Latest news with #VictoriaFranco
Yahoo
08-06-2025
- Entertainment
- Yahoo
‘Twelve Moons' Director Victoria Franco Has Been Waiting for Her Tribeca Moment
Victoria Franco has long been a crucial presence on her brother Michel Franco's films, working behind-the-scenes as a creative producer on projects such as the Jessica Chastain-Peter Sarsgaard starrer Memory, as well as Sundown, starring Tim Roth. All along, she worked toward the goal of striking out on her own by directing short films. With Saturday's Tribeca Film Festival premiere of Twelve Moons, she will unveil her first feature as a director, with brother Michel, the celebrated Mexican filmmaker, stepping into a producing role on the project. Twelve Moons follows Sofia, a 40-year-old architect who, after experiencing a devastating loss, must confront strong emotions while trying to stay true to herself. As her personal and professional lives begin to deteriorate, she must look inward for a path forward. More from The Hollywood Reporter 'American Psycho' Director Mary Harron Is Surprised by Movie's Lingering Relevance How Ticket Resellers Caused Drama at Miley Cyrus' 'Something Beautiful' Tribeca Film Premiere Jane Rosenthal Champions Female and Nonbinary Filmmakers When the "Very Act of Us Speaking Up Feels Risky" at Chanel Tribeca Festival Luncheon Michel's films are known for their unsparing, tightly controlled storytelling — a style shaped by his live editing process. Pioneered early in his career with sister Victoria, the method sends footage directly from the camera to an editing room, where an editor and Victoria work together to assess the story as it unfolds, rather than waiting until the end of a shoot. Victoria utilized this method on her own film, and she says it yielded some surprising results. As Victoria steps forward with a style that is emotional, intuitive, and unmistakably hers, she and Michel sat down with The Hollywood Reporter to discuss their creative bond. How did you decide on the title ? VICTORIA FRANCO I fell in love with the title because it brought together a number of different themes I wanted to touch on. The film tackles themes of womanhood and addiction. The number twelve representing the twelve steps of recovery and twelve months of the year. The moons representing the reproductive cycle of the woman. You both pioneered this process of live editing together. How did that come to be? MICHEL FRANCO It started on a film called Through the Eyes that Victoria and I shot together — it was part fiction and part documentary. I was in charge of the fiction, and she headed the documentary. We were editing on set because there was no script, just an outline. We had someone with a computer, and we were the editors. I just liked the process so much that I kept using it on my more conventional films, starting with After Lucia. And I also kept shooting in chronological order. Victoria and I developed that system 15 years ago. VICTORIA FRANCO We worked every Saturday, revisiting all the material while we were shooting the fiction. The process was very instinctive — following the gut and what the story needed. Everything in making movies is instinctive. Victoria, what was it like using the live editing process on your own for ? VICTORIA FRANCO It was very different. The movie has many things that weren't in the script. I didn't know I would be editing that way — the shooting process was very fluid, changing as we progressed. Filmmaking is very in the moment for me. The best thing I can do is try to adapt to changes in real time. Editing on set allowed me the freedom to play with the structure. I really tried to let the viewer feel what he's supposed to feel — the emotions of the scene — and not impose something in the editing. Michel, did you work in the editing room on your sister's film? Was the dynamic reversed? MICHEL FRANCO Not at all. In general, when I work as a producer, I'm usually never on set. And it was the same with Vicky. I try to give the directors all the space they need and let each crew find their own working ways. I try to avoid being on set. If I'm on set, it often means that there's trouble, so it's a good sign that I'm never on set. Victoria, did you try to move away from Michel's style while making your film? VICTORIA FRANCO I've learned a lot from Michel, however with Twelve Moons it was important for me not to imitate him. Everything I like and admire about his movies wouldn't