Jennifer Allen

*
? ?¡ù???¡ù?
? 123Movies Here
? ????¡ø??

Country Mexico. &ref(https://m.media-amazon.com/images/M/MV5BMGYyZTk5MjYtNGY2ZS00NzRhLTgwMWMtZjhmMmQ4OGFkNTNiXkEyXkFqcGdeQXVyMTkxNjUyNQ@@._V1_UX182_CR0,0,182,268_AL_.jpg). Audience score 640 Votes. Genres Crime. 7,8 / 10. release Date 2019. I dream of finding someone who's as in sync with me as Joe and Keith are.
Midnight Family Directed by Luke Lorentzen Produced by Kellen Quinn Written by Luke Lorentzen Starring Fer Ochoa Josue Ochoa Juan Ochoa Release date 26?January?2019 (Sundance Film) Midnight Family is a 2019 crime documentary film, directed and written by Luke Lorentzen. The film is produced by Kellen Quinn under the banner of Hedgehog Films, and No Ficción. The film stars Fer Ochoa, Josue Ochoa, and Juan Ochoa. The film focuses on Ochoa family who run a private ambulance business. Plot [ edit] This section is empty. You can help by adding to it. ( January 2020) Cast [ edit] Fer Ochoa as Himself Josue Ochoa as Himself Juan Ochoa as Himself Release [ edit] Critical response [ edit] On the review aggregator Rotten Tomatoes, the film holds an approval rating of 100% based on 52 reviews, with an average rating of 8. 06/10. The website's critical consensus reads, "As narratively urgent as it is technically well-crafted, Midnight Family offers an enthralling and disquieting glimpse of healthcare in modern Mexico". [1] Metacritic, which uses a weighted average, assigned the film a score of 82 out of 100, based on 11 critics, indicating "Universal acclaim". [2] Carlos Aguilar writing for the Los Angeles Times wrote, "Life-or-death incidents unfold before our eyes with intense urgency, yet the filmmaker finds breathing room to intimately profile a group of terribly underpaid heroes". [3] Monica Castillo of TheWrap wrote, " Midnight Family does not shy away from showing the pressures they face from all sides and the constant exhaustion in their line of work, but we also come to understand their sense of loyalty to their patients". [4] Nick Schager writing for Variety wrote, " Midnight Family illustrates that compensation is rarely in the cards here, as haggling leads to either polite apologies from those unable to pay, or harsher rejections from those simply unwilling to reimburse the paramedics for their trouble". [5] References [ edit] External links [ edit] Midnight Family on IMDb.
Is seen last to leave Tik tok. and the ensuing out. This movie portrayed divorce perfectly - from the scummy/fake lawyers to the financial burden on the entire family.

No upcoming screenings. Available No Tickets Available artDate | amDateFormat: "dddd, MMMM Do"? artDate | amDateFormat: "h:mm A"? [[]] You may not purchase more tickets at this time. About With striking vérité camerawork, Midnight Family drops us directly into the frenetic nighttime emergency ecosystem of Mexico City. In the midst of high-speed ambulance rides, we meet the Ochoas, a ragtag family of private paramedics, who try desperately every day to be the first responders to critically injured patients. In a city where the government operates only 45 emergency ambulances for a population of over nine million, the family acts as a crucial?but unregistered?underground lifeline. But the job is riddled with police bribes and cutthroat competition. And even though the Ochoa family has a reputation for being trustworthy, they must reckon with the sudden escalation in bribes that could force them to wade into the ethically questionable practice of making money off of patients in dire straits. Midnight Family maintains a breathless speed and urgency throughout. The camera is always exactly where it needs to be, capturing the intense textures and thrills of rides and rescues until, with each repetition, a subtextual story emerges?of a family and a society under profound financial and moral duress. Screens with The Dispossessed Hazari is a traditional faith healer, exorcising patients who've been possessed by jinn. But in Kashmir amidst the world¡Çs longest-running conflict, nothing is as it seems. YEAR 2018 CATEGORY U. S. Documentary Competition COUNTRY Mexico/U. A. RUN TIME 81 min LANGUAGE Spanish SUBTITLES Yes with English subtitles EMAIL PHONE (914) 584-0275 Credits Director Luke Lorentzen Producers Kellen Quinn Daniela Alatorre Elena Fortes Subjects Juan Ochoa Fer Ochoa Josué Ochoa Manuel Hernández Cinematography Edited By Co Editor Paloma López Carrillo Consulting Editor Mary Lampson Sound Design Matías Barberis Music By Los Shajatos Music Performed By Leonardo Heiblum Jacobo Lieberman Alexis Ruiz Andrés Sánchez Consulting Producers Jamie Meltzer Christian Jensen Artist Bio Luke Lorentzen graduated from Stanford University in art history and film studies. His short film Santa Cruz del Islote (2014) won awards at over 10 international film festivals. His first feature documentary New York Cuts (2015) had its world premiere at the International Documentary Film Festival Amsterdam and its U. premiere at the Camden International Film Festival. Luke is also part of the team behind Netflix's documentary series Last Chance U.

