the blind christ
described by alberto barbera as pasolini - esque, competition title the blind christ is generating heat .
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a first look at the poster of the film which venice director alberto barbera singled out as “the big discovery” of this year’s festival: “el cristo ciego” (“the blind christ”), from chile’s christopher murray (pictured, right). produced by chile’s jirafa films and france’s cinesud promotion, “the blind christ” is not murray’s first feature: straight off [ … ]
in “the blind christ, ” murray looks set to up the ante. his second fiction feature is sold worldwide by film factory, one of the biggest sales agents in the spanish - speaking world, in a two - pic deal with jirafa. “the blind christ” also world premieres in competition at this year’s venice festival, which runs aug. 31 to sept 10 .
shifting the setting from “manuel de ribera’s” chilean archipelago to the dirt - poor desert of chile’s north, “the blind christ” begins with a villager, michael who, believing he is a christ, sets out on a barefoot pilgrimage across the desert to perform his first miracle, curing a dying friend .
a first look at the poster of the film which venice director alberto barbera singled out as “the big discovery” of this year’s festival: “el cristo ciego” (“the blind christ”), from chile’s christopher murray (pictured, right) .
developed at cannes’ cinefondation, the torino film lab and rotterdam’s cinemart and produced by jirafa’s augusto matte and thierry lenouvel at cinesud promotion, “the blind christ” also offers a way into the social realities of chile’s north, murray himself argues .
murray’s latest work, the blind christ, is set in northern chile, the country’s most religious area, where corporations have exploited precious mineral resources. neruda actor michael silva stars alongside a cast of non - professional actors .
michael is an inhabitant of a remote village in the chilean desert. but not any inhabitant. he is christ .
from the producers of the sundance - winning film to kill a man comes the blind christ a delicate parable, beautifully shot in the stunning chilean desert. this controversial story is directed by christopher murray (manuel de ribera), a front runner of the prestigious new wave in chilean cinema .
murray is also the co - founder of the documentary project ‘ film map of a country ’, which had its international premiere at the 2012 idfa festival. murray was also general director of the multi - award winning collective documentary propaganda. the blind christ is his first feature film as sole director .
produced by chile’s jirafa films and france’s cinesud promotion, “the blind christ” is not murray’s first feature: straight off college, he co - directed with pablo carrera “manuel de ribera, ” produced by bruno bettati when at jirafa, which already hints at “the blind christ” in its mix of professional actors and non - pro locals, “spectacular locations” and “the mood of a fable” as variety described “manuel de ribera, ” praising an an “impressive” feature debut the tale of a man who wants to develop an island he’s inherited .
a spiritually guided man in chile’s impoverished north crosses the desert thinking he can perform a miracle and heal an injured friend in christopher murray’s belabored tone poem, “the blind christ. ” the director succeeds in conveying the sense of those living in desiccated communities forgotten by the government, who have lost all hope and turn [ … ]
really, i am interested in how religion or spirituality or faith is a way for people to give sense to their reality. the film is about the construction of this religious myth, in the figure of the christ - this chilean christ - that makes this journey through the desert, and how this journey into faith resounds in the people of north chile .
the blind christ is as much a chilean road movie as an alternative religious fable, and this double nature is cleverly exploited by a story that gradually gains depth and traction as christ figure michael – played with quiet intensity by the film’s only professional actor, michael silva – embarks on a long journey through a mineral, dust - choked land to find a childhood friend who is now ill and crippled, and – possibly – heal him .
a man believes he has experienced a divine revelation in the desert, but is taken for the village fool by all he tells. read more: urltoken the blind christ, selected for this year' s venice film festival, is set in northern chile, the country’s most religious area. michael silva stars alongside a cast of non - professional actors .
just how that plays out, however, will be seen in venice where “the blind christ” will be one of two chilean films in competition on this year’s lido – with pablo larrain’s natalie portman - starrer “jackie” – a historical record for chile, a country which over the last decade has punched far above its weight when it comes to cinema .
