From the book of Jorge Franco,Rosario Tijeras which has been put into moving pictures by Emillio Maillé,Flora Martinez amases the world of her brilliant performance of a viollent, murderous girl who does not combine between pain of love and death.Flora was so much convincing in her acting that it gave a social realist picture of a Latin American country,Colombia already swallowed by murder, drugs and impossible love .( allal el alaoui)
FLORA MARTINEZ .
Attended Actors Conservatory, Elaine Aitken, in New York (1998-1999).
Flora Martinez is a Colombian actress who began her career in television in her native country starting out in soap operas such as "María Bonita" (1995). She has worked in the theater in the staging of “Heart,” by Daniel Berardi. Martinez is best-known in the film industry for having worked in movies such as "Rosario Tijeras” (based on the book by the writer Jorge Franco), "Violet is not Dead", directed by Harold Trompetero, and "Soplo de Vida," by the Colombian Luis Ospina. For her portrayal in “Soplo de Vida,” she won the award of Best Actress in the Film Festival of Biarritz in France (1995). Flora Martínez studied preformance in the Actor’s Conservatory in New York, as well as in the Escuela Alfonzo Ortiz and in Actuemos Prodiccion, in Colombia.
ROSARIO TIJERAS , A NOVEL BY JORGE FRANCO
This is one of the Colombian authors I would like to pass the torch to.” -Gabriel Garcîa Mårquez
Winner of the 2000 Dashiell Hammett Prize
A simultaneous Seven Stories Press/Siete Cuentos Editorial publication
“An important addition to literature in the Latin American social realist tradition, and the author’s fluid and vibrant prose will surely capture readers of all backgrounds.” —Carmen Opsina, Cr’t’cas
“Undeniably powerful.” —Timothy Peters, San Francisco Chronicle
“Impassioned and colorful.” —Publishers Weekly
“An intense, raw portrait of l’amour fou.” —Kirkus Reviews
"Since they shot her at point-blank range while she was being kissed, she confused the pain of love with that of death." Rosario Tijeras is the violent, violated character at the center of Jorge Franco's study of contrasts, set in self-destructing 1980s Medellín. Her very name-evoking the rosary, and scissors-bespeaks her conflict as a woman who becomes a contract killer to insulate herself from the random violence of the streets. Then she is shot, gravely wounded, and the circle of contradiction is closed.
From the corridors of the hospital where Rosario is fighting for her life, Antonio, the narrator, waits to learn if she will recover. Through him, we reconstruct the friendship between the two, her love story with Emilio, and her life as a hitwoman.
Rosario Tijeras has been recognized as an admirable continuation of a literary subject that was first treated by Gabriel García Márquez and then by Fernando Vallejo. A work in the Latin American social realist tradition, the story of Rosario Tijeras is told in fast and vibrant prose, and poetic flourish.
Born in Medellín, Colombia, in 1962, JORGE FRANCO studied film at the London International Film School and Literature at the Pontificia Universidad Javeriana in Bogotá. He began his career as a writer in 1991 and was awarded the Pedro Gómez Valderrama National Narrative prize for a collection of short stories entitled Maldito Amor. His first novel, Mala Noche, won the Ciudad de Pereira National Novel Competition.
His latest book is Paraíso Travel. Franco is considered one of the youngest writers of note in Latin America, and one who has already earned a prominent place alongside several world-renowned Colombian writers.
GREGORY RABASSA is a distinguished professor of Romance languages and comparative literature at Queens College. He has translated more than forty works into the English, including the works of Jorge Amado, Julio Cortazar, Mario Vargas Llosa, and Octavio Paz. He received the National Book Award for translation in 1967 for Cortazar's Hopscotch. Rabassa lives in New York City.
Jump to filmography as: Actress, Self
Actress:
In Production
2000s
1990s
1 A Arte de Roubar (2007) (pre-production)
2 Lolita's Club (2007) (filming) .... Milena
3 Tuya siempre (2007) .... Lola
4 Violeta de mil colores (2005) .... Violeta
... aka Violet of a Thousand Colors (International: English title)
5 Rosario Tijeras (2005) .... Rosario
6 "Ley del silencio, La" (2005) (mini) TV Series .... Natalia Aguirre
7 Downtown: A Street Tale (2004) .... Maria
8 "Saga: Negocio de familia, La" (2004) TV Series .... Marlene - Young
9 "Law & Order" .... Tina (1 episode, 2003)
... aka Law & Order Prime (USA: informal title)
- Seer (2003) TV Episode .... Tina
10 The Secret Lives of Dentists (2002) .... Female Patient
11 I'm with Lucy (2002) .... Melissa
... aka Autour de Lucy (France)
12 Proof of Life (2000) .... Linda
13 Soplo de vida (1999) .... Golondrina/Pilar, the dead woman
... aka Adiós, María Félix (Colombia)
... aka Breath of Life (International: English title)
... aka Soplo de vida (Souffle de vie) (France)
14 "Divorciada" (1999) TV Series .... Eva
15 "Otra mitad del sol, La" (1996) TV Series .... Isabel
16 "María Bonita" (1995) TV Series .... Imelda Santos
17 "Leche" (1995) TV Series .... Imelda
18 "Mambo" (1994) TV Series
Samir Farid from the world cinema summit
Yesterday saw the opening of the Cannes Film Festival, which celebrates its 60th anniversary this year. To mark the occasion, the event hosts the greatest number of the most high-profile figures in its history.
