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  1. duration - 1 h 21 M
  2. director - Luke Lorentzen
  3. audience score - 389 vote
  4. countries - Mexico
  5. Luke Lorentzen
  6. Genres - Drama

First thing’s first, and I don’t find myself saying this too often about documentaries, but one of the best things about Luke Lorentzen’ Midnight Family is the amazingly beautiful camerawork. It will be screened in 4K which will make the viewing experience that much more enrapturing for future viewers. The way the film is shot makes you feel as though you are right in the thick of the action, of which there is quite a bit. Midnight Family centers on the Ochoa family, who are one of many families who (at least attempt to) make their living through for-profit ambulance services. In Mexico City, where the film takes place, there are only FORTY-FIVE government provided ambulances in a city with a population of 9 million people. For-profit ambulances came on the scene as a relief but also as a way for some people to make money off of vulnerable people’s misfortunes. “… the Ochoa family…makes their living through for-profit ambulance services. ” The Ochoa’s seem to be the exception to the rule in this cutthroat industry of for-profit EMT work. While some of the ambulance companies won’t even pick up the injured til they agree to pay, the Ochoa’s first priority is transporting the patient, even though a vast percentage of the time, the patient or their family don’t have the money or refuse to pay once the patient gets safely to the hospital. On top of the fact that the team uses police bribes of 300 pesos to get to the accident sites first, this corruption causes the Ochoa’s a good bit of financial stress. The Ochoa’s are an extremely likable group. We have Juan who does most of the talking throughout the film. He’s a 17-year-old with a big ego and loves to drive the ambulance super fast. When he’s not telling the camera about his successes, he is on the phone with his girlfriend, Jessica. Then there is Manuel, who doesn’t talk much on screen but is the one in the unfortunate position of having to ask patients for money after their ambulance rides. Then we have Fernando who is Juan and Josue’s father and the patriarch of the family and head of the business with Fernando. Lastly, we have the hilarious Josue, an eleven-year-old kid who would much rather spend nights on ambulance rides than days in school. There are several thrilling scenes where the Ochoa’s must rush through the horrendous Mexico City traffic to pick up patients. Fernando yells through a loudspeaker for taxis and cars to get out of the way. More than once, we witness the Ochoa’s dealing with the police, sometimes losing all the money they made in one night on paying bribes and staying out of jail. It’s frustrating, considering that all the Ochoa’s and most other ambulance services are trying to save peoples lives, yet cash continues to be king, especially to corrupt police. “… it’s a very exciting, sad, yet extremely funny film…” Lorentzen befriended the Ochoa’s after moving to Mexico City and seeing Juan and Josue cleaning the ambulance outside of the hospital. He was a one-man crew, which is very impressive considering how well done Midnight Family is, but it also makes sense considering that the back of an ambulance is not all that big. Lorentzen did a great job about remaining objective enough to show us the corruption inside the Mexican government and the world of for-profit life-saving services. Yet he was subjective enough to successfully allow the audience to care for the Ochoas and hope that they can continue to thrive as a business and a family. I think it’s important that Lorentzen shows worldwide audiences the desperate situation with healthcare in Mexico with Midnight Family. Perhaps this will lead to charitable donations and reforms to improve the system. Even if it doesn’t, it’s a very exciting, sad, yet extremely funny film. I can’t wait for you all to see it. Midnight Family (2019) Written and Directed by Luke Lorentzen. Starring Juan Ochoa, Fernando Ochoa, Manuel Ochoa, Josue Ochoa. 8 out of 10 stars.


Watch free midnight family online. Nobody: The Thumbnail: 🗿. Watch free midnight family youtube. Watch free midnight family songs. 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 what’s 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 Lorentzen’s 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.

