Lost in La Mancha

Lost in La Mancha presents an unusual situation: a “making-of” a film not yet released. In place of a soothing report from backstage, it shows a unique and profound vision of the hard reality in filming. Based on drama ranging from personal conflict to epic storms, this is a portrait of the disintegration of a film. In September, 2000, when the cameras began to film an adaptation by Terry Gilliam for Don Quixote, the production had already been ten years as a project, with two frustrated attempts to start actual filming. Like a contemporary Quixote, Gilliam, a visionary, proves himself used to facing up to the colossal strength of the Hollywood dragons. His task now is to raise 32 million dollars from European sponsors, which would afford him greater freedom for creating. An exciting dialog starts between Gilliam?s film and the “un-making of” Lost in La Mancha, that includes every sort of mishap, from a flood that affects the equipment to illness that makes it impossible for the main protagonist in the film to work.

Keith Fulton american producer and director with a specialization in documentaries and a university background in the history of art, he has made documentaries such as John the Barber (1993) and Ben Franklin(s): A Historical Fiction (1995). Together with Louis Pepe, he developed a project to criticize the system of production in the Hollywood industry that includes The Hamster Factor and Other Tales of Twelve Monkeys (1996) and this Lost in La Mancha (2002). Louis Pepe an independent director, living in Los Angeles, he divides his time between documental projects and fiction. His best-known short film is Roadside Eulogy (1991), a study on people run over on highways. In 1999, he directed the trilogy Moments of Doubt, on women struggling for their personal lives, but that are under domination of the strict demands of their respective careers.

43ª MOSTRA INTERNACIONAL DE CINEMA

43ª MOSTRA INTERNACIONAL DE CINEMA