fit my way of filming. If I tried to copy him, it wouldn't be a good movie. He has his own talent, and I have my own way of thinking and looking at cinema. That's how we complement each other — we add layers. MICHEL FRANCO Our personalities are very different. When people see Twelve Moons, they'll discover Victoria's personality and her way of looking at the world. It's very different from mine — she created a world of her own. Victoria, how would you describe and what do you hope the audience takes away from it? VICTORIA FRANCO It's a film of regeneration through addiction and hardship, weaving themes of family and heritage. I have my own personal connections to the story, however it is important for me not to impose my way of feeling. I want viewers to connect in their own ways. You cast your own mother in — what made you decide she was the right person for the role, and what was that experience like for you emotionally? VICTORIA FRANCO The mother in the film is a symbol, and my own mother has such a strong instinct for maternity — I didn't even think about casting someone else. It was hard emotionally, especially because her character represents death. Seeing her like that was difficult, but at the same time, it was relieving. Maybe it made me a little less afraid. Now that you've established yourself as a director, will you still collaborate with Michel? VICTORIA FRANCO I think we'll always work together. We've collaborated since we were kids, and we still learn a lot from each other and our processes. MICHEL FRANCO One film at a time, but for us there's no split between life and film. Whenever we need help — in life or in work — we're the first person the other turns to. It comes naturally. Best of The Hollywood Reporter 13 of Tom Cruise's Most Jaw-Dropping Stunts Hollywood Stars Who Are One Award Away From an EGOT 'The Goonies' Cast, Then and Now
Yahoo
08-06-2025
- Entertainment
- Yahoo
How Ticket Resellers Caused Drama at Miley Cyrus' ‘Something Beautiful' Tribeca Film Premiere
Miley Cyrus' Something Beautiful film premiere at the 2025 Tribeca Festival on Friday night was, for the most part, a celebratory evening as the superstar basked in love from her fans as she unveiled one of her most ambitious projects in her two-decade career. That is, except for a few rude outbursts from fans who didn't seem to know the event they purchased tickets for was a film screening, not a performance. 'We thought this was a concert, we paid $800,' one fan shouted. 'Are you actually going to sing?' another one yelled. More from The Hollywood Reporter 'American Psycho' Director Mary Harron Is Surprised by Movie's Lingering Relevance: "I Would Never Have Thought You Would See That" 'Twelve Moons' Director Victoria Franco Has Been Waiting for Her Tribeca Moment Jane Rosenthal Champions Female and Nonbinary Filmmakers When the "Very Act of Us Speaking Up Feels Risky" at Chanel Tribeca Festival Luncheon To be clear, yelling at an artist to perform like a court jester in the middle of their film premiere is never warranted, and those who interrupted the discussion should learn better etiquette. Since the event, Miley fans have come to her defense, calling out the behavior as disrespectful. Still, beneath that uncomfortable exchange, last night's event also provides a window into how confusing the ticketing industry can often be for the unaware fan. According to several aggrieved attendees who spoke with The Hollywood Reporter or posted online since last night, the issue appears to trace back to listings on third-party resale platforms, which have little connection to Cyrus, the Beacon Theatre, or Tribeca beyond selling re-listed tickets for the event. Following the premiere, several fans took to social media saying they saw advertisements from resale platforms like StubHub and VividSeats that they said suggested Cyrus would be performing. On X Friday night, one fan posted a screenshot of a VividSeats link that said 'Miley Cyrus & 2025 Endless Summer Vacation Tour. (There is no such tour, Cyrus hasn't had an official headlining tour in over a decade.) It's unclear how many fans were unaware of the type of event they were actually attending. Cyrus and Tribeca had both consistently marketed the premiere as a film event, not a performance or a concert. Inside the packed venue, there were almost no empty seats, and fans responded enthusiastically to Cyrus and the film, cheering as she walked