| Matt Zoller Seitz December 6, 2019 The night comes alive in "Midnight Family, " Luke Lorentzen's film about a private ambulance service in Mexico City. This is one of the great contemporary films about the look and feel of a big city after dark, luxuriating in the vastness of almost-empty avenues lit by buzzing streetlamps. It's a real-life answer to fiction movies like " Taxi Driver, " " Bringing Out the Dead, " " Collateral, " " Nightcrawler " and " The Sweet Smell of Success. "  And yet, despite the film's careful attention to images and sounds—which is somewhat unusual in nonfiction, a mode that too often relies on verbal summaries, infographics, and talking heads—Lorentzen never allows "Midnight Family" to become an empty stylistic exercise. He stays tightly focused on his main characters, the Ochoa family, as they scramble to survive in a brutal, unregulated economy. Advertisement The Ochoas live and work in a city with nine million people but only 45 government-operated ambulances. Their ambulance is nominally run by a father, Fer, who has health problems and seems profoundly depressed (some of the film's most haunting images are silent closeups of his face lost in thought). But the real boss is Fer's 17-year old son Juan, who usually takes the lead in treating patients, dealing with finances and official regulations, and arguing with cops who hassle them in hopes of shaking loose a bribe. Juan also acts as an adjunct father to his little brother Josué, who gets frustrated at their hard existence (there's an argument over how many cans of tuna they can afford to buy) but would rather be on the job with his family than attend school.  It's a rough life. The Ochoas seem to live in the ambulance more so than in their small, cluttered apartment. A lot of the Ochoas' patients can't or won't pay them for their labor. They must compete with other ambulance services to get to a scene first, even street-racing a rival in a sequence that's reminiscent of the moment in " Gangs of New York " where the crews of two private fire trucks brawl in front of a burning house. Every month is a financial crap shoot.  The filmmaker, who shot and edited the movie in addition to directing and producing it, seems to have taken his cues from an earlier era of documentary cinema, represented by directors like the Maysles Brothers ("Salesman, " " Gimme Shelter ") and D. A. Pennebaker (" Don't Look Back "). The movie captures moments of astonishing intimacy, not just with the Ochoas but with their patients, the police, and the citizens they interact with from moment to moment. The camera looks at people and places and lets us think and feel things, rather than constantly and clumsily trying to manage our reactions.  There's implicit criticism of government ineptitude and corruption and the viciousness of profit-driven life, particularly when it comes to healthcare, but these concerns emerge organically from the situations the director shows us. The tone is empathetic but clear-eyed, presenting the world's indifference to struggle and suffering as a hard fact, as immutable as the winter draft that chills the interior of the ambulance until Juan asks his dad to shut the doors.  There's no music. The movie doesn't need it. It has traffic sounds, barking dogs, roaring auto engines and squealing tires, and the screams of injured people nearly drowning out the reassurances of paramedics trying to stop the bleeding. The sense of place is nearly overwhelming, and the editing finds little ways to re-emphasize it, such as holding on an empty room or ambulance interior for a beat or two after people have exited the frame. All the world's a stage, we're mere extras upon it, and there's no way to know if anyone's watching the play. Reveal Comments comments powered by.
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Interesante, espero ver tal veracidad en el documental. Saludos Fer. Need to see this movie♥. Watch Free Midnight. Watch free midnight family cast. Yall complaining that Disney just remakes exactly the same movie from the animation, that theres no difference. Now that Disney is offering something different, yall still complain. Geez! Just enjoy the movie guys. Duh.

This looks amazing. Watch free midnight family 2017. I've never watched a Netflix movie the day it came out. Until now. Go see this movie. It's incredible. Hi Adrey sorry if I am Spelling your name wrong but I watch all of your view they are the BEST. Stay as quiet as possible My stomach: perfect time to demonstrate a whales mate call Aliens: Well done. React to ff9 triler. Word Slam Family/Midnight – Gruppenspiele – mind. 3 SpielerInnen – ab 12/18 Jahren – Inka u. Markus Brand/Kosmos Ich würde ja mal sagen, wo Inka und Markus Brand draufsteht, ist ein gutes Spiel drinnen. Ihr könnt mir widersprechen, aber auf diese Autoren ist Verlass und das obwohl die Bandbreite ihrer Veröffentlichungen von Strategie- über Rätsel- bis hin zu Gruppenspielen reicht. Und da Gruppenspiele bei uns im Verein besonders gut ankommen, haben wir uns über die neuen Spiele der Word Slam Familie sehr gefreut. Den Anfang legte der größere Bruder „Word Slam“ bereits 2016. Fortgesetzt, beziehungsweise ergänzt, wurde 2018 mit den Mitbringspielen „Word Slam Family“ und „Word Slam Midnight“. Die Spiele Word Slam Family und Word Slam Midnight sind Spiele von Inka und Markus Brand, die bei Kosmos erschienen sind. Beide sind für Gruppen ab mindestens 3 SpielerInnen geeignet. Während Family ab 12 Jahren gespielt werden kann, ist Midnight erst ab 18 Jahren freigegeben. Beide Spiele funktionieren identisch wie der große Bruder Word Slam. Die Spiele können miteinander kombiniert, aber natürlich auch eigenständig gespielt werden. Während Word Slam noch mit Sanduhr und Halterungen für die Karten geliefert wurden, kommen die Mitbringspiele gänzlich ohne Zusatzmaterial aus. Gespielt wird nur mit den beigelegten Karten sowie der Spielschachtel, die als Sichtschirm fungiert. Die SpielerInnen teilen sich bei beiden Varianten in zwei Teams auf und die Teamleitungen schauen sich den Begriff der gemeinsam gezogenen Ratekarte an. Welcher Begriff vom Team erraten werden muss, gibt die Würfelnummer der nächsten Ratekarte an. Dann wird der Timer des Handys auf 60 Sekunden gestellt. In dieser Zeit müssen die Teamleitungen ihrem Team das gesuchte Wort erklären. Jedoch ohne zu sprechen, sondern indem sie Hinweise vor ihrem Team auslegen. Hierzu steht den Teamleitungen jeweils ein Stapel mit 105 Erklärkarten zur Verfügung. Das Team, welches den Begriff zuerst errät, erhält die Ratekarte als Punkt. Ist der Ratestapel mit 12 Karten aufgebraucht, endet das Spiel und das Team mit den meisten Karten gewinnt. Der Unterschied von Word Slam Family und Word Slam Midnight besteht übrigens lediglich in den unterschiedlichen Begriffen – während die einen familientauglich sind, sind die anderen ü-18 oder einfach nur um einiges komplizierter. Fazit Das „große“ Word Slam hat uns schon so richtig begeistert. Das Spielkonzept macht riesigen Spaß, vor allem mit Teams ab je mindestens 4 Personen. Allerdings muss man Hektik mögen. Denn 60 Sekunden vergehen wie im Flug. Da kommt dann durchaus Stress auf. Nicht vorstellbar? Schließlich darf man seine Hinweise weder sagen noch aufschreiben, sondern muss sich diese aus einem Stapel mit 105 Karten heraussuchen. Also heißt es, Karten durchwühlen. Die fliegen bei der Hektik dann auch mal durch die Gegend. Vor allem, wenn die gesuchten Hinweise mal wieder ganz hinten im Stapel stecken. Das macht unglaublich viel Freude. Für das Team ist dann nachdenken angesagt. Manchmal ist es ganz einfach und eindeutig und manchmal kann man sich noch so anstrengen, man kommt einfach nicht darauf, was einem die Teamleitung mitteilen will. Knifflig darf es aber auch sein, sonst ist es zu einfach und macht keinen Spaß. So viel zum Grundspiel an sich. Das lässt sich alles auch wunderbar auf Family und Midnight übertragen. Bei Midnight ist der Spaßfaktor noch ein wenig höher, schließlich tauchen da immer wieder mal Begriffe auf, mit denen man sonst nicht so um sich schmeißt. Gut gefällt mir, dass die Spiele miteinander kombiniert werden können – sofern man aufs Alter achtet – den großen Bruder besitzen wir bereits. Und die Halterungen für Karten sowie die Sanduhr finde ich wirklich praktisch. Die Kartons sind sicher eine Lösung, aber doch recht minimalistisch und beim Spielen eher hinderlich. Die fallen vor lauter Stress auch gerne mal um. Zumindest, wenn man so hektisch ist, wie ich. Natürlich kann man das Handy als Sanduhr nutzen. Aber das ist dann schnell leer. Und ja, es gibt tatsächlich Leute, die kommen ohne Handy zu uns zum Spielen. Daher sind wir froh, das große Spiel zu besitzen und einfach alles kombinieren zu können. Word Slam Familiy und Midnight sind für mich als eigenständige Spiele gut, als Ergänzung zum großen Word Slam jedoch superklasse. Wer Spaß an Gruppenspielen hat und sich auf neue Wortspiele einlassen mag, der darf sich alle drei auf jeden Fall genauer ansehen. Bewertung + tolles Spielprinzip mit hohem Spaßfaktor + viele interessante Begriffe + alle Spiele miteinander kombinierbar + ideal für größere Gruppen – mit Halterungen und Sanduhr etwas minimalistisch (Eine Rezension von Petra Fuchs) Wichtige Informationen zu unseren Rezensionen (KLICK) Die folgende Bewertung erfolgt innerhalb der Kategorie: “Gruppenspiele” Ihr findet unsere Rezensionen gut und wollt uns gerne unterstützen? Dann spendet gerne per PayPal (KLICK). Jeder Euro kommt unserer gemeinnützigen Arbeit zu Gute!... Altersgruppe 13 bis 49 Jahre... Altersgruppe 50 bis 75 Jahre Word Slam Family und Word Slam Midnigh (2018) Autor: Inka und Markus Brand Grafik: Fiore GmbH Verlag: Kosmos Spieleranzahl: ab 3 SpielerInnen Altersempfehlung: Ab 12 / 18 Jahren Spieldauer: 45 Minuten.