My favorite film of 2019 so far. I loved Scarlett in this and I don't even like her usually LOL.

Is it me or has John Lithgow always been fifty/sixty-ish. Nocna rodzinka film. Nocna rodzinka pl cast. Nocna rodzinka pl sezon 13. Well done Esme on your amazing parents evening! Such a good vlog as always ??. 6:38 to 6:42 had me dying. When seeing people happy is so rare that seeing someone happy in a movie poster instantly gives you the feeling that its gonna be heartbreaking. T here¡Çs a twilight zone that the Ochoa family, the subjects of this superb observational documentary, inhabit. It¡Çs a very dirty grey area situated somewhere between moral and amoral, occasionally dipping into outright immoral. The Ochoa men (and only once do we get a glimpse of one of the women of the family) save lives. Which, in any normal world, would make them the good guys. But the Ochoas live in Mexico City, in which there are just 45 government ambulances to support a population of around 9 million. Mopping up the overspill is an unofficial network of private ambulances, for-profit services that ferociously compete to pick up the victims of accidents and then charge them ? or at least attempt to charge them ? for emergency care. The Ochoas run one such ambulance; Luke Lorentzen¡Çs remarkable film rides along inside a vehicle that supports an extended family financially and provides a lifeline for the injured and sick. It also serves as a mobile childcare unit for the younger Ochoa boy, who prefers the outlaw thrill of prowling the streets at night to the grind of the school day. And who can blame him? Captured by a camera that frequently rattles against the sides of the hurtling ambulance, the Ochoas¡Ç night-time escapades are electrifying and urgent, doused in strobing emergency lights and powered by adrenaline. As the film unfolds, however, it becomes clear that the Ochoas are in the business of what looks increasingly like extortion, albeit extortion wearing a caring face. With the cops strong-arming the family for bribes and the private hospitals paying out for each patient brought in, nobody comes out of the situation well. But the patients, given a stark choice between bleeding out and being bled dry, are inevitably the losers. Watch a trailer for Midnight Family.
First base involves? Idk, boob grab ??????. Nocna rodzina. The documentary Midnight Family is set in a place that¡Çs both familiar and strange: an ambulance. The film follows members of the Ochoa family, who live and work in Mexico City, where they operate a private ambulance. The population of Mexico City is roughly 9 million, but the government operates fewer than 45 public ambulances to serve the citizenry, and so the Ochoas ? along with many others ? have come up with a way to help fill the gap. They spend their nights looking for injuries and accidents, rushing to the scene to get patients to a hospital before some other ambulance company shows up. But they¡Çre often left in the sticky situation of having to ask sick and injured people for money, and that¡Çs never easy. And thus, the Ochoa family is barely scraping by. Midnight Family is a compassionate, even funny portrait of a family that genuinely cares about its patients and has to navigate the balance between helping people who need it and being able to pay for its own basic necessities. It¡Çs the first feature film for documentarian Luke Lorentzen, who¡Çs only 26 but managed to nab an award for the film¡Çs cinematography at Sundance this year. (Full disclosure: I was on the jury that awarded it to him. ) I caught up with Luke last June in Sheffield, England, where Midnight Family had its UK premiere. We talked about the long process of making the movie, the difficulty of shooting inside an ambulance, and the challenges and benefits of being an American making a film about a Mexican family. The following excerpts of our conversation have been lightly edited for length and clarity. Midnight Family captures the Ochoa family in their ambulance. 