By MCN Editor editor@moviecitynews.com

“LECCIONES PARA UN BESO” BECOMES THE FIRST COLOMBIAN MOVIE AVAILABLE TO RENT ONLINE VIA FACEBOOK BEGINNING TODAY: FEBRUARY 14, 2012

Posted Tuesday, February 14th, 2012 - Comments Off on “LECCIONES PARA UN BESO” BECOMES THE FIRST COLOMBIAN MOVIE AVAILABLE TO RENT ONLINE VIA FACEBOOK BEGINNING TODAY: FEBRUARY 14, 2012
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“LECCIONES PARA UN BESO” (Lessons On How To Kiss) BECOMES THE FIRST COLOMBIAN MOVIE AVAILABLE TO RENT ONLINE VIA FACEBOOK BEGINNING TODAY: FEBRUARY 14, 2012

Los Angeles, February 14, 2012 — Striving to become pioneers in the online movie rental via Facebook, the Latin American independent studio Talleres Uchawi partnered with Facebook to distribute “Lecciones Para Un Beso” (Lessons On How To Kiss) to audiences in the U.S., Latin America & Colombia. This new model of distribution sets new standards for independent filmmakers worldwide.

The cost to see the movie through the social network will be one dollar and can be accessed by its Fan Page followers, currently totaling over 200,000 users. To watch the movie, fans will be able to pay with a credit card or through “Facebook credits.”

The film “Lecciones para un beso” from the young Colombian director Juan Pablo Bustamante is a romantic comedy that premiered in movie theaters in his native country and broke box office records. The film tells the story of Alejandro’s life, a teenager in Bogota who is forced to move to Cartagena where his mother decides to open a restaurant. There, he falls in love with María, a stunning young girl, and intends to try everything possible in order to give her a kiss. Inexperienced in love, Alejandro asks three clients in his mother’s restaurant for help — a romantic, a liar and a materialist — to teach him how to win María over. The men accept not only to help the boy, but they also make a bet among themselves to see whose advice ends in the kiss.

“Lecciones para un beso” is a story that for 100 minutes engages the audience in a plot that light-heartedly mixes romance, lies and money! The film was shot in over 20 locations in the historic district of the city of Cartagena de Indias, Colombia and received a grant for the ‘Cómo se Cuenta un Cuento’ [“How to Tell a Story”] workshop dictated by Gabriel García Márquez and Fernando León de Aranoa, at the International School of Film and Television in San Antonio de los Baños, Cuba.

Talleres Uchawi produces Colombian independent films dedicated to the creation of audiovisual works that combine artistic and commercial elements with quality universal stories. One of the documentaries shot by this production house, Cartagena de Indias: Una historia de cinco elementos, won first prize at the Third Exhibition of New Artists at the 43rd Edition of the Cartagena Film Festival and has sold over twenty-five thousand copies.

The Cast:

Cristina Umaña | José Julián Gaviria | Vanessa Galvis | Salvo Basile | Bárbaro Marín | Óscar Mauricio Rodríguez | Laura García | Catalina Londoño | Mimi Morales | Luis Tamayo | Luis Fernando Bohórquez | Florina Lemaitre.

For more information on the film, visit:

www.leccionesparaunbeso.com

https://www.facebook.com/LPUBeso

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon