The Settlers simulates several different types of Westerns without committing to one mode. The set-up of Felipe Gálvez’s first feature is classic: Scottish soldier MacLennan (Mark Stanley), American mercenary Bill (Benjamin Westfall) and their Chilean mestizo guide Segundo (Camilo Arancibia), who’s been pressed into service from a chain gang, are sent on a mission by landowner José Menéndez (Alfredo Castro). Making their way on horseback across the Chilean landscape, the three are captured in long zooms and accompanied by the booming tympani of Harry Allouche’s orchestral score. If that music places The Settlers somewhere in the realm of ’50s westerns, […]
The post “Victim Cinema is for People that are Convinced”: Felipe Gálvez on The Settlers first appeared on Filmmaker Magazine.
The post “Victim Cinema is for People that are Convinced”: Felipe Gálvez on The Settlers first appeared on Filmmaker Magazine.
- 1/11/2024
- by Filmmaker Staff
- Filmmaker Magazine-Director Interviews
The Settlers simulates several different types of Westerns without committing to one mode. The set-up of Felipe Gálvez’s first feature is classic: Scottish soldier MacLennan (Mark Stanley), American mercenary Bill (Benjamin Westfall) and their Chilean mestizo guide Segundo (Camilo Arancibia), who’s been pressed into service from a chain gang, are sent on a mission by landowner José Menéndez (Alfredo Castro). Making their way on horseback across the Chilean landscape, the three are captured in long zooms and accompanied by the booming tympani of Harry Allouche’s orchestral score. If that music places The Settlers somewhere in the realm of ’50s westerns, […]
The post “Victim Cinema is for People that are Convinced”: Felipe Gálvez on The Settlers first appeared on Filmmaker Magazine.
The post “Victim Cinema is for People that are Convinced”: Felipe Gálvez on The Settlers first appeared on Filmmaker Magazine.
- 1/11/2024
- by Filmmaker Staff
- Filmmaker Magazine - Blog
A film over a decade in the making, Felipe Gálvez’s directorial debut The Settlers takes a formally thrilling look at the brutal genocide of the now-extinct Selk’nam people, who were native to the Patagonian region of southern Argentina and Chile. Following its premiere at Cannes Film Festival and acquisition by Mubi, the film went on to play at TIFF, NYFF, BFI London, and AFI Fest, was selected as Chile’s Oscar submission, and will now arrive in theaters starting this Friday.
I said in my Cannes review, “Backed by Harry Allouche’s Morricone-inspired score, The Tale of King Crab cinematographer Simone D’Arcangelo’s appreciation for vast Leone-esque vistas is apparent, albeit with a more inhospitable, bleak variety as the sun always seems to have just a few dying gasps of light left. It recalls Lisandro Alonso’s Jauja in more than just subject matter: D’Arcangelo shoots these...
I said in my Cannes review, “Backed by Harry Allouche’s Morricone-inspired score, The Tale of King Crab cinematographer Simone D’Arcangelo’s appreciation for vast Leone-esque vistas is apparent, albeit with a more inhospitable, bleak variety as the sun always seems to have just a few dying gasps of light left. It recalls Lisandro Alonso’s Jauja in more than just subject matter: D’Arcangelo shoots these...
- 1/11/2024
- by Jordan Raup
- The Film Stage
The six-day Next Step initiaive is to help feted shorts directors to make a feature.
Ten short-film directors from Egypt, China and throughout Europe have been selected to participate in the 10th edition of the prestigious Next Step prrogramme of Cannes’ Critics’ Week, taking place in Normandy and Paris from December 9-15.
Next Step brings together filmmakers who have premiered their films at Critics’ Week to present their upcoming features in development during a workshop with industry mentors. The aim is to keep up the momentum with filmmakers afterr what can be their frenetic first experience of a major film festival.
