Tag Archives: Las Palmas de Gran Canaria

The contents of the festival travel throughout the net

 A group of bloggers and film critics from some specialized websites, such as ‘Blogs&Docs’, ‘Transit’, ‘Acuartaparede’, ‘L’Accent’, ‘Esencia Cine’, ‘El Antepenúltimo Mohicano’, ‘Miradas de Cine’, ‘Bandeja de Plata’, ‘MacGuffin007’ and ‘Las horas perdidas’, emphasize the brave and risky bet of the festival

 The program Días de Cine, which reaches 24 years of broadcast on TVE, and the specialized publication Caimán, Cuadernos de Cine (known before as Cahiers du Cinéma España) gives special attention to the festival’s schedule

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Las Palmas de Gran Canaria, Sunday, March 06, 2016. The 16th Las Palmas de Gran Canaria International Film Festival projects a picture of itself to the exterior not only through traditional mass media but also through online platforms that broadcast its contents and its bet on titles on the fringes of the industry.

Digital magazines and bloggers with an important amount of followers among the seventh art’s enthusiasts dedicate these days part of their online content to the Festival’s schedule. Moreover, reference programs such as Días de Cine, with more than 1100 broadcasted programs on TVE, for almost 25 years, and the platform FilmAffinity, essential now for plenty of film buffs, are present at the Festival to which they give special attention.

Alejandro Díaz, from ‘Transit’, José Manuel López, ‘Caiman Cuaderno de Cine’ (known before as Cahiers du Cinéma España) a regular of portals such as Secuencias and Blogs&Docs; Alba Cambeiro, from ‘Acuartaparede’, Adolfo Oriol, from ‘L’Accent’; Attua Alegre, director of ‘Esencia Cine’; Luis Forero, who writes from Berlín in ‘El Antepenúltimo Mohicano’; Luis Fernández, from ‘Miradas de Cine’, Aythami Ramos, from ‘Bandeja de Plata’; Raúl Fabelo and Víctor Aguado, from ‘MacGuffin007’ and Nauzet Melián, from ‘Las horas perdidas‘; they all enlarge the spreading of the festival in the social networks through their profiles, an act that allows to open new ways of broadcasting not only for the festival, but also for the city.

Attua Alegre, a Tenerife-native student of journalism, who contributes to ‘Esencia Cine’, emphasized the importance of these online platforms “to create a liking and culture among the film-buff communities who look for contents beyond the traditional offer.”

Luis Forero, from ’El Antepenúltimo Mohicano’, landed on the island after having received recommendations of the Las Palmas de Gran Canaria Festival for some years. “I was quite curious about the idea of visiting the festival and the city. I have been told highly about the films they screen, with a different and brave bet.”

These bloggers and film critics highlight as well the surrounding atmosphere and the great response of the public, who hasn’t stop coming during the weekend to the cinema. “The city is already linked to a very interesting film festival”, pointed out Raúl Fabelo and Víctor Aguado, who work in Madrid for MacGuffin 007. “We’ve had the chance to escape this weekend and we are really enjoying it. We loved the screening of the film from the Neo-Western cycle at the Quegles building. They managed to create an enviable atmosphere.”

These digital magazines’ contributors, who are in between the amateur and the professional, and who have emerged during the last years among the fans, coincide in pointing out that a festival, apart from betting on culture and bringing to the local audience a risky and brave cinema, makes lots of noise at the outside, “and that is good for the city.”

Alba Cambeiro, contributor to the web www.acuartaparede.com (digital film critic magazine in Galician) stresses the proposal presented this weekend by the Canarian directors: “coming to the festival has allowed me to get into the cinema made in the islands. I’ve seen plenty of similitudes with the Galician cinema, not only because of the scarce help they receive, but also because of the narrative and pictorial bet of the films.”

