Carlos Reygadas Castillo Net Worth

Carlos Reygadas Castillo Net Worth is
$12 Million

Carlos Reygadas Castillo Bio/Wiki, Net Worth, Married 2018

Carlos Reygadas (Spanish pronunciation: [ˈkarlos reiˈɣaðas]; born October 10, 1971) is a Mexican filmmaker known for the four films Japón (2002; "Japan"), Batalla en el Cielo (2005; "Battle in Heaven"), Luz Silenciosa (2007; "Silent Light"), and Post Tenebras Lux (2012; "Light After Darkness"). Owing to Batalla, he has become somewhat notorious for the raw depiction of sex and the physically unflattering use of actors.Reygadas' films explore spirituality and the sublime through the interior lives of men suffering existential crises. He has shot all but one of his films in CinemaScope. With Silent Light, Reygadas competed once more for the Palme d'Or at the 2007 Cannes Film Festival, and has become one of the most prominent writer–directors of modern Mexican cinema.Martin Scorsese called Silent Light "A surprising picture, and a very moving one as well."Reygadas received the award for Best Director at the 2012 Cannes Film Festival for his film Post Tenebras Lux.

Date Of Birth	October 10, 1971
Place Of Birth	Mexico City, Distrito Federal, Mexico
Profession	Director, Producer, Writer
Star Sign	Libra