Watch Free Midnight family tree. Watch free midnight family series. Watch Free Midnight family life. Critic’s 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 can’t look at the screen for another second. But you can’t 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 family’s 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 patient’s family. It’s 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 Lorentzen’s 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 documentary’s 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 city’s 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 Fer’s sons — the babyish-looking Josué, who’s around 10 — tries to steady himself in the rear. As Lorentzen cuts from the van’s 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 don’t move! ” The juxtaposition of Josué’s face and Fer’s words are representative of Lorentzen’s method. Embracing a familiar observational approach, he doesn’t 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. He’s 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 doesn’t turn the gore and tears into a spectacle, and it’s 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. It’s 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. That’s evident in his point of view, what he shows you and doesn’t, and obvious in his empathetic portrayal of the Ochoas. They’re 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 everyone’s 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.

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Watch free midnight family movies. Watch free midnight family tree. Get your stuff together, or you'll end up living in a van down by the river. Watch free midnight family game. Hop in an ambulance with Mexico City’s Ochoa family, a group of civilians who run a private EMT service in a bustling city sorely underserved by the government’s 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.

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Where I live it its day time. Showtimes See part two of Kahlil Joseph’s BLKNWS project, shown in conjunction with their presentation at the Sundance Film Festival, before the film. Details at the bottom of the page. In Mexico City, the Ochoas run a family-owned ambulance service, one of many private paramedic outfits addressing the massive civic void left when there are just 45 municipal ambulances serving a population that tops 9 million. “Midnight Family is both a compassionate portrait of a working-class family and a frightening ride through a broken health care system. ” – Monica Castillo, The Wrap Living in circumstances only slightly less dire than those of the victims they treat and transport, the Ochoa family nightly faces the spectrums of urgency and boredom, honor and corruption, life and death—all with admirable resolve. Teenage Juan captivates as he helms the family’s ambulance, with his father, uncle, and younger brother rounding out the band of nocturnal rescuers who careen through Mexico City’s neon-noir streets evading dense traffic, competing paramedics, and dubious police. In director Luke Lorentzen’s bold and balletic vérité treatment, action, drama, humor, and pathos fill the screen while an ominous microcosm of health care and humanity plays out in stark relief. A suspenseful and vivid tale of subsistence, Midnight Family  refers not only to the Ochoas but to the enduring community of, and connections among, those living and dying in the dark. (Dir. by Luke Lorentzen, 2019, Mexico, in Spanish with English subtitles, 81 mins., Not Rated) Kahlil Joseph’s BLKNWS “Kahlil Joseph’s mesmerizing news-creation machine is a soulful and rousing intervention into the “news-industrial complex” that is presently manifesting an epidemic in our society: news addiction powered by corporate digital platforms on networked devices. BLKNWS combines appropriated news and social media with originally produced anchored segments to create a continuously updated broadcast that is as much a news service as it is a portal to an elevated state of awareness. ” – Sundance Film Festival BLKNWS newsreels will also run at 10 other art-house cinemas around the country: Belcourt Theatre — Nashville, Tennessee Cinema Detroit — Detroit, Michigan Michigan Theater — Ann Arbor, Michigan The Museum of Fine Arts, Houston — Houston, Texas Nitehawk Cinema — Brooklyn, New York Northwest Film Forum — Seattle, Washington O Cinema — Miami, Florida Parkway Theatre — Baltimore, Maryland The State Theatre — Ann Arbor, Michigan Texas Theatre — Dallas, Texas.

