Julie Gordon

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Midnight Family
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Release year: 2019

Luke Lorentzen Action, Drama 8,4 / 10 directed by: Luke Lorentzen Mexico Nattens ä. Nattens c3 angular 4. Nattens anglards de saint flour. The documentary Midnight Family is set in a place thats 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 theyre often left in the sticky situation of having to ask sick and injured people for money, and thats 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. Its the first feature film for documentarian Luke Lorentzen, whos only 26 but managed to nab an award for the films 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 Youre 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: “ Lets go there and see if I find a film. ” 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 familys 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 didnt know anything about it. Its something very few people know about. If you need an ambulance once in your life, thats a lot. So, the lack of public ambulances in Mexico City] has become this egregious example of corruption and government dysfunction, but it hasnt gotten as much attention as it deserves. And when it has gotten attention, its 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 didnt have engines in them. So you had to do some good old-fashioned shoe-leather reporting. Yes. Theres so few ambulances, it took me only a few hours. Theres 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 ambulance is an expired ambulance from Oklahoma that was shipped down to Mexico, where they bought it. Thats 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 its 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 its 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 theyre 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 wasnt 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 didnt 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 ? its 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. Thats 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 didnt 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 Im trying to make a film like Midnight Family is to decide, can I connect with people in a meaningful way thats 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. Ive been in work-for-hire situations where we cant take the time or there isnt the willingness to form that connection. Thats when the question of whos telling whose story really gets more complicated. Right. Because its their story, but youre, 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 dont know if thats totally true ? I think, knowing the Ochoas, that they would have let anyone in who was willing to ride along with them. Thats why theyre 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 its a movie about a family, and its almost a dark comedy at times. Its 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. Thats a bit funny, when you think about it. A lot of American entertainment has centered around characters in medical settings, like Greys 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, “We are making the same financial decisions about peoples lives in our ER every night. ” Thats problematic, but its 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 peoples lives and to make a living. That cant 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. Thats whats 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 before treating them. Thats whats so fascinating. When you put good people into a broken system, the things they end up needing to do are really complicated. The Ochoas are good people. They were so generous and

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.
Critics Consensus As narratively urgent as it is technically well-crafted, Midnight Family offers an enthralling and disquieting glimpse of healthcare in modern Mexico. 98% TOMATOMETER Total Count: 54 76% Audience Score User Ratings: 17 Midnight Family Ratings & Reviews Explanation Tickets & Showtimes The movie doesn't seem to be playing near you. Go back Enter your location to see showtimes near you. Midnight Family Videos Photos Movie Info In Mexico City's wealthiest neighborhoods, the Ochoa family runs a private ambulance, competing with other for-profit EMTs for patients in need of urgent help. As the Ochoas try to make a living in this cutthroat industry, they struggle to keep their financial needs from compromising the people in their care. Rating: NR Genre: Directed By: Written By: In Theaters: Dec 6, 2019 limited Runtime: 81 minutes Cast News & Interviews for Midnight Family Critic Reviews for Midnight Family Audience Reviews for Midnight Family Midnight Family Quotes Movie & TV guides.
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Nattens änglar melodifestivalen. Nattens änglar dox. Nattens anglars saint. Hop in an ambulance with Mexico Citys Ochoa family, a group of civilians who run a private EMT service in a bustling city sorely underserved by the governments limited medical resources. "Provides a stark snapshot of how truly broken things are in Mexico City. "? Variety It seems beyond belief, if not downright cruel, that a major global metropolis should provide only 45 ambulances to serve a population of nine million. But for the Ochoa family?father Fernando, 17-year-old de facto family leader Juan, and chubby kid brother Josue?the chaos of Mexico City's streets nonetheless provides them with a hard-won way to make a meager living; hustling from grisly car wrecks to shootings to domestic-violence calls, the Ochoas are part of an army of private, for-profit ambulance services filling the gaps left by the city's deeply broken medical system. Breathlessly racing through uncaring traffic to be the first at the scene, only to quickly deal with bribe-hungry cops, competing EMTs, and victims who cannot or simply refuse to pay, Fernando and his sons somehow manage to find the time to be a normal, caring family?and to hold onto a belief that, even amidst all the mayhem, tomorrow will be a better day?in this stunning new film from acclaimed documentarian Luke Lorentzen, winner of the Premio Mezcal for Best Film, named Best Director at the 2019 Guadalajara International Film Festival, and given the U. S. Documentary Special Jury Award for Cinematography at the 2019 Sundance Film Festival. ? Hebe Tabachnik Director Biography Born in 1993 in Connecticut, Luke Lorentzen is a graduate of Stanford University, where she studied Art History and Film Studies. His film,? Santa Cruz Del Islote ?won awards at over ten international film festivals. His first feature documentary,? New York Cuts ?(2015) had its world premiere at the International Documentary Festival Amsterdam and its US Premiere at the Camden International Film Festival. Luke is also part of the creative team behind the Netflix documentary series "Last Chance U. Luke now lives on the road, most recently working on projects in Kansas, Mexico City and Italy. Sponsored by Dexter Hayes Apartments.
