Mostrando las entradas con la etiqueta Movies. Mostrar todas las entradas
Mostrando las entradas con la etiqueta Movies. Mostrar todas las entradas
miércoles, 31 de enero de 2018
viernes, 26 de enero de 2018
FOX SEARCHLIGHT PICTURES y FILM4
Presentan
Una Producción de BLUEPRINT PICTURES
Un Filme de MARTIN MCDONAGH
3 ANUNCIOS POR UN CRIMEN
FRANCES MCDORMAND
WOODY HARRELSON
SAM ROCKWELL
ABBIE CORNISH
LUCAS HEDGES
ŽELJKI IVANEK
CALEB LANDRY JONES
CLARKE PETERS
SAMARA WEAVING
con JOHN HAWKES
y PETER DINKLAGE
ESCRITA Y DIRIGIDA POR MARTIN MCDONAGH
PRODUCIDA POR GRAHAM BROADBENT
PETE CZERNIN
MARTIN MCDONAGH
PRODUCTORES EJECUTIVOS BERGEN SWANSON
DIARMUID MCKEOWN
ROSE GARNETT
DAVID KOSSE
DANIEL BATTSEK
DIRECTOR DE FOTOGRAFÍA BEN DAVIS, BSC
DISEÑADORA DE PRODUCCIÓN INBAL WEINBERG
EDITOR JON GREGORY, ACE
DISEÑADORA DE VESTUARIO MELISSA TOTH
MÚSICA DE CARTER BURWELL
COPRODUCTOR BEN KNIGHT
CASTING DE SARAH HALLEY FINN, CSA
Clasificación B Duración 121 minutos
jueves, 9 de noviembre de 2017
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martes, 31 de octubre de 2017
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viernes, 27 de octubre de 2017
HERO, IF ANY
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adidas Originals by Pusha T EQT Support Ultra King Push “Bodega Babies”: Celebrating The Launch Of Pusha T's Latest Collaboration with adidas Originals
- Pusha T commemorates his latest collaboration with adidas Originals, hosting an intimate, launch event in New York City -
- The latest release and event take inspiration from New York’s famous bodegas and featured special performances by invited guests, Don Q, LouGotCash & Lil Bibby
- The shoe’s color and material references pay tribute to the bodega as a place of personal growth and evolution -
New York City, October 2017
Last night, rap talent, veteran and GOOD Music President Pusha T hosted an intimate launch event in New York City, celebrating the fourth edition of his collaborative series with adidas Originals and EQT: the EQT Support Ultra PK. Staged at a gallery space in Manhattan’s Lower East Side neighborhood, the event featured music performances by a series of special guests selected by Pusha T, including Don Q, LouGotCash and Lil Bibby. Just as the latest sneaker from the ongoing collaboration referenced Pusha’s experience of life on the streets and memories of one of the city’s most vital hubs – the local bodega—the gallery space was similarly transformed to resemble the look and feel of a corner store, replete with an assortment of custom-created products that line the shelves of any neighborhood, convenience store.
Appropriately named the “Bodega Babies” edition, this latest take on the EQT Support Ultra PK pays tribute to the bodega as a proving ground for growth and evolution in all senses; a place where people buy their groceries, hang outside at night, gain respect for peers, and earn respect themselves. Last night’s event created a similar sense of community at the gallery-turned-convenience store, creating an evening of music, culture and streetwear.
At the core of the collaboration is the new sneaker model’s distinctive Hard Beige colorway, inspired by the iconic brown paper bags used to pack groceries and conceal liquor bottles bought at bodegas. This is applied in shades across the shoe’s Primeknit upper and structural overlays, including webbing tape 3-stripes with reflective details, and premium carp leather paneling which hints to Pusha’s fish-scale come-up.
This is then placed atop an essential Boost midsole, and finished with metal lace locks engraved with Pusha’s unforgettable “King Push” moniker. As with all Pusha T releases, the model comes presented in exclusive luxury packaging, reinforcing the story behind the shoe and completing Pusha’ tribute to the bodega lifestyle.
