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Encyclopedia > Daniel Burman
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Daniel Burman (born 29 August 1973, Buenos Aires) is an Argentine film-maker. Jump to: navigation, search August 29 is the 241st day of the year in the Gregorian Calendar (242nd in leap years), with 124 days remaining. ... Jump to: navigation, search 1973 was a common year starting on Monday. ... Buenos Aires (Good Airs in Spanish, originally meaning Fair Winds) is the capital of Argentina and its largest city and port, as well as one of the largest cities in South America. ...


From a Polish Jewish background, Burman was raised in Buenos Aires. He holds both Argentine and Polish citizenship, like his films' character, Ariel. He studied law before changing to audiovisual media production. In 1995, he launched his own production company together with Diego Dubcovsky, BD CINE. Jump to: navigation, search The word Jew (Hebrew: יהודי transliterated: Yehudi) is used in many ways, but generally refers to a follower of Judaism, a child of a Jewish mother, or someone of Jewish descent with a connection to Jewish culture or ethnicity; and often a combination of these attributes. ...


His loose trilogy of films, Esperando al Mesías, El abrazo partido and the upcoming Derecho de familia, were all written and directed by Burman and star Daniel Hendler. They are largely autobiographical, dealing with the life of a young Jew in contemporary Buenos Aires. He frequently collaborates with other Argentine Jews, notably writer Marcelo Birmajer and klezmer musician, César Lerner. His comedic touches often bring comparison to Woody Allen, a comparison which Burman is quick to reject. El Abrazo Partido (2004) is an Argentine movie depicting episodes in the life of a Jewish family in the Once neighborhood of Buenos Aires and the other shopkeepers in a low-rent commercial galería (gallery). ... Jump to: navigation, search Klezmer (Yiddish כלזמיר, from Hebrew kli zemer כלי זמר, instrument of song) is a musical tradition which parallels Hasidic and Ashkenazic Judaism. ... Jump to: navigation, search Woody Allen. ...


Burman's films have featured in many film festivals. El abrazo partido took the Grand Jury Prize at the Berlin International Film Festival as well as best actor for Hendler. One of the A festivals in Europe. ...


Burman was co-producer of the successful 2004 film, The Motorcycle Diaries and of the 2000 film Fuckland. Jump to: navigation, search 2004 (MMIV) was a leap year starting on Thursday of the Gregorian calendar. ... Jump to: navigation, search Film poster for The Motorcycle Diaries The Motorcycle Diaries (Spanish title: Diarios de motocicleta) is a biographical film about how young Ernesto Guevara de la Serna (who later gained fame as a Marxist revolutionary) and his friend Alberto Granado travelled across South America. ...


Filmography

As Director:

  • En que estación estamos? (1992, short)
  • Post data de ambas cartas (1993, short)
  • Help o el pedido de auxilio de una mujer viva (1994, short)
  • Niños envueltos (1995, short)
  • La pista (1997, tv)
  • Un crisantemo estalla en cinco esquinas (1998)
  • Esperando al Mesías (2000)
  • Todas las azafatas van al cielo / Every Stewardess Goes to Heaven (2002)
  • Un cuento de Navidad (2002, tv)
  • El abrazo partido / Lost Embrace (2003)
  • 18-J (2004)
  • Derecho de familia (2006) - post-production

  Results from FactBites:
 
CINEMAJOVE (549 words)
Burman approached his first film project with a self-confidence that was unusual in the Argentinean movie world at that time.
Featuring the Uruguayan actor Daniel Hendler (one of the brightest stars in new Argentinean cinema), the film did not prove to be as daring as his first venture.
Starring David Hendler in the leading role once again, Burman explores the issues of a young Jewish man: his chance of emigrating to Europe and the need to confront the absent father figure.
Campus Circle (367 words)
Entering the world of Daniel Burman’s Lost Embrace, a serio-comic glimpse into the vibrant Jewish population of Buenos Aires, one is first struck by the fact that there is a vibrant Jewish population in Buenos Aires.
Burman’s humorous microcosm remains perpetually genuine and thoughtful, though his presentation of the story lacks precision and focus.
Burman seems torn as to the true purpose of his story, sliding between amused character study and father-son redemption narrative.
  More results at FactBites »


 
 

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