horas y media de duración es el retrato definitivo del  terrorista internacional conocido como “Carlos el Chacal, que fue el cerebro de una ola de ataques terroristas en Europa y Oriente Medio en los años 70 y 80. Producido por Studio Canal, en asociación con Sundance Channel, la película es el primer proyecto con guión original de Sundance Channel y está programado para estrenarse en la red como un mini-serie de tres partes en octubre. Tras el estreno de Sundance Channel, IFC Films, uno de los principales distribuidores estadounidenses de películas independientes y extranjeras, distribuirá tanto la versión extendida, en tres partes de la película, así como una versión teatral a nivel nacional en los cines, con la versión teatral disponible a nivel nacional en el vídeo . Sundance Channel y IFC Films son propiedad y están manejados por Rainbow Media.

Dirigida por el aclamado cineasta francés Olivier Assayas (SUMMER HOURS), la película está protagonizada por Edgar Ramírez (CHE) en el papel protagonista. Carlos fue seleccionado para la Sección Oficial en el 2010 Festival de Cine de Cannes y será proyectado Miércoles, 19 de mayo a las 12h en el Gran Teatro Lumière.

“De vez en cuando un proyecto como CARLOS viene que presenta una oportunidad única en su tipo, a hacer algo diferente que maximicen su potencial y su exposición”, dijo Sarah Barnett, vicepresidente ejecutivo y gerente general de Sundance Channel. “Carlos es una emocionante aventura, el tipo de tarifa de provocación, aventurero anhelan nuestros televidentes. Estamos muy contentos de asociarnos con nuestros colegas de IFC Films para hacer esta película excepcional disponibles a través de una oferta sin precedentes, multi plataforma. “

“Estamos deseando trabajar con nuestra empresa hermana, Sundance Channel, sobre la liberación multi plataforma de CARLOS. IFC Films fue pionero en el día y la fecha modelo de VOD, y estamos orgullosos de lanzar las películas de una forma única que permitirá ampliar la audiencia para cada proyecto “, dijo Jonathan Sehring, Presidente, IFC Entertainment. “Estamos muy contentos de continuar nuestra relación continua con Studio Canal y estamos contentos de trabajar con Olivier, una vez más. Su última película, Las horas del verano, fue un éxito para nosotros y estamos entusiasmados de ofrecer su más reciente trabajo a audiencias en múltiples plataformas. “

Su nombre es Ilich Ramírez Sánchez, pero todo el mundo lo llama Carlos. Durante dos décadas, fue el terrorista más buscado del planeta. Manipulado por los servicios secretos árabes, protegido por el Bloque Oriental, con varios disfraces y bajo muchos seudónimos, se dirigió hacia una organización mundial responsable de asesinatos espectaculares, secuestros y atentados.

CARLOS examina la vida de este criminal infame, que fue visto alternativamente como un héroe, playboy y revolucionario o un asesino malvado. Protagonizada por el actor venezolano Edgar Ramírez (CHE, DOMINO) en el papel principal, CARLOS incluye un elenco de barrido de talento internacional de Francia, Alemania, Japón y Oriente Medio, y fue filmado en varios países, como Austria, Francia, Alemania, Hungría, Líbano y Marruecos.

Source: awardsdaily


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Edgar Ramírez producirá otra película venezolana

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Tras el éxito de Venezzia, película en la que Edgar Ramírez fue productor ejecutivo, el director Haik Gazarian y el actor se vuelven a juntar en otro proyecto cinematográfico. “Es una historia de amor vista desde varias perspectivas dentro de lo que fue el fenómeno global de las telenovelas en Venezuela a finales de los años 80 y su impacto en una pareja de un pueblito venezolano, el canal que la producía, una pareja en el exterior al ver la telenovela, y la pareja que protagoniza la novela dentro de la historia”, contó Gazarian vía correo electrónico.

El director explicó que se trata de una producción de corte musical muy compleja, que se proyecta empezar a rodar en el 2011 en Venezuela, Colombia, España y Rumania. El reparto aún no está definido.

Venezzia, historia de amor que se desarrolla en el Caribe venezolano durante la Segunda Guerra Mundial, está protagonizada por Ruddy Rodríguez y el ex RBD Alfonso Herrera. Hasta ahora lleva varios premios internacionales como Mejor Película Extranjera (Histórica) en el reciente Sonoma International Film Festival; Mejor Actor (Herrera) en el Canada International Film Festival; y Mejor película y guión en el AFFMA International Film Festival 2009, entre otros.


Edgar Ramirez producer another Venezuelan film

Following the success of Venezzia, film in which Edgar Ramirez was the executive producer,director Haik Gazarian and actor are together again in another film project.”It’s a love story as seen from various perspectives within what was the global phenomenon of Soap opera. in Venezuela in the late 80s and impact a couple on a village of Venezuela, the channel that produced it, a couple in the outside to see the Soap opera, and the couple who stars in the novel within the story, ” Gazarian told via email.

The director explained that it is cutting production complex musical, which is projected to start shooting in 2011 in Venezuela, Colombia, Spain and Romania. The cast has not been defined.

Venezzia, love story that takes place in the Venezuelan Caribbean during World War II, stars Ruddy Rodriguez and ex RBD Alfonso Herrera. Until now has several international awards including Best Foreign Film (History) at the recent Sonoma International Film Festival, Best Actor (Herrera) in the Canada International Film Festival and Best Picture and Screenplay in AFFMA International Film Festival 2009, among others.

Source: eluniversal

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La guía de lo que hay que ver en el 2010!

Saluda al Diablo de mi Parte
Dirigida por Juan Felipe Orozco

El equipo colombiano detrás de la notable Al Final del Espectro viene a la carga con su segundo largometraje, una película que se aleja de los clichés colombianos para presentarnos un producto de exportación, una cinta netamente intrigante, con una fotografía fantastica y un trabajo que nunca se había visto por estos lados. En Saluda al Diablo de mi Parte conoceremos a Ángel (Édgar Ramírez) quien junto con su hija son raptados por un poderoso hombre llamado Léder (Ricardo Vélez), quien en el pasado habría sido víctima de un grupo de secuestradores del que hacía parte Ángel. Durante el secuestro Léder perdió la movilidad de sus piernas. Ahora varios años después, en silla de ruedas, y acompañado de su hermana Helena (Carolina Gómez), Léder está dispuesto a todo con tal de lograr venganza contra quienes destruyeron su vida. Contra su voluntad, Ángel deberá ser el instrumento de venganza de Léder, aniquilando a todos los que participaron en el secuestro de Léder y quienes alguna vez fueron sus compañeros, si es que quiere ver a su hija con vida…

Feha de Estreno: 2010

Más información de Saluda al Diablo de mi Parte.

Fuente: elportaldelceluloide

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