Climate Change Hell, Military Coups, Big Industry Pollution, Fractured Families: Guadalajara Gives a Bracing Latin American Take on World Collapse

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As a cinephile, I can feel the spirit of the times resonating deeply within this year’s Guadalajara Construye, the premier Mexican film festival’s display of pictures-in-post, one of its key industry highlights, now entering its 19th edition.

Here Be Dragons,” directed by Iria Gómez Concheiro (known for “The Cinema Hold Up”), is set after a military takeover and tackles a pervasive sense of fear, according to the director. The film “Genesis” unfolds as Earth nears its end, “The Swimmers” takes place during the sweltering summer that marked Buenos Aires’ hottest season on record, featuring a mass exodus. Lastly, “Girls Ground” is set in a coastal town contaminated by its heavy industries.

In some movies, characters find themselves in situations where they consider severing long-standing emotional bonds (“8 Ways to Die,” “That Shadow Fading”). A common thread running through these stories is a feeling of disappointment or disenchantment (“The Swimmers,” “The Monster”). Nevertheless, the creators assure us that these themes will be presented with a unique regional flavor.

Juan Sarquis, the producer, states that “Genesis” creates a distinctive science fiction narrative rooted in Latin America, reclaiming futuristic tales from colonial standpoints and reshaping our collective visions of what can be achieved. It illuminates the essence of humanity amidst a world on the brink of destruction. “Here Be Dragons”, as described, is a dystopian thriller told through a Latin American lens. Interestingly, six out of seven projects in development are helmed by female directors in Latin America, where they are grasping opportunities to create films as if there’s no tomorrow.

Titles in this year’s Guadalajara Works in Progress competition, running June 9-11.

“Genesis,” (“Genésis,” Magaly Ugarte de Pablo, Mexico)  

In the twilight of Earth’s existence, Alma is compelled to bear a child with a partner assigned to her in order to secure a spot on humanity’s final sanctuary. A practical agreement unforeseeably evolves into deep affection, but heartbreak shatters their bond and their dreams. Faced with untenable choices, their world starts to splinter apart. Ugarte de Pablo remarks that the film “Genesis” illuminates the true essence of humanity amidst a crumbling world. This production hails from Filmaciones de la Ciudad, based in Mexico City, which was established by Juan Sarquis. Additionally, Sarquis serves as an executive producer and development manager at El Estudio.

“Girls Ground,” (“Tierras Niñas,” Zara Monardes, Chile)

In my final summer of childhood, I found myself in the coastal town of Ventanas, Chile – a bustling industrial landscape. By my side were my half-sister and our beloved pet rabbit, as we embarked on this transformative journey together. This poignant story, titled “Ventana Sur,” was crafted by Monardes and producer Catalina Aguilar, who beautifully portray the intricate voyage of personal identity and the hurdles women encounter while molding their paths in a world that frequently imposes constraints on their growth. As recounted by Monardes himself, this film serves as an illuminating testament to these challenges. Notably, “Ventana Sur” was honored with three industry awards last December. The story was nurtured and brought to life at Chile’s Cine UDD educational facility, a prestigious institution whose alumni have produced 16 graduation features, such as “La Madre del Cordero” and “Sariri.

“Here Be Dragons,” (“Aquí Hay Dragones,” Iria Gómez Concheiro, Mexico, Chile)

This year’s Guadalajara Constructe festival hosts Gómez Concheiro’s third major work, following “The Cinema Hold Up,” which won at Sundance, and “Before Oblivion,” a Guanajuato winner. The story follows Candelaria, an 18-year-old girl, as she uncovers the truth about her missing brother and the alleged “barbarians” while also seeking answers about her own father. Ciudad Cinema, Gómez Concheiro’s production label, and Machete Producciones (“Leap Year,” “La Jaula de Pro,” “Huesera”) are behind its production. Edher Campos of Machete Producciones expresses excitement, stating, “We are thrilled with the progress thus far and truly believe we have a unique and valuable contribution to make to Mexican and Latin American cinema.

“The Monster,” (“O Monstro,” Helena Guerra, Brazil)

When a former lover steals her film concept, a fixated and exasperated film editor starts to lose control, transforming into the very person she had always dreaded: a pitiful monster. “The heart of the movie lies in the captivating portrayals by Estrela Straus and Victoria Rossetti,” states Guerra. “They beautifully embody the same character at two crucial stages: a woman in her 20s, full of courage and burning ambition, and many years later in her 40s, disenchanted and tormented by memories she cannot escape.” This film is a finalist for the Havana Fest Coral Prize and is the debut feature from Irmãos Guerra Filmes based in São Paulo.

“The Swimmers,” (“Los Nadadores,” Sol Iglesias SK, Argentina)

A groundbreaking production from Los Nadadores Cine, a guerrilla indie film collective based in Buenos Aires, comes from the creative minds and talents of four of its members, including writer-director Iglesias SK, producer Valentina D’Emilio, directors Joaquín Fretes, and Tobías Reizes. In this film, four friends experience the sweltering heat of an unprecedented summer in Buenos Aires, amid power outages and a widespread exodus abroad. Desperate measures lead them to break into the vacant estates of the wealthy elite. According to D’Emilio, this is a movie crafted by a fresh generation of Argentine filmmakers who boldly merge various narrative elements to weave a fantastical and nihilistic tale about the future of our world.

“That Shadow Fading,” (“Aquella Sombra Desvanecía,” Samuel Urbina, Peru)

For many years, Sol, who plays the keyboard at funerals, has found comfort in the routine of her job. However, her son, Junior, is about to graduate from university and move out. In a scorching, cityscape reminiscent of a desert, mother and son will make an effort to bond before they are apart. “Our film presents a quiet storyline and a thoughtful perspective; it explores the intimacy within the home, the pain of detachment, and the potential for healing through loss,” explain Urbina and producer Walter Manrique.

“8 Ways to Die,” (“8 Maneras de Morir, Mar Novo, Mexico)

After breaking up and finding herself unemployed, Lex, a thirty-something woman, turns to her grandmother for comfort. Their bond is complex, moving between tender moments and dark humor. The author of this portrayal is Novo, a member of the writing team for Amazon Original series “Mentiras.” Her first full-length film, titled “Sisters,” will premiere this year.

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2025-06-08 15:47