The Guadalajara Film Festival’s art center, its Inquintro de Co-Production, a springboard of projects for this Latin American film, has been unpoiled online this week as directors and producers look to the international market and secure key sales, distribution and production partners.
Guadalajara has long rejected the notion that gender-based quotas are needed when programming a festival when it should display an organic layer of inclusion in its art categories that blush some European festivals. The 2020 meeting is no exception. More than half of the projects scheduled for the pitch this week are run by women, just as many are female producers or co-producers.
Just as important as any statistic though is the kind of movies that women are picking up on the Guadalajara break strides. Gone are the days when the industry expected female directors to tell women stories. Now women in Guadalajara can present age-old, thriller and comedy projects with the confidence that they will be judged on the merits of their work rather than their gender.
In addition to returning Encuntro’s partners Churubasco, Cinema 226, El Taller, Pablo Mondragan, 2.35 Digital and Marketing Cinema Runner, this year’s Encuntro has received new support from several major sponsors, which means more for participating projects.
Gabriel Garcia Marquez Studios, one of Mexico’s largest standalone production studios, is awarding the GGM Studios Production Service Award, valued at ued 1.5 million Mexican pesos (74,000); Film and TV post-production house Cinematic Media will provide services valued at $ 750,000 Mexican pesos ($ 37,000); Multi-Equipment Film and Design (EFD) provides two tool packages for shooting a documentary and a fiction; Sound and music company Sonata Films will support the post-production of Listen for a Fictional Feature at a price of ,000 400,000 Mexican Peso (19,750); And Olivers will provide legal guidance – including contractual issues, clearances and regulatory work – at a cost. 200,000 Mexican pesos (, 9,875).
Due to the international nature, Guadalajara’s industry departments have been forced to adopt an online model, and the festival has hired festival digital solutions company Risolviamo to host the festival. The platform will allow one-on-one meeting scheduling and easy access to video conferencing with the interface.
Below is an overview of the 21 projects selected for the 2020 Guadalajara Co-production Meeting.
“Spaceman,” (Paul Vega, Peru, Argentina)
Powerful Producers – This story of a TV presenter and frustrated writer backed by To Malo and Tondero in Argentina Peru and Sipachin in Argentina is currently looking for European co-producers.
“The road is a red thread,” (Melissa Elizando, Mexico)
This is Alejandro’s second document after Thessaloniki and Morelia player “The Roger”. This time she examined how women defended themselves against the growing tide of gender-based violence in Mexico.
“Ceremony,” (Dan Chavez, Mexico)
A soul of Barcelona’s Iskak, the debut of Chavez’s feature has turned Maria, the conductor of Jalisco’s Philharmonic, with wide aspirations, challenged by a new rival.
“Once I Became Maria,” (Sophia Castellanos, Mexico, Turkey)
The story of a generation of a mother and daughter, each sharing their known experiences of femininity during the period of new independence. Muchashas co-produced Salvagez and Tardigrada Produxiones.
“Let’s start dancing,” (Marina Ceresesky, Spain, Argentina)
Supported again by Elvaro Lavan, producer of Ceresky’s “La Puerta Aberta”, this road trip film follows three of the most experienced travelers with shared privacy and a desire for tango.
“La Felicidad,” (Pepe San Martin, Chile, Argentina)
The Spanish company Latido Films, which presented the Berlin Generation “Rara” of San Martin and producer Macarena Lapage, turned the project into a 655-year-old retired Anna with a dream of Big Channel swimming.
“South,” (Camilla Celsar, Nicaragua)
Based on Selser’s naming shorts, young Dario finds a place to call home. Along his journey the boy uncovers a past of lies and war crimes that presents his own violent story.
“Huesera,” (Michel Garza Cervera, Mexico)
In a spooky horror thriller, “Huesira” saw a predecessor spirit La Huesra with the optimistic mother Valeria, which may make her doubt whether motherhood is for her. Produced by Paulina Villavichencio, founder of Dispritiva Film.