The date has personal significance, too. It's been exactly 40 years since I first came to Cannes, in 1967; since 1971, indeed, I haven't missed a single session; and, especially prior to satellite television and DVD, the festival was the main source of my knowledge of cinema. In this and other ways it's been an integral part of my life. It is true that the festival doesn't makes as many films available from Asia, Africa and Latin America as it does films from North America, Europe and Australia. In 1967, however, nothing at all was available in Egypt. In fact by the time I got there on 20 May, a decree had been issued banning all American movies in preparation for the June war. And much as the festival owes me for its fame in the Arab world -- I was the first Arab to write a daily report from there -- I owe the festival so much of my knowledge of world cinema.
The date also marks festival president Gilles Jacob's 30th year in Cannes; he started as secretary general in 1977, following a job as the film critic of L'Express. Worth mentioning, too, is the late founder, Robert Favre le Bret, whose efforts helped sustain the status of the event; Jacob became president in 2002, while critic-scholar Thierry Frémaux took over his former position as artistic director, thereby, perhaps, completing the golden triangle. This year, together with other administrative personages, they watched 5,583 films (1,600 features and 3,983 shorts) from 95 countries, selecting 91 (64 and 27, respectively) from 31. Besides this, 20 old films will be screened following the restoration of their negatives, and they have been spread over six programmes.
The first is named simply "Ten Selected Films", the second honours Lawrence Olivier (1907- 1989) on the occasion of his 100th anniversary -- it includes three Shakespeare adaptations in which he starred: Hamlet, Henry V and Richard III -- and the third honours John Wayne (1907- 1979), also for his 100th birthday. The fourth programme celebrates the 50th anniversary of Andreij Vajda's Kanal, which received Cannes's Special Jury Prize in 1957, in the presence of the Polish director, while the fifth is a late commemoration of the 100th birth anniversary of Henry Fonda (1905-1982), in which Sidney Lumet's Twelve Angry Men will be screened in the presence of his daughter Jane Fonda as well as Lumet. The sixth programme features the launch of the World Film Foundation, another Martin Scorsese initiative to be presented by the director himself. Scorsese will also give the director's lecture-- by now an established event --on directing, to be followed by Sergio Castellitto and Howard Shore speaking on acting and music, respectively; Shore will be joined by Canadian director David Cronenberg.
On the fifth Europe Day (26 May), European culture ministers will attend meetings, some of which will be open to the public, while in preparation for the closing, a series of events will take place: on the night of 20 May, for example, a music concert will be held, together with the screening of the film Chacun son cinema or To Each His Cinema simultaneously in the festival and on television. In this film 35 directors -- only one, Jane Campion, is a woman -- each tell a three- minute story. They include the Palestinian Elia Suleiman, the Egyptian Youssef Chahine, the Chinese Zhang Yimou and the Danish Lars Von Trier -- none of whom will be able to attend. Present, on the other hand, will be the Brazilian Walter Salles, the Mexican Alejandro Gonzàlez Iñàrritu, the Canadians David Cronenberg and Atom Egoyan, the Americans Michael Cimino, Joel and Ethan Coen and Gus Van Sant, the Israeli Amos Gitai, the Iranian Abbas Kiarostami, the Italian Nanni Moretti, the Japanese Takeshi Kitano, the Taiwanese Hou Hsiao-Hsien, the Chinese Chen Kaige, Wong Kar-Wai and Ming- Liang Tsai, the French Claude Lelouch, Raymond Depardon, Olivier Assayas and Raoul Ruiz, the Greek Theodoros Angelopoulos, the Danish Bille August, the Belgian Jean-Pierre and Luc Dardenne, the Irish Ken Loach, the Polish Roman Polanski, the German Wim Wenders, the Finish Aki Kaurismöki, the Portugese Manoel De Oliveira and the Russian Andrei Konchalovsky.