Pianist Michel Camino offers a concert in trio specifically designed for the Festival in which he will play some pieces by Ernesto Lecuona

  • The competition screens in the opening showing of its 16th edition the film Playing Lecuona, by Pavel Giroud and JuanMa Villar, in which the famous Dominican musician takes part

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  • Tickets for attending the concert are available on entradas.com and at the Pérez Galdós Theater and Alfredo Kraus Auditorium’s box offices.

Las Palmas de Gran Canaria, Wednesday, March 2, 2016. Las Palmas de Gran Canaria International Film Festival offers in its 16th edition’s Schedule a concert by famous Dominican pianist Michel Camilo. The following Saturday, March 5, at 9pm, the musician will give, at the Pérez Galdós Theater, together with Cliff Almond and Lincoln Goines, a concert in trio specifically designed for the film competition, in which he will play some pieces by Cuban compositor Ernesto Lecuona.

Michel Camilo, one of the principal Latin Jazz performers in the entire world, participant in the renowned documentary by Fernando Trueba, Calle 54, and winner of multiple Grammy, Grammy Latinos and Emmy Awards, is also part of the cast that opens next Friday, March 4, at 9 pm, the 16th edition of Las Palmas de Gran Canaria International Film Festival, with Playing Lecuona, directed by Cuban Pavel Giroud and Tenerife-native JuanMa Villar.

A renowned composer and performer, Michel Camilo is the author of the popular Why Not!, theme that became a hit in hands of another great Latin Jazz musician, Paquito D’Rivera, and that granted to the group Manhattan Transfer a Grammy in 1993 because of their local version. Michel Camilo’s long and successful musical career, whose last records are Mano a mano (2011) and What’s Up (2013), has made him worthy of multiple academic honors, among which stands out a Doctorate in Music at the Berklee College of Music (Boston).

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Since his debut at the Canergie Hall in 1985 with his trio, Camilo has visited in plenty of occasions the distinguished New York Concert Hall, and his presence in the American country has been constant. At the beginning of the 90s, Camilo’s compositions find their way to the hands of regular classical music performers such as the Labèque sisters, Katia and Marielle, who recorded Caribe and performed the Rhapsody for Two Pianos and Orchestra, a job for the Dominican of the London Philharmonic Orchestra. Furthermore, Michel Camilo worked as a soloist for the Dominican National Symphony Orchestra, with which he performed Gershwin’s Concert in F, and also for the Copenhagen Philharmonic and the Queens Symphony Orchestra, performing Rhapsody in Blue, by Gershwin, too.

A regular in worldwide Jazz festivals, Michel Camilo, apart from going in depth into classical music, has also taken interest in flamenco, thanks to artists such as the guitarist Tomatio, with whom he recorded the albums Spain and Spain again, and in Lorca’s poetry, through Ana Belén’s voice, for whom he produced the record Lorquiana in 1998. They are just two samples of his close bond with Spain.

His incursions in cinema, apart from his participation in the aforementioned Calle 54 and Playing Lecuona, go as well through the composition of three Spanish films’ scores: Two Much (Fernando Trueba, 1995), Amo tu cama rica (Emilio Martínez Lázaro, 1991) and Los peores años de nuestra vida (Emilio Martínez Lázaro, 1994).

Tickets: from 5 to 35 euros. Available on entradas.com and at the Pérez Galdós Theater’s box office (from 10 to 15h. Frid. and Sat., also from 19 to 21h) and the Auditorium’s (from 16 to 21h). 

Elio Quiroga chairs the Opening Gala of the 16th Las Palmas de Gran Canaria International Film Festival

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 The ceremony, sponsored by Cajamar Canarias Foundation, will take place next March 4 at 9pm at the Pérez Galdós Theater

 Tickets, which are free, were made available to the public today at the Pérez Galdós Theater’s box offices

Las Palmas de Gran Canaria, March 2, 2016. The Canarian filmmaker chairs the Opening Gala of the 16th Las Palmas de Gran Canaria International Film Festival, which will be presented by Sara Velázquez, actress, singer and plastic artist, and Heriberto Zerpa, singer, literary author and pediatrician.

