Monday, 31 August 2009

Tic, tac, tic, tac, .... Film in Progress...

Paz Fabrega's Agua Fría de Mar, co-produced by Galician Tic-Tac Producciones, has been selected for presentation at the 16th edition of Films in Progress, at the upcoming San Sebastian Festival.

Agua Fria de Mar opens with Mariana and Rodrigo driving to the Pacific coast on New Year's holidays. There, late at night and in the middle of nowhere, they find serven-year-old Karina, who ran away from home. The couple decides to stay the night and deal with the situation in the morning. But by dawn, the girl’s gone.

Agua Fría de Mar is produced by Le Films du Requin (France), Tic Tac Producciones (Galicia, Spain), Temporal Films (Costa Rica), Isabella Films (The Netherlands) and Pimienta Films (México).

A total of 115 projects from 21 countries were submitted to Films in Progress for the 2009 edition, almost duplicating the films received last year. Only six movies, among them Agua Fría de Mar, were selected for presentation.

Selected films will compete for the Films in Progress Industry Award, which will cover the post-production costs of an English subtitled 35mm print; the Spanish public broadcaster's TVE Award, worth 60,000 euros in broadcasting rights; and the Casa de América Award, consisting on a 10,000 euro grant to cover post-production of a Latin American film. Besides, participating films will achieve international diffusion through the Instituto Cervantes world network.

Films in Progress is backed by the Agencia Española de Cooperación Internacional para el Desarrolo (AECID), Casa de América, Interreg III-A Francia-España, Kodak (professional cinema division), Mediapro, Molinare Madrid, No Problem Sonido, Programa Ibermedia, Technicolor Entertainment Services Spain, Titra Film and TVE, and the collaboration of the Centre National du cinéma et de l’image animée (CNC), Confédération Internationale des Cinémas d’Art et Essai (CICAE), CROUS, ESAV, Europa Distribution, FNAC, Fondation Groupama Gan pour le Cinéma, Instituto Cervantes, La Cinéfondation, Mactari, Marché du Film and Signis.

Congratulations, Fernanda!

Saturday, 29 August 2009

The Desert Line

Some years ago, Vigo’s public transportation company Vitrasa initiated the donation of old buses to the refugee camps in Sahara. In some occasions populated with medicines and food, the buses that formerly covered routes in the Galician city of Vigo, now communicate schools or medical facilities in the refugee camps.

Former Vitrasa buses serve as the conducting line of Eduardo Rolland and Luis Montengro’s A Liña do Deserto / The Desert Line, a documentary film produced by Antón Reixa for Galician production company Filmanova. Around these green cars, stories of anonymous people illustrating the everyday life in the Sahrawi settlements are woven, like those of young Maimuna, a bus driver and a mother living there, a Sahrawi refugee living in Galicia, a volunteer in Tinduf, or several members of the Galician Association for the Solidarity with the Sahrawi People, among others.

I’m looking forward watching this piece of art at Galician TV!

Friday, 28 August 2009

Cell 211 at Venice

Daniel Monzón's Celda 211 has been selected for participation at the autonomous section Venice Days of the 66th edition of the Venice International Film Festival - Biennale di Venezia.

Starring Galician actors Luis Tosar (Casual Day, Miami Vice) and Marta Etura (Seven Minutes, South Desert) among others, Celda 211 tells the story of Xoán, a novice prison official that has the bad luck of starting a new job on the same day prisoners organize a mutiny.

Created in 2004 and promoted by the associations of Italian directors and authors, Venice Days – Giornate degli autore is an independent section within the Venice Film Festival focused on European and independent cinema. According to the section’s vice-president Sylvain Auzou, selected films represents “the future of European auteur cinema, with a directorial approach that doesn’t alienate mainstream audiences”.

Cell 211 is produced by Morena Films, Galician Vaca Films and Telecinco with the participation of French La Fabrique 2 and Galician public broadcaster TVG.

Cell 211 is to be unveiled on September, 4th at Sala Perla 2.

