Each year the Guadalajara Film Festival (FICG) invites a crop of one of the most exciting projects around Latin America to participate in its co-production meeting. This year, organizers are thrilled to personally welcome viewers to the re-scheduled 17th edition of the event, where teams representing 24 feature film projects will meet with potential partners, financing agencies, sales agents and more.
Below, check out this year’s participating projects.
“Animals,” (“Animals,” Andres Weissbluth, Avispa Cine, Chile)
From Waissbluth, whose promoter has identified a rare South American film drama for the 2016 “A Horse Calling Elephant” family ad. Marked as a dark drama of the near future, his latest images are of a world where animal rights are widely practiced and upheld by law.
“The Bad Mother,” (“La Mala Madre,” Alicia Albares Martinez, Mordisco Films, Spain)
Victoria, a successful journalist, decides to have a child, later regretting it, which plunges her into despair. A ghostly drama that marks the first feature of the director.
“Beach House,” (“La Casa de Playa,” Kim Elizondo Navarro, Beach Cine, Costa Rica)
A study on modern gender power-play as Vilma, from humble origins but now living in an exclusive seaside villa, awaiting the annual visit of her boyfriend and homeowner. The director’s fictional feature debut and a CRFIC 2020 art award winner.
“Diver,” (Jimena Muhlia, Pieret Films, Mexico-Spain)
The first feature of Muhlia, a former student of the CCC Film School in Mexico, “The Diver” launches a scuba diver, who has spent years alone on the beach after drowning. She returns to her village where she is feared and despised, with the exception of her sister, a seamstress.
“The Fury,” (“La Furia,” Jema Blasco Fernandez, Ringo Media, Spain)
The latest from Miria Grail, a former producer at London Film School and producer of Clara Simon’s “Summer 1993” line and producer of the Sundance Grand Jury Award-winning short “Matria”. Described as a “modern tragedy”, it is the story of a strong bond between two siblings, established in the working class in Barcelona. Blasco manages Fernandez (“El Zoo”).
“Invisible,” (“Los Invisible,” Andres Rodriguez, La Danta Films, Guatemala)
A social realist story revolving around the phenomenon of domestic migration from Rodriguez to Guatemala, whose first feature “Rosa” is waiting to be distributed this year. Produced by Heidi Baker, creator of an audiovisual program for the Mayan community in Guatemala. Founded in La Danta, whose partners include Cannes 2019 Camera D’Or winner Cesar Diaz (“Our Mothers”).
“Saliva,” (Rodrigo Daniel Marquez, The Mental Revolution Film, Mexico)
A genre blender একটি an upcoming era road movie and crime thriller when Lala took to the streets with her sister, ran with drug money, tied to a chicken pen for the past 1 year due to mild mental disability. Part inspired by real events. Marquez’s first fiction feature.
“Giraffes,” (“Giraffes,” Felipe Carmona, Sarahi Ichevaria, Clap Producens, El Otro Film, Ecuador, Chile)
In 2003, a zoo in Ecuador hosted the country’s first giraffe. The local mayor raised his profile on Chelito’s arrival, then campaigned to bring more animals into town after Chelito’s death, including a questionable and controversial fundraiser.
Valparaiso Prison hosts a unique cultural event where inmates use VR to “go home” without its crowds and low-money walls. Alarcón (“Dios”) has previously created a VR short on the subject and is well versed in improving the feature version.
“Be the dragon here”
One of the big dramas of the co-pro meeting, set in 2040, in a country terrified by the impending barbaric attack, is a study of the “culture of fear” seen from a certain “precise, three-dimensional feminine vision”, Gomez says one of the rising stars of Mexican filmmaking. Conceiro (“The Cinema Hold-Up,”! Before Oblivion “).
“Janos,” (Juan Celine, Audiovisual Atelier, Argentina)
1 In the late 1960s, Hungarian Marix Janos claimed that gold, sculptures, and a metal library had been found in the depths of an Andean cave, spreading rumors of secret Nazi treasures. “Genos” is Selin’s feature debut.
“Like Magic,” (“Por Art de Magia,” Melissa Savedra Gill, Desu Productions, Colombia)
In an autobiographical work, Savedra returns to her homeland Kali and her childhood memories, when the magician Los Hermanos Rodriguez merges with an explosion involving militant violence in Orezuela and kills her parents.