1091 Alissa Wilkinson You¡Çre not from Mexico. How did you end up making a film about a Mexican family working and living in Mexico City? Luke Lorentzen I was living in Mexico City already. I moved there like a week after graduating from college. I was living with a Mexican friend for four years who grew up there, and it was kind of a spontaneous thing: ¡È Let¡Çs go there and see if I find a film. ¡É I met the Ochoa family just parked in front of my apartment building, and in a spontaneous moment, [I] asked them if I could ride along for a night, mainly because I was curious about their family¡Çs dynamic. Like, what is a family-run ambulance like? And then, on that first night, I saw the ethical questions, and the adrenaline, and was pretty excited about making a movie about them. Did you know a lot about for-profit ambulances in Mexico before you met the Ochoas? I didn¡Çt know anything about it. It¡Çs something very few people know about. If you need an ambulance once in your life, that¡Çs a lot. So, [the lack of public ambulances in Mexico City] has become this egregious example of corruption and government dysfunction, but it hasn¡Çt gotten as much attention as it deserves. And when it has gotten attention, it¡Çs often been mistreated patients making a fuss about private ambulances. Even just getting the number of government ambulances that are working was really complicated. [The government] reports having two or three times more ambulances than they actually have, and I had to go to every station and count them to find out that what they were reporting was not accurate at all. Or they had that many once, but two-thirds didn¡Çt have engines in them. So you had to do some good old-fashioned shoe-leather reporting. Yes. There¡Çs so few ambulances, it took me only a few hours. There¡Çs only two organizations that the government funds for emergencies and health care. How did the Ochoas get into the private ambulance business? I spent three years filming, so I slowly got closer and closer to them, and learned more each night that I was there. The Ochoas¡Ç ambulance is an expired ambulance from Oklahoma that was shipped down to Mexico, where they bought it. That¡Çs the story with a lot of these. You see a lot of ambulances that have foreign text on them, often from the US. One of the ambulances that they chase a lot is bright green and comes from the UK. It looks like it¡Çs really close quarters in that ambulance, and you were crammed in there shooting with them for years. That seems really challenging. Were you shooting alone? Yeah, it was just me. It started that way because of how the funding was. And it¡Çs how I had done my other films. Then it quickly became clear that that was probably the best way to do it. I ended up shooting it with two cameras. One was mounted on the hood of the ambulance, and then I had another camera in the back of the ambulance. You really need these conversations that happened between the driver and the people in the back. It was dynamic. But it was an enormous amount of equipment. I knew that if I could physically get it to the ambulance at the start of the day without an assistant, then I could manage it throughout the night. Figuring out how to juggle all that was a lot. And everyone was wearing a wireless microphone. I know they¡Çre not really equivalent, but it sounds a little bit like the unpredictability and high pressure that goes along with making a reality TV show. Yeah. What saved me is that it wasn¡Çt that unpredictable. Once I was set up in the ambulance, I knew that the way in which people would move around it would be almost identical every night. That allowed me to make some really specific visual choices. The movie didn¡Çt look like this for the first 70 percent of the footage ? I had to learn how to make a film, and I was saved over and over again by the repetition of their work. The look of the film is noteworthy ? it¡Çs cinematic. My hope for it, visually, was to create an image-based, scene-based story.... What excited me from the very beginning was that I could make a vérité doc that operated with a high energy level, with excitement, and that could pull people in so many different directions, from humor to tragedy. It was just all there. All I had to do was film it and put it together properly. That¡Çs so rare ? you usually need to do so much digging. Did being a white non-Mexican present challenges? Were there any advantages? Yeah. At the end of the day, the whole thing rests on my relationship with the Ochoas, making sure we had a real relationship that goes two ways ? that they were as connected to me as I was to them. That took three years to happen. We submitted a cut to Sundance in 2017 and didn¡Çt get in, and [we] decided to take an entire additional year [to work on it]. In that year, about 80 percent of the movie as it is now was actually shot. I think my job when I¡Çm trying to make a film like Midnight Family is to decide, can I connect with people in a meaningful way that¡Çs not just about the movie, but something bigger than that? If I can do that, I start to understand the culture better. They will correct my wrong assumptions. I¡Çve been in work-for-hire situations where we can¡Çt take the time or there isn¡Çt the willingness to form that connection. That¡Çs when the question of who¡Çs telling whose story really gets more complicated. Right. Because