Several of these are Palme D'Or winners: Kaige, Wenders, Anglopolous, Lelouch, August (twice), Kiarostami, the Dardenne brothers (twice), Campion, the Coen brothers and Van Sant. They form what can be called the golden directors' club, in which Scorsese is also a member. Four other feature films -- by the Italian Ermanno Olmi, the German Volker Schlöndorff and the French Claude Lelouch, all of whom have won the Palme D'Or -- pay tribute to Cannes on its 60th birthday. Participating in the competition this year are Coen and Van Sant as well as the other Palm D'Orians like Quentin Tarantino and Emir Kusturica. On the fringe are films by still other Palm D'Orians -- Steven Soderberg and Michael Moore -- as well as the the British Michael Winterbottom, winner of the Golden Bear at the Berlin festival. There are also new films by the Russian Aleksandr Sokurov, the Hungarian Béla Tarr (both in competiton), the Canadian Denys Arcand, and Un Certain Regard participants: the Taiwanese Hsien, the Italian Daniele Luchetti, the Swedish Roy Andersson, the French Barbet Schroeder. For the first time this year, the Cannes festival is organising an open conference titled "Cinema and Tomorrow's Audience" starting on 16 May, and launching a new website: www.festival-cannes.com besides its orginal one: www.festival-cannes.org.
If this is not the summit of world cinema, what is?
The films of Yasujiro Ozu examine the basic struggles that we all face in life: the cycles of birth and death, the transition from childhood to adulthood, and the tension between tradition and modernity. Their titles often emphasise the changing of seasons, a symbolic backdrop for the evolving transitions of human experience. Seen together, Ozu's oeuvre amounts to one of the most profound visions of family life in the history of cinema.
Ozu's career falls loosely into two halves, divided by the Second World War. His breezier early works are unafraid to acknowledge the influence of Hollywood melodramas or to flirt with farce. Such films contrast greatly with his later masterpieces, which portray a uniquely contemplative style so rigorously simplistic that it renounces almost all known film grammar.
Ozu's techniques:
As the 1940s came to an end Ozu began to fuse his early American influences with an overriding desire to reduce his techniques. In his later films, he reduced all camera movement (pans, dollying, and crabbing) to nil; he disregarded classical Hollywood cinema conventions such as the 180 degree rule (where the camera always remains on one side of an imaginary axis drawn between two talking actors) and replaced it with what critics have termed the “360 degree rule” (because Ozu crosses this axis); and he replaced traditional shot/reverse shot techniques with a system whereby each character looks straight into the camera when speaking to someone else. This had the unusual effect of placing the viewer directly in the centre of conversations—as if being talked to—instead of the Hollywood convention of alternately peering over characters' shoulders during such sequences. Furthermore, Ozu decided to reduce his choice of transition effect; gone were fades, wipes, dissolves, all replaced with the straight cut. Reducing his techniques in this way focused all attention on his characters—and their humanity shines through.
(sensesofcinema)
n addition to being motionless in his later work, Ozu's camera—from early in his career—was often placed at a very low level as if the viewer were sat crosslegged. It has been noted that this is at the same level one sits on tatami for a tea ceremony in a Japanese home, or while meditating, sitting in silence, observing, reaching meaning through extreme simplificaton. (8) It is also the height Ozu had to position his camera when making a film about children, and it is said he liked it so much that he stuck with it. Ozu clearly had many reasons for adopting such a low position for his camera and it became one of the few facets of his pared down technique.
Filmography
Filmography
Jump to filmography as: Director, Writer, Miscellaneous Crew, Thanks
Director:
* 1960s
* 1950s
* 1940s
* 1930s
* 1920s
1. Sanma no aji (1962)
... aka An Autumn Afternoon (USA)
... aka The Widower (USA)
2. Kohayagawa-ke no aki (1961)
... aka Autumn for the Kohayagawa Family (literal English title)
... aka Early Autumn
... aka The End of Summer (International: English title)
... aka The Last of Summer
3. Akibiyori (1960)
... aka Late Autumn (USA)
4. Ukigusa (1959)
... aka Drifting Weeds
... aka Floating Weeds (USA)
5. Ohayô (1959)
... aka Good Morning (International: English title)
... aka Ohayo (Japan: alternative transliteration)
... aka Yasujiro Ozu's Good Morning (USA)
6. Higanbana (1958)
... aka Equinox Flower
7. Tokyo boshoku (1957)
... aka Tokyo Twilight
... aka Twilight in Tokyo
8. Soshun (1956)
... aka Early Spring (USA)
9. Tôkyô monogatari (1953)
... aka Tokyo Story (USA)
10. Ochazuke no aji (1952)
... aka Flavor of Green Tea Over Rice (USA)
... aka Tea Over Rice (USA)
... aka Tea and Rice
11. Bakushû (1951)
... aka Early Summer
12. Munekata kyoudai (1950)
... aka The Munekata Sisters (International: English title)
13. Banshun (1949)
... aka Late Spring
14. Kaze no naka no mendori (1948)
... aka A Hen in the Wind
15. Nagaya shinshiroku (1947)
... aka The Record of a Tenement Gentleman
16. Chichi ariki (1942)
... aka There Was a Father
17. Todake no kyodai (1941)
... aka The Brothers and Sisters of the Toda Family
... aka The Toda Brothers and Sisters
18. Shukujo wa nani o wasureta ka (1937)
... aka What Did the Lady Forget?