#	Trademark
1	Credits set in the ITC Bauhaus typeface

#	Quote
1	[on the appearance of the Devil in Post Tenebras Lux (2012)] I can't really explain what this means but I can tell you where it comes from. The apartment where we shot the Devil is the house where I was born and where I lived for the first five years of my life, and the toolbox that the Devil has is my father's toolbox which he had before I was born, and still has of course. I've had that dream several times over, particularly when I was a child, and I think I was rather traumatised perhaps by that dream and that's where it crept into my film.
2	[on negative reaction to Post Tenebras Lux (2012) at the 2012 Cannes Film Festival] People asked me today how can you have the nerve to do something like that, and I said, I know that if I like it, there will be some other people who like it. In the time of the Greeks, Seneca said, the better a piece of art, the more rejection it will receive in its moment - that's a social law. Friends in Mexico who saw it didn't think it would be so divisive. You know, people here are tired, they're paid to judge and they think they have to judge before they feel.
3	[discussing Post Tenebras Lux (2012) at the 2012 Cannes Film Festival] We human beings have images of the past, we have dreams, memories, fantasies, projected future that mostly doesn't come as we imagine it, and we don't change from one to another with a code in ordinary life, so I didn't want to use a code in the film. I think the public is very wise and is moving very fast in cinema and there's no need for such codes any more. So I didn't want anything that would make you as the public connect directly what is the future, what is the past, what is imagined, what is fantasy, as it happens in our own lives, in our own heads. So I really respect the public very much and that's why I make films in this way. Intelligent viewers don't need to be led and will eventually follow. Something I find really strange is that the people who saw the film here last night went to school, read books, and I say this not because I'm comparing myself - but think of "The Metamorphosis" by Kafka, which was written almost a hundred years ago. Nobody knows if he really transforms into an insect or not, there's no explanation, and if there was an explanation, I'm sure we wouldn't be reading that book anymore. Why is it that when people read it - or read Joyce, and again I'm not saying that I'm like Joyce - but why can they read and accept these books, but why do they need explanations when they're watching films?
4	[on Silent Light (2007)] I begin and end with stars. This is the beginning and end of the story. There is the universe - the broadest and largest thing - then we go to the story of these three characters - and then back to the universe. It is like our life; we think we are the centre of the universe but then we are nothing too.
5	I have an aversion to photography. I love it in cinema and I like to see other people's photographs, but I don't like the idea of stopping to take a photo. I hate social photos. I hate photos of myself. I hate photos that capture moments of joy. Photographs are the true image of death. Whenever I see a person in a photograph I think of them as dead.
6	[on Silent Light (2007)] I am not particularly interested in Mennonites. I like that they are so uniform, so monolithic. They are all dressed the same; there are no social or economic classes, pre-judgements about physical beauty, or anything like that. They are archetypes: the mother, grandmother, children. I wanted archetypes. This way, I could concentrate on the essential: the love story. It's not a film about Mennonites. It's a film about people. It is a difficult triangle. Here there is a divided heart: a man who really loves both. Everyone feels compassion for each other. The other woman wakes up the wife in an act of compassion. Christ died on the cross for us. It is the same for her. She did this for the love of her man.
7	What's so outrageous about a naked obese woman? There are plenty of astonishing images in other films with flying cars and such. What you find in my films you see any ordinary day: a gas station, a hunter killing an animal, people making love. I'm not trying to impress anyone with these images; they make sense in the context of my films. People feel uncomfortable seeing a beheaded pigeon. What's the big deal? With Battle in Heaven (2005) some people accused me of filming monstrous people making love and then showing that to the public. How did they come up with that? My subjects never seemed monstrous or grotesque to me. Mexico has the second highest rate of obesity in the world. My subjects are overweight, and yes, I filmed them making love, and walking, and I love them and that's it. Whoever thinks I'm depicting something shocking is a hypocrite who thinks that what he or she would prefer not to see simply doesn't exist. For me the real is beautiful. Blood is beautiful if it's real, but a beautiful woman and a beautiful house are horrible to me if they're not authentic. All these 'feel-good' things to me feel 'really bad' - their falsehood is depressing.
8	I've never understood all those children's films about animals that talk and little animated spoons. When they ask me what I think of Harry Potter and Lord of the Rings, I always say, "I don't understand them, they're for children." And when I was a child, I didn't understand films for adults and now I don't understand films for children. I don't understand why so many people understand films for children.
9	Both Battle in Heaven (2005) and Silent Light (2007) have a sense of redemption; life can be really hard, but wonderful, in both.
10	[on Battle in Heaven (2005)] It's my problem child, and therefore the film of mine I love most.
11	I lived in Europe for twelve years. I left because it is spiritually dead. People in Europe live in fear.
12	I really think most of what we call cinema is not cinema. It's really film theatre or, even worse, illustrated literature. The object of the film is the story and the characters are just technical people representing something. Most cinema is comic books. In my opinion that is not real cinema. Real cinema is much closer to music. Music doesn't represent anything, it is just something that will convey feeling. It doesn't mean anything. I hate the idea that film is actually telling a story! The great part of film is to make you feel, not by the narrative. For example the first shot of Silent Light (2007) is cinematic. The light itself is beautiful. In literature, that does not exist. You can just write, "The sun came up." The beauty in my film is the sun itself. You don't have to recreate it. In cinema, the story and the photography are the same thing. It's not like, "I don't like the story, but great photography." The photography is the film itself; it's not a vehicle for the story. I don't want a story and then you illustrate it, in a way that there will always be a division between form and meaning. I think in art, form and meaning are the same thing. In that sense, music is the most noble of arts, because it does not permit you to separate the music from the meaning. When cinema is true, it is a language in itself - that is why it is an art. I hate the idea that a good film is a good story, as Hollywood people say. That's not letting cinema be totally free.
13	[on the nudity in Battle in Heaven (2005)] We are all naked when we go to the shower. At least twice or three times a day we are naked. And most of us have sex, once a week or more. It's a thing that occurs often. But it's not represented ever on film. So the normal thing to do would be to ask every other director why they don't have sex in their film and not ask me about it. I am the only normal one.
14	[on Battle in Heaven (2005)] At the end I am not saying that having your dick sucked means this is paradise. But I am just saying that we long for things and we long for love. Hope is the most important feeling we can have.
15	[when asked what the actors in his films are doing, if not acting] They just Are. In philosophy there are two qualities. The act of being, and the act of being what they are. I wish my actors would just Be, first of all. And secondly, that they would be a chauffeur with an internal conflict. But the act of being is the one I really want to state.
16	After I make a film I psychoanalyze myself retroactively so that I can give explanations to journalists and film people. But I don't believe in those explanations myself.

#	Fact
1	His top ten films of all time are: Los Olvidados (1950), Sansho the Bailiff (1954), A Man Escaped (1956), The Executioner (1963), Persona (1966), Andrei Rublev (1966), Distant Voices, Still Lives (1988), Mother and Son (1997), Gummo (1997) and Werckmeister Harmonies (2000).
2	Martin Scorsese called Reygadas' Silent Light (2007) "A surprising picture, and a very moving one as well.".
3	Worked for the Mexican foreign service in Brussels.
4	Studied law.
5	Played rugby for the Mexican national team.

