Se Vende



"El Humor Negro en el Cine"


La idiosincrasia de los cubanos les hace reírse de todo, incluso de sus propios y más agudos conflictos como sociedad. Reír para no llorar; reír porque “no hay más nada”. O al menos eso se cree, y se repite, en nuestras calles. En Se vende, como en buena parte de las películas cubanas, también se utiliza el humor para abordar problemas reales y serios.

Producida por NMP International S.A. y el Instituto Cubano de Arte e Industrias Cinematográficas (ICAIC) bajo la dirección y la actuación de Jorge Perugorría, la película se centra en el personaje de Nácar; joven laboratorista que está enfrentando sola su difícil situación económica. Nácar visita todos los domingos la tumba de su madre para hablar con ella. La difunta, que siempre fue el sustento de su familia, le aconseja que venda la bóveda: "...si hay que sacrificar a los muertos para darle de comer a los vivos... ¡lo haremos !". Nácar se espanta ante la proposición de su madre y se lo cuenta a Pilar, su amiga y compañera de trabajo, Pilar convence a Nácar, (¡y de qué manera!), de que su madre tiene toda la razón... y en eso aparece en su vida Noel, pintor, emprendedor y con él llega el amor, juntos emprenden entonces la difícil aventura de exhumar a sus muertos.

Historia de humor negro, donde la muerte es solo un pretexto para hablar de la vida, como dice Nácar, "mi madre es una especialista en el arte de la supervivencia,.. de eso trata esta historia...."

Trailer


Se Vende - Trailer from Cuby 2013 on Vimeo.

Galería de Fotos








Ficha Técnica

Título: Se Vende (For Sale)
Género: Comedia
Duración: 95 minutos
Guión y Dirección: Jorge Perugorría
Música: Andrés Levin
Fotografía: Ernesto Granado
Director de Arte: Carlos Urdanivia
Edición: Eliecer Aguiar

Elenco:
Jorge Perugorría
Daylenis Fuentes
Yuliet Cruz
Mirtha Ibarra
Mario Balmaseda

Productora:
NMP
ICAIC
NeoCuba



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Qué Tengo Pa'Tí
2013



Cocaine Cowboys



"Miami: a city that suffered the effects of the drug"


Cocaine Cowboys  is a 2006 documentary film directed by Billy Corben and produced by Alfred Spellman and Billy Corben through their Miami-based media studio 'Rakontur'. The film explores the rise of cocaine and resulting crime epidemic that swept the American city of Miami, Florida in the 1970s and 1980s. The producers of Cocaine Cowboys  use interviews with law enforcement, journalists, lawyers, former drugs smugglers, and gangs members to provide a first hand perspective of the Miami drug war.

Trailer



Cocaine Cowboys  chronicles the development of the illegar drug trade in Miami during the 1970s and 1980s with interviews of both law enforcement and organized crime leaders, in addition to news footage from the era. The film reveals that in the 1960s and early 1970s, marijuana was the primary import drug into the region. During the 1970s, marijuana imports were replaced by the much more lucrative cocaine imports; as more cocaine was smuggled into the United States, the price dropped, allowing it to turn "blue collar," and be available to a wider market. Drug importers reveal several of the different methods used to import the drug into Florida.

The primary methods used to import the narcotics were by boat or by air. The drug importers also reveal the complexity of their methods of importation. The logistics involved with the importation included the purchase and financing of legitimate businesses to provide cover for illegal operations, the use of sophisticated electronic homing devices, and other elaborate transportation schemes. The film also discusses how importers sometimes had difficulty storing all the money they made, resulting in them setting up a relationship with Noriega in Panama, as well as buying up entire neighborhoods of houses, putting money into infrastructure, as well as side projects, such as race horses.

The distribution networks were also highly elaborate, and many people were involved locally and nationally in the consumption of the imported cocaine. Importers reveal that condominiums were purchased near particular ocean waterways to provide a monitoring post for Coast Guard and local police patrol boats. Importers reveal the use of high-tech radio monitoring equipment used to monitor the radio frequencies of Federal, State, and local authorities in order to warn incoming boats and airplanes.