into the audience and took her seat and during multiple points in the performance-heavy visual album. Despite the noticeable interruption, audience members seemed eager to hear what Cyrus had to say, and there were a handful of 'I love you's from the crowd. Still, exiting the venue, at least one slightly irritated audience member asked nearby festivalgoers if they knew Cyrus wouldn't be singing. Meanwhile, quite a few others posted complaints online afterward. Three attendees who spoke with THR said they purchased tickets after seeing StubHub and Vivid Seats ads on Instagram that suggested a full-fledged concert. Reps for StubHub and VividSeats didn't respond to requests for comment. Reps for the festival didn't respond to a request for comment and Cyrus' rep couldn't be reached. Kate Fiore, a 27-year-old New York resident, tells THR that her younger sister had flown out from Houston to attend the event together and that they spent a combined $1,700 for their tickets on VividSeats. Fiore says she'd purchased the tickets in April after seeing a VividSeats ad on Instagram, which she said didn't give any indication that it was a film premiere. 'Had I seen anywhere from that VividSeats ad that this was linked as a Tribeca Film Festival event, I would've maybe looked, but what it said was something like '2025 tour date one night only,' and we weren't the only ones,' Fiore says. Fiore says they realized what the event actually was once they showed up at the Beacon Friday night and that several of the attendees next to her also had similar experiences, telling her they'd spent $700 or $900 for their seats and thought it was a concert. She said several attendees around her left early in frustration. 'No one would've spent this much money if we had known. She doesn't tour, she doesn't play live often.' Venues have long voiced frustration about ticket resale platforms as they aren't directly involved in the event's planning, which can lead to miscommunication with customers, as evidenced in this case. 'When fans are acquiring tickets from people who had nothing to do with the event, the ability to communicate the important details of the event is potentially lost,' says Kevin Erickson, the executive director of the Future of Music Coalition, a non-profit music policy group that focuses on reform in the ticket and live music business, among other issues. Erickson says part of the issue is that the state of New York doesn't allow non-transferable tickets, which he says limits the festival's ability to stop resellers from gouging fans at major markups. That's a touchy subject in the business, as critics of non-transferable tickets often argue that policy impedes ticket owners from doing what they wish with their tickets and makes it impossible for fans to easily offload tickets if they can no longer attend an event. Still, as Erickson says, 'You should be able to put on a movie at a film festival without third parties coming in trying to extract all this extra profit.' Another attendee, a New York resident named Tim (he requested his last name be withheld, citing backlash he's already received from Cyrus fans posting about the event) told THR that he'd spent $1,200 for two tickets to take his sister to the event after seeing a VividSeats Instagram ad that he said strongly suggested Cyrus would perform. 'The copy in their ad said something along the lines of 'one night only' and definitely suggesting a concert,' Tim says, adding that many of the attendees around him had also been expecting a concert. 'As soon as we turned the corner on 74th street and I saw the marquee said 'Tribeca Film Festival' I said 'wait, is this a fucking movie?' I'd pay $600 to see Miley Cyrus perform a one-night show at the Beacon, but definitely not that much for a visual album.' Tim called the ad that led him to buy his tickets 'false advertising.' Like Fiore, he added that it was 'almost unanimous from at least everyone by me up in the balcony, who were expecting some type of performance.' Neither he nor Fiore blamed Cyrus or Tribeca for the issue. 'I'm sure Miley had no idea what was going on either, and she was there to deliver something that she put a lot of heart and soul into,' Fiore says. 'It's unfortunate that was the ultimate outcome.' Tim acknowledged that he should've looked closer before purchasing the tickets as he was on a third-party ticketing platform, but he added that consumers shouldn't have to be taking on risk like that when purchasing tickets. 'I was sitting there cringing in the audience with my sister as the fans were yelling at the stage,' Tim says. 'It was very awkward, but it was obvious that there was a clear misalignment in expectations between the event and the fans, which is uncomfortable in a visceral way.' Best of The Hollywood Reporter Most Anticipated Concert Tours of 2025: Beyoncé, Billie Eilish, Kendrick Lamar & SZA, Sabrina Carpenter and More Hollywood's Most Notable Deaths of 2025 Hollywood's Highest-Profile Harris Endorsements: Taylor Swift, George Clooney, Bruce Springsteen and More