19. Hitori musuko (1936)
... aka The Only Son
20. Daigaku yoitoko (1936)
... aka College Is a Nice Place
... aka Tokyo Is a Nice Place
21. Kagamijishi (1936)
... aka Kikugoro no kagamijishi (Japan: long title)
22. Tokyo no yado (1935)
... aka An Inn in Tokyo
23. Hakoiri musume (1935)
... aka An Innocent Maid
... aka The Young Virgin
24. Ukikusa monogatari (1934)
... aka A Story of Floating Weeds
... aka Ukigusa monogatari (Japan: alternative transliteration)
25. Haha wo kowazuya (1934)
... aka A Mother Should Be Loved
26. Dekigokoro (1933)
... aka Passing Fancy
27. Hijosen no onna (1933)
... aka Dragnet Girl
... aka Women on the Firing Line
28. Tokyo no onna (1933)
... aka Woman of Tokyo
29. Mata au hi made (1932)
... aka Until the Day We Meet Again
30. Seishun no yume imaizuko (1932)
... aka Where Are the Dreams of Youth?
... aka Where Now Are the Dreams of Youth
31. Otona no miru ehon - Umarete wa mita keredo (1932)
... aka Children of Tokyo (USA)
... aka I Was Born, But... (International: English title)
... aka Umarete wa mita keredo (Japan: short title)
32. Haru wa gofujin kara (1932)
... aka Spring Comes from the Ladies
33. Tokyo no kôrasu (1931)
... aka Tokyo Chorus
... aka Tokyo no gassho (Japan: alternative transliteration)
34. Bijin aishu (1931)
... aka Beauty's Sorrows
35. Shukujo to hige (1931)
... aka The Lady and Her Favorite
... aka The Lady and the Beard
36. Ojosan (1930)
... aka Young Miss
37. Ashi ni sawatta koun (1930)
... aka Lost Luck
... aka Luck Touched My Legs
... aka The Luck Which Touched the Leg
38. Erogami no onryo (1930)
... aka The Revengeful Spirit of Eros
39. Rakudai wa shita keredo (1930)
... aka I Flunked But...
40. Hogaraka ni ayume (1930)
... aka Walk Cheerfully
41. Kekkongaku nyumon (1930)
... aka Introduction to Marriage
42. Sono yo no tsuma (1930)
... aka That Night's Wife
43. Tokkan kozo (1929)
... aka A Straightforward Boy
44. Daigaku wa deta keredo (1929)
... aka I Graduated But...