The film reveals that much of the economic growth which took place in Miami during this time period was a benefit of the drug trade. As members of the drug trade made immense amounts of money, this money flowed in large amounts into legitimate businesses. As a result, drug money indirectly financed the construction of many of the modern high-rise buildings in southern Florida. Later, when law enforcement pressure drove many major players out of the picture, many high-end stores and businesses closed because of plummeting sales.

Also documented in the film is the gangland violence associated with the trade. The interviewees in the film argue that Griselda Blanco, an infamous crime family matriarch, played a major role in the history of the drug trade in Miami and other cities across America. It was the lawless and corrupt atmosphere, primarily from Blanco's operations, that led to the gangsters' being dubbed the "Cocaine Cowboys".


Griselda Blanco
"The Godmother"

Who Is She ?

Griselda Blanco was born on February 15, 1943, in a slum of Santa Marta, Magdalena, a city located on the Atlantic coast of Colombia. His mother became pregnant being raised from his boss, Mr. White, and was expelled from the estate. Later, Ana Lucia Restrepo, as it was called, was dedicated to prostitution, and the family moved to Medellín when Griselda was three years old. In the documentary "Cocaine Cowboys (Part Two)": Hustlin with the Godmother Blanco's former lover, Charles Cosby, recounts how she, with only 11 years, together with a group of children and adolescents marginal Medellin, kidnapped a child and upper class to take the child's parents negotiate the ransom kidnapped, White finally shot him dead on the spot.

With his fellow teens, White had become a pickpocket. At the age of 14 he ran away from his mother's side being physically assaulted her, resorting to prostitution to age 20 years in the city of Medellin. She married Jose Dario Trujillo, who was her first husband and they had three children: Dixon, Uber Sneider, and Osvaldo.


Her second husband was Dario Sepulveda, who had their fourth child, Michael Corleone Sepúlveda.


In the 1970s, White and her third husband, Alberto Bravo, emigrated to the United States, established the city of Queens, New York, Establishing a major cocaine business in that place. In April 1975, White was indicted on federal charges of drug conspiracy, along with 30 of his subordinates, at that time the biggest cocaine case in history. White fled to Colombia before he could be stopped, but in late 1970 he returned to Miami.

Griselda Blanco is known for participating in drug-related violence known as the Cocaine Cowboy Wars that hit Miami in the late 1970s and early 1980s, when cocaine was supplanted by marijuana.
In 1984, Griselda Blanco will to use violence against its competitors in Miami, or anyone who displeased him, led his rivals to make repeated attempts to kill her. Because of this he moved to California to escape the assassination attempts against it. The February 20, 1985, was arrested by DEA agents at home. Detained without bail, Griselda Blanco was sentenced to more than a decade in prison. She continued to run her cocaine business in prison. Pressing one of his lieutenants, the Office of Miami-Dade County State Attorney obtained enough evidence to charge her with three murders.  

However, the case collapsed, largely due to technicalities and Griselda Blanco was released and deported to Colombia in 2004. Before his death in 2012, was last seen in the "El Dorado International Airport". It was called the "Black Widow", in reference to the female insect called 'latrodectus' that, after mating, kills and devours the male, referring to the killing of those who were their husbands.


Griselda Blanco was killed on September 3, 2012 by two gunmen on a motorcycle as he left a carnage in the Bethlehem neighborhood in Medellin. It was reported that he fired two bullets in the head. Presumably for the past reckoning.


Cuban Involvement

Cocaine Cowboys  is a documentary film directed by Billy Corben and produced by Alfred Spellman, that no resident of South Florida to be missed, but should not be missed especially Cubans. The documentary explores the bloody war between drug riders in the seventies and eighties of the previous century in Miami, through interviews with journalists, politicians, police, lawyers, prosecutors, drug dealers and hit men posters, all participants from their disparate angles and occupations, in the events described.

