↡↡↡↡↡↡ . DOWNLOAD ; STREAM https://stream-flick.com/16629.html?utm_source=form_run https://stream-flick.com/16629.html?utm_source=form_run https://stream-flick.com/16629.html?utm_source=form_run Server 1 ⇧⇧⇧⇧⇧⇧ Cast - Juan Ochoa; Year - 2019; directors - Luke Lorentzen; Countries - Mexico; In Mexico City's wealthiest neighborhoods, the Ochoa family runs a for-profit ambulance, competing with other unlicensed EMTs for patients in need of urgent care. In this cutthroat industry, they struggle to keep their financial needs from compromising the people in their care. Is the life in this movie is only beta testing? Because look there's many glitches. Family practice medical conferences. This looks stunning, can't wait to see it. Masters in marriage and family therapy california. Family law advice over the phone Midnight family film trailer. And this is why I keep watching the” el Camino” trailer over and over though Ive seen the movie... its the only movie trailer that doesnt suck. 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Me: is quiet * My stomach: allow me to introduce myself. Midnight family reviews. Midnight"Family"Read"more"on"the"website Download Full Midnight Watch~Midnight~Family~Online~In. Midnight family documentary trailer. Family guy midnight shift. Masters in family counseling online Written by an idiot for idiots to watch. 'they go up to your wrists' latex. what? MY FAVOURITE PART. Family law divorce lawyer. 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. Family nurse practitioner programs california. Midnight mass holy family. Family counseling degree online. Life is not just all about super-heroes, muscle men, or big-breasted women… The life is more about that, and if you want to scratch the surface, take a look sometimes at some of the great documentaries out there. One very good example is the documentary Midnight Family, where we can take a short peek into the everyday life of extraordinary people and their way of living. You won’t see a dozen of copies of this movie over Youtube… You will not see big commercials about it… But, that doesn’t mean that it is not worth watching… It would be interesting to watch a documentary in the theater for the change? Don’t miss out Midnight Family on December 6. Mexico City has a population of around 9 million, and ONLY 45 government ambulances. If you had an accident, you have to pray for someone as the Ochoa family that can help you. They run a private ambulance and compete with others in saving other’s lives. Actually, it is an illegal business but Juan has to feed his family, despite everything and even corrupted police which provoke moral dilemmas about the tremendous job that the family do… image by The director and the writer of the movie is Luke Lorentzen, a well-known creator of great documentary films like New York Cuts (2015), Santa Cruz del Islote (2014) or TV Series Last Chance U (2016-2019). He is trying to spotlight some really ordinary, but exceptional everyday people… Someone would say, “ a heroes without the cape ” In the “main role” is Juan Ochoa and he is actually playing his role of life. Take a look at the official trailer for the movie Midnight Family: The movie Midnight Family will come to theaters on December 6. Movie URL: Critic: AAA. Midnight family feud. Family law attorney consultation. Midnight family tree. Midnight family life. Multi family investment property loans Midnight family luke lorentzen trailer. 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. Bella canción como la que la interpreta muy bella. Online backup family plan. 0:11 Me when I predict Uncut Gems for Best Picture, Best Director, Best Original Screenplay, Best Actor, and Best Supporting Actress on GoldDerby. Es muy interesante que el director sea extranjero, sinembargo a la vés resulta natural, terrible el hecho de las realidades que mencionas, sin duda un film que deseo conocer, muchas gracias como siempre muy interesante análisis y recomendación, un abrazo Fer. Saw this for the 1st time last night and then watched it again earlier today. This might be my best movie of 2019. It is captivating in terms of the visuals, the performance of the main actors, and the storyline. And yes, it is heartbreaking. But I dont think the ending was sad. One must keep in mind that this was set in the 18th century (if im not mistaken) where a romance between two women was still unacceptable. One thing that I like about this movie is that it didnt give us any of those tropes that is usually given to us in gay movies to make a good story. None of the main characters died. There was no cheating. Instead, the movie gave us a pure and incredible story of two women who found comfort and connection with one another within a short period of wouldve been sad was if either one of them has forgotten. But they have not. Each of the characters vividly feels and remember one another, and the moments they spent together. And that, to me, is enough. Best family lawyer in charlotte nc. Affordable family law attorney san diego I love you so much JORDAN and Audrey! ❤️❤️❤️🥰🥰. Midnight family documentary youtube. This looks more like a drama than a horror movie lmao everyone's upset: oooo spooky scary. Which Watch Midnight Family Online Putlocker. h3>. This was a great run and you really did it justice. You nailed it. Great episode. Was having anxiety attacks during the entire run-time of the movie. Family health insurance singapore. That victory high five thing between Kieth and Joe was everything LOLOLOL. The issue when they go to the fair could be my favourite issue in all of comics. Its executed to perfection. It took you guy 30 minutes to get out of your house. Super super soul ! I found itself. Cheapest private health insurance for family. Family law software colorado. Online marriage and family counseling degree. Family nurse practitioner programs in texas. November 10, 2019 11:40PM PT A family attempts to make a meager living operating a private ambulance in Mexico City in Luke Lorentzen’s 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 don’t 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, it’s 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 — who’s the clan’s 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 City’s 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 Lorentzen’s film makes clear via the Ochoas’ day-to-day ordeal, it’s 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 weren’t problematic enough for Juan and Fern, who can only assume their duties if a public ambulance doesn’t 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 aren’t 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 girl’s terrified mother sits beside them in the front seat. At such moments, the film achieves a powerful measure of suspense that’s intricately tied up in its despairing sociological depiction of a system that’s 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 sibling’s 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 else’s — world together. After three weeks in theaters, Sony’s “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, 2003’s “Bad Boys II” and its $271 million haul. The first entry, 1995’s “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 Television’s 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 Sunday’s 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 tonight’s 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 year’s Nordic Film Market. They were presented, along with 13 other films in post-production, as part of the Work-in-Progress section. [... ]. THE AFTER EFFECT (2019. 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