Nattens anglards de salers. Nattens c3 angular 7. Critics Pick In this outstanding documentary, a family of emergency medical workers struggles both to save lives and to make a living. Credit. 1091 Media Midnight Family NYT Critic's Pick Directed by Luke Lorentzen Documentary, Action, Crime, Drama 1h 21m More Information Periodically while watching “Midnight Family” you feel as if you cant look at the screen for another second. But you cant look away either. That tension encapsulates the push-pull of this documentary, a haunting portrait of a family of emergency medical worker s in Mexico City. Because as you tag along on another wild nighttime ride, and yet one more life-or-death race, the familys careening ambulance seems like an emblem both of their reality and of your own whiplashing position as a viewer. The family at its center, the Ochoas, own and operate one of the many private ambulances that serve Mexico City. The director Luke Lorentzen takes you right inside the ambulance, squeezing you in alongside the Ochoas and several others as they tend to traumatized victims and an occasional member of a patients family. Its no surprise that it can be a deeply distressing fit. Nearly as alarming, though, are those instances when the Ochoas race a rival ambulance to the next accident and the documentary enters that unsettling zone where the pleasures of the chase (and good filmmaking) slam into your ethical sensibility, which is to Lorentzens point. Your stomach may start jumping (your thoughts too) e ven before the movie and ambulance take off. After opening with some sober scene-setting ? a man washing blood off a bright yellow stretcher ? Lorentzen drops in some of the documentarys few informational details. “In Mexico City, ” reads text on a dark screen, “the government operates fewer than 45 emergency ambulances for a population of nine million. ” Much of the citys emergency health care, the note continues, is handled by “a loose system of private ambulances. ” The Ochoas belong to this informal network, tending to hundreds of patients each year from inside their red-and-white ambulance. Serving as his own cinematographer, Lorentzen spends a lot of time in the back of that van, a space that you settle into as workers and patients enter and exit. He regularly points the camera at the windshield, giving you front-row access to the chaos; every so often, he trains it on the rear-door windows, as if looking for an escape. Another camera, mounted on the top of the dashboard, enables you to see inside the van, where Fer, the Ochoa paterfamilias, is generally found riding shotgun beside one son, Juan, a 17-year-old with a meticulous fade haircut and the wheel skills of a NASCAR racer. When the sirens blare and lights flash, Fer and Juan can make a formidable, at times grimly diverting, tag team. “Get out of my way, bicycle! ” Fer yells over the ambulance loudspeaker in an early scene, as the intensely focused Juan drives and another of Fers sons ? the babyish-looking Josué, whos around 10 ? tries to steady himself in the rear. As Lorentzen cuts from the vans occupants to the darkly jeweled street and back again, everyone and everything passing by is told where to go. “Keep moving, bus! ” Fer yells, before slipping into street-philosopher mode. “This is why people die! ” he says, over a lingering shot of Josué. “Because people like you dont move! ” The juxtaposition of Josués face and Fers words are representative of Lorentzens method. Embracing a familiar observational approach, he doesnt talk you through “Midnight Family” but instead lets his filmmaking choices convey his thoughts on the Ochoas and the mercenary world they inhabit. (He edited the documentary and is one of its producers. Lorentzen never explains how he found the family, who not only granted him seemingly free access to their ambulance, but also brought him into their home. Hes more expansive in the production notes where he says that he introduced himself after he saw Juan cleaning the van while Josué was playing with a soccer ball. “Midnight Family” can be tough to watch, but it never feels unprincipled or indulgently exploitative. Some of the most traumatic incidents have, of course, occurred before the ambulance roars up, but not all. Even when the worst happens, Lorentzen doesnt turn the gore and tears into a spectacle, and its instructive that some of the most dreadful moments take place off-camera or are conveyed through the triage patter or in later conversations. He also tends to obscure the faces of the wounded and whether legally or ethically motivated, this discretion is a relief. Its humanizing for the victims (be warned that these include children) and for the viewer. One of the enduring hurdles in visual storytelling is how to represent the suffering of others without adding to it, a difficulty that Lorentzen has clearly weighed. Thats evident in his point of view, what he shows you and doesnt, and obvious in his empathetic portrayal of the Ochoas. Theyre an appealing, affecting collection of souls, and you too want the best for them, even when you grasp their role in a system plagued by class inequities and inadequate services, kickbacks and shakedowns. Here, if it bleeds, it leads right into everyones pocket ? the police, emergency workers, hospitals ? a truism that makes this documentary feel finally, appallingly, universal. Midnight Family Not rated. In Spanish, with subtitles. Running time: 1 hour 21 minutes.