From the sequences of the film leaves the reality of a Miami to a dark and bright, unusual site, a city that many did not know and that many more prefer to forget. A lurid and bloody, like those of all foundation myths, which placed the once sleepy city on the map of the world and endowed it for good and bad of an indelible identity.


But at the beginning said that it is a film that should not be missed especially the islanders and that it inadvertently made ​​by land at least two of the handiest myths, these foundational if not propaganda, about Cuban Miami. The first talk of traffic control for large and ruthless drug lords Cubans, as the anthology film recreates Brian De Palma's Scarface / Oliver Stone, starring Al Pacino, Steven Bauer and Michelle Pfeiffer, but the truth is showing Cocaine Cowboys  another island national ego and the floor crying, because not one of the hard and flagship gunmen, kingpins and drug transporters would be Cuban, American and Colombian unless under the aegis of the Ochoa family of Medellin, not that assassins had not, lords and drug transporters Cubans, who had and good, but none even come close to the excellence of the appeared in the documentary, much less to the excellence of marielito named.

In fact, the only Cuban fairly high on "Cocaine Cowboys (Part One)",  is a black psychopath, just arrived from the Mariel boatlift, which paid a brutal Colombian drug baroness, known for the Godmother, bayonet kills a bonnet, another Colombian , no less than in the Miami Airport Customs full afternoon, and before the astonished and frightened eyes of the world, poor devil without class, as he defines a former American officer of the DEA as compared with another assassin originally of Colombia, but raised in Chicago.

Not that the Cubans, mostly 'marielitos', not dying and killing in this war for control of white dust, is that they are in addition, mostly as thugs row, a butcher who has started long before disembarking them Key West. The first major shooting war that takes place on July 11, 1979 in the 'Dadeland Mall' in Miami and Mariel refugees first arrive in Miami on April 23, 1980. That is, nine months after the carnage of the 'Dadeland Mall'. 


Technical

Title: Cocaine Cowboys
Country: United States
Language: English
Running time: 116 min.

Directed by: Billy Corben
Produced by: Alfred Spellman
Billy Corben
David Cypkin

Starring:
Jon Roberts
Mickey Munday
Jorge "Rivi" Ayala

Music by: Jan Hammer
Cinematography: Armando Salas
Editing by: Billy Corben
David Cypkin

Distributed by: Magnolia Pictures


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Caribe



"El sexo es una amenaza en ambos sentidos"
Franklin P. Jones


CARIBE  es una producción financiada con recursos enteramente costarricenses, y añade talento latinoamericano al presentar estrellas internacionales como el cubano Jorge Perugorría, la española Cuca Escribano y los mexicanos Maya Zapata y Gabriel Retes, quienes encabezan un reparto, donde también se lucieron los costarricenses Roberto Mc Lean, Vinicio Rojas, Arnoldo Ramos, Thelma Darkins y muchos más.

Dirigida por el costarricense Esteban Ramírez, CARIBE  es considerada como su ópera prima siendo rodada completamente en escenarios naturales del Atlántico Sur Costarricense y donde se recogió un espíritu nacional democrático visible en la movilización popular y en la forma pacífica y alegre de ésta; en su éxito y en sus lecciones morales. Un ejemplo crucial de cómo la sociedad civil puede organizarse y corregir el rumbo de los asuntos públicos, tanto de cómo hacerlo sin violencia, dentro del marco jurídico existente y conforme a las mejores tradiciones locales.


Esteban Ramírez
El Director 

Esta película contribuyó a una toma de conciencia dentro y fuera de la nación sobre la riqueza y diversidad natural y cultural como la principal ventaja comparativa de Costa Rica. El tema de la diversidad se ha convertido en centro del debate cultural. Muchas organizaciones públicas y privadas siguen trabajando en esa dirección y se mantienen alertas ante la amenaza petrolera, no solo de 'Puerto Limón', sino también sobre otros problemas como la tala de árboles para la urbanización y la agroindustria, el manejo de los desechos sólidos , el tipo de industria turística más conveniente, la creciente exclusión de amplios sectores sociales, y muchos aspectos mas de la sociedad costarricense.