Yahoo
07-06-2025
- Entertainment
- Yahoo
Guadalajara Highlights Hits, Notable Debuts Among Recent Spanish, Portuguese-Language Movies, Plus a Film About a ‘Hell of Naked Depravity'
José María Cravioto's 'Cars, Pot & Rock 'N' Roll: The Legend of the Mexican Woodstock' and Victoria Franco's 'Twelve Moons' feature in the Mezcal Mexican competition at this year's Guadalajara Film Festival. Its other main competition, focusing on Ibero-American fiction movies and doc features, takes in two of the biggest hits this year from Spain, Portugal and Latin America: Brazilian Gabriel Mascaró's 'The Blue Trail' and Spaniard Eva Libertad's 'Deaf,' both big hits at Berlin. More from Variety Leading Mexican Post-Production Houses Chemistry and Semillero Join Forces in Guadalajara (EXCLUSIVE) 'Pulp Fiction's' Maria de Madeiros Receives Tribute at Guadalajara's Portugal Country of Honor Celebrations 40th Guadalajara Film Festival Opens With Mexico's First Stop-Motion Animated Feature 'I Am Frankelda' as It Launches New Genre Sidebar As importantly, the Ibero-American Competition also highlights tales which deserve far more attention: a highly thoughtful first feature from Gerard Oms, 'Away' ('Molt Lluny'), with a career-high turn by star Mario Casas; 'Martina's Search,' led by the frequently magnificent Argentinian player Mercedes Morán, and Puerto Rico's 'This Island,' part of a new Caribbean cinema which is ever more frequently scoring top fest berths. Taken together, Guadalajara's biggest two festival strands say a lot about where what was formerly called arthouse cinema is heading in the region. One direction is most certainly co-production. Nine of the 12 titles in the Ibero-American fiction feature competition yoke partners from at least two countries. Three – 'Bitter Gold,' 'The Blue Trail,' 'The Cottage' – feature four, Chile, an inveterate co-producer, partnering on all of them. Brazil is back to the table, with five titles, as Chile; Argentina has just two. Debuts – first solo narrative features – abound: Over half of the Ibero-American contenders are first or second features. Increasingly, however, the debutants are highly respected mid-career directors, led by Mexico's Alejandro Zuno and Brazil's Marcia Fária, who have carved out a name directing hit series. The streaming revolution is also caught in a building phenomenon: the number of titles which say a lot about the world but also prime entertainment or genre, whether the insistent comedy of 'Cars, Pot & Rock 'N' Roll,' a film which nails the past and present contradictions of Mexico, the horror undertones of 'The Cottage' or the thriller propulsion of 'Bitter Gold,' part of a growing crossover Chilean film scene. 'Since we founded Juntos, we have considered ourselves as a production company that seeks to reconcile the artistic gaze with the search for increasingly wider audiences,' Daniela Raviola, at 'Bitter Gold's' lead producer Juntos, has told Variety. In an age where streamers, global or regional, are one mainstay of cinema, it's an increasing newer generation calling. A breakdown of titles in Guadalajara's Mezcal and Ibero-America Fiction Features competitions: Mezcal Prize Titles, Focusing on Mexican Fiction Films, Doc-Features 'Cars, Pot & Rock 'N' Roll: The Legend of the Mexican Woodstock,' ('Autos, Mota y Rocanrol,' (José María Cravioto) The latest from top-flight maverick Cravioto, a 'Diablero' showrunner and director on 'El Chapo' and now Alex Pina's 'Billionaires' Bunker.' Here he delivers an often comedic mockumentary seeking to decipher what he calls one of the most critical episodes of Mexican counter-culture: the Festival de Avándaro. Meant to be a car race, it ballooned into Mexico's Woodstock, lambasted by one voice in Mexico's conservative establishment as 'a hell of naked depravity, blood, potheads and death.' Mexico's government cracked down on rock 'n' roll, which took a decade to recover. 