MOVIES 11:12 AM PST 2/11/2019 by Courtesy of Sundance Film Festival An intriguing perspective on health care in urban Mexico. A family-run ambulance business in Mexico City struggles to stay afloat in Luke Lorentzen's doc. A glimpse into the dysfunction of Mexico's patchwork of public and private health care, Luke Lorentzen's Midnight Family follows a family of EMTs through Mexico City as they struggle to make a living keeping other citizens alive. Though its micro view limits its usefulness in big discussions of public policy — it's easy to imagine American partisans using it as evidence both for and against government-run health care — it is a vivid reminder that all such policies are lived out by millions of individuals, who die every day when things aren't well run. Opening titles explain that in Mexico City, the government runs 45 public ambulances to serve a sprawled-out population of 9 million. That's nearly the entirety of what Lorentzen tells us directly in the film. Everything else we observe or infer during ride-alongs with the Ochoa family, who drive one of an unstated number of private ambulances that fill gaping holes in the city's delivery of health care. This observational approach gives the film its flavor, especially when it comes to family dynamics, but it makes things frustrating for viewers hoping to actually learn something. Lacking outside comment, we can guess but never be sure when the Ochoas are doing the right thing and when they're pushing an ethical line, maybe fatally. (Press notes make some things more explicit, but moviegoers don't get press notes. ) Whenever they pick up a patient who needs care they can't provide, for instance, they have choices to make: Go to a government-run hospital or a private one? Go to the closest facility or a further one that might be more affordable or better equipped? Leave the crowded-looking free hospital in favor of another down the road? At many junctures, the EMTs inform patients and/or their loved ones of the choices, speaking gently but usually presenting one option as smarter than others. They clearly have more experience than their customers with how the system works. But is their advice sometimes clouded by self-interest? After they've brought patients to a private facility in one scene, we see a staffer there hand over cash to the driver. Is this a shady kickback or part of a somehow legitimate transaction? The former seems likely, but we have no way of knowing for sure. We do, however, get a good sense that the role of police in this ecosystem is morally tainted. Ambulance drivers pay cops bribes in return for tips about accidents; cops hassle drivers, enforcing rules that seem to change arbitrarily. Questions of law and ethics aside, viewers get a visceral understanding here of the cutthroat nature of this private-ambulance business. Though they suffer through long bouts of boredom, the Ochoas leap into action when they hear reports of an accident: We race through the streets with them, often neck-and-neck with other vans trying to make it to the scene first. Whoever's riding shotgun mans the PA, shouting at drivers of other cars to heed the sirens and get out of the way. Juan Ochoa quickly becomes the film's star. Barely 17, he's far more professional than the older man we assume is his father. While slow-moving Dad tries to bum cash off his employee-children — he appears to have emptied his pockets for cops — perfectly groomed Juan hustles. He drives the ambulance, helps patients and reports on the night's frustrations in phone calls to his unseen girlfriend. He also does much of the undesirable job of asking for payment. Though Lorentzen mostly averts his camera's gaze when patients are around, he does listen in on some of the conversations about cost. A high-school girl who's been head-butted by her boyfriend weeps while she bleeds in the back of the van, meekly asking, "Is this expensive? " (And shortly after, "Can you please give me a hug to calm me down? ") Later on, another woman balks at the 3, 800 pesos the Ochoas charge for emergency transport (one of many items on their price list, that's roughly $200 U. S. ). When patients refuse to pay, that's that; as far as we can see, the EMTs have no recourse. What they do have is a matter-of-fact justification: When no government-provided ambulance arrived at the scene, what was your alternative? Production company: Hedgehog Director-director of photography-editor: Luke Lorentzen Producers: Kellen Quinn, Luke Lorentzen, Daniela Alatorre, Elena Fortes Composer: Los Shajatos Venue: Sundance Film Festival (U. Documentary Competition) Sales: Josh Braun, Submarine In Spanish 80 minutes.