These are some of the ingredients of a ceremony that was presented this morning by the Festival’s director, Luis Miranda, and the gala’s director, filmmaker Elio Quiroga.

Tickets to attend this meeting sponsored by Cajamar Canarias Foundation are from today, Wednesday, March 2, onwards available to the public at the Pérez Galdós Theater’s box offices, in the morning (10 to 15h) and at the Alfredo Kraus Auditorium, in the afternoon (16 to 21h). The theater’s box office will also remain open two hours before the ceremony itself, in case there were any seats left. Those interested in attending will be able to withdraw a maximum of two tickets per person.

These tickets will grant access both to the gala and to the opening screening of the competition, the music documentary Playing Lecuona, directed by JuanMa Villar and Pavel Giroud; a film that brings Michel Camilo to town, who, apart from offering a special performance at the opening ceremony, will give as well a concert in trio, included in the Festival’s schedule a day later, on Saturday, March 5, at the Pérez Galdós Theater.

During the Gala, the sections of this Festival’s new edition will be run through, as a brief summary, from the Competition Official Section to the informative sections, ranging over cycles, professional meetings, etc. Las Palmas de Gran Canaria Festival pursues the spreading of the new tendencies in the seventh art, which are changing an artistic discipline in constant self-renewal.

Focused upon the concept of Phantasmagoria, a trick based on light, precursor of the cinematograph at the end of the 19th century, the gala will have two dance pieces composed by Canarian composer Juan Belda, and performed by the dancer and choreographer settled in London Miriam Faura, with makeup and hairstyling by Beatriz Faura Pérez, who has based her work on the expressionism’s makeup style.

The gala has a cinematographic design that employs projections, inspired by the white-and-black film The Cabinet of Dr. Caligari (1920), a classic of German Expressionism, and later by the Technicolor of All that Heavens Allows, by Douglas Sirk and produced in 1955; two landmarks in the history of film language. Both have been made by Canarian painter Idaira del Castillo, in collaboration with Gran-Canaria-native plastic artist Juan Correa and art gallery director Manuel Ojeda.

The Canarian director wanted to summarize during this gala the success of a festival that reaches now sixteen years of encounters with the most interesting and transforming cinema of the global scene, and that has brought the best of the seventh art’s avant-garde to the islands, blending the phantasmagoria old technique with the digital technology that has revolutionize the medium, and with the dance, one of humanity’s oldest means of expression.

Seventeen musical documentaries, two night concerts and a conference about videoclips, 3rd MMF’s key ingredients

  • MMF proposes 17 titles including Janis: Little Girl Blue’s release in the Canary Islands, the Oscar nominee Amy (the girl behind the name) and The Amazing Nina Simone; and the premiere of Hasta el amanecer, about Ginés Cedrés’ figure
Imagen del documental The Amazing Nina Simone

Picture of the documentary The Amazing Nina Simone

  • The schedule of this section of the festival, devoted to the musical documentary, includes live concerts at the Santa Ana Square on Friday 11 and Saturday 12, March, with groups such as Mi Capitán, Texxcoco, Fajardo, Boreals, Banadú and El Guincho
Imagen de la presentación con Junior Melo, Víctor Ordoñez y Luis Miranda (de izquierda a derecha)

Picture of the presentation with Junior Melo, Víctor Ordoñez and Luis Miranda (from left to right)

  • MMF brings Marta Puig, Lyona, one of the most contrasted creative minds in the videoclip sector, to Las Palmas de Gran Canaria, who will offer a conference about marketing strategies in contemporary music

Las Palmas de Gran Canaria, Friday, February 26, 2016. The Monopol Music Festival (MMF) reaches its third edition as part of the contents of the Las Palmas de Gran Canaria International Film Festival. This section of the competition will keep its autonomy and will begin with the screening of Mavis, on Saturday, March 5.