Nattens änglar nova. Nattens anglards. November 10, 2019 11:40PM PT A family attempts to make a meager living operating a private ambulance in Mexico City in Luke Lorentzens gripping doc. If you think the health care system is flawed in America, “ Midnight Family ” 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 s documentary takes up residence alongside the Ochoa family, who earn a living ? just barely ? by operating one of the metropolis numerous privately owned ambulances, ferrying the injured to hospitals in hopes of being monetarily rewarded for their efforts. Portraits of institutional dysfunction dont 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, its 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 ? whos the clans 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 Citys 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 Lorentzens film makes clear via the Ochoas day-to-day ordeal, its also driven by a desire to lock citizens into their care ? which, ostensibly, will result in payment at the end of the ride. “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. As if that werent problematic enough for Juan and Fern, who can only assume their duties if a public ambulance doesnt 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 arent paid a bribe. “Midnight Family” 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 girls terrified mother sits beside them in the front seat. At such moments, the film achieves a powerful measure of suspense thats intricately tied up in its despairing sociological depiction of a system thats 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 siblings 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 elses ? world together. After three weeks in theaters, Sonys “Bad Boys for Life” is officially the highest-grossing installment in the action-comedy series. The Will Smith and Martin Lawrence-led threequel has made 291 million globally to date, pushing it past previous franchise record holder, 2003s “Bad Boys II” and its 271 million haul. The first entry, 1995s “Bad Boys, ”. The BAFTA film awards have kicked off in London, with Graham Norton hosting this year at the Royal Albert Hall. The awards will be broadcast on the BBC in the United Kingdom and at 5 p. m. PT on BBC America. “Joker” topped the nominations with 11 nods, while “Once Upon a Time in Hollywood, ” and. “1917, ” Sam Mendes World War I survival thriller, has taken an early lead at the 73rd British Academy of Film and Televisions Film Awards with four wins so far. “1917” took the first award of the evening, the Outstanding British Film Award, where it was the clear favourite in the category against fellow nominees “Bait, ”. Every summer, more than 1, 000 teens swarm the Texas capitol building to attend Boys State, the annual American Legion-sponsored leadership conference where these incipient politicians divide into rival parties, the Nationalists and the Federalists, and attempt to build a mock government from the ground up. In 2017, the program attracted attention for all the wrong. Box office newcomers “Rhythm Section” and “Gretel and Hansel” fumbled as “Bad Boys for Life” remained champions during a painfully slow Super Bowl weekend. Studios consider Sundays NFL championship a dead zone at movie theaters since the Super Bowl is the most-watched TV event. This year proved no exception. Overall ticket sales for the weekend. Ahead of tonights BAFTA Awards in London, Amy Gustin and Deena Wallace, co-directors of the British Independent Film Awards (BIFA) discuss how they shook up their awards voting mechanisms to become more inclusive of a wider variety of films and filmmakers.? BIFA is different from other awards bodies in its process as well as its. A wide range of Scandinavian films, including the politically-charged Danish drama “Shorta, ” the supernatural Icelandic drama “Lamb” with Noomi Rapace, and the Finnish-Iranian refugee tale “Any Day Now, were some of the highlights at this years Nordic Film Market. They were presented, along with 13 other films in post-production, as part of the Work-in-Progress section.