“the blind chist” is “a unique story about a young man trying to overcome a harsh reality through the use of a miracle and about the way in which communities are able to find meaning through his journey, ” according to murray .
what the blind christ seems to be circling around is the intuition that miracles are created as much, if not more, by those pure, simple souls that believe in them as they are by those that perform them – leaving michael, who is neither zealot not charlatan, feeling hemmed in by his growing word - of - mouth fame, pressured to do something remarkable .
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this venice competition entry from chilean director christopher murray (' manuel de ribera') stars local tv star michael silva as a young man who has been dubbed
the chilean christ .
“in order to penetrate the country’s conflict, ” all the actors are real locals who share their stories in the film, murray said. cast’s only professional is lead michael silva, best known to chileans as a star of tv series “sudamerican rockers. ” as “the blind christ’s” poster suggests, however, silva has both the mien of a biblical character and a sense of strong humanity. poster’s log - line, “let me tell you a story, ” hints at the power of storytelling as a central theme of the film .
with his elongated face, huge eyes and dark hair, michael (michael silva, the cast’s only professional actor) looks like the christ pantocrator from the byzantine era, except that this youth, despite always walking barefoot and having a general aversion to bathing, is always miraculously clean - shaven .
. the feature takes the form of a long journey of discovery of the true meaning of religion, a journey interspersed with stories that are brought to life by the memories and words of the main character and interrupt the linear progression of the film, with flashbacks of the past .
let me be clear, the film is not about these mining companies, it’s about the atmosphere of development in chile. the economic development doesn’t help the reality of these people and there are a lot of poor people who are suffering. the idea of the film is to journey to this part. the mining companies are just the general context hiding in the body of the film. but the main part of the film is about the relationships between michael, the character, and the real people used in the film. so more then an explicit political statement, it’s more about how this impacts in daily life in the private spaces and in the belief of the people .
“the voyage will traverse the desperation of a society in need of faith, ” the film’s production notes read .
see below the original post for the full list of films in the main sections. venice runs august 31 - september 10 .
michael believes he experienced a divine revelation in the desert when he was a child. his neighbors are incredulous and take him for the town fool ever since. one evening, he gets news that a childhood friend was badly hurt in an accident in a remote village. michael decides to drop everything to go on a barefoot pilgrimage through the chilean desert in order to cure his friend with a miracle, a voyage that will traverse the blind desperation of a society in need of faith .
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hinging the content of the feature on words, in the form of accounts, and slow panoramic shots which leave the gaze of the viewer immobilised on the bodies hiding that divine light that they don’t know how to hide, christopher murray also sprinkles his film with clear references to stories about jesus: michael meets the people and listens to their afflictions, undergoes a journey of penitence in the desert, and acts as the messenger of god, handing down his teachings as if jesus were speaking through his mouth because “faith is the sound that fills the void of the material absence of god” .
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the film is a fiction that it is like a parable, it’s in the language of the parable, it doesn’t try to be realistic. the main thing is that all the people who participated in the film are invited onto the film to create a character based on their own experiences, on their own lives. it’s in their own language .
next he meets teen bastián (bastián inostroza), who offers to help him find mauricio. they continue walking the dusty plain of the pampa del tamarugal, encountering a succession of people whose lives of hardship make them either turn to religion or reject the efficacy of god’s intervention. while convinced that something of christ is inside him, michael remains concerned that god might not use him as a conduit, putting added pressure on him as people learn of his unwarranted reputation as an effective dispenser of blessings .
venice film festival artistic director alberto barbera says that christopher murray will be the ‘discovery of the festival. ’
how do you feel about mr. barbera predicting that your film will be the ‘discovery’ of the festival ?
the way we worked was to spend 2 years there, in the fields, knocking on doors, collecting their experiences. there was a whole project of having a creative space and allowing these people to participate in the rewriting of the script, designing the characters in it, working on this dialogue and the places. yes, in a way the film is a fiction, but it’s working together with the people to create a real natural environment in this story .
what the film lacks in psychological conception is occasionally made up for in visual style. a scene of michael and mauricio as boys, silhouetted by the fading light against the desert mounds, has the quality of a striking illustration, and while no other shot goes that far artistically, the overall look, notwithstanding the soporific dun - colored palette, is pleasing. the same is not true of alexander zekke’s music, which sometimes resembles an orchestra warming up .
previous: the roster for the 73rd venice film festival is being unveiled this morning in rome. at a press conference just getting underway, artistic director alberto barbera will announce the titles that make up this year’s edition of the world’s oldest fest which takes place on the lido beginning august 31. venice kicks off the early fall triumvirate which also includes toronto and telluride, and which roundly offers up awards season contenders .