'Café Chairel,' (Fernando Barreda Luna) Starring 'After Lucía's' Tessa la, a second chance romantic drama, set in the picturesque port of Tampico, as Alfonso (Maurice Isaac) and Katia (la), both suffering deep loss, launch a café and haltingly, awaken to life. The second feature as a director of Barreda Luna, produced by his label Nopal Army Films ('Crocodiles'). 'Crocodiles,' ('Cocodrilos,' J. Xavier Velasco) World premiered at April's Chicago Latino Film Festival, a tragically real-event-based thriller, inspired by the murder of at least 141 journalists and other media workers in Mexico this century. Young Veracruz shutterbug Santiago takes on his boss' final investigation after her assassination by organized crime. Velasco's feature debut and also a Nopal Army Films production. 'Twelve Moons,' ('Doce Lunas,' Victoria Franco) A Tribeca International Narrative Competition entry, led by Ana de la Reguera ('Ana,' 'Nacho Libre' ), recent star of Ariel Winograd's Mexican B.O, breakout 'Una Pequeña Confusion,' here playing Sofía, 40, an architect in emotional freefall after a loss, battling infertility and ever spiralling addiction. From Victoria Franco, director with brother Michel Franco on 2013's 'Through the Eyes.' 'Twelve Moons' is produced by Michel Franco, sold by The Match Factory. 'Newborn,' ('Un Mundo Para Mi,' Alejandro Zuno) A couple is told its soon-to-be-born baby's sex cannot be determined. The father wants a sex to be assigned, the mother begins to investigate intersexuality. The latest from Zuno, a director on Series Mania International Panorama best director winner 'Tengo Que Morir Todas las Noches' and on 'The Secret of the River,' the No. 1 Netflix show in Mexico for five weeks last Fall. Seen in Mar del Plata's Latin American Competition last year. Documentaries 'At the End of the World,' (Abraham Escobedo Salas, Mexico, Belgium) After 2022's 'Breaking la Vida,' the second feature-length doc from Escobedo Salas tracking Cecilio, a Lisbon squatter, as he battle with drug addiction, finding some dignity and solidarity on the way. Based on a 2021 short which scored a Mexican Academy Ariel Award nomination. 'Boca Vieja,' (Yovegami Ascona Mora) Selected for Berlin's 2024 European Film Market Equity & Inclusion program, shot in a coastal hamlet in Oaxaca, flooded in the rainy season, its inhabitants fearing they will lose their land forever. Directed by Ascona Mora, winner of Hazlo en Cortometraje with doc short 'Mëët Naax' (Con la Tierra). 'Isleño,' (Cesar Talamantes) The return of Talamantes who directed his admired first doc feature 'Los Otros Californianos' back in 2012, about Baja California Sur rancho dwellers. Here he ventures even further afield recording the daily life of inhabitants on remote Baja islands, its challenges and the glorious beauty of the Pacific Ocean. 'I Watched the Drops Fall, Illuminated by the Lightning, and With Every Breath I Took, I Sighed, and Every Time I Thought, I Thought of You,' ('Miraba caer las gotas iluminadas por los relámpagos, y cada que respiraba suspiraba, y cada vez que pensaba, pensaba en ti,' Pepe Gutiérrez, Carlos San Juan) A doc-feature on the origins and development of colonialism, exploring the Manila-Acapulco Spanish trade route opened in 1565 and used until 1815, exchanging New World silver for Chinese and Asian luxury goods. 'To be Named Olympia,' ('Llamarse Olimpia,' Indira Cato) A portrait of Olimpia Coral Melo, victim of viral digital sexual assault, who fought for 13 years for the practice to be criminalized in Mexico, now established by the Olimpia Law, adopted in many Mexican states. Directed by Cato, co-writer of 2014's 'All of Me' ('Llévate mis amores'), a breakout hit. Ibero-American Fiction Feature Section 'Away, ('Molt Lluny,' Gerard Oms, Spain, Netherlands) The acclaimed feature debut of Oms, turning on the journey of self-discovery of a Spaniard, Sergio, living penniless in he Netherlands' Utrecht. Sergio is played by Mario Casas in what many critics hail as one of the finest performances of his career which won him best actor at March's Málaga. 'The Best Mother in the World,' (Anna Muylaert, Brazil, Argentina) A Sundance, Berlin winner sold worldwide by The Match Factory, Muylaert's 'The Second Mother' nailed the class gulf in Brazil. A Berlinale Special, Muylaert's latest focuses on one woman's determined reaction to domestic abuse Muylaert's hallmark mix of social point and sentiment, as Variety notes. Biônica Filmes, Argentina's Telefilms, and Galeria Distribuidora produce. 