FULL FILM ‘BODEGA BABIES’
General Release
The adidas Originals EQT Support Ultra PK King Push “Bodega Baby” releases worldwide on November 3rd, 2017 in highly limited quantities.
Details
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lunes, 16 de octubre de 2017
Luis Mandoki, Kate del Castillo, Jim Sheridan, and María Conchita Alonso will take part in the event, while Café Tacvba’s Rubén Albarrán will provide music at a free screening of the classic silent Mexican film Tepeyac.
Los Angeles, October 16th, 2017 - Over the last 6 years, FICG in LA has become synonymous with Mexican and Ibero-American film in Los Angeles. The festival, initiated by the University of Guadalajara in the United States, has consistently managed to bring the best of Spanish and Portuguese spoken films to the heart of Hollywood. This year from November 2nd through the 5th, the Guadalajara International Film Festival will return to Los Angeles with more movies and cultural events than in years past, along with an impressive line-up of VIP guests. The details were announced this morning during a press conference at the Mexican Consulate in Los Angeles. Present were Vice President of University of Guadalajara Fundation USA, Guillermo Gómez Mata, Iván Trujillo, Director of the Guadalajara International Film Festival, Estrella Araiza, Director of FIGC in LA, and Ambassador Carlos Eugenio García de Alba Zepeda, General Consul of Mexico in Los Angeles.
At the conference it was announced that 27 films would be screened over the 4 day festival, a record breaking number in comparison to previous years. The majority of these screenings will take place in the TCL Chinese Theaters 6 complex, although films will also be screened at the Mexican General Consulate. A special free screening of the classic Mexican silent film Tepeyac, which was released 100 years ago in 1917, will be held outdoors in Plaza Mexico, where Café Tacvba’s revered singer Rubén Albarrán will perform the score live. Keeping with tradition, homage will be paid to legendary artists and this year actresses Kate del Castillo and María Conchita Alonso, as well as director Luis Mandoki will be honored. The festival also offers workshops for films that are in their post-production stage, in addition to numerous cultural activities, such as seminars for film students and book presentations.
This year will also mark the exhibition of the short film 11th Hour, a co-production between Mexico and Ireland from celebrated filmmaker Jim Sheridan, featuring Salma Hayek in the leading role. The closing gala will feature Ayúdame a pasar la noche (Help Me to Spend the Night) from Mexican filmmaker José Ramón Chavez alongside other Mexican films like Sueño en otro idioma (I Dream in Another Language), Los años azules (The Blue Years), Hermanos (Brothers) and Resurrección (Resurrection). Productions from other Latin-American countries will be available as well, including Argentina’s Nadie nos mira (Nobody is Watching) Chile’s El pacto de Adriana (Adriana's Pact) and Brazil’s Las dos Irenes (The Two Irenes).
During the press conference, director of FIGC in LA Estrella Araiza stated: “Los Angeles is a city that represents a point of meeting and exhibition fundamental to our festival and our films, for Mexican and Ibero-American filmmakers to make waves with their producers, distributors, buyers, and to make sure their movies meet their primary goal: to find the largest audience possible and deliver the stories that couldn't be told in any other way.”
A complete program can be found at http://www.ficginla.com and tickets may be purchased at https://www.eventbrite.com/o/
Los Angeles, October 16th, 2017 - Over the last 6 years, FICG in LA has become synonymous with Mexican and Ibero-American film in Los Angeles. The festival, initiated by the University of Guadalajara in the United States, has consistently managed to bring the best of Spanish and Portuguese spoken films to the heart of Hollywood. This year from November 2nd through the 5th, the Guadalajara International Film Festival will return to Los Angeles with more movies and cultural events than in years past, along with an impressive line-up of VIP guests. The details were announced this morning during a press conference at the Mexican Consulate in Los Angeles. Present were Vice President of University of Guadalajara Fundation USA, Guillermo Gómez Mata, Iván Trujillo, Director of the Guadalajara International Film Festival, Estrella Araiza, Director of FIGC in LA, and Ambassador Carlos Eugenio García de Alba Zepeda, General Consul of Mexico in Los Angeles.