Todo lo antes expuesto permite que la película CARIBE,  sea considerada un hito de la cinematografía costarricense y centroamericana.


Trailer


CARIBE  adaptó al cine un relato del consagrado escritor local Carlos Salazar Herrera (laureado con el Premio Magón, el más importante de Costa Rica), que trata el tema universal del amor y la traición e incorporó el problema de la lucha popular contra la transnacional petrolera, documentando los movimientos sociales e incidiendo en la discusión nacional sobre este delicado asunto.


Galería de Fotos







Ficha Técnica

TÍTULO ORIGINALCaribe
DURACIÓN90 min.
PAÍS Costa Rica
DIRECTOREsteban Ramírez
GUIÓNAna Istarú, Esteban Ramírez (Cuento: Carlos Salazar Herrera)
MÚSICAWalter Flores
FOTOGRAFÍAMario Cardona
REPARTOJorge PerugorríaCuca EscribanoMaya ZapataRoberto McLeanGabriel RetesVinicio RojasArnoldo RamosLeonardo PerucciSara AsticaXinia RubieMichelle JonesBismark Méndez
PRODUCTORACinetel S.A.


GÉNERODrama
SINOPSISVicente Vallejo escogió al exuberante y multicultural CARIBE costarricense para forjar su sueño de vivir con su esposa Abigaíl, junto al mar. Su único cliente, una transnacional bananera, decide inesperadamente rescindir su contrato debido a los vaivenes del mercado. Su situación se complica aún más con la sorpresiva llegada de la joven Irene, media hermana de su esposa, y la instalación de una compañía petrolera estadounidense en la zona, lo cual divide a la comunidad entre la necesidad de nuevos empleos y el temor al daño ambiental. El dolor y la frustración llevan a Vicente a una situación límite. Jackson, un viejo pescador negro, vecino de los Vallejo, observa todo. Sumido en una crisis, Vicente hará todo lo posible para que no se derrumben sus sueños.



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Qué Tengo Pa' Tí
2013


Historias Clandestinas en La Habana




"Cuatro historias de amor entrecruzadas"


Hasta la capital cubana llega Laura, una argentina que huye de una crisis de pareja. Allí conoce a Frank, un taxista divorciado que vive con su madre, la que se reencontrará con Francisco, un empresario que, solitario y triste, decide terminar con su vida. A estos dos entramados se les suman Carlos y Jaime, que deben ocultar su pasión sexual, y la de dos periodistas que intentan, juntos, reconstruir su penosas existencias.

Fragmento



El Director


Diego Musiak

Historias clandestinas en La Habana  fue dirigida por el argentino Diego Musiak, de una extensa carrera cinematográfica entre cuyos títulos se encuentran: Fotos del Alma, Te Besaré Mañana, Cartas para Jenny  y su más reciente trabajo Un Amor de Película.

Para la realización de Historias clandestinas en La Habana,  Musiak se trasladó a La Habana con su equipo técnico acompañado de la excelente actriz Susú Pecoraro (Camila), de una basta experiencia en el teatro argentino y en el cine.



Susú Pecoraro


Laura de la Uz y Jorge Martínez



Ficha Técnica

  • Título: Historias Clandestinas en La Habana
  • Género: Drama / Comedia / Romance
  • Director: Diego Musiak
  • Guión: Diego Musiak
  • Productor adjunto: Jorge Cecowsky
  • Productor ejecutivo: Diego Fernández
  • Director de producción: Rafaél Pérez
  • País: Bandera de Cuba Cuba y Bandera de Argentina Argentina
  • Duración: 85 min
  • Música: Leonardo Lebas
  • Fotografía: Carlos Ferro
  • Montaje o Edición: Miguel Pérez y Lorenzo Bombicci
  • Distribuidora: ICAIC y AdagioFilms



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Qué Tengo Pa' Tí
2013