As a film enthusiast with a keen eye for new talent and unique stories, I find myself captivated by this diverse array of upcoming projects. Each story, in its own way, speaks to our shared human experiences, yet they are as distinct as the filmmakers who have conceived them.
Jô Serfaty’s “Beyond the Edge,” Jorge Cadena’s “Tropical Malady,” and María Paz Barragán’s “The Tenants” seem promising contenders for notable selections at the 7th Proyecta project platform during next week’s Ventana Sur.
Under the patronage of two significant allies, namely Cannes Marché du Film and the San Sebastian Film Festival, the event named Proyecta is scheduled to unfold on December 4 at Montevideo’s Teatro Solís.
Among Proyecta’s highly anticipated books, “Beyond the Edge,” the first fiction work by Jô Serfaty, received awards from Globo Filmes and Vitrine at Brazil’s BRLab. Later, it won twice at Málaga’s 2023 MAFF. Additionally, Projeto Paradiso contributed to its development.
Originating from the Europe-Latin America Co-Production Forum in San Sebastian, “Tropical Malaise” is the latest work by Swiss-Colombian filmmaker Cadena. Previously, Cadena’s short films have received recognition at various prestigious events such as Rotterdam Tiger (“Los cents de Antonia,” 2017), Berlin (“Soeurs Jarariju”), SXSW, and even earned an EFA nomination for “Flores de otro patio.
As a supporter, I would describe “Tenants” as an eye-opening exploration into the harsh realities of immigration, particularly captivating to those in sales. This compelling production, hailing from Final Abierto in Lima, offers a shockingly raw and authentic portrayal of this social issue, which earned it four accolades at FantasoLab.
In the latest news, the movie “Perseidas” boasts an exceptional ensemble of female actors headlined by Macarena García (“Snowwhite”, “The Messiah”), a testament to the quality of its scriptwriting.
French production company Srab Films has taken on Duván Duque Vargas’ “Name and Surname,” a film from up-and-coming Colombian movie studio Evidencia Films, helmed by talented director Franco Lolli. Known for his films “Gente de Bien” (2014) and “Litigante” (2019), both of which screened at Cannes Critics’ Week, with “Litigante” even opening the section.
Meanwhile, Proyecta features screenings for sophomore projects from Puerto Rican filmmaker Glorimar Marrero Sánchez (“The Fishbowl”), who was selected for Sundance, and Colombian Fabián Hernández, whose “Un Varón” premiered at Cannes’ 2022 Directors’ Fortnight.
As a passionate eco-advocate like myself, I wholeheartedly resonate with “Beyond the Edge.” This profound film sheds light on those deeply impacted by environmental changes, as highlighted by Serfaty. Yet, it also stirs emotions within me, reminiscent of a fisherwoman and her daughter, as they experience the homecoming of a once-summer resident to our humble village.
Duke Vargas spent a considerable amount of time delving into the intricacies of ‘Name and Surname’ in private, often focusing on the complex dynamics of a teenager’s strained bond with his father.
In various ways, numerous titles explore fundamental emotional connections – or their absence – during a troubling era. These stories encompass reconnecting with family (“Perseidas,” “Today Is Yesterday”), dealing with fresh life uncertainties (“We’re Fine”), establishing new homes (“El Grito de la Trinitaria”), and even fixing the lawnmower (“Grass”).
According to Yago Mateo, the Cannes Marché du Film programs manager, it has been noticeable that many projects are concentrating on delving into the inner realms of characters and how these internal aspects influence their external environments. Specifically, there seems to be a pattern of focusing on the family relationships within the characters and how these familial bonds shape and create our main characters.
Often, these tales delve into personal, heartfelt narratives dealing with broad, relatable topics. The plot usually revolves around getting to know the main characters intimately. In essence, much of contemporary fiction is characterized by an in-depth, realistic exploration of character and emotion.
A drill down on Proyecta’s 2024 lineup:
“Beyond the Edge,” (“Borda do Mundo,” Jô Serfaty, Brazil, France)
In response to his critically acclaimed summer movie debut in 2019 titled “A Summer Movie,” filmmaker Serfaty is creating a sequel. This time, an individual who once resided in a coastal village that will soon be swallowed by the sea, revisits it. The visit stirs up recollections and yearnings of a fisherwoman and her young granddaughter. According to Serfaty, the movie “illuminates the right to remember, to resurrect forgotten tales, and forge a bond with the past,” as he shares with EbMaster.
“Birds,” (“Los Pájaros,” Fabián Hernández, Colombia)
At a secluded jungle military camp, 18-year-old Freddy undergoes the traditional tests to earn respect – engaging in combat, displaying tough talk, adapting to the strict routine. However, it’s only when he faces his authentic self that the story unfolds. Directed by Manuel Ruiz Montealegre, who is renowned for “Un Varón” and “Amparo,” both of which were screened at Cannes Critics’ Week.
“Chances of a Fish,” (La Cábala del Pez,” Colombia, France, Mexico)
In a small village, one number shows up on a fish scale, which then turns out to be the winning number for the local lottery. This surprising victory is observed by a woman who has never had much luck herself.” Ana Katalina Carmona’s first full-length film, “A Fish Scale’s Secret,” was produced jointly by France’s Dublin Films and Mexico’s Collective Colmena, with Carmona having won the Breakthrough Award for her short film “Los Enemies” at Toulouse.
