logo
Daniel Bisogno, longtime host of Mexico's ‘Ventaneando,' dies at 51

Daniel Bisogno, longtime host of Mexico's ‘Ventaneando,' dies at 51

Daniel Bisogno, a TV presenter who long co-hosted Mexico's TV Azteca talk show 'Ventaneando,' has died. He was 51.
Bisogno died Thursday because of complications he suffered after a September liver transplant, the TV program said Thursday on Instagram.
' 'Ventaneando' is mourning. Gone is one of our most outstanding members. Rest in peace. We will honor his memory always,' the statement said in Spanish.
'Daniel Bisogno (1973-2025) taught us that, even in the most difficult moments, there was always room for laughter,' the program said. 'During 29 years in Ventaneando, his irony and charisma left their mark, but off-camera he was a generous and dedicated friend. Today we are left with his memory, his humor and gratitude for every laugh shared. 'Dear doll, rest in peace,' ' the program said.
In one of several tributes to the TV star, 'Ventaneando' added, 'Since 1982, Daniel Bisogno left his mark on cinema, theater and television. His charisma led him to @ventaneandouno, where he became one of its most iconic figures.⁣ Despite his success, in recent years he faced health problems that gradually deteriorated his condition. Today, the entertainment industry is in mourning 🕊️⁣'
His cohost, Pati Chapoy, also confirmed Bisogno's death on X, tweeting in Spanish, 'It is with immense sadness that I inform you that #Daniel Bisogno passed away.' Several of his colleagues also attended a Friday memorial during which they shared memories of the TV presenter.
Bisogno joined the entertainment program 'Ventaneando' — which translates to 'Window Shopping' — in 1997, a year after the gossip program premiered with Chapoy at the helm. The journalist made a name for himself with his sense of humor, sarcasm and outspoken personality. He also starred on stage in the musical 'Lagunilla, Mi Barrio' and in the 1980s films 'Fieras Contra Fieras,' 'Y Nunca Más' and 'El Mas Valiente del Mundo.'
The Mexico City-born TV personality spent the last few years in and out of the hospital with various medical issues, according to Deadline. Bisogno called in to the show in January while he was still unwell to celebrate 'Ventaneando's' 29th anniversary, saying that his years on the program had been the most wonderful years of his life.
'The best thing is a life that has given me everything, both good and bad, and everything has been a great experience for the most part. Absolute happiness. I love you with all my heart,' he said at the time.
His brother Alejandro provided a health update when he visited the show Feb. 12, telling Bisogno's co-hosts and viewers that he was 'very delicate.'
'He has been in critical condition since the transplant was performed and has not been able to recover from that risk,' his brother said, according to El Sol de Mexico. 'While recovering from the transplant, he contracted a bile duct infection, which led to hemodialysis to filter out the toxins in his body.'
In addition to his brother, Bisogno is survived by his 8-year-old daughter, Michaela, whom he had with his ex-wife Cristina Riva Palacio.

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

ECAM Forum Coordinator Alberto Valverde on an Expanded Second Edition: ‘The Winning Teams From Cannes Are Also in Madrid'
ECAM Forum Coordinator Alberto Valverde on an Expanded Second Edition: ‘The Winning Teams From Cannes Are Also in Madrid'

Yahoo

timean hour ago

  • Yahoo

ECAM Forum Coordinator Alberto Valverde on an Expanded Second Edition: ‘The Winning Teams From Cannes Are Also in Madrid'

After last year's golden blueprint which set the roadmap for coming years, the second ECAM Forum Co-Production Market, unspooling June 10-13 in Madrid, will drive deeper into its international reach and industry talks as part of its mandate to strengthen the ties between the Spanish talents and its blooming industry with the rest of the world. Lured by upbeat industry buzz from the first edition and Spain's sustained film-TV golden age, industry players and projects are almost twice as many this year to bid for a spot at the industry platform spearheaded by Madrid's prestigious ECAM film school. More from Variety 'To the North's' Mihai Mincan Talks ECAM Forum Bound Coming-of-Age Mystery 'Milk Teeth,' Sound Designed by Oscar-Winner Nicolas Becker (EXCLUSIVE) Madrid's ECAM Forum Ups International Scope With 23 Feature Projects for Second Edition Bertrand Bonello to Be Honored at Madrid's Second ECAM Forum Co-Pro Showcase (EXCLUSIVE) More than 700 accredited delegates ,compared to 400+ in 2024, are expected to fill the halls of its Matadero and Cineteca Madrid venues; 70 international guests, vs. 50 in 2024, will sample 47 films in development and post-production, as well as shorts and series in development. Among 15 programming reps from Toronto, Locarno, Rotterdam, Thessaloniki, London to Marrakech fests are first-time attendees Christian Jeune from the Cannes Film Festival and the Berlinale's Michael Stuetz. On the sales front, the dozen registered companies range from Le Pacte, Goodfellas, Co-Production Office, Film Boutique and Charades to Spain's art-film specialist Bendita Film Sales. At press time, all titles were available for pick up including the next bets by hot talents Mihai Mincan ('To the North') and Francisca Alegría ('The Cow Who Sang a Song into the Future') and the anticipated debuts by Nadine Luque, Claudia Estrada Tarascó and Irati Gorostidi Agirretxe. Highlights of this year's beefed-up program of talks and industry events include a masterclass with French auteur Bertrand Bonello, a presentation of the Göteborg Film Festival's industry reference Nostradamus report by Johanna Koljonen, conversations with top Spanish writers, poets and philosophers over The State of Things and Finde, a first industry meeting on financing, investment for indie producers co-organized by Madrid Audiovisual Cluster. To consolidate ECAM's international ties, new partnerships were sealed this year with Conecta Fiction & Entertainment, which runs a week later in Cuenca, near Madrid, and with ACAU and Proimagenes Colombia, the film-TV state agencies in Uruguay and Colombia. ECAM Forum closes Friday June 13 with an awards ceremony. In this interview, ECAM Forum coordinator Alberto Valverde unpacks his 2025 program. How does it feel to stage ECAM Forum a few weeks after a stellar year for Spanish films and co-productions in Cannes? It was an exceptional year for Spanish cinema. Having two filmmakers [Oliver Laxe and Carla Simón] in main competition, a spot usually taken by Pedro Almodovar, was historical. Their respective films 'Sirât' and 'Romería' are international co-productions that illustrate the reason why we exist. Indeed last year the two producers of 'Sirât'– Andrea Queralt and Xavi Font – came to ECAM to present a new project in the middle of shooting their film in Morocco. Xavi submitted Álvaro Pulpeiro's 'Petróleo' at the Films to Come and Andrea came with Silvina Schnicer's 'La Quinta' for The Last Push. Then Elástica's María Zamora, producer of Romería, was here as well. The winning teams from Cannes are also here. In recent years we've witnessed how the Spanish audiovisual industry has morphed and internationalized, with established and new talent working at home and globally. Before launching ECAM Forum, we've been in constant dialogue with all these Spanish players and talent, precisely to connect them to the world and foster new collaborations. Last year you had an almost clean sweep with seven out of eight works in progress going on to premiere at A festivals. That was quite a coup… Yes, we are over the moon. We want to consolidate our works in progress as a relevant space to discover gems for the year ahead, and those results help a lot. It was rewarding talking to the teams behind the works in progress and knowing it was key for them to secure certain premieres and selections that literally were signed during ECAM Forum. Last year's Last Push titles included very different films, from the fragile ones like the winning documentary 'Gods of Stone' to the more solid ones like 'Los Tortuga'('The Exiles') that both ended having nice premieres [respectively in Rotterdam and Toronto] and reached world audiences, literally the number one objective of our work. Could you reiterate what made your 2024 inaugural event a blueprint for the editions to come and outline the key novelties this year? One of the best things last year was to get the feedback from international guests who were dazzled by the quality of the projects. Then on the Spanish side, professionals were equally impressed by the top names in the international delegation. This year the list of international delegates will be even stronger, for instance with the presence of Christian Jeune from Cannes and Michael Stuetz from the Berlinale. The challenge for the first five editions is perhaps to be coherent with the size of our event, the type of projects and professionals invited. We want to maintain the same high quality, attention and care that goes into the selection and overall organisation. Then obviously as this is the second year, we're expanding a bit the scope of our activities, partnerships and ambitions. The event is growing but we still want it to be sustainable for the next editions. How many delegates will attend this year from how many territories? The numbers reflect the increased interest in our event. This year we have 730 accredited professionals, versus around 400 in 2024. It's been an exponential growth from last year. Then we had about 50 international guests in 2024 and this year we're hosting 70 people. From Spain, we're inviting around the same number, about 70 key decision-makers. So we have about 140 invited guests for the meetings. Countries represented (between 18-20) span from Spain to Canada, U.S., France, Romania, Estonia and Latin America. It was perhaps unintentional – based on the projects selected – but we will have a strong European and Latin American presence this year. With a more ambitious program, what type of budget do you have and can you comment on the significance of your new institutional partnerships? I won't detail our specific budget but it hasn't changed drastically. Our main key partners are the same: ECAM Foundation Comunidad de Madrid. Then Matadero, Film Madrid, Madrid Film Office, Cineteca, the rights collection agency Dama and AC/E, the international promotional body of Spanish cinema, are other partners. We're continuing our collaboration with Filmin, Rotterdam, Series Mania and have new strategic partnerships with Conecta Fiction & Entertainment and the key audiovisual agencies ACAU in Uruguay and Proimagenes in Colombia. For the ECAM school and Foundation, facilitating those collaborations are just natural to exchange talent and create a bridge between Europe and Latin America. We hope to announce new partnerships this fall. This year you've opened your Pitch sessions to international projects. What extra challenges did you meet in your selection process? Our main goal is to promote Spanish cinema internationally and attract international talent to work with Spain. We understand that presenting a selection, and making exciting international talents coexist with promising Spanish projects is a better way to promote their films. It's great to have Spain's Maria Herrera, Alba Esquinas and Elena Molina with Maryam Tafakory [from Iran], Francisca Alegría [from Chile] or Mihai Mincan [from Romania]. Opening to international projects was a challenge as we tried to attract distinctive voices and talents but we did! We are extremely happy with the selection and could easily have picked another 15 projects that couldn't make the cut. We had to make some difficult decisions. I'd like to add that in the short section, last year we had only six national projects. This year we have 11 projects – six from our own training program and five international shorts through new partnerships with Chile Shorts, Bogo Shorts in Colombia, La Femis in France, DISFF in Greece, and FAMU in the Czech Republic. How would you define the 2025 feature length slate in terms of themes, unique auteur-viewpoint and diversity? The selection covers a rich variety of narrative and aesthetic approaches, with a presence of comedies, genre and science fiction approaches, documentaries, and classic fiction works. The projects demonstrate a passion for challenging the boundaries of genres and storytelling, a strong commitment to creative risk and authorship. We love to see a lot of first and second films with super strong visions, that are backed by producers with certain experience, both national and international. I genuinely think it's a super exciting slate with new voices to discover. It is also a more diverse selection when it comes to representation both in the narrative and creators themselves, so, yes, it's a step forward. Something quite remarkable when we look at the Films to Come, is the fact that the 15 projects came out of three different selection processes, and when we ended up with the final list, we realised all were directed by women (with one co-direction). Could you comment on your industry talks and high-brow cycle of conversations? The industry talks targeting the 700+ accredited professionals, focus on the challenges in the audiovisual industry right now, and many sessions offer practical tools and tips, about financing, co-production promotion. Our goal is to strengthen Spanish cinema and we're happy to bring top speakers from Spain and the rest of the world. We're also glad to present the Nostradamus report to our audience, straight after Cannes. The report is key to look at where we're going, how each sector in the industry is integrating the challenges, both within and outside the sector. Then the three Conversations about The State of Things [in Spanish language] is a particularly beautiful strand that we've designed over several months with my colleague Brais Romero and Luis E. Parés from Cineteca Matadero. We tried to map out important topics that touch us as individuals, not only in the industry but as a society, via inspirational talks with filmmakers, writers, poets, musicians, philosophers. It's a beautiful mix of strong voices in Spain. We look forward to hearing their take our world today, the value of creating images. Then one angle to be tackled is nostalgia and its danger. The comfort and inherent creative laziness that goes with sticking to formulas, well know concepts – be it in literature or will be interesting also to hear Bertrand Bonello who masterfully has been avoiding nostalgia, its comfort and safety in his work. Another novelty this year is the new FINDE industry meeting about Financing, Investment and Independent Filmmaking, co-organised with Madrid Audiovisual Cluster. Could you summarise what it's about? This is an extension of ECAM's educational curriculum. We wanted to offer practical tools to hone the skills of our emerging talent in financing. We see producers surrounded by great talent and yet struggling to finance their projects. So hopefully this will be an illuminating session. We've designed this initiative with French producer based in Madrid Sophie Erbs and Teresa Azcona, director of Madrid Audiovisual Cluster. We see this is a pilot year and we will evaluate afterwards the program's formula. On a personal level, how does it feel to run the hottest new Spanish co-pro market? It feels soooo good. Last year, we had a blank canvas which needed to be painted. We didn't know if it would be abstract, or not. This year, we reaped the good seeds from the first edition, and our team is stronger. The whole is even more coherent because we had more time to design our program. But our focus is still to have a great time through a very friendly, focused professional event, with a high standard of projects and guests. Best of Variety What's Coming to Netflix in June 2025 New Movies Out Now in Theaters: What to See This Week 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts?

California Senate Approves Film & TV Tax Credits Bill
California Senate Approves Film & TV Tax Credits Bill

Yahoo

timean hour ago

  • Yahoo

California Senate Approves Film & TV Tax Credits Bill

In a near-unanimous vote, the California Senate today passed its version of legislation aimed at expanding and retooling the state's Film and Television Tax Credit Program. The vote on Senate Bill 630 was 34-1, with the only nay coming from Sen. Roger Niello, who represents the city of Sacramento and surrounding areas. The bill (read it here) now moves on to the state Assembly. More from Deadline Show Us The Money: When Can Productions Expect To Reap Benefits Of California's Proposed $750M Film & TV Tax Credit Expansion? SAG-AFTRA's 'Here's Looking At You L.A.' & Mayor Karen Bass Push For State & Federal Tax Incentives To Get Hollywood Working Again Sweetened New York Production Incentives A Go As State Budget Passes Along with Assembly Bill 1138 — which passed the Appropriations Committee last month — the legislation would expand the definition of a qualified motion picture, allowing additional projects to apply for the program, including series with episodes averaging 20 minutes or more, animation films, series, and shorts, and large-scale competition shows. After years of strife for the California film and television industry, Gov. Gavin Newsom in October proposed a significant increase to the overall cap on incentives, more than doubling it from $330 million to $750M annually. SB630 and AB1138 seek to do more than just provide additional finance incentives to studios who bring physical production back to California. The sister bills also are meant to 'amend, update, and modernize' the program. The legislation comes amid the latest spurt of runaway production as other states ramp up their film and TV tax incentives programs in an effort to lure production away from California. New York last month passed a state budget that includes expanded incentives. RELATED: Also getting Hollywood's attention is President Donald Trump's bombshell announcement of planned tariffs on movies produced outside the U.S., which were decried many in the industry, along with Newsom, who said Trump has 'no authority' to impose the tariffs. Here is how the voting on SB630 went: Best of Deadline 2025-26 Awards Season Calendar: Dates For Tonys, Emmys, Oscars & More Everything We Know About 'Nobody Wants This' Season 2 So Far List Of Hollywood & Media Layoffs From Paramount To Warner Bros Discovery To CNN & More

Clint Eastwood Says Hollywood Has Too Many Sequels: Where Is the Next ‘Casablanca'?
Clint Eastwood Says Hollywood Has Too Many Sequels: Where Is the Next ‘Casablanca'?

Yahoo

time2 hours ago

  • Yahoo

Clint Eastwood Says Hollywood Has Too Many Sequels: Where Is the Next ‘Casablanca'?

UPDATE: In a statement to Deadline on Monday, June 2, Clint Eastwood disputed ever giving the interview with the Austrian newspaper Kurier and called the comments in it 'entirely phony.' 'A couple of items about me have recently shown up in the news,' Eastwood told Deadline. 'I thought I would set the record straight. I can confirm I've turned 95. I can also confirm that I never gave an interview to an Austrian publication called Kurier, or any other writer in recent weeks, and that the interview is entirely phony.' More from IndieWire Luca Guadagnino Attached to Direct AI Business Comedy 'Artificial' for Amazon MGM Austrian Publication That Ran 'Phony' Clint Eastwood Interview Cuts Ties with HFPA Member Author ORIGINAL STORY: Clint Eastwood wants Hollywood to only greenlight original films instead of relying on sequels and franchise installments. The auteur, who yes, did have his own franchise with five 'Dirty Harry' films, clarified that after directing features for decades, he now sees the value in standalone works instead. The 'Juror #2' director told Austrian newspaper Kurier, as translated by Reuters, that Hollywood has to exit the 'era of remakes and franchises' to usher in new classics. 'I long for the good old days when screenwriters wrote movies like 'Casablanca' in small bungalows on the studio lot, when everyone had a new idea,' Eastwood said. 'We live in an era of remakes and franchises. I've shot sequels three times, but I haven't been interested in that for a long while. My philosophy is: do something new or stay at home.' Eastwood credited the studio system for inspiring his directing career, which began in 1971 with 'Play Misty for Me,' in which he also starred. His enduring legacy will continue so long as he can still make movies, the Oscar winner assured. 'As an actor, I was still under contract with a studio, was in the old system, and thus forced to learn something new every year,' Eastwood said, 'and that's why I'll work as long as I can still learn something, or until I'm truly senile.' He added that he has no plans to retire and will still be working 'for a long time yet,' saying, 'There's no reason why a man can't get better with age. And I have much more experience today. Sure, there are directors who lose their touch at a certain age, but I'm not one of them.' Eastwood previously told The Metrograph that he doesn't reflect on past films too much. 'If I'm happy with it, that's it. As far as if anybody else has a different feeling about it, well that's theirs. I'm sure I've had disappointments. If I did, I wouldn't dwell on them,' he said, adding of his film legacy as a whole, 'That would be up to them, to the audiences, to answer. Up to the people on the outside. I just kind of go along. I consider this, again, emotional. It comes upon you. You have a story, you make a movie of it. You have to just go for it. If you think too much about how it happened you might ruin it. I go back and look at films I've made, and I could easily ask, 'Why the heck did I make this?' I don't remember! It might have been a long time ago…' Best of IndieWire Guillermo del Toro's Favorite Movies: 56 Films the Director Wants You to See 'Song of the South': 14 Things to Know About Disney's Most Controversial Movie Nicolas Winding Refn's Favorite Films: 37 Movies the Director Wants You to See

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store