“The Young Words,” (Segundo Aregui, Argentina)
Set in a rural spiritual retreat, teenagers are becoming instinctive for the first time when the Nahuel Guide Valentine goes even further than expected with the debut feature produced by the Bud Navega movie.
“Kaye,” (Juan Sacres, Chile)
The Chilean movie recently starred in Guadalajara such as the infractor film-produced “Pero Bomba”, and the film’s producer-producer Combo returned with the music-fuel “Kaye” trapped in the trap of losing a 12-year-old girl who is a misguided bullet his best friend.
“The machine that destroys the memory of the future,” (Lucas Tarturo, Argentina)
Con artist Augustine took part in alternative group therapy sessions for illnesses she did not get, using safe places to steal information from other participants. Aleph produces movies, looking for international partners.
“Maria Montia,” (Barbara Ochoa Casteda, Mexico)
Maria is 40 years old and doesn’t want kids, so her partner leaves. When her sister returns after 20 years away, she will have to heal old wounds to protect another relationship. Aichel Coutio also produces for the Atlantida scene.
“Neon,” (Angel Molina, Paraguay, Nicaragua)
The story of Molina, a teacher with a passion for encouraging human rights issues and a dragon singer who falls in love, is inspiring, but the HIV diagnosis threatens the relationship as a threat.
“The Wind of Children”, (Catherina Harder Sacrae, Chile)
The award-winning Shingle Malrato films tell the story of three young siblings who, unable to escape their orphanage, embarked on an epic expedition across the region from the desert to the sea.
“Amazon Evening,” (Alvaro Sermiento, Peru, Colombia)
From Guadalajara’s 2020 guest country Peru, this indigenous documentary follows a group of aboriginal Huitotos as they investigate the history of colonial colonialism on the Peruvian Amazon. Sermiento’s brother Diego co-produced with Anaka in Colombia.
“Ozogoche,” (Joe Holberg, Ecuador, Brazil)
This documentary uses the unusual migration cycle of the Upland sandpiper birds as a metaphor for human migration, often showing travelers without any plans to return. Ecuador produces botan films.
“Queen B,” (Dennis Arancibia, Bolivia, Spain)
Featuring physical images again for illustrator and “Las Malcolgidas” actor Denise Arancibia. This is the story of Juliet; Whose only desire is to be fat until he dies. Regular Arancibia associate Victoria Guerrero returns to produce.
“Sujo,” (Astrid Randero, Mexico, Spain)
Corpulanta of Napilim Productioniones in Mexico and Spain has created the story of a gunman’s son, and the situation of the impossible path of the cartel orphan towards the future can usually be advisable. “Feature Identification” is the second feature as the director-producer-producer, winner of the Sundance Audience Award 2020 and Special Jury Award among multiple festival actors, modern for best screenplay.
“River Whisper,” (Paloma Valencia, Colombia)
Henry Rinkon and Anna Maria Mayo of Colombian Hero Films have made this debut feature from 16-year-old Lee Strasbourg grade Peloma Valencia, who denies the legend of his people and looks at the chaotic reality.
“Only one spring,” (Joaquin Pedrati, Argentina, Paraguay)
A 1947-set period piece piece piece piece piece piece piece piece piece piece piece piece piece piece piece piece piece piece piece piece piece piece piece piece piece piece piece piece piece piece piece piece piece piece piece piece piece piece piece piece piece piece piece piece piece piece piece piece piece piece piece piece piece piece piece piece Who falls in love with a civil war prisoner. During the war, she found herself pregnant and alone, forced to flee the country. Paraguay’s Sabati Films has joined Argentine producers Prodacota de la Tierra and Cyan Productions.
“The sound behind the bar,” (Evan Mello, Brazil)
Evan Mello, executive producer of the former S সাo Paulo Film Festival Cup Films, has created this human rights documentary with an ethnic consciousness. “The Word Behind the Bird” examines the long-term consequences of imprisonment and how it identifies a person for life.