“El Grito de la Trinitaria,” (Glorimar Marrero Sánchez, Spain, Puerto Rico, Dominican Republic)
Reviving the collaboration between Puerto Rico’s Marrero Sánchez, director of the upcoming Sundance film “The Fishbowl,” and producer Auna Producciones (“Where Silence Passes By”), while broadening the director’s exploration of themes such as colonialism and gender. In a turn of events, Antonia, 70, sells her home to settle her son’s debt, and later shares living quarters with Dominican Luisa, 35, after Antonia’s flat is listed on Airbnb.
“Grass,” (“Pasto,” Ivana Galdeano, Argentina)
36-year-old Karina dwells in a makeshift house on someone else’s land. When her lawn mower breaks down, she tirelessly seeks funds for over three days to have the grass cut. This situation highlights the strains in her relationships and the fragile nature of her existence. The film is produced by Valeria Forster’s Brava Cine (“La Quinta”). Galdeano has a unique talent for conveying the stories of women on society’s fringes, capturing their hardships, unspoken struggles, and daily acts of courage with poignant authenticity, according to Forster.
“I Thought I Was Swimming,” (“Anoche Creí Que Nadaba,” Catalina Torres Puentes, Uruguay, Paraguay)
In a coastal resort in Uruguay, Vera’s grandmother Tere persists in gambling at the casino, looking after her best friend Elsa and consuming whisky. As tourists depart, what goes unsaid is as oppressive as the heat, making it hard to sleep. The plot summary goes on. This film is produced by Uruguay’s Monarca Films and Paraguay’s Sabaté Films, known for Paz Encina’s “Paraguayan Hammock” and “Killing the Dead,” and was Paraguay’s entry for the 2020 Oscars.
“Name and Surname,” (Duván Duque Vargas, Colombia, France)
16-year-old Fer struggles to free himself from his father’s questionable business affairs and less than ideal household, which pales in comparison to those of his well-to-do high school companions. Fer’s journey through the disparate environments of his father’s troubled home and his affluent school friends will strike a chord within the Latin American context, as explained by Duque Vargas to EbMaster.
“Perseidas,” (“Perseids,” Spain)
Elena Irureta (“Homeland”), Itziar Aizpuru (“Blossoms”), and Ana Polvorosa (“The Cable Girls”) are set to appear alongside Macarena García in the series “Perseids”. This show revolves around a renowned Spanish chef who travels from Uruguay back to Spain to attend her mother’s funeral. “Perseids” is the directorial debut of Ignacio Lasterra Pinto, having won the best feature project award at Mallorca Talent Lab.
“Tenants,” (María Paz Baragán, Peru, Spain)
A suspenseful immigration story unfolds in “Tenants,” focusing on themes of class, racism, and xenophobia. The narrative is set in 2003, as Edwin and Maria leave Lima for Madrid, settling into their modest new home. Strange occurrences, hinting at spectral presences, soon begin to trouble them. Spain’s Batiak Films, renowned for the Berlinale Fipresci winner “The Human Hibernation,” and Elora Posthouse join forces in the production of this chilling tale.
“Today Is Yesterday,” (“Hoy es Ayer,” Alexis Durán, Colombia)
42-year-old Juan Carlos unexpectedly reappears in his family after being missing. His goal is to reconnect with his son who doesn’t recognize him. The film is brought to us by Daniel Garcia, known for producing “Litigante” by Lolli, Beatriz Seigner’s Cannes Directors’ Fortnight title “Los Silencios,” and all the films of Rubén Mendoza, including “The Wandering Girl,” which won the top prize at Tallinn 2029.
“Tropical Malaise,” (Jorge Cadena, Switzerland, France)
GoldenEggProduction in Geneva is responsible for the Cannes ACID opener “Let Me Go,” collaborating with France’s Still Moving on “Rule 34.” Activists advocating for LGBTQ+ rights and indigenous communities are joining forces to demonstrate against Colombia’s largest open-pit coal mine. The producers, Gabriela Bussmann and Yan Decoppet, describe Cadena as a work that will captivate with its visual language, rich in the vivid landscapes of the Caribbean and pulsating with infectious activism.
“We’re Fine,” (Mariana Sanguinetti, Renzo Cozza, Argentina)
After Daniel, her husband, departs to Spain, Carla decides to part ways with his possessions. The directors of this project find intrigue in the concept of maturity as a time filled with uncertainty, stating that Carla’s situation highlights this idea beautifully – a moment of crisis where everything once taken for granted is stripped away, starting with her own feelings and desires. This production, titled “Adulthood,” is brought to us by Paloma Torras at Buenos Aires’ La Casa de Al Lado.
Read More
- Exploring Mod Support for Smite 2: A Community-Driven Opportunity
- Understanding Player Choices in Hades: The Case of Merciful End
- Exploring Brawl Stars: Should We Remove Useless Features?
- AAVE PREDICTION. AAVE cryptocurrency
- The Future of Final Fantasy: Why Final Fantasy 7 Rebirth Is Skipping DLC
- Gaming News: Top 10 Games Players Refuse to Replay – Insights and Experiences
- Brawl Stars: The Curious Case of Mastery Titles and Cringe-Worthy Names
- Georgie & Mandy still hasn’t explained one missing Young Sheldon character
- Honkai: Star Rail – Firefly’s Role as DPS or Support Sparks Debate
- Clash Royale: How the Hunter Full Counters the Mega Knight – An Analysis
2024-11-29 15:19