| Whisky | |
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Theatrical Poster |
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| Directed by | Juan Pablo Rebella Pablo Stoll |
| Produced by | Executive Producers: Fernando Epstein Producers: Christoph Friedel Hernán Musaluppi |
| Written by | Gonzalo Delgado Juan Pablo Rebella Pablo Stoll |
| Starring | Andres Pazos Mirella Pascual Jorge Bolani |
| Music by | Pequeña Orquesta Reincidentes |
| Cinematography | Bárbara Álvarez |
| Editing by | Fernando Epstein |
| Distributed by | MK2 Diffusion |
| Release date(s) | May 19, 2004 (premiere at Cannes) |
| Running time | 99 minutes |
| Country | Argentine Germany Spain Uruguay |
| Language | Spanish Italian |
| Budget | $500,000 estimated. |
| Allmovie profile | |
| IMDb profile | |
Whisky is an Uruguayan, Argentine, German, and Spanish tragicomedy released in 2004, and directed by Juan Pablo Rebella and Pablo Stoll.[1]
The film stars Andres Pazos, Mirella Pascual, Jorge Bolani, Ana Katz, and Daniel Hendler.
It debuted at the Cannes Film Festival and won the FIPRESCI Prize and the Regard Original Award.
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On the first anniversary of his mother's death, Jacobo (Andres Pazos), the owner of a small and struggling sock factory, asks one of his attentive employees, Marta (Mirella Pascual), to spend a few days at his home because his brother (Jorge Bolani) is arriving for a visit.
It takes some time to realize that Jacobo asks because he has no one else to ask.
Why Marta agrees is another matter.
The film was first presented at the Cannes Film Festival on May 19, 2004.
The picture was screened at various film festivals, including: the La Rochelle Film Festival, France; the Karlovy Vary Film Festival, Czech Republic; the Brussels Cinédécouvertes Film Festival, Belgium; the Copenhagen International Film Festival, Denmark; the Toronto Film Festival, Canada; and others.
The film was well received by film critics and at the film festival it was screened.
Critic Manohla Dargis, writing for the New York Times said, "the film is a model of both fiscal and narrative economy, and the kind of work - gleaned from the mysteries of consciousness, telling quotidian details and a sense of aesthetic proportion - that is too often missing from American independent cinema."[2]
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