Nattens änglar photogenique. For screenings and tickets Directed by Luke Lorentzen Produced by Kellen Quinn and Luke Lorentzen Producers: Elena Fortes and Daniela Alatorre Contact: krquinn[at] luke. lorentzen[at] Publicity: Jenna Martin, jmartin[at] Sales: Autlook,?Salma Abdalla, salma[at] AWARDS: Special Jury Award for Cinematography, Sundance Best Film, Guadalajara International Film Festival Best Director, Guadalajara International Film Festival Premio Guerrero de la Prensa, Red de Prensa Mexicana Special Jury Mention, F:act Award, CPH:DOX Best Documentary, Hong Kong International Film Festival Cine Latino Documentary Audience Award, MSPIFF Grand Prix, Kaliningrad Film Festival Special Jury Mention, Calgary Underground Film Festival Special Jury Prize for Cinematography, Montclair Film Festival Audience Award, Cine Las Americas TRT International Documentary Awards, Turkey, Third Place Bravery Award, Mammoth Lakes Film Festival Grand Jury Award, Sheffield Doc/Fest Top Prize, Underhill Fest, Montenegro Grand Jury Prize, Gimli Film Festival Best Mexican Documentary, Guanajuato Film Festival Best Documentary, Spirit of Freedom, Jerusalem Film Festival Best Mexican Documentary, DOQUMENTA, Queretaro Special Jury Mention, Monterrey International Film Festival Grand Prix, Message to Man Film Festival, Saint Petersburg Russian Press Prize, Message to Man Film Festival IFFS Prize, Message to Man Film Festival Special Jury Mention, Zurich Film Festival Best Documentary, Bergen International Film Festival IDA Documentary Awards, Winner, Best Editing IDA Documentary Awards, Nominee, Best Feature IDA Documentary Awards, Nominee, Best Cinematography Cinema Eye Honors, Best Film Nominee Cinema Eye Honors, Best Cinematography Nominee Cinema Eye Honors, Best Production Nominee Cinema Eye Honors, Unforgettables, Juan Ochoa, Nominee Golden Frog for Best Documentary, EnergaCAMERIMAGE Best Documentary, Films from the South, Oslo Maysles Brothers Award, Special Jury Mention, Denver Film Festival FIPRESCI Rellumes Award for Best Director, Gijón Film Festival Best Film, WatchDocs International Film Festival, Warsaw SELECTED PRESS: Outstanding. Fantastically shot by the director Luke Lorentzen, the documentary develops an urgency that suits the life-or-death stakes onscreen. By turns terrifying and exhilarating, “Midnight Family” unfolds with such velocity that it may take a while for your ethical doubts to catch up to whats happening. When they do, they leave you gasping. " ? Manohla Dargis, New York Times Critics' Pick “Arguably the most exhilarating documentary to come out of Sundance this year, Midnight Family follows the Ochoa family?the gruff but compassionate Fer and his two underage sons, Juan and Josué?at intensely close range on these Sisyphean missions of mercy. “ ? Museum of Modern Art and Film Society of Lincoln Center Included in the “10 Best Movies of Sundance 2019" A deft mix of big-picture doc-making and intimate moments... not to mention a wild?and remarkably eye-opening?ride. ” ? David Fear, Rolling Stone “This 81-minute masterpiece will change the way you look at documentaries forever; its style reads like an action movie, its themes like a socio-political drama, and, yet, it still is very much a work of non-fiction, with a camera always exactly positioned to capture a society on the brink of moral collapse. " ? Jordan Ruimy, The Playlist “Profound and thrilling cinema verite filmmaking. The film is impeccably crafted by Luke Lorentzen… What matters most here is Lorentzens intuition?he knows during many stunning moments just where to put the camera in such close quarters, letting us observe as harrowing drama and cinematic poetry unfolds… 'Midnight Family' is extremely visceral in the best way. ” ? Nick Allen, Roger Included in “21 Must-See Movies” at Sundance "An intimate