it¡Çs their story, but you¡Çre, in a sense, the author. Also, our Mexican producers would probably say that they felt a Mexican journalist [or filmmaker] might have had a harder time connecting with the Ochoas than I did. They were curious about who the hell I was, and got a kick out of me riding around with them as this American guy who made them look cool. I don¡Çt know if that¡Çs totally true ? I think, knowing the Ochoas, that they would have let anyone in who was willing to ride along with them. That¡Çs why they¡Çre so special. So the film is about a very specific relationship between me and the Ochoas. The Ochoas in Midnight Family. I have to say that when I first started watching it, I figured it would be an exposé on corruption in the medical field or something. But really it¡Çs a movie about a family, and it¡Çs almost a dark comedy at times. It¡Çs cool that you saw elements of that. Different people take different stuff from it; the comedy is sometimes harder for people to take in. In Mexico, it works very much as a dark comedy at times. In the US and here in the UK, I think people are quicker to get a little bit deeper into the ethical questions. That¡Çs a bit funny, when you think about it. A lot of American entertainment has centered around characters in medical settings, like Grey¡Çs Anatomy and ER. It feels like people should be primed for both the comedy and drama that happens in the medical world. People are especially shocked by how much money plays into the decisions people make about their medical care in the movie. I had a doctor come up to me after a screening in New York who worked in an ER in Baltimore. He was like, ¡ÈWe are making the same financial decisions about people¡Çs lives in our ER every night. ¡É That¡Çs problematic, but it¡Çs happening everywhere in the world where governments are not thinking about the relationship between money and health care. People are going to make decisions about their health care and hospital visits based on what they can afford. Yeah. I think about the film as showing two forms of survival: The Ochoas are trying to survive, and the patients are trying to survive. And at each accident scene, those two kinds of survivals bump up against each other in increasingly complicated ways. The Ochoas have two goals: to save people¡Çs lives and to make a living. That can¡Çt be easily done at the same time. Sometimes their patients are victims, but the Ochoas are also victims of the system, trapped and left with this menu of decisions that are shitty. That¡Çs what¡Çs remarkable about the film: You can see the double-edged sword of altruism. They really seem to care about their patients, while also having to ask them for money befor
Nocna rodzinka. Love you so much you are the best youtuber ?????????. Nocna rodzinka watch docs. I cant wait for three years from now when the simulation writers try to make us think this movie never existed.
Ill say this much: Best ever acting performance by a Seagull. Nocna rodzinka online. Nocna rodzinka pl. Nocna rodzinka. November 10, 2019 11:40PM PT A family attempts to make a meager living operating a private ambulance in Mexico City in Luke Lorentzen¡Çs gripping doc. If you think the health care system is flawed in America, ¡È Midnight Family ¡É provides a stark snapshot of how truly broken things are in Mexico City, where fewer than 45 public ambulances serve a population of 9 million. Luke Lorentzen ¡Çs documentary takes up residence alongside the Ochoa family, who earn a living ? just barely ? by operating one of the metropolis¡Ç numerous privately owned ambulances, ferrying the injured to hospitals in hopes of being monetarily rewarded for their efforts. Portraits of institutional dysfunction don¡Çt come much more urgent, and quietly bleak, than this, which should help the film attract serious attention following its Sundance Film Festival premiere. Though medically unstable Fer is the nominal head of the Ochoa household, it¡Çs his mature 17-year-old son Juan who ? despite his youthful complexion (replete with braces) and habit of hugging a giant stuffed animal during interviews ? who¡Çs the clan¡Çs real father figure. Theirs is a tenuous existence in which each night is spent hanging out in the ambulance waiting for a call. When emergency notifications arrive, they ignite harrowing races through Mexico City¡Çs bustling streets, as the Ochoas try to beat rival EMT outfits to the scene and, then, to quickly strap the wounded into stretchers and load them into the back of their van. Such urgency comes, of course, from their desire to help people survive potentially serious injuries. Yet as Lorentzen¡Çs film makes clear via the Ochoas¡Ç day-to-day