Director

Title	Year	Status
Short Plays	2014	segment "Mexico"
Post Tenebras Lux	2012
42 One Dream Rush	2010	Short
Revolución	2010	segment "Este es mi reino"
Serenghetti	2009
Silent Light	2007
Batalla en el cielo	2005
Filmando: Batalla en el cielo	2004	Documentary
Japón	2002
Maxhumain	1999	Short
Prisioneros	1999	Short

Producer

Title	Year	Status
Opus Zero	2017	associate producer filming
Tenemos la carne	2016	co-producer
El mudo	2013	co-producer
Heli	2013	associate producer
Post Tenebras Lux	2012	producer
El árbol	2009	producer
Los bastardos	2008	associate producer
La influencia	2007	co-producer
Silent Light	2007	producer
Batalla en el cielo	2005	producer
Sangre	2005	associate producer
Japón	2002	producer

Writer

Title	Year	Status
Post Tenebras Lux	2012	screenplay
Serenghetti	2009
Silent Light	2007
Batalla en el cielo	2005
Japón	2002
Maxhumain	1999	Short written by
Prisioneros	1999	Short

Editor

Title	Year	Status
El árbol	2009
Batalla en el cielo	2005
En casa	2005	Short
En el parque	2005	Short
De paseo	2004	Short

Actor

Title	Year	Status	Character
En ningún lugar, Don Luis Buñuel	2013
Sangre	2005		Man hugging woman (uncredited)

Cinematographer

Title	Year	Status	Character
En casa	2005	Short

Thanks

Title	Year	Status
Birdman or (The Unexpected Virtue of Ignorance)	2014	the filmmakers would like to thank
Volando Bajo	2014	special thanks
Hermosa juventud	2014	thanks
Grotesque Yamaguchi	2014	Short thanks
Aningaaq	2013	Short special thanks
La jaula de oro	2013	thanks
Stop the Pounding Heart	2013	Documentary thanks
Banderas falsas	2012	Documentary special thanks
Quantum Men	2011	Documentary special thanks
Umshini Wam	2011	Short special thanks
Liverpool	2008	special thanks
No moriré sola	2008	spiritual support
La soledad	2007/I	thanks
Babel	2006/I	the director wishes to thank
Por orden de aparición	2006	Short special thanks

Self

Title	Year	Status	Character
Cinéma, de notre temps	2017	TV Series documentary	Himself
Tras Nazarin: Following Nazarin	2015	Documentary	Himself
Cinema 3	2008-2012	TV Series	Himself
Mexico City Conversations	2011	Documentary	Himself
Paraskinio	2006	TV Series documentary	Himself
Je t'aime... moi non plus: Artistes et critiques	2004	Documentary	Himself
Filmando: Batalla en el cielo	2004	Documentary

Won Awards

Year	Award	Ceremony	Nomination	Movie
2014	Heterodox Award	Cinema Eye Honors Awards, US		Post Tenebras Lux (2012)
2012	Best Director	Cannes Film Festival		Post Tenebras Lux (2012)
2012	Best Director	Cinemanila International Film Festival	International Competition	Post Tenebras Lux (2012)
2012	Critics Award	Lima Latin American Film Festival	Best Director	Post Tenebras Lux (2012)
2012	APRECI Prize	Lima Latin American Film Festival	Best Film	Post Tenebras Lux (2012)
2012	Best Latin-American Film	Mar del Plata Film Festival	Special Mention	Post Tenebras Lux (2012)
2008	Anonimul Trophy	Anonimul International Independent Film Festival		Stellet Licht (2007)
2008	Silver Ariel	Ariel Awards, Mexico	Best Direction (Mejor Dirección)	Stellet Licht (2007)
2008	Silver Ariel	Ariel Awards, Mexico	Best Screenplay Written Directly for the Screen (Mejor Guión Cinematográfico Original)	Stellet Licht (2007)
2008	Feature Film Trophy	Cine Ceará - National Cinema Festival	Best Director	Stellet Licht (2007)
2008	Propeller of Motovun	Motovun Film Festival		Stellet Licht (2007)
2008	Grand Prize	Riga International Film Forum 'Arsenals'	Best Film	Stellet Licht (2007)
2007	Jury Award	Bergen International Film Festival	Best Film	Stellet Licht (2007)
2007	Jury Prize	Cannes Film Festival		Stellet Licht (2007)
2007	Gold Hugo	Chicago International Film Festival	Best Feature	Stellet Licht (2007)
2007	Best Director	Havana Film Festival		Stellet Licht (2007)
2007	Grand Coral - First Prize	Havana Film Festival		Stellet Licht (2007)
2007	Golden Colon	Huelva Latin American Film Festival		Stellet Licht (2007)
2007	Golden Colon	Huelva Latin American Film Festival		Stellet Licht (2007)
2007	Silver Colon	Huelva Latin American Film Festival		Stellet Licht (2007)
2007	Silver Colon	Huelva Latin American Film Festival	Best Director	Stellet Licht (2007)
2007	Critics Award	Lima Latin American Film Festival	Best Film	Stellet Licht (2007)
2007	Elcine First Prize	Lima Latin American Film Festival	Best Film	Stellet Licht (2007)
2007	FIPRESCI Prize	Rio de Janeiro International Film Festival		Stellet Licht (2007)
2007	FIPRESCI Prize	Rio de Janeiro International Film Festival	Best Latin American Film	Stellet Licht (2007)
2007	FIPRESCI Prize	Rio de Janeiro International Film Festival		Stellet Licht (2007)
2007	Best Screenplay	Stockholm Film Festival		Stellet Licht (2007)
2005	Award of the Havana University	Havana Film Festival		Filmando: Batalla en el cielo (2004)
2005	Best Screenplay	Lima Latin American Film Festival	Special Mention	Filmando: Batalla en el cielo (2004)
2005	Critics Award	Lima Latin American Film Festival		Filmando: Batalla en el cielo (2004)
2004	Silver Ariel	Ariel Awards, Mexico	Best Screenplay Written Directly for the Screen (Mejor Guión Cinematográfico Original)	Japón (2002)
2004	Silver Ariel	Ariel Awards, Mexico	Best First Work (Mejor Ópera Prima)	Japón (2002)
2004	Silver Goddess	Mexican Cinema Journalists	Best First Work (Ópera Prima)	Japón (2002)
2003	Mayahuel Award	Guadalajara International Film Festival	Best Screenplay	Japón (2002)
2003	Aurora Award - Special Mention	Tromsø International Film Festival		Japón (2002)
2002	Grand Prix	Bratislava International Film Festival		Japón (2002)
2002	Prize of the Ecumenical Jury	Bratislava International Film Festival		Japón (2002)
2002	Golden Camera - Special Mention	Cannes Film Festival		Japón (2002)
2002	New Director's Award	Edinburgh International Film Festival		Japón (2002)
2002	Coral	Havana Film Festival	Best First Work	Japón (2002)
2002	FIPRESCI Prize	Rio de Janeiro International Film Festival	Best Latin American Film (Melhor Filme Latino-Americano)	Japón (2002)
2002	Audience Award	Stockholm Film Festival		Japón (2002)
2002	Critics Award - Honorable Mention	São Paulo International Film Festival		Japón (2002)
2002	Best Director	Thessaloniki Film Festival		Japón (2002)

