NEWS: Ashim Ahluwalia @ San Francisco Film Society, February 23rd-March 9th

Ashim Ahluwalia

Ashim Ahluwalia

SF Film Society announces its newest Artist in Residence and it happens to be one of our filmmakers. How LOVELY…

After what seems to be the longest drum-roll ever, we’re pleased to announce that Indian director (and GFI grantee) Ashim Ahluwalia will be visiting the Bay Area next month as part of the San Francisco Film Society’s Artist in Residence program, February 23rd-March 9th!

The residency will feature the Bay Area premiere of MISS LOVELY–Ashim’s second feature, post Cannes, currently in Rotterdam, big stuff—on Thursday, January 28th (co-presented by GFI–tickets here), and a post-screening discussion moderated by Ivan Jaigirdar (of 3rdi). Also included in the residency will be visits to schools and universities, and in-classroom screenings of Ashim’s first film, JOHN & JANE (students only).

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NEWS: A ‘Useful’ Guide to Uruguayan Cinema

Brian Darr (of Hell on Frisco Bay) reviews A USEFUL LIFE for Fandor and shines a spotlight on Uruguayan Cinema while he’s at it…

Last month Brian Darr, the writer behind Bay Area film blog Hell on Frisco Bay, wrote an excellent article called “A ‘Useful’ Guide to Uruguayan Cinema” for Keyframe, the blog from our friends at Fandor. In the article, Brian makes some illuminating observations about Federico Veiroj’s A USEFUL LIFE, segues into a discussion of the history of filmmaking in Uruguay, and then closes by touching on a couple other Global Lens favorites — WHISKY (dir. Juan Pablo Rebella and Pablo Stoll) and LEO’S ROOM (dir. Enrique Buchichio). Check it out:

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NEWS: Spend a special night of your USEFUL LIFE at the Castro Theatre!

GFI presents Federico Veiroj’s cineaste classic at San Francisco’s historic theatre, and then makes the film available online exclusively on Fandor!

The last time I made it out to the beautiful Castro Theatre was a little over a year ago, for a special screening of a newly restored 70mm print (!) of Hitchcock’s Vertigo (the Castro is the only San Francisco venue equipped to project this format). I know, I know… It’s a complete shame that I haven’t frequented the theatre more often, and I really have no excuse (other than the fact that I work too much, live in a not-so-convenient suburb, and have a rambunctious one-and-a half year-old at home). I mean, come on, it’s the CASTRO – San Francisco’s famous, historic movie palace – and it’s right in my backyard!

A USEFUL LIFE screens at the Castro Theatre on August 16th

Well, that all changes in a few weeks because on Thursday, August 16th, the Castro – as part of its month-long celebration of the theatre’s 90th anniversary – is screening Federico Veiroj’s still-wonderful A USEFUL LIFE. There’s no way I’m missing the chance to see this new classic in such a perfectly appropriate setting, and you shouldn’t either. And although the August

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NOW PLAYING: Museum of the Moving Image, Northwest Film Forum, the Los Angeles Latino Film Festival and more!

Films from the Global Lens 2011 film series are now playing at the following venues and festivals across the U.S. and Canada (and beyond!):

Asia Society (Hong Kong): THE WHITE MEADOWS (dir. Mohammad Rasoulof, Iran) July 14th-31st

Brooks Museum of Art/Indie Memphis (Memphis, TN): Presenting the complete Global Lens 2011 film series Check the film calendar for screening information

Cinema St. Louis/Webster University (St. Louis, MO): Presenting the complete Global Lens 2011 film series Check the film calendar for screening information

Danish Film Institute Cinematheque (Copenhagen, Denmark): THE WHITE MEADOWS (dir. Mohammad Rasoulof, Iran) June 25th

 

Los Angeles Latino International Film Festival (Los Angeles, CA): THE INVISIBLE EYE (dir. Diego Lerman, Argentina) A USEFUL LIFE (dir. Federico Veiroj, Uruguay) July 17th-25th

Global Lens now playing on Virgin American flights!

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Veiroj Vérité

Rob Avila and Global Lens filmmaker, Federico Veiroj, discuss sexual rites of passage, Montevideo’s Jewish community and the director’s short film, AS FOLLOWS

With something more like resignation than enthusiasm, 13-year-old Rafael Bregman (Diego Radzewicz) prepares for his bar mitzvah. At the rabbi’s desk, he dutifully mouths the ceremonial Hebrew that comes so much less naturally to him than his native Spanish. But it’s all part of becoming a man in this Jewish enclave of Montevideo, Uruguay—and, as follows here, will no doubt prove a complex memory some day. (Perhaps it’s his own bar mitzvah that Bregman senior (Omar Varela) is remembering as he slumbers on his analyst’s couch!)

Federico Veiroj’s 13-minute short, As Follows (Bregman, el siguiente)—which GFI is distributing alongside the 35-year-old Uruguayan filmmaker’s feature film, A Useful Life (La Vida Útil)—is a wry, charming story of a rich Latin American subculture and a boy set on the uncertain, ambiguous cusp of manhood. Watch the entire film below and read on for an interview with Federico Veiroj!

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Support a Filmmaker

Read about our support of director Federico Veiroj and how you can contribute to our programs

Federico Veiroj (left) and GFI Director of Programs, Santhosh Daniel, at the U.S. premiere of A USEFUL LIFE

Every year since our founding, we’ve offered our support to filmmakers from around the world through out Granting and Distribution programs. In doing this, we hope to make an impact on the life and career of individuals, but we rarely stop to think about how, every now and then, the individual has an impact on us.

Uruguayan director Federico Veiroj is one example of this. Five years ago, he sent us his short film, AS FOLLOWS. At the time, he had only made this one film and although we neither grant nor distribute short films, we found it to be so entertaining, we decided to include it in our Global Lens 2005 touring series.

A year later, Federico then approached us with a new film: ACNE. This was his first feature-length film and a conceptual continuation of his short, and we encouraged him to apply to our Granting Program. At the time of Federico’s application, Uruguayan cinema was just emerging to be a significant force in independent cinema. And upon reading his script, we believed [Federico] to be a strong representative of this phenomenon and subsequently, awarded him a production grant for his film.

Many years later,

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