As a film critic with a deep appreciation for Latin American cinema, I have had the privilege of witnessing some truly captivating and thought-provoking stories over the years. Among the most recent offerings, there is a collection of films that have left an indelible mark on me – these are the 12 projects showcased in this article.
At the Santiago International Film Festival from August 18-25, Sanfic Industria – the industry sector – is exhibiting an abundance of fresh fiction and non-fiction works during its Santiago Labs. The inflow of submissions this year surpassed expectations, marking a significant increase of 55% compared to the previous year. According to Gabriela Sandoval, Sanfic Industria’s director and one of the festival’s co-founders, “We were astonished by the volume of applications we received.”
Among the 28 Santiago Lab film projects we’ve chosen, twelve are led by female directors. Our goal has consistently been to boost opportunities for women in filmmaking by providing them with necessary resources and paving their way to achievement. Sandoval, a producer at Storyboard Media and co-festival founder with Carlos Nuñez, shared this commitment. Notably, almost half of the Santiago Lab projects are brought to life by women producers.
Established producers such as Chile’s Lucas Engel have presented some projects. He is known for producing acclaimed dramas like “Tengo Miedo Torero” and “Los Huesos”. Nicola Videla, a renowned filmmaker who identifies as binary (working on “Travesía Travesti” and “Naomi Campbell”), is co-directing a documentary titled “The Criminal Record of Madame Wittmann”. Antonella Sudasassi, Costa Rica’s recent Berlinale award-winning director (“Memories of a Burning Body”), is producing the directorial debut of Manrique Cortés for the film “Monsters”.
Many fiction works are based on personal tales and recollections, resulting in drama productions. Documents, on the other hand, tackle various themes: from the challenges faced by indigenous peoples and LGBTQ+ communities, to socio-political and environmental concerns.
I’m excited to share that these projects are in the running for numerous accolades bestowed by esteemed organizations such as Industria Guadalajara, Malaga, FIDBA, SAPCINE, and Iberseries & Platino Industria. These prestigious institutions will be recognizing our hard work with their awards.
SANFIC LAB: Documentary
“I Believe” (“Yo creo”), Florencia Wehbe Prod: Dolores Chaig, Dario Mascambroni, Argentina
In a dream, the Virgin of the Mystical Rose reveals to María Belén Ochoa, a trans woman running a kiosk in a small town in southern Córdoba, that she will become Argentina’s first trans mother.
“Movements” (“Movimientos”), David Guzmán Story Prod: Rebeca Gutiérrez, Chile
Katherine, a talented Chilean composer in her prime, creates an orchestral concerto influenced by the most significant earthquake modern times have seen. The title of this work is “Movimientos,” and it documents Katherine’s inventive process as she prepares for the groundbreaking world premiere of her composition, which will be presented by the Los Ríos Philharmonic Orchestra.
“The Nemesis or Saturday Dinosaurs’ Terrifying Ballads” (Produced by Samuel Quintero, Brazil)
In this version, the movie chronicles the journey of historian and ufologist Cláudio Suenaga as he makes his way back to Brazil after a seven-year absence in Osaka, Japan. Upon his return to São Paulo, he is forced to deal with his past, feelings of isolation, exclusion, and family troubles. Above all, he encounters a curse related to his 1997 unearthing of secret documents concerning notorious far-right terrorist Aladino Félix. This discovery resulted in an unpublished book.
“Sara Flores and the Kené Universe” (“Sara Flores y el universo de Kené”): A production by Èlia Gasull Balada, in collaboration with Lucas Engel, Spain, Chile, and Peru.
Newly discovered Chilean artist Lucas Engel, age 30 and the creator of “Los Huesos” and “Tengo Miedo Torero,” introduces us to 72-year-old Indigenous Peruvian artist Sara Flores from the Amazon region. This is her debut in the contemporary art world. With her freshly gained exposure, Sara uses her artwork to bolster Indigenous resistance within her community and challenge the dominant Western mindset of material acquisition.
“Southern Channels” (“Canales australes”), Pilar Higuera Valencia, Prod: Juan Francisco González, Chile
As a fan of the unique connections between communities in southern South America, I’ve noticed how young Patagonians from different islands use various tools like radios, devices, and even water to share their daily experiences and thoughts with one another. What binds us together is a shared longing to connect with Antarctica, creating an intriguing collective narrative about childhood, the present moment, and our deep-rooted desire for understanding and belonging.