At the conference it was announced that 27 films would be screened over the 4 day festival, a record breaking number in comparison to previous years. The majority of these screenings will take place in the TCL Chinese Theaters 6 complex, although films will also be screened at the Mexican General Consulate. A special free screening of the classic Mexican silent film Tepeyac, which was released 100 years ago in 1917, will be held outdoors in Plaza Mexico, where Café Tacvba’s revered singer Rubén Albarrán will perform the score live. Keeping with tradition, homage will be paid to legendary artists and this year actresses Kate del Castillo and María Conchita Alonso, as well as director Luis Mandoki will be honored. The festival also offers workshops for films that are in their post-production stage, in addition to numerous cultural activities, such as seminars for film students and book presentations.
This year will also mark the exhibition of the short film 11th Hour, a co-production between Mexico and Ireland from celebrated filmmaker Jim Sheridan, featuring Salma Hayek in the leading role. The closing gala will feature Ayúdame a pasar la noche (Help Me to Spend the Night) from Mexican filmmaker José Ramón Chavez alongside other Mexican films like Sueño en otro idioma (I Dream in Another Language), Los años azules (The Blue Years), Hermanos (Brothers) and Resurrección (Resurrection). Productions from other Latin-American countries will be available as well, including Argentina’s Nadie nos mira (Nobody is Watching) Chile’s El pacto de Adriana (Adriana's Pact) and Brazil’s Las dos Irenes (The Two Irenes).
During the press conference, director of FIGC in LA Estrella Araiza stated: “Los Angeles is a city that represents a point of meeting and exhibition fundamental to our festival and our films, for Mexican and Ibero-American filmmakers to make waves with their producers, distributors, buyers, and to make sure their movies meet their primary goal: to find the largest audience possible and deliver the stories that couldn't be told in any other way.”
A complete program can be found at http://www.ficginla.com and tickets may be purchased at https://www.eventbrite.com/o/
miércoles, 11 de octubre de 2017
The fifteenth edition of the Morelia International Film Festival (FICM) is pleased to receive a group of very talented French artists who –in diverse ways– have made their mark in the history of French and international cinema. Among the French actors and filmmakers that will be visiting Morelia as Special Guests are:
Michel Hazanavicius: Actor and director well known for directing the off-beat OSS 117 spy movies and then later for his Oscar winning film The Artist (2011), starring Jean Dujardin and Bérénice Bejo. His most recent film, Redoutable (2017), was part of the Official Selection at Cannes and will have its Mexican premiere at the 15th FICM. Also, FICM will have the honor of presenting the world premiere of the documentary about Michel Hazanavicius by Jean-Pierre Lavoignat and Christophe d’Yvoire.
Barbet Schroeder: Swiss-French director, actor, and producer, he has enjoyed a long and prolific career in film. He worked as Jean-Luc Godard’s assistant and at the age of 23, he and Eric Rohmer founded the production company Les Films du Losange, which produced some of the best movies of the French New Wave. His most recent film, The Venerable W. (2017), was part of the Official Selection at Cannes and will have its Mexican premiere at the 15th FICM.
Laurent Cantet: Director who has won more than 30 awards at the most prestigious film festivals around the world, including: the Palme d’Or at the Cannes Film Festival in 2008 (The Class), the César Award for Best First Feature given by the French Film Academy in 2001 (Human Resources), the Lumière Award for Best Picture in 2009 (The Class) and the prize awarded by the International Federation of Film Critics (FIPRESCI) in 2009 (Time Out), just to mention a few. His most recent film, The Workshop (2017), was part of the Official Selection at Cannes and will have its Mexican premiere at the 15th FICM.
Emmanuel Gras: Documentary filmmaker who prioritizes the visual elements of cinema. He studied cinematography at the École Nationale Supérieure Louis Lumière in Paris. His films address contemporary social issues and are marked by a careful commitment to form. His latest film Makala (2017) won the Grand Prix at the Cannes’ Semaine de la Critique and will have its Mexican premiere at the 15th FICM.