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hacksaw ridge marks gibson’s first time in venice and should boost the anticipated ww ii drama’s launch into the kudos corridor. lionsgate has set a domestic november 4 release for the film which deadline has previously reported tested through the roof with equal parts drama, action and faith - based nuances .
a very slow moving movie that does rely on the mood it delivers and on suspense that is created by not giving the viewer too many answers. on the other hand i would understand if some wouldn' t even have any questions to begin with. you have to let yourself go with this one. you have to be a real believer if you allow the pun. having said that, the movie is not really bad at all. the setting is good enough and the cinematography works for the movie too. the acting is ok, although there is not much to see and as with the pace some may feel it is a bit of a drag overall. so if you can limit your prohibitions and can overlook some of the flaws, you may very well be able to enjoy this
the u. s. is well - represented across the main sections, while big name european filmmakers include wim wenders with les beaux jours d’aranjuez; françois ozon and frantz; and emir kusturica with on the milky road. veteran kusturica won venice’s luigi de laurentiis prize for best first film with 1981’s do you remember dolly bell? . cannes regular amat escalante is in competition with la region salvaje from mexico while the philippines’ lav diaz is coming to the lido for the third time, bringing the woman who left .
the first few days of venice can be expected to be frontloaded with the splashier titles which then make their way to toronto and / or telluride, and often onto the awards circuit. the glamourous, yet accessible, fest is a key chance for studios to get conversations started and films and talent in front of the world media. doing double - duty this year, amy
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barbera has proved highly prescient over the past four years since he returned to the lido event, scoring such eventual oscar winners as gravity, birdman and spotlight in their world premieres. as previously announced, this year’s opener is the damien chazelle - directed la la land from lionsgate. ryan gosling and emma stone star in the in - competition musical. sam mendes is president of the jury .
an existential comedy about a spanish man trying to apostatize from the catholic church .
he continued: “in pondering faith, we can uncover the social conflicts that have historically plagued us as a country and society, ” in the case of chile’s north its impoverishment at the hands of multinational companies which have ravaged its natural resources .
yes, i think of directors like glauber rocha, the brazilian filmmaker for example, he also introduces political concepts in a really unique language of film. all the films of pedro costa, the portuguese filmmaker. from the film canon, filmmakers, like robert bresson. i think they are an inspiration in the way they build a language to try and get inside reality, not in a common way, not in any explicit way, but by creating a language to get inside the real realities .
to me i really feel grateful. for me it’s important to share the film, for me that’s the most important thing, not just the idea of being at the venice film festival but to share our film. that is why films are made. and it’s great to be in competition alongside all these filmmakers that i really admire .
michael (silva) believes he has experienced a divine revelation in the desert, but is taken for the village fool by all he tells. when he hears about an accident involving a childhood friend, michael ventures on a barefoot pilgrimage through the chilean desert .
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after an ex - con returns to her fishing village, a dead body leads her to uncover the secrets of the town and its half - siren / half - human residents .
murray, who was born in santiago, chile, in 1985, previously co - directed manuel de ribera alongside pablo carrera. the film premiered at the rotterdam film festival in 2010 .
as such, michael has a very direct concept of faith that has no room for any form of organized religion or even a need for followers. this makes the protagonist a very unusual contemporary religious figure while murray also handily avoids telling a story that’s too similar to esteban larrain’s 2012 chilean drama the passion of michelangelo, about a young man with a direct line to the virgin mary who attracts huge crowds and the attention of religious and secular authorities in the pinochet era .
no. it was an incredible experience. i’m convinced that when people have had a very strong story in their life that they are very confident people, they can communicate, they can create and it was amazing. i was completely surprised by how good and how natural and how strong the performances are of the real community, of the real characters that appear in the film .
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i don’t have a specific budget, to be honest. the film is produced by jirafa [ headed by bruno bettati ] and also cinesud, so the film is a chile / france coproduction. we received funds from chilean fondo de fomento audio (audio promotion fund) and the cannes cinefoundation .
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the event confirmed on twitter that it will take place from tuesday 14 to saturday 25 may 2019 .
cianfrance’s the light between oceans (disney), a romantic drama from producer david heyman, will bring out michael fassbender and alicia vikander. venice vets, fassbender took the best actor volpi cup for shame in 2011 while vikander went on to an oscar for last year’s venice world premiere pic the danish girl .
to the accompaniment of unsettled chords, michael sets off barefoot, arriving at a community of people worshiping a statue of st. lawrence. to get the citizens to shift their devotion from the saint to god, he tells them a story of a man who worked so hard making statues representing the life of jesus that he forgot to pray, and disaster ensued. michael’s iconoclasm is received unfavorably, and he’s punished .
the national cinema in chile has a lot of new voices: a lot of voices that are completely different, one from the other, there is not a national cinema language, it is a period of trying to make new films to experiment, and to have different voices. i feel very enthusiastic about things in chilean cinema and i think it’s important to continue working so that this is not something that is temporary but there is something that is strong and structural to make chilean cinema really part of the world cinema. i think it is happening because of the efforts of all the actors in the little chilean cinema world .
also out of competition are philippe falardeau’s boxing movie the bleeder, with liev schreiber and naomi watts, and antoine fuqua’s toronto opener the magnificent seven (sony / mgm), which will close venice on september 10 .
update: the 73rd venice film festival has set a strong lineup of world premieres including anticipated films from such helmers as denis villeneuve, pablo larrain, derek cianfrance, tom ford, terrence malick — and in an out of competition slot, the latest from mel gibson, hacksaw ridge. they join the previously announced opener, damien chazelle’s la la land. the festival has been dedicated to two recently deceased directors: michael cimino and abbas kiarostami .
there’s a good deal of pathos and humour in the way this intuition is played out – for example in the parables with which michael regales those he meets along the way. they never seem quite fit for purpose, and as often as not leave their listeners baffled. yet the genuine performances murray coaxes out of his first - time actors, who seem at times to be enacting or recounting their own difficult lives, prevent this delicate, more human than divine film from going too far down this road, and falling into the trap of auterish irony and knowingness .
there’s a mary magdalen figure – the abused mother of a soccer - mad boy who tags along with michael on his barefoot trek across the dusty landscape. “are you a mechanic or a priest? ” she asks just before he lays expert hands on the engine of a long - defunct car in her backyard, and it springs to life. that evening, he allows himself to be seduced, just as later, he allows himself to be talked into administering the sacrament of baptism, in a tarapacá version of the river jordan, for an indos congregation whose priest has abandoned them .
murray’s co - directed debut “manuel de ribera” was also a moral drama with a fable - like overlay, though this, his first solo effort in making a feature, is even more invested in the use of storytelling to convey a message about the space that faith inhabits when all else is gone. in many ways, it’s the polar opposite of luis buñuel’s “simon of the desert, ” whose scathing depiction of a desert hermit’s temptations offers little sympathy to those who rely on religion .
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that’s not to say that some people don’t want to follow el profeta regardless and in this sense, the movie explores how faith means something different for different people. as showcased in inti briones’s sensual cinematography — with its measured zooms, slow sideways pans and shots flooded in soft, enveloping light — the vast pampa consists of large expanses of arid land dotted with barely - there homes. it’s a destitute corner of the country in which hope seems in short supply, so the desire or even the necessity to believe in something is certainly there. and seeing someone so sure of his own faith can no - doubt be inspiring, especially if the person in question is framed, as briones does, in a central composition, which literally makes silva look iconic .
it is an area that has been exploited by mining companies. how have these mining companies affected the characters in your film ?
over the course of the slow pilgrimage of the protagonist across a northern chile, bearing witness to the exploitation of mineral resources by big businesses that leaves the local population to rot in decline, completely incapable of taking back their land, a boy by the name of michael, played by young actor michael silva, re - embraces his faith after a family bereavement threatens to topple it. citing, on several occasions, the statement that “god is not outside, but within us”, michael invites everyone around him, and everyone he meets along his journey, to look within themselves to find a valid conclusion from not only a spiritual, but a logical point of view: if we believe that god is within every one of us, that he is part of our being, and that god is capable of making miracles happen, then, due to our transitive nature, we’re also capable of performing miracles .
both of those pictures were the subject of major deals in cannes in 2015 and 2014, respectively. focus secured world rights to nocturnal in a $ 20m acquisition last year, while paramount set a then cannes record the previous year, spending $ 20m for u. s. , canada and china rights to arrival, which was known at the time as story of your life. amy adams stars in both pics. joining her in ford’s thriller are jake gyllenhaal and isla fisher. jeremy renner also stars in the sci - fi arrival .
michael yearns for a bigger challenge, one that will reveal whether his god - given faith stretches beyond mending bike punctures – and it promptly comes when he hears that mauri, who left to work in the mines of the tarapacá region years before, is in a bad way .
scenes with non - professional actors telling parts of their real lives have an authenticity generally lacking in the scripted portions of this belabored tone poem .
when michael was still a boy, he asked his best friend mauricio ‘mauri’ pinto to nail one of his hands to a tree (we wince, despite the tasteful camera angle and edit). later, god spoke to him from a fire. now all grown up, with the thin, haunted appearance of many false or true messiahs, michael repairs bicycles and other bits of machinery in a roadside workshop; he’s derided as ‘the prophet’ by most of the people in his town, and his depressed, widowed father wants nothing to do with his son’s self - imposed cross .
out of competition the young pope (episodes 1 & 2), dir: paolo sorrentino (italy / france / spain / u. s .) the bleeder, dir: philippe falardeau (u. s. / canada) the magnificent seven, dir: antoine fuqua (u. s .) hacksaw ridge, dir: mel gibson (u. s. / australia) the journey, dir: nick hamm (uk) a jamais, dir: benoît jacquot (france / portugal) gantz: o, dir: yasushi kawamura (japan) the age of shadows, dir: jee - woon kim (korea) monte, dir: amir naderi (italy / u. s. / france) tommaso, dir: kim rossi stuart (italy )
a man claiming he had a divine revelation as a child treks across the chilean desert to perform a miracle on a friend badly injured in a remote town .
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artistic director alberto barbera has had an impressive run over his past few outings curating the lido event which increasingly acts as a solid primer / launch pad for awards season (think the world premieres of gravity, birdman, spotlight and more). this year, barbera whittled down 1, 468 features to a selection of 56 total, including 20 in competition .
no other films have been confirmed, however we highly expect to see tom ford’s nocturnal animals announced today for a vaporetto to the sala grande, as well as denis villeneuve’s arrival .
apart from michael silva, you mostly use non - professional actors, people that have been directly affected by the changes in northern chile. how did you mix fact with fiction ?
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though the many small local stories add grit and a very welcome groundedness and murray is clear about michael’s final destiny and own desires, some of the film’s spiritual ruminations remain rather open - ended or unresolved, which will frustrate hardcore believers probably just as much as hardcore atheists. those coming to this otherwise impeccably controlled film with an open mind, however, should fare markedly better .
so begins a walk through the wilderness that stays just on the healthy, leeward side of symbolic solemnity. when michael is tied to a pole in a village he passes through for disrespecting a much - venerated statue of saint lawrence, there’s no new testament flagellation; in fact he’s released by a sympathetic villager. in a beautifully shot sequence he helps her wash her ageing mother .
lifetime achievement golden lions are set for jean - paul belmondo and jerzy skolimowski. among other highlights this year is a tribute to illumination entertainment ceo chris meledandri on september 5. an in conversation event will be held with a screening of footage from sing which is world premiering in toronto the next week. current box office hit the secret life of pets will screen in full; it hits italian cinemas in october .
barbara added: “murray’s talent for image composition is striking and the film’s narrative quality is one like we’ve never seen. he is an auteur and everyone will see it. ” [ scroll down to continue reading. ]
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michael is a mechanic who claims to have experienced a divine revelation in the desert. one afternoon he learns that a childhood friend has had an accident in a distant town. michael decides to leave everything he has to set out on a barefoot pilgrimage and cure him with a miracle .
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adams stars in both ford’s nocturnal animals (focus) and villeneuve’s arrival (paramount) — both of which were the subject of mega - deals in recent cannes markets (see below). natalie portman will be seen as jacqueline kennedy in chilean helmer larrain’s jackie, and stars in rebecca zlotowski’s out of competition planetarium with lily - rose depp. in cannes, larrain told me jackie would not be a classic biopic .
“it’s a surprising debut, influenced by pasolini but with a marvellous expressive strength of its own, ” barbera told screen daily .
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michael silva, bastián inostroza, ana maría henríquez, mauricio pinto, pedro godoy, hermelinda cayo, héctor mella, gonzalo villalobos, noelia rubio. (spanish dialogue )
reviewed at venice film festival (competing), sept. 1, 2016. (also in san sebastian .) running time: 85 min. (original title: “el cristo ciego” )
production: (chile - france) a jirafa, ciné - sud promotion production, in association with film factory. (international sales: film factory, barcelona .) producers: augusto matte, thierry lenouvel. executive producers: bruno bettati, pedro fontaine, florencia larrea, joaquin echeverria .
crew: director, writer: christopher murray. camera (color, widescreen): inti briones. editor: andrea chignoli .
with: michael silva, bastián inostroza, ana maría henríquez, mauricio pinto, pedro godoy, hermelinda cayo, héctor mella, gonzalo villalobos, noelia rubio. (spanish dialogue )
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after a 3 - year stint in prison, an unreasonably optimistic middle - aged man returns to his stagnant neighborhood to win back his girlfriend only to find that she and his family have done what they always wanted to do - forget he exists .
after 30 years of wrongful imprisonment, a woman plans to take revenge on her former lover .
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through his interactions with, for example, a woman (hermelinda cayo) with an ill mother; an impeccably coiffed youth (bastian inostroza) who hopes to become a professional soccer player and a woman (ana maria henriquez) who was abused by her husband, snippets of michael’s own understanding of god is slowly revealed. he believes that every person has god within them already and that, when people are alone, god will “open his eyes” and manifest himself .
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dop inti briones’ warm, painterly camerawork and a moody, swarming tonal soundtrack by cellist and composer alexander zekke help to seal a confidently - directed package that has good arthouse potential .
a russian teen endures a deeply troubled relationship with his mother in ivan i. tverdovskiy’s latest
karlovy vary q & a; : ivan i. tverdovskiy on his award - winning surreal drama' jumpman'
“for a long time i had a point of view that wasn’t considered very commercial. ”
given mystical powers by a talismanic keepsake, a young man embarks on a quest to fight shadowy forces and solve a mystery from his past .
a loveable pug and her mouse bff start kindergarten, welcome new siblings and learn to become part of their community in this series for preschoolers .
an agoraphobic hip - hop prodigy and a disgraced former music manager cross paths in chicago’s south side and help each other face demons of their pasts .
after attending a gathering on a billionaire' s yacht during a european vacation, a new york cop and his wife become prime suspects when he' s murdered .
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the blind christ ( spanish : el cristo ciego ) is a 2016 chilean drama film directed by christopher murray . it was selected to compete for the golden lion at the 73rd venice international film festival . 
the blind christ (spanish: el cristo ciego) is a 2016 chilean drama film directed by christopher murray. it was selected to compete for the golden lion at the 73rd venice international film festival.
the blind christ (spanish: el cristo ciego) is a 2016 chilean drama film directed by christopher murray. it was selected to compete for the golden lion at the 73rd venice international film festival.