Congratulations Emma!

Thursday, 6 August 2009

Galicia hits the Spanish Department of Culture’s money pot

The first grants given by the new team at the Spanish Department of Culture have recognized the relevance of Galicia within the Spanish film panorama. Nine of the projects submitted by Galician producers and creators have received public aids to facilitate their development, which is the highest rate of subsided projects in the history of the Galician audiovisual.

2,611,912 € from a total budget of 15 Mo. € allocated by the Spanish department of Culture to the realization of new projects are expected to arrive in Galicia. Three feature films (Gustavo Balza’s Doentes; Breogán Riveiro’s O Síndrome do cacareo and Mario Iglesias’ Rosario); three animation feature films (Angel de la Cruz’s Arrugas, Fernando Cortizo’s O Apóstolo, and Alexandre Colls’ A Tropa de Trapo); two TV animation series pilots (Alberto Taraco’s Rascayú, and Max Fuentes’ Todo controlado); and Regina Alvarez’s documentary film Gitanos de Buenos Aires complete the list of aided Galician projects.

This represents an important achievement for Galician producers, and especially for Galician animation production companies. Four out of nine selected animation projects have been proposed by Galician companies.

Title Translations

Today, Galician public broadcaster TVG airs Rob Reiner’s When Harry met Sally… (1989), in my opinion one of the funniest movies of all times. Incidentally, the Galician title of this film, Cando Harry atopou a Sally, after Spanish Cuando Harry encontró a Sally, reflects a funny situation that happens every now and then: a complete misunderstanding of the original meaning of a film’s title when producing the Spanish translation. As most of the time Galician titles of foreign films come from the Spanish translation instead of being translated directly from their original language (why?), we can enjoy this situation in both languages.

I am not talking about movie distribution companies’ decision of producing a completely different title for the Spanish version (e.g. Die Hard / La Jungla de Cristal or Miller’s Crossing / Muerte entre las Flores), which will require a post on its own, but about choosing a plainly wrong translation for a film title.

Translation of When Harry met Sally… is a good example. Meet means both to come together and to become acquainted with some other. The original title is perfect, ellipsis included, which reflects the idea when (or if) Harry meets Sally anything can happen. On the other side, the translated version means When Harry found Sally and all the magic is lost.

There are many other examples funnier than this. The one I like most is the translation of Stanley Kubrik’s Full Metal Jacket (1987) into A Chaqueta Metálica. Full metal jacket or FMJ refers to a bullet encased in a metal alloy shell. The Spanish (technical) term for this is camisa metálica, so the correct title should have been Camisa Metálica. A Chaqueta Metálica is just stupid. May be that is the reason why the film was also known in Spain as La Chupa de Chapa.

William Friedkin’s Rules of Engagement (2000) offers another example of lack of knowledge of the military jargon. It was translated into Regras de Compromiso. In military or police operations, the rules of engagement (ROE) determine when, where, and how force shall be used. Thus, it should have been translated into Normas de Combate or something like that. Regras de compromiso (rules of commitment) tells absolutely nothing about the film’s gist.

Let us change subject. Peter Bogdanovich’s What’s up Doc? (1972) was translated into ¿Qué me pasa Doutor? Obviously, the original title is after the famous Bugs Bunny’s tag, which was dubbed into Spanish as ¿Qué hay de nuevo, viejo? You can imagine that title ¿Que me pasa Doutor? tells absolutely nothing to a Spanish or Galician audience.

Religion and French is also the target of ignorant title translators. Jean-Luc Godard’s Je vous salue, Marie (1985) was translated into Yo te saludo, María. Simple and straightforward, huh? The original title corresponds to the French version of the first verse of the most famous prayer to the Virgin Mary, the English version being “Hail Mary, full of grace” and the Galician one “Deus che salve, Raíña e Nai”.

There are many other cases like the translations of Total recall, Torn curtain, Hidden agenda, Things you can tell just by looking at her... You can tell...