Léa Mysius: After studying literature, she graduated from the screenwriting department at La Fémis in 2014. Her short film Les Oiseaux-ton-nerre (2014) was selected for the Cannes Cinéfondation. She has also written with other directors, notably Arnaud Desplechin. Ava (2017), is her debut feature, it was part of the Official Selection of the Cannes’ Semaine de la Critique and will have its Mexican premiere at the 15th FICM.
Finally, the actor Nahuel Pérez Biscayart will be assisting the 15th FICM to present the Mexican premiere of BPM (Beats per Minute) (2017), by French director Robin Campillo, where he plays Sean, a charismatic figure of Act-Up Paris in the early 1990s. The film won the Grand Jury Prize at this year’s Cannes Film Festival.
The Morelia International Film Festival (FICM) extends its thanks to UniFrance and to the Embassy of France in Mexico por their invaluable help in bringing these extraordinary artists closer to the audience in Morelia.
Michel Hazanavicius: Actor and director well known for directing the off-beat OSS 117 spy movies and then later for his Oscar winning film The Artist (2011), starring Jean Dujardin and Bérénice Bejo. His most recent film, Redoutable (2017), was part of the Official Selection at Cannes and will have its Mexican premiere at the 15th FICM. Also, FICM will have the honor of presenting the world premiere of the documentary about Michel Hazanavicius by Jean-Pierre Lavoignat and Christophe d’Yvoire.
Barbet Schroeder: Swiss-French director, actor, and producer, he has enjoyed a long and prolific career in film. He worked as Jean-Luc Godard’s assistant and at the age of 23, he and Eric Rohmer founded the production company Les Films du Losange, which produced some of the best movies of the French New Wave. His most recent film, The Venerable W. (2017), was part of the Official Selection at Cannes and will have its Mexican premiere at the 15th FICM.
Laurent Cantet: Director who has won more than 30 awards at the most prestigious film festivals around the world, including: the Palme d’Or at the Cannes Film Festival in 2008 (The Class), the César Award for Best First Feature given by the French Film Academy in 2001 (Human Resources), the Lumière Award for Best Picture in 2009 (The Class) and the prize awarded by the International Federation of Film Critics (FIPRESCI) in 2009 (Time Out), just to mention a few. His most recent film, The Workshop (2017), was part of the Official Selection at Cannes and will have its Mexican premiere at the 15th FICM.
Emmanuel Gras: Documentary filmmaker who prioritizes the visual elements of cinema. He studied cinematography at the École Nationale Supérieure Louis Lumière in Paris. His films address contemporary social issues and are marked by a careful commitment to form. His latest film Makala (2017) won the Grand Prix at the Cannes’ Semaine de la Critique and will have its Mexican premiere at the 15th FICM.
Léa Mysius: After studying literature, she graduated from the screenwriting department at La Fémis in 2014. Her short film Les Oiseaux-ton-nerre (2014) was selected for the Cannes Cinéfondation. She has also written with other directors, notably Arnaud Desplechin. Ava (2017), is her debut feature, it was part of the Official Selection of the Cannes’ Semaine de la Critique and will have its Mexican premiere at the 15th FICM.
Finally, the actor Nahuel Pérez Biscayart will be assisting the 15th FICM to present the Mexican premiere of BPM (Beats per Minute) (2017), by French director Robin Campillo, where he plays Sean, a charismatic figure of Act-Up Paris in the early 1990s. The film won the Grand Jury Prize at this year’s Cannes Film Festival.
The Morelia International Film Festival (FICM) extends its thanks to UniFrance and to the Embassy of France in Mexico por their invaluable help in bringing these extraordinary artists closer to the audience in Morelia.
jueves, 20 de julio de 2017
Kit Harington enchanted the Giffoni Film Festival 2017: well-known for his portrayal of Jon Snow inGame of Thrones, Mr. Harington was literally overwhelmed by the affections of his fans, many of which had been waiting all night at the Cittadella for their darling to arrive, eager to get some sneak previews on the series as well as the actor’s background.