“The City that Goes Away” (“La Lima que se va”), Juan Yactayo Sono Prod: Diego Díaz, Peru
In this thought-provoking hybrid film, real-life interviews, fictional scenes, historical records, and contemporary storytelling are skillfully woven together to depict the experiences of a generation of LGBTQ+ people navigating discrimination and violence in Lima during the 1980s and 1990s.
“Madame Wittman’s Criminal File” (“El Prontuario de Madame Wittman”)
A 73-year-old transgender actress named Evelyn Wittmann, who had escaped from dictatorship and now resides in France, goes back to Chile in quest of a misplaced documentary. She asserts that she was featured in the film when it was produced during a police raid at a travesti bar in 1968.
“The Invisible War” (“Guerras invisibles”), Marcela Arteaga Prod: Armando Padilla Sánchez, Mexico
The film delves into how the nuclear accidents in Mexico (1984) and Brazil (1987), as well as those in Chernobyl (1986) and Fukushima (2011), have widened social and economic gaps, making radiation a dangerous new tool in the continuous battle for existence.
“Range of Souls Mountains,” a production by Federico Delgado Echenique and Rafael González Quinteros in Guatemala.
In the Sierra de las Minas, park ranger Juan Ceq steers clear of a spooky forest region. One day, he stumbles upon a severely ill and unclothed young girl. She manages to guide him to her secluded family, who have been in hiding for two decades due to Guatemala’s turmoil. Their tale is marked by fear, tenacity, and a profound connection with nature.
“Tijuana is Burning,” Javier Ávila Prod: Pamela Rendón, Mexico
In Tijuana, Mexico, homeless individuals confront harsh truths and are often overlooked or shunned. Following deportation from the US, some deal with personal hardships while attempting to avoid law enforcement. Amidst these challenges, a group of civic-minded health and social workers based in the city dedicate themselves to lessening harm and enhancing the wellbeing of those who have endured such circumstances.
“Ventanas,” Martín Seeger Prod: Nacrovia, Chile
In an intriguing twist, a town notorious for industrial pollution serves as the unexpected hub for sustainable sports. Despite the paradoxical circumstances, locals continue to participate in physical activities within this surreal and unfortunate environment.
“Welcome Eating Disorder” (“Bienvenido TCA”), Amanda Vega Prod: Joaquin Salinas, Chile
As a movie critic, I’ve had the opportunity to watch documentaries that delve into various social issues. One particularly thought-provoking film I recently saw focuses on two psychologists who are advocating for the Chilean government to acknowledge the Eating Disorders Bill. This intriguing production sheds light on how pervasive cultural influences in Chile shape eating habits and, unfortunately, contribute to the development of eating disorders.
“The title is ‘Wiñariy’ which translates to ‘Let’s Begin to Grow.’ This production is by Stefany Granada and hails from Ecuador.”
We delve into the bustling “Mercado Mayorista de Quito” of Quito, home to around 1,400 vendors, with a significant proportion being women numbering at approximately 840. By following the stories of Carmita (54), Carmen (76), Lorena (34), Blanca (38), and four children, this piece sheds light on their upbringing within the market environment and the vital contribution of women in bolstering local economies.
“Yungay: Absent City” (“Yungay: ciudad dormida”), Ximena Tamayo Prod: Icónica, Peru
On May 31, 1970, I witnessed a devastating earthquake of magnitude eight, which unleashed an avalanche that engulfed Yungay, Peru, and most of its inhabitants. As a film enthusiast, I can only imagine the despair and powerlessness felt by the survivors as they watched their city and loved ones being taken away from them. This heart-wrenching tale follows the journey of a community forced to rebuild their lives elsewhere, unable to return home.
SANFIC LAB: Fiction
“Av. Perú,” Dennis Perinango Prod: Jaisia Figueroa, Peru
Two men with very different upbringings try to keep a hidden romance going, but the challenges of their disparate lives and their fundamental differences end up pushing them apart.
“Burning Kingdom” (“Arde un reino”), Catalina Arroyave Restrepo Prod: Jaime Guerrero, Colombia
For the first time, a young Catholic girl at a boarding school for nuns experiences strong feelings of attraction and interprets them as being under the influence of the devil.
“A Sad and Sentimental Love Tale (Un rosario de lágrimas)”
Following a split, influential health blogger Javiera momentarily falters. In her quest for healing, she reaches out to her friends and embarks on a personal voyage of self-exploration and self-care.