'Bitter Gold,' ('Oro amargo,' Juan Olea, Chile, Mexico, Uruguay, Germany) Shot in Northern Chile by Sergio Armstrong ('Neruda'), an adolescent (Katalina Sanchez) takes over her father's mine, treads a tense path to empowerment. Lead produced by Chile's Juntos Films ('Immersion') in a powerful five-way production, and Olea's second feature after 2014's 'El Cordero.' 'The Blue Trail,' ('O último azul,' Gabriel Mascaró, Brazil, Mexico, Netherlands, Chile) The latest from the first Brazilian filmmaker to really hit the international radar one generation on from its 'big four' of Salles, Meirelles, Aïnouz and Kleber Mendonça, thanks to a Berlin Special Jury Prize for 'The Blue Trail' just weeks before Salles' Oscar. Sensual, packing some extraordinary visuals, a protest film anticipating state-run segregation of the old. 'The Cottage,' ('La Quinta,' Silvina Schnicer, Argentina, Brazil, Chile, Spain) A horror-tinged family thriller which marks Schnicer's first solo outing after co-directing Guadalajara best picture and San Sebastian New Directors Award-winner 'Carajita.' 'This story explores the duality of human nature from an unconventional perspective: kids,' have said its sales agents, Luis Collar and Yeniffer Fasciani at Feel Sales. 'Cuerpo celeste,' (Nayra Ilic García, Chile, Italy) Produced by Chile's Oro Films ('To Kill the Beast') and Italy's Dispàrte, which caught attention with Maura Delpero's 'Maternal,' here joining Hormágica. Ilic's second feature after 'Square Meter,' it turns on a 16-year-old girl cut adrift after the death of her father who clings to hope for a new beginning with her mother. 'Deaf,' ('Sorda,' Eva Libertad, Spain) One of this year's Berlin – and most probably Guadalajara's – standouts, a Berlinale Panorama Audience Award winner which has sold fulsomely for Latido Films to Australia (Madman), Japan (New Select), France Condor Distribution. Germany (Piffl Medien), Italy (Lucky Red) and the U.K. (Curzon). Libertad's first feature turns on a pregnant deaf woman's fears about motherhood. 'Dreaming of Lions,' ('Sonhar com Leões,' Paolo Marinou-Blanco, Portugal, Brazil, Spain) Word premiering at Tallinn's Black Nights Film Festival where it opened its 2024 Critics' Pick Competition, a black tragicomedy on euthanasia from Greek-Portuguese writer-director Marinou-Blanco ('Empty Hands,' 'Goodnight Irene'). Brazil's Denise Fraga ('The Other End') plays Gilda, terminally ill, who discovers a corporation who could help her die with dignity. 'Martina's Search,' ('A Procura de Martina,' Márcia Fária, Brazil, Argentina) A screenplay by Gabriela Amaral ('Friendly Beast') with Fária, a Palme d'Or nominee for short 'Estaçao'; a Mar del Plata 2024 best Latin America film win; and Mercedes Morán, playing Martina. 67, suffering Alzheimer's, who learns her grandson, born in captivity under Argentina's Junta, could be in Brazil. Her search becomes a multi-edged battle against time, forgetting and oblivion. 'This Island,' ('Esta isla,' Lorraine Jones Molina, Cristián Carretero, Puerto Rico) Set for world premiere in the U.S. Narrative Competition of the Tribeca Film Festival, and picked up in April by Habanero Film Sales, the directors' feature debut described as a deeply personal and poignant portrait of the Puerto Rican experience. 'Tiger,' ('Tiguere,' José Maria Cabral, Dominican Republic) The latest from one of the Dominican Republic's most famed auteurs, Cabral, whose 'Woodpeckers' played Sundance. Here he depicts the country's prevalent machismo via a boot camp where the protagonist's father teaches young Dominicans to behave like right royal bastards, the establishment's male M.O. 'The Wild Years,' ('Los años salvajes,' Andrés Nazarala, Chile) The second feature from writer-director Nazarela ('Debut'). Ricky Palace, the forgotten black sheep of Chile's '60s New Wave in now trouble decades later when the bar where he plays in Valparaíso is closed. Produced by Chile's Oro Films, a supporter of up-and-coming talent from Chile or beyond. Best of Variety 25 Hollywood Legends Who Deserve an Honorary Oscar New Movies Out Now in Theaters: What to See This Week Emmy Predictions: Animated Program — Can Netflix Score Big With 'Arcane,' 'Devil May Cry' and the Final Season of 'Big Mouth?'