The Las Palmas de Gran Canaria International Film Festival, supported by Cerveza Dorada Especial, presents the Monopol Music Festival’s third edition as part of the contents of the festival, which assimilates it while respecting its autonomy.

Luis Miranda, director of the Festival, and Víctor Ordóñez, director of the MMF, explained at a press conference the objectives that led them to consolidate this bond existing since the first edition of the MMF, and the contents of the third MMF.

The initiative proposes a strong film-buff and musical celebration thanks to which, for ten days, Las Palmas de Gran Canaria will benefit from the Festival’s schedule and from the fresh and avant-garde selection of documentaries related to the music of the MMF, as well as from outdoor concerts by local and national artists.

MMF will bring to the Monopol Multiplex’s screens seventeen works encouraging to explore different trends and aspects of the musical genre. Among the chosen titles, these are the ones that stand out the most: Janis: Little Girl Blue, by Amy Berg, an exhaustive examination of one of the most iconic rock singers, whose national release will be within the MMF’s framework; the Oscar nominee Amy (the girl behind the name), by Asif Kapadia, which shows the fragility of a great artist who has become a legend with only two official albums released; and The Amazing Nina Simone, by Jeff L. Lieberman, a work that sheds light on the outstanding artistic achievements of the artist.

Cartel de la película Amy

Amy’s film poster

The schedule is mostly made up of films already screened at prestigious film festivals. Thus Mr. Dynamite, a work that tells James Brown’s journey from rhythm and blues to funk, by Alex Gibney, was shown at the Tribeca, Sydney and Melbourne festivals, among others; the epic of Canadian Arcade Fire in The Reflektor Tapes, by Kahlil Joseph, was at Bergen and Río de Janeiro; the controversial Finding Fela (Fela Kuti), by Alex Gibney, was screened at Sundance, Montclair, Sydney and San Sebastián; Leonard Cohen: Bird in a Wire, by Tony Palmer, was selected by the In-Edit Festival; Mavis, a Jessica Edwards’ work about the star Mavis Staples, a 75-year-old voice who refuses to come down the stage, has also been in plenty of festivals, as well as Made in Japan, by Josh Bishop, containing Tomi Fujikawa’s story, the first Japanese star in the country genre; Orion: The Man who would be King, by Jeanie Finlay, which tells the adventures of a masked man called Jimmy Ellis, who sounds and dresses like Elvis Presley and was part of the Tribeca, Nashville, Sheffield, Tallgrass and In-Edit festivals’ selection.
There will be, throughout a week, at the Monopol Multiplex’s screens, some acclaimed documentaries about artists such as Chavela Vargas, in the film El ruiseñor y la noche. Chavela Vargas canta a Lorca, by Rubén Rojo Aura, and other pieces that move between punk and rock, with works such as The Punk Singer, by Sini Anderson, about one of the most important voices in the riot grrrl movement, Kathleen Hanna, singer of the punk band Bikini Kill; and A Band Called Death, by Jeff Howlett and Mark Covino, about a controversial band, the Death, that was born before the Ramones and the Sex Pistols.

As usual in the MMF, the regional scene will have an important spot, with the release of Ginés Cedrés’ Hasta el amanecer, singer and leader of Los Coquillos or “Pistol”, by Lanzarote-native director José María de Páiz, and that explores the busy life of the Gomera-native drummer of bands such as Familia Real, Ataúd Vacante, Brutalizzed Kids and 13 Motos.

MMF will pay homage to two such great icons of music, recently deceased, and who had legions of followers, as David Bowie (Five Years) or Ian Fraser, leader of Motorhead (Lemmy).