“I don’t think Jon Snow will ever become king, he’s not ambitious enough for that, but I could see Tyrion sitting on the Iron Throne: I’ve always considered him the right person to rule over the Seven Kingdoms”, said Harington, and went on declaring himself a great fan of Harry Potter – with a preference for the Gryffindor - and Italian director Matteo Garrone.
“What I like most of my character – he revealed - is the fact that he’s always siding with the weakest. He’s a man of action and I like fighting in movies. That’s why this show fits me so well. The hardest scene to shoot? Maybe Ygritte’s death”.
From Ygritte’s death to Jon Snow’s death and resurrection the step was short: “When I read the script of the 5th season, which ended with something like: ‘Jon Snow dies with his black curls’, I tried to react without panicking and started waiting for an official mail of dismissal from the production, but a week went by, then two and three and nothing happened, until I was eventually summoned by the producers. Then I thought: “That’s it: they will either ditch me or tell me that somehow Jon is rising from the dead’. Luckily, the latter supposition proved to be right, but I was imposed the utmost confidentiality because only for people, including me, knew the forthcoming development of the plot. I took a great leap and shouted: ‘Yeah! What a relief!”
He was only able to say “ciao” and “grazie” in Italian, yet his face clearly showed immense gratitude: “I’m always asked how fame has changed my life – he went on- but I really didn’t expect anything like that. I just wanted to become an actor, not a celebrity, which, incidentally, is a word I’m not quite fond of. After all, fame is not about me personally but rather about the Game of Thrones series. In my future career I might not be able to find another role of the same relevance as this, and I will never stop to be grateful for it, even if I should be trapped in Jon Snow’s shoes forever. After 9 years together he’s a part of me, and I think he will always be”.
Before leaving the Cittadella, where he received the Giffoni Experience Award , Harington also mentioned his Italian holiday and confessed: “I really enjoyed my stay in Naples: they made me dance, eat and totally forget about myself!”.
lunes, 12 de septiembre de 2016
- La presentación previa a la exhibición del documental podrá apreciarse vía streaming en las plataformas digitales de la Cineteca Nacional y de MIC Género
La Cineteca Nacional y MICGénero, desde la plataforma de formación FOCUS CAMP, Foro de Distribución Audiovisual, anuncian que el documental The Occupation of the American Mind: Israel's Public Relations War in the United States de Loretta Alper y Jeremy Earp,agotó el número de boletos puestos a la venta para su proyección el día 30 de septiembre, a las 20:00 en la sala 2, Salvador Toscano.
La proyección contará con una breve presentación del productor ejecutivo Sut Jhally y del músico y compositor británico Roger Waters, quien participó como narrador en este filme. Para quienes no pudieron hacerse de una entrada para este evento, se informa que la presentación previa a la exhibición de la película se podrá apreciar vía streaming a través de las plataformas digitales de la Cineteca y de MIC Género el día de la función.
El programa completo de FOCUS CAMP, Foro de Distribución Audiovisual, está disponible en: www.micgenero.com/formacion/
Redes sociales Cineteca:
- Cinetecanacional.net
- Twitter: @CinetecaMexico
- Facebook: Cineteca Nacional
Redes sociales FOCUS CAMP:
- Hashtag oficial: #FocusCamp
- Facebook: /Focus-Camp
- Twitter: @focuscamp_mx
jueves, 25 de agosto de 2016
By Héctor Medina Varalta
Para quienes no han visto Ben Hur la versión de 1959, dirigida por William Wyler. La nueva adaptación puede ser pasable, sin embargo, quienes vieron la cinta, protagonizada por Charlton Heston, se sentirán decepcionados, pues se hicieron algunas modificaciones, que si el autor del libro, Lewis Wallance viviera, se volvería a morir de coraje. Algunas escenas importantes, como cuando Juda Ben Hur salva de morir a un gobernador, éste como muestra de gratitud lo adopta y al cabo de cierto tiempo Ben Hur queda libre, esta escena tan importante se suprimió; otras, en contraste, se cambiaron. Por ejemplo, en la versión del director Wyler, Mesala es arrollado por los caballos, una escena de nueve minutos de duración, es una de las secuencias más famosas de la historia del cine. En la versión de 1959 Mesala muere con el corazón lleno de odio hacia Judá Ben Hur. Mientras que en la versión moderna, Mesala se salva y además se reconcilian; además, en la película de 1959 los carruajes eran más sofisticados que en esta última.