Watch free midnight family games. Watch free midnight family free. Animated Mulan had comedy, this doesn`t seem like it has. i am sad. Watch free midnight family episodes. Midnight Family (2019) 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. Member Reviews Hope Madden () Details Starring: Fer Ochoa, Josue Ochoa, Juan Ochoa Directed by: Luke Lorentzen Written by: Luke Lorentzen Runtime: 81 Minutes Rated: NR Release Date: December 6, 2019 Genre: Documentary, Action, Crime, Drama Related Films Midnight Traveler (2019) The Addams Family (2019) Before Midnight (2013) Tags Action Crime Documentary Drama Fer Ochoa Hope Madden (Critic) Josue Ochoa Juan Ochoa.

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Esme riddle : age. Watch free midnight family 2. Watch free midnight family season. YouTube. The documentary Midnight Family is set in a place that’s 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’re often left in the sticky situation of having to ask sick and injured people for money, and that’s 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’s the first feature film for documentarian Luke Lorentzen, who’s only 26 but managed to nab an award for the film’s 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’re 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: “ Let’s 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 family’s 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’t know anything about it. It’s something very few people know about. If you need an ambulance once in your life, that’s a lot. So, [the lack of public ambulances in Mexico City] has become this egregious example of corruption and government dysfunction, but it hasn’t gotten as much attention as it deserves. And when it has gotten attention, it’s 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’t have engines in them. So you had to do some good old-fashioned shoe-leather reporting. Yes. There’s so few ambulances, it took me only a few hours. There’s 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. That’s 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’s 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’s 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’re 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’t 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’t 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’s 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’s 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’t 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’m trying to make a film like Midnight Family is to decide, can I connect with people in a meaningful way that’s 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’ve been in work-for-hire situations where we can’t take the time or there isn’t the willingness to form that connection. That’s when the question of who’s telling whose story really gets more complicated. Right. Because it’s their story, but you’re, 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’t know if that’s totally true — I think, knowing the Ochoas, that they would have let anyone in who was willing to ride along with them. That’s why they’re 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’s a movie about a family, and it’s almost a dark comedy at times. It’s 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’s a bit funny, when you think about it. A lot of American entertainment has centered around characters in medical settings, like Grey’s 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 people’s lives in our ER every night. ” That’s problematic, but it’s 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’s lives and to make a living. That can’t 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’s what’s 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. That’s what’s 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 warm with me. Then you see them do things in a certain situation that make you nervous [like asking for money before treating an injured patient]. The first time that that happened, I was really conflicted. I didn’t have an edited film to guide me through it, the way audiences do now. Midnight Family opened in limited theaters on December 6.

Film Series: Stranger Than Fiction Midnight Family 2019, Luke Lorentzen, Mexico, 90 min. Show Times Fri, Jan 17th 8:15pm Tue, Jan 21st 8:15pm Wed, Jan 22nd 6:00pm Thu, Jan 23rd 8:15pm “Profound and thrilling cinema verité filmmaking…extremely visceral in the best ways. ”—Nick Allen, “Compelling…blends the engaging family dynamic of a Kore-eda drama with the socio-economic realities of a Ken Loach classic. ”—Allan Hunter, Screen International Emergency healthcare provided at breakneck speed and with the precarious action-packed outcome of a video game is the astonishing subject of this documentary set in the late-night streets of Mexico City, where ambulance service is largely left to the self-taught ministrations of wildcat EMT crews. The Ochoa family business is a private ambulance operated with gutsy determination but iffy compensation by dad Fernando, his two sons, and a family friend. Director Lorentzen’s camera captures the urgency and the drama of a life spent in the margins where other lives hang in the balance. Seventeen-year-old Juan emerges as the backbone of the family and the film’s level-headed hero, careening through the streets to beat competitors to accident sites and efficiently aiding victims of everything from traffic collisions to a beating by an abusive boyfriend. In Spanish with English subtitles. DCP digital. (BS) Play Trailer.

This was very weak. The only funny one was the Arnold Schwarzenegger part when he sais shut the door. Watch free midnight family music. "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 what’s 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 Lorentzen’s 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.

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