Nominated Awards

Year	Award	Ceremony	Nomination	Movie
2013	Politiken's Audience Award	CPH PIX		Post Tenebras Lux (2012)
2013	Festival Prize	Milwaukee Film Festival	Best Film	Post Tenebras Lux (2012)
2013	Jury Prize	Sarasota Film Festival	Narrative Feature Film Competition	Post Tenebras Lux (2012)
2012	Palme d'Or	Cannes Film Festival		Post Tenebras Lux (2012)
2012	Lino Brocka Award	Cinemanila International Film Festival	International Competition	Post Tenebras Lux (2012)
2012	Best Latin-American Film	Mar del Plata Film Festival	Latin-American Competition	Post Tenebras Lux (2012)
2012	Films from the South Award	Oslo Films from the South Festival	Best Feature	Post Tenebras Lux (2012)
2011	Silver Condor	Argentinean Film Critics Association Awards	Best Foreign Film, Spanish Language (Mejor Película Iberoamericana)	Stellet Licht (2007)
2010	Silver Condor	Argentinean Film Critics Association Awards	Best Foreign Film, Spanish Language (Mejor Película Iberoamericana)	Batalla en el cielo (2005)
2009	Independent Spirit Award	Independent Spirit Awards	Best Foreign Film	Stellet Licht (2007)
2008	ICP Award	Indiewire Critics' Poll	Best Director	Stellet Licht (2007)
2008	Sydney Film Prize	Sydney Film Festival	Best Film	Stellet Licht (2007)
2007	Palme d'Or	Cannes Film Festival		Stellet Licht (2007)
2005	Palme d'Or	Cannes Film Festival		Batalla en el cielo (2005)
2005	Screen International Award	European Film Awards		Batalla en el cielo (2005)
2004	Silver Ariel	Ariel Awards, Mexico	Best Direction (Mejor Dirección)	Japón (2002)
2003	Best Film	Buenos Aires International Festival of Independent Cinema		Japón (2002)
2003	Golden India Catalina	Cartagena Film Festival	Best Film (Mejor Película)	Japón (2002)
2002	Golden Alexander	Thessaloniki Film Festival		Japón (2002)

Known for movies

Source

Carlos Reygadas Castillo Net Worth

Carlos Reygadas Castillo Net Worth is
$12 Million