verite documentary. the Ochoas emerge as fascinating embodiments of a country working overtime to correct its shortcomings and keep the lights on. This bracing U. S. competition documentary is poised to provide a personal window into the fast-paced mayhem of Mexico after dark. " ? Eric Kohn, Indiewire FESTIVAL SCREENINGS: Sundance Film Festival, Park City, January 2019 Cartagena International Film Festival, March 2019 Guadalajara International Film Festival, March 2019 Ambulante Mexico, March-May 2019 CPH:DOX, Copenhagen, March 2019 Hong Kong International Film Festival, March 2019 Lost Weekend, Winchester, VA, March 2019 New Directors/New Films, MoMA, Lincoln Center, March 2019 DocVille Belgium, Brussels, March 2019 Houston Latino Film Festival, March 2019 Full Frame Documentary Film Festival, Durham, April 2019 Minneapolis International Film Festival, April 2019 Sarasota Film Festival, April 2019 ACT Human Rights Festival, Fort Collins, April 2019 San Francisco International Film Festival, April 2019 Night Visions, Helsinki, April 2019 Freep Film Festival, Detroit, April 2019 Dallas Film Festival, April 2019 DOC10, Chicago, April 2019 International Film Festival of Uruguay, April 2019 HotDocs, Toronto, April 2019 Calgary Underground Film Festival, April 2019 IFF Boston, April 2019 Riverside Saginaw Film Festival, Michigan, April 2019 TRT Documentary Days, Istanbul, April 2019 Kaliningrad Film Festival, April 2019 Cine Las Americas, Austin, May 2019 Montclair Film Festival, New Jersey, May 2019 EDOC, Quito, May 2019 Seattle Film Festival, May 2019 Mammoth Lakes Film Festival, May 2019 Krakow Film Festival, June 2019 Greenwich Film Festival, June 2019 Transylvania International Film Festival, June 2019 Sydney Film Festival, June 2019 Nantucket Film Festival, June 2019 Sheffield Doc/Fest, United Kingdom, June 2019 Curitiba International Film Festival, June 2019 Underhill Fest, Podgorica, Montenegro, June 2019 AFI DOCS, Washington, D. C., June 2019 Biografilm, Bologna, June 2019 Shanghai Film Festival, June 2019 Rooftop Films, New York City, June 2019 LA Latino Film Festival, July 2019 Semana de Cine Contemporáneo, Aguascalientes, July 2019 Taormina Film Festival, July 2019 Taipei Film Festival, July 2019 Maine Film Festival, July 2019 Durban International Film Festival, July 2019 New Zealand International Film Festival, July 2019 Guanajuato International Film Festival, July 2019 Gimli Film Fest, July 2019 Jerusalem Film Festival, July 2019 Traverse City, July 2019 Lima Film Festival, August 2019 Sakhalin on the Edge, August 2019 Stronger than Fiction, Canberra, August 2019 Melbourne International Film Festival, August 2019 DokuFest, Kosovo, August 2019 Lighthouse International, New Jersey, August 2019 Monterrey International Film Festival, August 2019 Martha's Vineyard International Film Festival, August 2019 Camden International Film Festival, September 2019 AFI Latin American Film Festival, September 2019 Message to the Man, St. Petersburg, September 2019 Festival de Cine México, Alemania CineMA, September 2019 Athens International Film Festival, September 2019 El Gouna International Film Festival, Egypt, September 2019 Helsinki International Film Festival, September 2019 IDFF Flahertiana, September 2019 Festival de Cine en el Desierto en Sonora, September 2019 Zurich Film Festival, September 2019 Vancouver International Film Festival, September 2019 Bergen International Film Festival, September 2019 Cineuropea, Santiago de Compostela, September 2019 Foro de Cineastas, Tamaulipas, September 2019 Black Canvas, Mexico City, October 2019 Brisbane International Film Festival, October 2019 Viva Mexico, Paris, October 2019 Film Fest Tuscon, October 2019 Peoria Film Festival, October 2019 FilmFest Cologne, October 2019 Hamptons International Film Festival, October 2019 Central