Un error gravísimo se encuentra cuando el jeque Iderim (Morgan Freeman) rescata a Tirsa y a la madre de Ben Hur de la cárcel donde se encuentran-sin temor de ser contagiado por la lepra-en vez del leprosorio, que es el lugar donde deberían estar.
Si usted quiere ver la película, es por su cuenta y riesgo, ya que ni los efectos especiales la salvan de ser una película mediocre.
viernes, 19 de agosto de 2016
- El realizador regresa con un filme sobre el misterio de la vida y sus límites con la irrealidad, una cinta que retrata el duro panorama social en Tailandia
La figura del hospital continúa estando presente en la todavía breve pero ya sustanciosa obra fílmica de Apichatpong Weerasethakul. Lo vimos en Síndromes y un siglo (2006), nominada al León de Oro, y en su trabajo triunfador como mejor película en Cannes, El tío Boonmee recuerda sus vidas pasadas (2010). Y es que el misterio de la vida en sus límites con la irrealidad de nuevo llama la atención con su más reciente película, Cementerio de esplendor.
Nominada a mejor película en la sección ‘Una cierta mirada’ en Cannes, Cementerio de esplendor se estrena este 19 de agosto en la Cineteca Nacional en la Sala 10, Luis Buñuel. Se trata de un título que, tras su paso por el 36 Foro Internacional, da continuidad a una de las filmografías más interesantes actualmente dentro del panorama de los directores asiáticos.
El filme nos ubica en Khon Kaen —lugar donde el cineasta creció, al noreste de Tailandia—, en lo que fue en el pasado una escuela rural y que ahora como clínica alberga a un grupo de soldados que padece la enfermedad del sueño. La solitaria ama de casa de mediana edad Jenjira (Jenjira Pongpas Widmer) atiende a uno de estos militares (Banlop Lomnoi) quien sufre alucinaciones que desencadenan en sueños extraños, fantasmas y romances.
Con formación de arquitecto y experiencia en el campo de las videoinstalaciones, Weerasethakul siempre genera altas expectativas con su obra. Su nueva película ha circulado por múltiples festivales generando críticas favorables, aunque ciertamente se trata de un autor no para mayorías. Su estilo ostenta una complejidad que muchos no toleran por ser demasiado personal.
Sobre el haber rodado en su ciudad natal, el realizador comentó en entrevista para Film Comment que fue la primera vez que filmó en Khon Kaen: “Fue más personal en la expresión de desesperanza para mí. Se siente como que al vivir allí [en Tailandia], me es cada vez más difícil expresar las cosas, y ver a los amigos detenidos, encarcelados, es casi como esperar mi turno”; esto en referencia al dominio militar que impera en la nación tailandesa y donde las personas ven regulada su conducta.
En su crítica para La Jornada, Carlos Bonfil escribió que el cine poético de Weerasethakul “no se limita ya a mostrar la migración de las identidades ni el misterio de las reencarnaciones en un contexto budista; sino a yuxtaponer épocas históricas y registros de ficción y realidad para señalar una fría modernidad y una decadencia política. Cementerio de esplendor es, a un mismo tiempo, una experiencia gratificante y perturbadora.”
La propuesta estética del también fundador de Kick the machine, compañía que se dedica al fomento del cine experimental e independiente, se apoya en el afortunado trabajo del cinefotógrafo mexicano Diego García (Manto acuífero, 2013; Buey neón, 2015), egresado del Centro de Capacitación Cinematográfica (CCC).
- La pareja de directores lleva a la pantalla la aventura del soldado y explorador Diego de Ordaz, quien tuvo la encomienda de escalar el Popocatépetl
En 1519, antes de llegar a la capital azteca México-Tenochtitlán, tres conquistadores españoles marchan hacia la cima del volcán Popocatépetl con el propósito de abrir una ruta a través del pico montañoso de más de 5,400 metros de altura. Durante el ascenso se enfrentarán a la fuerza de la naturaleza y el temor a lo desconocido, pero su misión es de gran importancia para los intereses de Hernán Cortés.
Codirigida por Yulene Olaizola y Rubén Imaz, Epitafio está sustentada en textos del siglo XVI como La historia verdadera de la conquista de la Nueva España de Bernal Díaz del Castillo. Hablada en náhuatl y español, la cinta regresa a la Cineteca Nacional tras su paso por el 36 Foro Internacional de Cine este 19 de agosto en la Sala 10, Luis Buñuel.
La cinta se estrenó a nivel mundial en el 19 Festival Internacional de Cine “Noches negras” de Tallin, Estonia. Para el rodaje, los directores, el elenco y parte del crew de la película tuvieron que hacer ascensos de entrenamiento al Nevado de Toluca y al Pico de Orizaba.
Epitafio se distancia de la clásica visión de la conquista para centrarse en la hazaña de Diego de Ordaz y sus dos acompañantes, quienes escalaron un octubre del siglo XV el volcán ubicado en el Estado de México, para vislumbrar a Tenochtitlan y conseguir el azufre de la montaña para así fabricar pólvora.
La idea está inspirada en una anécdota contenida en el libro de Bernal Díaz del Castillo, quien en no más de dos párrafos, hace una pequeña mención de ese hecho. Ambos cineastas leyeron el libro y consultaron otras fuentes, comoLas cartas de relación de Hernán Cortés y un documento del Vaticano en el que la monarquía española expuso sus argumentos para invadir América. Después de la investigación y de algunos meses de planeación, la travesía comenzó con las grabaciones en el Pico de Orizaba, lo más cercano al aspecto que tendría el volcán Popocatépetl en 1519.
La cinta retrata uno de los momentos históricos más sobresalientes de nuestro país previo a la consumación de la Conquista; especula sobre la hazaña del primer europeo que pisó la nieve de la famosa cumbre, un tema ausente en la historia del cine nacional y que animó a los realizadores a retomarla.
“Diego de Ordaz era un personaje fascinante, fue explorador, espía, aventurero y muy devoto de la Iglesia y la Corona, era un hombre que amaba a los indios como hermanos, algo muy inusual en un conquistador. Generalmente estamos acostumbrados a ver a los conquistadores como los malvados, sin embargo, aquí quisimos mostrar la otra cara de la moneda, humanizarlos y verlos como personas que buscaban cumplir con su religión y sus creencias”, comentó Rubén Imaz en un conferencia de prensa realizada en Brasil.
La obra exhibe una fotografía muy naturalista destacando el protagonismo de los volcanes Popocatépetl y Pico de Orizaba. También subraya el paisaje adverso y extremadamente frío. Durante cuatro semanas, la producción de Epitafiose adentró en el Pico de Orizaba para realizar el resto del rodaje, debido a que se registraba una intensa actividad volcánica y sísmica de El Popo, sólo pudieron permanecer ahí una semana.
En su crítica para La Jornada, Carlos Bonfil apuntó que “Epitafio sugiere un atractivo resumen artístico de un viejo debate entre letrados e historiadores a propósito de la conquista de México. Una creación arriesgada y muy original.”
Desprendiéndose del estigma que rodea la figura de los conquistadores, Epitafio explora, a través de una épica histórica, la naturaleza como metáfora fantasmal, un deseo demente de gloria y el desgaste psicológico de sus personajes.
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