By Jake Howell jake.howell@utoronto.ca
Countdown To Cannes: Damián Szifron
The penultimate in a series of snapshots outlining the nineteen directors in the 67th Palme d’Or Competition.
Background: Argentinean; born Ramos Mejía, Buenos Aires Province 1975.
Known for / style: El Fondo del Mar (English: The Bottom of the Sea) (2003), Tiempo de Valientes (English: On Probation) (2005), TV series Los simuladores (2006), TV series Hermanos y detectives (2009); writing and directing television series in addition to feature films; buddy-cop comedies that focus on crime and investigating criminality.
Notable accolades: Mainstream comedies don’t typically translate to art-house festival success, despite Szifrón’s impressive local box-office numbers. Still, San Sebastian honored him with a Horizons Award (special mention) in 2003 for The Bottom of the Sea, a film that also took the French Critics’ Discovery Award at the Toulous Latin America Film Festival. At the 2006 Peñíscola Comedy Film Festival, On Probation snagged Best Film and Best Director.
Film he’s bringing to Cannes: Relatos Salvajes (English: Wild Tales), an action-packed Spanish-language comedy thriller. Described by festival head Thierry Fremaux as “very unique, personal and different cinema that should wake up the Croisette,” the film is comprised of six stories and is Szifrón’s largest budget film to date (the film is distributed by Warner Bros.). From the official program guide: “Vulnerable before a reality that can suddenly be modified and become unpredictable, the characters cross the thin line that divides civilization from brutality. A story about love deception, the return of the past, a tragedy, or even the violence contained in an everyday detail, appear themselves to push them towards the abyss, into the undeniable pleasure of losing control.” The film stars Ricardo Darin (The Secret in Their Eyes) and other high-profile Argentinean actors (Rita Cortese, Oscar Martinez, Dario Grandinetti, and others). Oscar-winning composer Gustavo Santaolalla (Brokeback Mountain) scored.
Could it win the Palme? Judging by the distributor (Warner), the trailer (which dropped summer 2013), and the fact that the film has a tagline (”all can lose control”), it’s safe to say this is primarily a commercial piece of cinema. While Wild Tales looks to be a more thoughtful picture (and there’s a place at Cannes for films that both excite and inspire), the most likely prize is something like the Prix du Scénario—not a Palme—if Szifrón’s multi-pronged narrative is strong. A directing nod would also seem appropriate, especially if each of his six stories are distinctly worthwhile.
Why you should care: Though it’s a Spanish co-production, this Argentinean film is the only South American work in Competition. Known primarily for his work in television, Szifrón’s latest film is certainly ambitious, given its budget, scope, and well-known cast. If Wild Tales is good—hell, if it does well internationally—his projects may simply continue to grow bigger and bigger.
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