Scotland Documentary Festival, October 2019 Lateinamerikanische Filmtage, Germany, October 2019 Tallgrass Film Festival, October 2019 Morelia Film Festival, October 2019 Latin American Doc Showcase, Puerto Rico, October 2019 True/False Community Screening, Colombia, October 2019 Vino Verite, Iowa City, October 2019 Hot Springs Documentary Film Festival, October 2019 Rockaway Film Festival, October 2019 Jio Mami, Mumbai, October 2019 Ânûû-rû Âboro Festival, New Caledonia, October 2019 Inconvenient Films, Lithuania, October 2019 Doctober, Pickford Film Center, Bellingham, October 2019 Teatteri Unio, Finland, October 2019 Unorthadocs, Wexner Arts Center, Colombus, October 2019 Cork Film Festival, Ireland, October 2019 Virginia Film Festival, October 2019 Viennale, Vienna, October 2019 Denver Film Festival, October 2019 Windsor Film Festival, October 2019 Stockholm International Film Festival, November 2019 Brattleboro Film Festival, November 2019 Movies from the South, Oslo, November 2019 DOC NYC, November 2019 Camerimage, Poland, November 2019 KCRW - The Document, Los Angeles, November 2019 Gijon Film Festival, Spain, November 2019 RIDM, Montreal, November 2019 IDFA, Amsterdam, November 2019 Festival Margenes, Spain, November 2019 Sevastopol Film Festival, Crimea, November 2019 Guangzhou Documentary Film Festival, November 2019 This Human World, Vienna, December 2019 Watch Docs, Poland, December 2019 Havana Film Festival, Cuba, December 2019 Festival del Puerto, Oaxaca, December 2019 William and Mary Global Film Festival, January 2020 Budapest International Documentary Festival, January 2020 Americana Film Festival, Barcelona, March 2020.
"Outstanding. Fantastically shot by the director Luke Lorentzen, the documentary develops an urgency that suits the life-or-death stakes onscreen. By turns terrifying and exhilarating, “Midnight Family” unfolds with such velocity that it may take a while for your ethical doubts to catch up to whats happening. When they do, they leave you gasping. " ? Manohla Dargis, New York Times Critics Pick “Arguably the most exhilarating documentary to come out of Sundance this year, Midnight Family follows the Ochoa family?the gruff but compassionate Fer and his two underage sons, Juan and Josué?at intensely close range on these Sisyphean missions of mercy. ” ? Museum of Modern Art and Film Society of Lincoln Center Included in the “10 Best Movies of Sundance 2019" A deft mix of big-picture doc-making and intimate moments. not to mention a wild?and remarkably eye-opening?ride. ” ? David Fear, Rolling Stone “This 81-minute masterpiece will change the way you look at documentaries forever; its style reads like an action movie, its themes like a socio-political drama, and, yet, it still is very much a work of non-fiction, with a camera always exactly positioned to capture a society on the brink of moral collapse. ? Jordan Ruimy, The Playlist “Profound and thrilling cinema verite filmmaking. The film is impeccably crafted by Luke Lorentzen… What matters most here is Lorentzens intuition?he knows during many stunning moments just where to put the camera in such close quarters, letting us observe as harrowing drama and cinematic poetry unfolds… 'Midnight Family' is extremely visceral in the best way. ” ? Nick Allen, Roger Included in “21 Must-See Movies” at Sundance "An intimate verite documentary. the Ochoas emerge as fascinating embodiments of a country working overtime to correct its shortcomings and keep the lights on. This bracing U. S. competition documentary is poised to provide a personal window into the fast-paced mayhem of Mexico after dark. ” ? Eric Kohn, Indiewire.
YouTube. 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 worlds 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.

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