45. Wasei kenka tomodachi (1929)
... aka Fighting Friends
... aka Fighting Friends: Japanese Style
46. Gakusei romance: Wakaki hi (1929)
... aka Days of Youth
47. Kaishain seikatsu (1929)
... aka The Life of an Office Worker
48. Takara no yama (1929)
... aka Treasure Mountain
49. Nikutaibi (1928)
... aka Body Beautiful
50. Hikkoshi fufu (1928)
... aka A Couple on the Move
51. Wakodo no yume (1928)
... aka Dreams of Youth
52. Kabocha (1928)
... aka Pumpkin
53. Nyobo funshitsu (1928)
... aka Wife Lost
54. Zange no yaiba (1927)
... aka Sword of Penitence
1. Sanma no aji (1962)
... aka An Autumn Afternoon (USA)
... aka The Widower (USA)
2. Kohayagawa-ke no aki (1961)
... aka Autumn for the Kohayagawa Family (literal English title)
... aka Early Autumn
... aka The End of Summer (International: English title)
... aka The Last of Summer
3. Akibiyori (1960)
... aka Late Autumn (USA)
4. Ukigusa (1959)
... aka Drifting Weeds
... aka Floating Weeds (USA)
5. Ohayô (1959)
... aka Good Morning (International: English title)
... aka Ohayo (Japan: alternative transliteration)
... aka Yasujiro Ozu's Good Morning (USA)
6. Higanbana (1958)
... aka Equinox Flower
7. Tokyo boshoku (1957)
... aka Tokyo Twilight
... aka Twilight in Tokyo
8. Soshun (1956)
... aka Early Spring (USA)
9. Tôkyô monogatari (1953)
... aka Tokyo Story (USA)
10. Ochazuke no aji (1952)
... aka Flavor of Green Tea Over Rice (USA)
... aka Tea Over Rice (USA)
... aka Tea and Rice
11. Bakushû (1951)
... aka Early Summer
12. Munekata kyoudai (1950)
... aka The Munekata Sisters (International: English title)
13. Banshun (1949)
... aka Late Spring
14. Kaze no naka no mendori (1948)
... aka A Hen in the Wind
15. Nagaya shinshiroku (1947)
... aka The Record of a Tenement Gentleman
16. Chichi ariki (1942)
... aka There Was a Father
17. Todake no kyodai (1941)
... aka The Brothers and Sisters of the Toda Family
... aka The Toda Brothers and Sisters
18. Shukujo wa nani o wasureta ka (1937)
... aka What Did the Lady Forget?
19. Hitori musuko (1936)
... aka The Only Son
20. Daigaku yoitoko (1936)
... aka College Is a Nice Place
... aka Tokyo Is a Nice Place
21. Kagamijishi (1936)
... aka Kikugoro no kagamijishi (Japan: long title)
22. Tokyo no yado (1935)
... aka An Inn in Tokyo
23. Hakoiri musume (1935)
... aka An Innocent Maid
... aka The Young Virgin
24. Ukikusa monogatari (1934)
... aka A Story of Floating Weeds
... aka Ukigusa monogatari (Japan: alternative transliteration)
25. Haha wo kowazuya (1934)
... aka A Mother Should Be Loved
26. Dekigokoro (1933)
... aka Passing Fancy
27. Hijosen no onna (1933)
... aka Dragnet Girl
... aka Women on the Firing Line
28. Tokyo no onna (1933)
... aka Woman of Tokyo
29. Mata au hi made (1932)
... aka Until the Day We Meet Again
30. Seishun no yume imaizuko (1932)
... aka Where Are the Dreams of Youth?
... aka Where Now Are the Dreams of Youth
31. Otona no miru ehon - Umarete wa mita keredo (1932)
... aka Children of Tokyo (USA)
... aka I Was Born, But... (International: English title)
... aka Umarete wa mita keredo (Japan: short title)
32. Haru wa gofujin kara (1932)
... aka Spring Comes from the Ladies
33. Tokyo no kôrasu (1931)
... aka Tokyo Chorus
... aka Tokyo no gassho (Japan: alternative transliteration)
34. Bijin aishu (1931)
... aka Beauty's Sorrows
35. Shukujo to hige (1931)
... aka The Lady and Her Favorite
... aka The Lady and the Beard
36. Ojosan (1930)
... aka Young Miss
37. Ashi ni sawatta koun (1930)
... aka Lost Luck
... aka Luck Touched My Legs
... aka The Luck Which Touched the Leg
38. Erogami no onryo (1930)
... aka The Revengeful Spirit of Eros
39. Rakudai wa shita keredo (1930)
... aka I Flunked But...
40. Hogaraka ni ayume (1930)
... aka Walk Cheerfully
41. Kekkongaku nyumon (1930)
... aka Introduction to Marriage
42. Sono yo no tsuma (1930)
... aka That Night's Wife
43. Tokkan kozo (1929)
... aka A Straightforward Boy
44. Daigaku wa deta keredo (1929)
... aka I Graduated But...
45. Wasei kenka tomodachi (1929)
... aka Fighting Friends
... aka Fighting Friends: Japanese Style
46. Gakusei romance: Wakaki hi (1929)
... aka Days of Youth
47. Kaishain seikatsu (1929)
... aka The Life of an Office Worker
48. Takara no yama (1929)
... aka Treasure Mountain
49. Nikutaibi (1928)
... aka Body Beautiful
50. Hikkoshi fufu (1928)
... aka A Couple on the Move
51. Wakodo no yume (1928)
... aka Dreams of Youth
52. Kabocha (1928)
... aka Pumpkin
53. Nyobo funshitsu (1928)
... aka Wife Lost
54. Zange no yaiba (1927)
... aka Sword of Penitence
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