Noteworthy concerts 

After bands such as Polock, Los Labios, Solo Astra, Pumuky, Egon Soda, James&Black and Red Beard, among others, there is a high-quality proposal for the MMF2016 which stands out now, and maybe tomorrow, in the national and international musical scene. This year, an energetic mixture of rock, pop, electro and hip-hop music will fill Las Palmas de Gran Canaria’s Santa Ana Square. Mi Capitán, Texxcoco and Fajardo will play on Friday, March 11, and El Guincho, Boreals and Banadú will close down the festival on Saturday, March 12.

El Guincho is of Gran Canaria origin and is currently presenting its third album “HiperAsia” all around the world. They make use in their new piece of a sound concept that mixes samplers, rhythms of the world and a variety of global sounds within an eclectic production.

Mi Capitán, a Barcelona-native band that is currently presenting its first long-playing record “Drenad el Sena” and which was born from the friendship of musicians belonging to groups such as Love of Lesbian, Egon Soda or Standstill. It is composed by prestigious artists such as Ricky Falkner or Julián Saldarriaga, who are undoubtedly one of this 2016 national surprises.

Boreals is a Catalan-Canarian pop and electronic quartet who has performed recently in such important festivals as FIB, BBK or Primavera Sound.

Last but not least is the MMF’s inclusion of the current music being produced in our islands, supporting the best proposals of local and regional artists without harm to any style, with a range of concerts of Fajardo, Banadú and Texxcoco, this last one being the recent winner of the prestigious contest Capital Sonora.

360º: Audiovisual and music

If musical documentary cinema constitutes one of the key points of this MMF together with the musical festival, for this edition we provide the public with a conference in which spelling out the importance 360º figures have within the music industry, stressing the audiovisual sector and highlighting the video clip as the central axis of the marketing strategies in contemporary music. To do so, we will count on the presence of Marta Puig, commonly known as Lyona, one of the sector‘s most contrasted and rising creative minds, who has produced video clips for bands such as Love of Lesbian, Amaral, Sidonie, Zahara and Lori Meyers, among many others. It will be culminated with a round table including some of the most authoritative voices in the musical and audiovisual industries in the Canary Islands.

Additionally, the organization has kept some details about the schedule that will be unveiled during the following days through its online channels, such as its webpage (www.monopolmusicfestival.com) or the social networks (www.facebook.com/monopolmusicfestival y @monopolmusic).

The Freakiest Night proposes an encounter with the classic-yet-full-of-nuances-and-subtleties Horror

THE INVITATION

Las Palmas de Gran Canaria, February 23, 2016. The Freakiest Night devoted to the extreme prankster cinema will take again the Monopol Multiplex on Friday night, March 11, at 11pm, with a movie marathon that will bring together the lovers of the fantastic and the horror genres. Under Jesús Palacios’ supervision, an expert on the subject, the Las Palmas de Gran Canaria Film Festival will experience the sixteenth edition of the event with a range of titles challenging the public to question and to taste all the different options so that they can savor the aftertaste this selection must leave in their palates. A collection of samples that returns to the classic-yet-full-of-nuances-and-subtleties horror.

Palacios doesn’t hesitate to remind, anytime he can, that “the Gran-Canaria-native festival has been pioneer in including these sort of films within its schedule”, and adds, in his speech, that the experience is a plus. A plus that has made possible for today’s spectators from Las Palmas de Gran Canaria to face with maturity and thoroughness an event that every year takes it one step further.

In 2016 the three feature films are of North American origin; thus The Invitation, a film by Karyn Kusama with certain philosophical content, and the nostalgia for the classic tale of We are Still Here, by Ted Geoghegan, are purely American productions, and the irreverent and bloody Turbo Kid, by François Simard, Anouk Whissell and Yoann-Karl Whissell, is a coproduction among USA, Canada and New Zealand.

Among the short film selection there is a Spanish film, Amor de mono, by Paulo Mosca and Abel Sánchez, which stands out for its iconoclastic humor; the Australian piece The Witching Hour, by Carl Firth, with subtle touches of gothic elegance; and the American Night of The Slasher, by Shant Hamassian, a cinephile wink to the Freakiest Night’s audience.