“Malta,” (Natalia Santa, Pero de Monte, Colombia)
Mariana, 20, wants to escape from dealing with her dysfunctional family. His promised land is Malta. Trying to get there, she occasionally takes refuge in the beds of lovers. Santa’s directors follow the fernite player “The Dragon Defense,” which transforms her into the first Colombian woman to be selected for Cannes.
“Mother of Gold,” (“M dee de ouro,” Madiano Marcheti, Terceira Margem Produçoes, Brazil)
An eco-mystery drama, Jackie, a 0-year-old schoolteacher, dreams of death, which then becomes a reality. He realizes that they are connected to the illegal mines that are being driven to the mountains where he lives. The second feature of Marchetti and producer Beatriz Martins, whose joint debut, “Madalena,” the world premiered at the main competition in Rotterdam this year.
“My Best Half,” (“Mr. Media Naranja,” Sebastian del Amo, Cine Coa Non Films, Mexico)
From the cheerful and award-winning Dale Amo (“Cantinflas”), this thriller moves to the middle-class apartment complex where a couple is disturbed by the noise of the house next door and tries to investigate but is driven by the lies of their neighbors who shelter a horrible mystery.
“My saints recognize your saints,” (Rodrigo Antonio, Leo do Norte Prods, Brazil)
Antonio Docu, head of the Association of Black Audiovisual Professionals in Brazil, follows him when he travels to the island of Marazo where he is initiated into Marazoara Shamanism and records his relationship with Shaman Roxita, who instructs him to contact his ancestors.
“Noise, voices, rumors … distant songs”
Guterres’ third feature is a Western-fantasy hybrid set in Mexico in 1913 that tracks two brothers fleeing a war through the desert. Their journey is full of strange experiences that confront their deepest fears. They enter a cave that will change their lives forever.
“Now they’re coming for us,” (“Ahora Vienna Por Nosotros,” Shawn Gary, Clara Films, Chile)
Inside an isolated condo, an unconscious youth is found. Not trusting the authorities, the community of the building began its own investigation with serious consequences. One of the two pre-production projects of award-winning director-producer Gary (“Desiarto Sur”) with Storyboard Media’s “After Elena”.
“At harvest time,” (“Timpo de Kosecha,” Flavio Pedota, Luz Creative, B-Roll Films, Venezuela, Dominican Republic)
A drama thriller with a team of journalists after the earthquake in Haiti who stumbles into an organ trafficking ring and has to flee or die. Pedota, who appeared in the competition at FICG, made a name for herself with her 2019 feature debut “Infection”.
“Walking on Waters,” (Larissa Figurido, Kazumba Films, Brazil)
The second feature of Figurido, whose debut, “The Bull”, starred at the 2015 Rotterdam Festival. A hybrid doc-fiction about the relationship between men and Maranhao in northeastern Brazil, its joys, challenges and colonial legacy has been filtered through their dreams.
“Water skin” (Patricia Velazquez, Tempo Liquido, Costa Rica-Spain)
The first debut of director-producer Velazquez revolves around 15-year-old Camilla, who returns to her estranged father after her mother’s accident. He seeks refuge in the strange, anarchic Diego, the 28-year-old rock singer. Velazquez co-founded Timpo Liquido, which produces movies, TV and web content.
“The White Room,” (“La Habitat Blanca,” Anna Petersburg, Bikini Films, Argentina, Chile)
Arguably the most well-known director of the meeting, Petersburg, who directed Viggo Mortensen in “Everybody Has a Plan,” sheds light on the confusion and trauma of childhood here. Edson produced Sydney, behind “Cornwall,” a FICG 2020 Best Director winner.
“Women Warriors in Latin America,” (“Mujeres Lucadhoras de LatinoAmerica,” Tama Garategui, Tedigok Productions, Argentina)
Changing the pace from one of the most important genre filmmakers in Latin America, the documentary enters the world of women’s communication sports, traditionally influenced by men. From the young to the paid professionals, everyone is fighting for the unveiling of the structure of masculinity.
“Year of the Cat,” (“El ao del Gato,” Juliana Oria Martinez, Artico Cine, Mexico)
“Follow your dreams.” If you do not lease in Mexico, whose aspiration to enroll in a music school is canceled due to the divorce of his parents and the economic crisis, he is forced to take care of his family. Possible first feature of Jalisco-based Oriya and “Martinez” maker Alex Breseno. “Now they’re coming for us,” (Shawn Gary, Clara Films, Chile)