ordeal, it¡Çs also driven by a desire to lock citizens into their care ? which, ostensibly, will result in payment at the end of the ride. ¡ÈMidnight Family¡É illustrates that compensation is rarely in the cards here, as haggling leads to either polite apologies from those unable to pay, or harsher rejections from those simply unwilling to reimburse the paramedics for their trouble. As if that weren¡Çt problematic enough for Juan and Fern, who can only assume their duties if a public ambulance doesn¡Çt show up first, the police are constant impediments, blocking them from accepting patients, citing them for unreasonable (and supposedly made-up) violations, and, at one point, threatening to arrest Juan if they aren¡Çt paid a bribe. ¡ÈMidnight Family¡É conveys all of this by sticking close to the Ochoas as they navigate an untenable state of affairs that links private ambulances, hospitals and police officers in a web of financial self-interest. Serving as his own cinematographer and editor, director Lorentzen generates intense empathy by following Juan and Fern during a breakneck attempt to get a young girl with a traumatic brain injury to a hospital ? yelling at passing cars through a loudspeaker, and giving traffic directions to each other ? while the girl¡Çs terrified mother sits beside them in the front seat. At such moments, the film achieves a powerful measure of suspense that¡Çs intricately tied up in its despairing sociological depiction of a system that¡Çs come apart at the seams. Through it all, Juan counts every penny, spends frugally (on, for example, a dinner of tuna fish and corn), recounts his exploits to his girlfriend on the phone, and cares for his younger brother Josué, who prefers to spend his time ratting around in the back of the ambulance ? laughing with friends, eating chips or catching a quick nap ? rather than attending school. In his criticisms of his sibling¡Çs delinquency, which come equipped with explanations about why an education is so important, Juan proves himself an everyday hero, trying at home and in the streets as a paramedic, to keep his ? and everyone else¡Çs ? world together. There have been a lot of adaptations (primarily for TV) of megaselling author James Patterson¡Çs pulpy fictions, none particularly memorable, with the possible exception of hit 1997 thriller ¡ÈKiss the Girls. ¡É But then, his books seldom aim for much more than disposable entertainment, so it¡Çs apt enough that their screen versions should follow suit. By [... ] Maybe it¡Çs the fault of ¡ÈThe Fault in Our Stars¡É that we assume, in the flourishing modern era of the young-adult genre, that one of the story¡Çs romantic leads has to die in order to advance the dramatic stakes. Fortunately, that¡Çs not the case with director Julia Hart¡Çs ¡ÈStargirl. ¡É Adapted by Hart, Kristin Hahn and [... ] When asked to diagnose himself early in ¡ÈInside the Rain, ¡É Benjamin Glass, a college film student played by Aaron Fisher, cheerfully runs down a checklist: ¡ÈI¡Çm bipolar, ADHD, OCD, borderline personality disorder¡Ä You name it, I¡Çve got it. ¡É It¡Çs a moment that is at once both amusing and unsettling ? even more so if you¡Çre [... ] Following a number of release dates moving and premieres being cancelled, Marvel and Disney have decided to temporarly shutter production on ¡ÈShang-Chi. ¡É The delay comes due to director Destin Daniel Cretton being asked by a doctor to self-isolate. Cretton was not feeling symptoms of COVID-19, but chose be tested as a precaution since he is [... ] Tom Hanks and Rita Wilson have shared an update from Australia, where they both remain in isolated care after testing positive for coronavirus. ¡ÈRita Wilson and I would like to thank everyone Down Under for taking such good care of us, ¡É Hanks wrote on social media. ¡ÈWe have COVID-19 and are in isolation so we [... ] In today¡Çs film news roundup, film festivals in New Jersey and Idaho are being postponed, Oscar-nominated Jason Hall will direct wrestling drama ¡ÈUnstoppable¡É and the StoryPlace Studios?database of story content is unveiled. FILM FESTIVALS Amid cancellations of major film festivals such as Tribeca, events in New Jersey, Idaho and Beverly Hills have opted to postpone [... ] Trustees of the SAG-AFTRA Health Plans have announced that there will be no charge for coronavirus testing for participants in the plans. The plans will waive all copays, deductibles and coinsurance for COVID-19 testing at in-network facilities, making it free for participants. This includes any fees for office visits or telehealth visits for COVID-19 testing. [... ].
Author: The Castle Cinema
Biography: A new, crowdfunded, community cinema on Chatsworth Road, Hackney ??