Ten short-film directors from Egypt, China and throughout Europe have been selected to participate in the 10th edition of the prestigious Next Step prrogramme of Cannes’ Critics’ Week, taking place in Normandy and Paris from December 9-15.
Next Step brings together filmmakers who have premiered their films at Critics’ Week to present their upcoming features in development during a workshop with industry mentors. The aim is to keep up the momentum with filmmakers afterr what can be their frenetic first experience of a major film festival.
- 12/11/2023
- by Rebecca Leffler
- ScreenDaily
The setting is Tierra del Fuego, the southernmost tip of the Americas, often called el fin del mundo, and though it is 1901 and the beginning of a new century, it certainly feels like the end of the world. It is in this feeling — the immersive sonic and visual textures of a past in which beauty and brutality snap and snarl at each other’s heels — that director Felipe Gálvez’ debut feature excels. “The Settlers” is a heady, opaque western, slow to stir but vicious as a rattlesnake when it does, that marks a highly promising debut, albeit one marred by dialogue and performances that are not always equal to the tectonic gravitas to which this tale of colonial atrocity aspires.
The hierarchy in these contested lands is established early, and sitting at its top is ruthless landowner José Menéndez. Menéndez needs to establish a trade route so that livestock can...
The hierarchy in these contested lands is established early, and sitting at its top is ruthless landowner José Menéndez. Menéndez needs to establish a trade route so that livestock can...
- 6/30/2023
- by Jessica Kiang
- Variety Film + TV
The barbaric, bloody sins of the past come to define what entities govern certain land today, carried out by conquistadors and colonizers who hide behind righteous religious falsities to denigrate an indigenous population. With his directorial debut, a hauntingly conceived Chilean western The Settlers (Los Colonos), Felipe Gálvez localizes an origin story of this horror vis-a-vis the brutal genocide of the now-extinct Selk’nam people, who were native to the Patagonian region of southern Argentina and Chile. While spare early passages are narratively opaque and formally ornate to a distancing fault, the riveting second half––including a chilling reckoning with others occupying the desolate land and a well-executed structural gamble––brings profound expansion to this chilling story of atrocity.
Split into boldly conveyed chapters, The Settlers begins in 1901 in Chile’s Tierra de Fuego province. As commanded by the bloodthirsty José Menéndez (Alfredo Castro), a trio of explorers are sent...
Split into boldly conveyed chapters, The Settlers begins in 1901 in Chile’s Tierra de Fuego province. As commanded by the bloodthirsty José Menéndez (Alfredo Castro), a trio of explorers are sent...
- 5/26/2023
- by Jordan Raup
- The Film Stage
There’s been a recent trend in international arthouse cinema that dates roughly back to two Argentine movies of the past decade: Lucrecia Martel’s Zama (2017) and Lisandro Alonso’s Jauja (2014).
Both films told dark tales of European colonization, and the massacres inflicted on South America’s Indigenous populations, in ways that felt altogether contemporary, eschewing traditional narratives in favor of something more enigmatic and modern. In such movies, the past was reflected through the lens of the present. The characters all wore period costumes and the sets were made to look like they dated from the epoch, but the stories being told, and the way they were being told, felt very much of our time, as if the horrors were still with us.
This trend continued, albeit in a more playful sense, in the Italian film The Tale of King Crab (2021), and in a more spiritual sense in the...
Both films told dark tales of European colonization, and the massacres inflicted on South America’s Indigenous populations, in ways that felt altogether contemporary, eschewing traditional narratives in favor of something more enigmatic and modern. In such movies, the past was reflected through the lens of the present. The characters all wore period costumes and the sets were made to look like they dated from the epoch, but the stories being told, and the way they were being told, felt very much of our time, as if the horrors were still with us.
This trend continued, albeit in a more playful sense, in the Italian film The Tale of King Crab (2021), and in a more spiritual sense in the...
- 5/22/2023
- by Jordan Mintzer
- The Hollywood Reporter - Movie News
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