“Country Girls” (“Las chicas del country”), director-producer Claudio Rosa, Argentina.
A dedicated woman, managing the responsibilities of being a housewife, spouse, mom, and grandma, takes a break for a vacation in the mountains with her colleagues. This change of scenery revives her enthusiasm, altering her perspective on her daily life, job, and family.
“Cupid’s Arrow” (Original “La flecha de Cupido”), produced by El Olimpo Films, Chile. Debut film by director Ernesto Meléndez.
In this erotic gay story set in 1973, the leading actor Antonio, who is not Chilean, joins the cast for Millaray’s latest production. As the filming progresses, the boundary between fiction and reality becomes indistinct. Antonio finds himself developing feelings for his co-star and brother-in-law Lautaro.
“Homebound Creatures,” with Rafael Martínez Moreno producing and Ivan Luna Dulcey serving as the director for this Colombian-Chilean production.
Happiness watches as the Ibarra marriage falls apart, all while she finds herself in Mrs. Claudia’s elegant and sophisticated world. But in this grand, glass-encased mansion, each inhabitant must discover their rightful role.
“Here is Better Than There” (“¡Aquí es mejor que allá!”), Felipe de la Cerda Prod: Alejandro Ugarte, Chile
In the southern part of Chile, Aaron and Berta reside peacefully on their farm. However, their tranquility is disrupted by Miguel, an aggressive tenant who mistreats his wife Claudia and pays no heed to their son Antonio’s needs. Tensions rise when Aaron provokes Miguel’s jealousy, leading to a devastating and irreversible turn of events.
“In an Empty House” (“En la casa vacía”), Elio Quiroga. Prod: Marianne Mayer, Spain, Chile
Eva, a young woman carrying a heavy past scandal, bravely chooses to face it head-on by revisiting her old homeplace, Primal Hell.
“Monsters” (“Monstruos”), Manrique Cortés Castro, Prod: Antonella Sudasassi Furniss, Costa Rica
As a movie enthusiast, I’d put it this way: In his first directorial attempt, Manrique Cortes brings us “Memories of a Burning Body.” Having executive produced Sudasassi’s latest picture, I was intrigued. The story follows Pablo, a man whose past memories have eluded him and whose nights are plagued by recurring nightmares. Twelve years after being separated from his daughter Julia, he encounters her in a bar. The thought of facing his past resurrects an old memory: when I was but eight, my father was found hanging in our home.
“The Internal Enemy” (“El enemigo interno”), Claudia Pedraza Prod: Gerson Aguilar, Colombia
In her first directorial venture, the film is told as a triptych and explores the interconnected stories of Amanda, Sepúlveda, and Humberto through a compelling narrative infused with suspense. It sheds light on the deep-rooted family conflicts arising from the intense land disputes in Colombia.
“The Mutt” (“ALLQ’U”), Teo Belton Prod: Macarena Coello, Peru.
Cesar, an expert in the ancient Peruvian Andean combat tradition of Takanakuy, is compelled to move to Lima. In Lima, he finds himself drawn into clandestine fighting rings. He’s faced with a tough decision: abandon his cultural roots or potentially lose the land that has been passed down through generations.
In the 1970s in Chile, a group of individuals identifying as homosexual, transvestite, or impoverished faced harsh realities of police brutality and widespread discrimination. Frustrated by their oppression, they organized an unprecedented protest in the city’s central square. (Adriana Denisse Silva; Production: Wincy Oyarce, “The Queer Riots” / “La rebelión de las marginales”)
“The Peaceful Ewe” (La oveja tranquila)
Produced by: Periferia Audiovisual, Bárbara Valdés Caro, Chile
Directorial debut.
Amanda, a 15-year-old girl from rural northern Chile, is unexpectedly reunited with her long-lost cousin Pedro, now a 27-year-old veterinarian. Memories of their past come flooding back to Amanda. Seeking justice, she decides to confront the individual who had hurt her as a child.
“High Up in the Sky and Down Below”: A production of Aukaleb Ankaro by Cristian Lagas, Chile-Argentina.
Sixteen years pass since the disappearance of an ecological campaigner. His corpse is later discovered on a devastated Patagonian island. His sister Amanda and mother Varsovia subsequently identify Hernán as the prime suspect, a diver with a questionable past. Desiring retribution, Amanda sets out for revenge, but ultimately, Varsovia gives her life to save Hernán by dragging him into the sea.
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2024-07-22 16:50